{"id":"31793","prompt":"Generate a very narrow and long vertical editorial visual based on the End of Heat solar term. Let the external large color field, central warm white paper page, and the retracted theme window form three clear planar spaces. First, derive two structural colors from the state contrast and emotional temperature of the theme, covering the vast majority of the screen with a hard horizontal boundary. In the embedded window, repeat this set of divisions in the same direction and in a reduced proportion; the outer field is brighter and emptier, the inner window is deeper and denser, and paper white serves as the layer with the highest brightness of the whole painting. The weight of the screen is concentrated in the middle, the upper part retains a wide title area, and the lower part leaves a stretched emotional landing point. The edges of the paper are straight, no heavy floating shadows are used, and a wide annotation band is kept under the window.\n\nExtract a continuous and recognizable core form from the direction, process, structural connection, and time change of the theme, organize it into a single oblique axis running through the middle, making it cross at least two boundaries from inside the window, pressing on the frame, entering the white space of the paper, and extending to the external color field. The cross-border form remains complete and continuous, the endpoints crossing the edge retain the clearest recognizable outline, and local details are moderately compressed; local forms go from dense to sparse along the oblique axis, and other auxiliary objects are reduced to quiet small geometric focal points, stably remaining inside the window and close to the color field boundary. Let the horizontal color boundary, vertical frame, rectangular paper, and inner window maintain a strict orthogonal order; only the core theme gets the right to break the rules, establishing space with accurate occlusion relationships rather than relying on perspective or dramatic projections.\n\nArrange a few homologous echoes on one edge of the theme's momentum: enlarge, crop, and reduce the transparency and contrast of the core form, strongly defocusing it until only soft color blocks remain, partially extending out of the canvas; the central subject remains clear, and the other side remains clean, giving the planar color field a shallow sense of air and memory. Color maintains a clear area order, with two structural colors together occupying about 80% of the screen. The theme's mediating color crosses two fields and stitches together cold/warm or state differences. A small-area emphasis color appears only twice at a long distance: at the visual focus inside the window and at the text gesture outside the paper. The specific hues change with the theme, but the brightness relationship remains stable with paper white being the highest, a few deep outlines pressing on the structure, and the emphasis color winning by saturation rather than area.\n\nThe text system continues the order and cross-border relationship of the image. The main title uses a slender, sharp, highly contrasting stroke, and exquisite editorial serif skeleton; Chinese adopts a thin and book-like typeface with relaxed spacing. Transform a keyword into a continuous free handwritten thin line, gently passing through or adjoining the printed title, forming a private handwriting that echoes the oblique axis of the theme. Explanatory information is indented at the bottom of the paper, listed in two groups of small fonts and date-type micro-words. The bottom edge outside the paper can use a set of handwritten text with long closing strokes to carry the second emphasis color, leaving only minimal metadata at the very bottom. Let titles, images, annotations, and footers decrease in density in sequence, not allowing text to press on the core recognition edges.\n\nProcess objects with non-directional soft daylight and low shadows, so the theme retains limited real material while still obeying planar color blocks. The entire image is covered with very light art paper fibers, fine printing dots, and low-contrast scanning particles; textures in the paper and window are slightly more obvious, and the outer pure color field is more restrained. The edges of objects allow for tiny printing softening and color bleeding, while key outlines and typeforms remain clean. The final image first presents a white paper window in a two-color long format and a theme form growing continuously from inside to outside the window, then reveals defocused edge shadows, exquisite headers, handwritten intervention, and micro-annotations, forming a modern paper-print visual where strict editorial order and a fresh sense of time coexist.\nTheme: End of Heat solar term\n\nRatio 3:4","promptEn":"Generate a very narrow and long vertical editorial visual based on the End of Heat solar term. Let the external large color field, central warm white paper page, and the retracted theme window form three clear planar spaces. First, derive two structural colors from the state contrast and emotional temperature of the theme, covering the vast majority of the screen with a hard horizontal boundary. In the embedded window, repeat this set of divisions in the same direction and in a reduced proportion; the outer field is brighter and emptier, the inner window is deeper and denser, and paper white serves as the layer with the highest brightness of the whole painting. The weight of the screen is concentrated in the middle, the upper part retains a wide title area, and the lower part leaves a stretched emotional landing point. The edges of the paper are straight, no heavy floating shadows are used, and a wide annotation band is kept under the window.\n\nExtract a continuous and recognizable core form from the direction, process, structural connection, and time change of the theme, organize it into a single oblique axis running through the middle, making it cross at least two boundaries from inside the window, pressing on the frame, entering the white space of the paper, and extending to the external color field. The cross-border form remains complete and continuous, the endpoints crossing the edge retain the clearest recognizable outline, and local details are moderately compressed; local forms go from dense to sparse along the oblique axis, and other auxiliary objects are reduced to quiet small geometric focal points, stably remaining inside the window and close to the color field boundary. Let the horizontal color boundary, vertical frame, rectangular paper, and inner window maintain a strict orthogonal order; only the core theme gets the right to break the rules, establishing space with accurate occlusion relationships rather than relying on perspective or dramatic projections.\n\nArrange a few homologous echoes on one edge of the theme's momentum: enlarge, crop, and reduce the transparency and contrast of the core form, strongly defocusing it until only soft color blocks remain, partially extending out of the canvas; the central subject remains clear, and the other side remains clean, giving the planar color field a shallow sense of air and memory. Color maintains a clear area order, with two structural colors together occupying about 80% of the screen. The theme's mediating color crosses two fields and stitches together cold/warm or state differences. A small-area emphasis color appears only twice at a long distance: at the visual focus inside the window and at the text gesture outside the paper. The specific hues change with the theme, but the brightness relationship remains stable with paper white being the highest, a few deep outlines pressing on the structure, and the emphasis color winning by saturation rather than area.\n\nThe text system continues the order and cross-border relationship of the image. The main title uses a slender, sharp, highly contrasting stroke, and exquisite editorial serif skeleton; Chinese adopts a thin and book-like typeface with relaxed spacing. Transform a keyword into a continuous free handwritten thin line, gently passing through or adjoining the printed title, forming a private handwriting that echoes the oblique axis of the theme. Explanatory information is indented at the bottom of the paper, listed in two groups of small fonts and date-type micro-words. The bottom edge outside the paper can use a set of handwritten text with long closing strokes to carry the second emphasis color, leaving only minimal metadata at the very bottom. Let titles, images, annotations, and footers decrease in density in sequence, not allowing text to press on the core recognition edges.\n\nProcess objects with non-directional soft daylight and low shadows, so the theme retains limited real material while still obeying planar color blocks. The entire image is covered with very light art paper fibers, fine printing dots, and low-contrast scanning particles; textures in the paper and window are slightly more obvious, and the outer pure color field is more restrained. The edges of objects allow for tiny printing softening and color bleeding, while key outlines and typeforms remain clean. The final image first presents a white paper window in a two-color long format and a theme form growing continuously from inside to outside the window, then reveals defocused edge shadows, exquisite headers, handwritten intervention, and micro-annotations, forming a modern paper-print visual where strict editorial order and a fresh sense of time coexist.\nTheme: End of Heat solar term\n\nRatio 3:4","promptZh":"基于 处暑节气 生成一张极窄的长竖版编辑视觉图。让外部大色块、中央暖白色纸张页面以及内缩的主题窗口形成三个清晰的平面空间。首先，从主题的状态对比与情感温度中提取两种结构色，以硬朗的水平边界覆盖画面绝大部分区域。在嵌入的窗口中，以相同的方向和缩小的比例重复这一划分方式；外围区域更明亮、空旷，内部窗口更深邃、密集，纸张白色作为整幅画作中亮度最高的图层。画面重心集中在中间，上部保留宽阔的标题区，下部留出延伸的情感落点。纸张边缘平直，不使用厚重的浮动阴影，并在窗口下方保留宽阔的注释带。\n\n从主题的方向、过程、结构连接和时间变化中提取一个连续且可识别的核心形态，将其组织成一条贯穿中部的斜轴，使其至少跨越窗口内的两个边界，压在边框上，进入纸张的留白处，并延伸至外部色块区域。跨界形态保持完整且连续，跨越边缘的端点保留最清晰的可识别轮廓，局部细节适度压缩；局部形态沿斜轴由密变疏，其他辅助对象简化为安静的小型几何焦点，稳定地保留在窗口内并靠近色块边界。让水平色块边界、垂直边框、矩形纸张和内部窗口保持严格的正交秩序；只有核心主题拥有打破规则的权利，通过准确的遮挡关系建立空间，而非依赖透视或戏剧性的投影。\n\n在主题动势的一侧安排少量同源呼应：放大、裁剪核心形态并降低其透明度与对比度，进行强烈的散焦处理，直至仅剩下柔和的色块，部分延伸出画布；中央主体保持清晰，另一侧保持简洁，赋予平面色块浅层的空气感与记忆感。色彩保持清晰的区域秩序，两种结构色共同占据约 80% 的画面。主题的调和色跨越两个领域，缝合冷暖差异或状态差异。小面积的强调色仅在远距离出现两次：一次在窗口内的视觉焦点处，另一次在纸张外的文字姿态处。具体色调随主题变化，但亮度关系保持稳定，以纸张白为最高，少量深色轮廓压住结构，强调色以饱和度而非面积取胜。\n\n文字系统延续图像的秩序与跨界关系。主标题使用纤细、锐利、高对比度的笔画，以及精致的编辑衬线骨架；中文采用纤细的书籍体，字间距宽松。将一个关键词转化为连续的自由手写细线，轻柔地穿过或邻接印刷标题，形成与主题斜轴呼应的私人笔迹。说明信息在纸张底部缩进，以两组小字号和日期类微型文字排列。纸张外的底边可以使用一组带有长收笔的手写文字来承载第二强调色，最底部仅保留极简的元数据。让标题、图像、注释和页脚的密度依次递减，不允许文字压在核心识别边缘上。\n\n使用无方向的柔和日光和低阴影处理对象，使主题保留有限的真实质感，同时仍服从于平面色块。整张图像覆盖极轻的艺术纸纤维、精细的印刷网点和低对比度的扫描颗粒；纸张和窗口内的纹理稍显明显，外部纯色块则更为克制。对象边缘允许细微的印刷柔化和色彩溢出，而关键轮廓和字形保持清晰。最终图像首先呈现一个双色长格式的白纸窗口，以及一个从窗口内向外连续生长的主题形态，随后显露出散焦的边缘阴影、精致的页眉、手写介入和微型注释，形成一种严谨的编辑秩序与清新的时间感并存的现代纸质印刷视觉。\n主题：处暑节气\n\n比例 3:4"}