AI Infographic & Explainer Poster Prompts

Infographic prompts describe hierarchy, charts, labels and whitespace for explainer posters and comparison layouts. These templates were tested on GPT Image 2 and 2.5.

Copy-ready prompts

Generate a vertical visual poster using dark defocused edges to swallow the outer frame leaving a glowing field at the centre generated from subject semantics. The low-key structure at the outer ring top or bottom creates the viewing aperture and spatial weight while the central field carries emotion subject and text. The core imagery does not appear as complete realistic material but compresses into low-detail mass clear identification edges local highlights and a few symbolic fragments partly sinking into darkness and partly lit by the central light so it reads like an event cut from shadow. The main visual weight sits between the central light field and large-scale type in the lower centre with obvious scale jumps: a giant slender title skeleton in white or near-white overlays the image locally cropped and crossing the subject's edges its strokes behaving like foreground structure; extremely small annotations short phrases time traces or metadata sit in the light field edges and dark areas staying dense restrained and print-like. Organise colour by role rather than applying fixed swatches: large emotional colour areas form a low-noise light curtain low-key structural colour presses the outer ring and base a small amount of white anchor points connect subject focus and title and very few high-chroma signal colours appear as dots hairlines or short hand-traces along the visual path and at pauses like observation markers. The background must generate space memory and information-carrying function from the subject wrapping the subject's edges and deleting irrelevant detail to leave readable breathing for fine text and markers; it is not a decorative ground texture nor an independent landscape. Keep a slight film grain vignetting softened edges local light leaks and overprint texture on the surface so photographic fields graphic markers and text layers appear printed on the same sheet of glass. The image should hold the tension of a real moment announced by graphic design: recognisable low-noise edges swallowed text both conveying information and reorganising space signal points precise and restrained.

Subject: Haidilao student card 30% off promo poster

Generate a structural flat visual work on a given subject: compress the main subject first into a large-scale monochrome image field rather than a complete realistic object or centred illustration; the core form floods in from the frame edge crossing the page boundary and being cropped by bleed like a fragment of a larger medium's image entering the paper. Inside the subject keep only low-contrast image fragments scan grain halftone noise material afterimages and local archive texture while the outer edge takes the form of low-resolution mosaic steps block fractures hard-cut notches and sampled jagged contours. Use a high-key pale paper as the full-frame ground — not a decorative base but like an unprinted area cutting back into the subject carving out large voids winding paths quiet text windows and negative space for reading pauses letting the viewer reconstruct the subject through contour mass direction missing parts and local texture. Colour maintains three functional tiers: the large pale base handles breathing and cutting the large subject structural colour handles the main body spatial pressure and medium traces and a small amount of high-contrast information colour handles title time annotations numerals institutional information or footnotes. Specific hue changes with the subject's warm-cool temperature mood and material semantics but area ratio value hierarchy and functional division must not be levelled. Compose with the scale contrast of giant image fragments against micro information anchor points; the main visual exceeds the page and holds the main weight while text distributes along whitespace windows colour field boundaries cut nodes and bottom edges forming a jumping reading route from upper marks to side titles to lower footnotes. Use narrow modern sans-serif or square clear skeletons with even strokes restrained letter spacing and precise hierarchy; the main headline reads like a public cultural information coordinate while small text is fine and dense like a metadata index never covering the subject's centre but calibrating the gaps scale and direction of the image field. Times places functions relationships or abstract concepts in the subject first convert into colour field density notch direction edge pressure and information nodes never explained with the subject genre's default icon pile. The image may shift warm-cool and paper temperature but must preserve the mutual invasion of large structural colour and large whitespace letting whitespace be both air and blade. The overall surface adopts the flat texture of screen printing spot-colour overprint scan output and slightly uneven old paper so structural colour interiors carry grain density variation while information colour stays sharp and clear; no photographic depth of field no 3D projection no glow effects. All subject objects data time relations and narrative threads emerge through field mass pixel edges whitespace cuts information nodes and print grain giving the image both distant large-graphic impact and close-up precision information order.

This subject: Hitler's childhood
Use: infographic poster ensure all knowledge points are shown diversely

Design a high-end concept poster for "[theme]". The core of the image is not to depict the theme directly but to transform it into a living "inner system map". Use one large organic circular structure as the main visual with a form resembling tree rings water ripples fingerprint textures terrain contours energy vortices or life slices; a clear core point at the centre radiating outward multiple layers of irregular ring texture expressing the theme's growth accumulation evolution expansion and inner order.

Within the circular system place several small black nodes and ultra-fine guide lines treating "[keyword 1] [keyword 2] [keyword 3] [keyword 4] [keyword 5]" as spiritual coordinates within the system rather than ordinary text lists. Text labels should distribute naturally like scientific atlases star charts anatomical diagrams or research manuscripts forming a contrast between rational annotation and sensory texture.

Overall style: minimalist high-end poster art school graduation exhibition concept visual design information atlas natural texture experiments abstract brand visuals. The background uses lots of clean whitespace with slight paper texture no complex scenes. The main visual occupies the upper or upper-central area with quiet space below for title short copy or brand information. A miniature version of the circular system may be added as a "local magnification / soul slice / second perspective" enhancing the macro-micro contrast.

Colour uses "[main colour]" as a large organic base overlaid with a small amount of "[secondary colour]" as texture veins with black anchoring text nodes and hairlines. Colours should be translucent bleeding granular with handmade watercolour or woodcut texture edges naturally broken with strong breathing quality. Avoid commercial template feel avoid over-decoration avoid mechanical geometry pursuing balance of sensibility rationality vitality and spirituality.

This theme: psychology knowledge explainer

For example: the broken window effect. Nine such effects in total.

Each image should vary diversely in main colour / layout / typographic character.
Arrange the keywords for each image intelligently yourself.

Text should introduce the knowledge point in multiple dimensions and styles so the viewer gains something and feels richly rewarded.

Please create an image using a restrained translucent visual language with Eastern whitespace feel suitable for PPT infographics self-media covers knowledge cards business cards or brand visuals. The image pursues no decorative piling but reads like a quietly made work: information is gently held up space breathes visual elements both yield to and pull toward each other.

The overall palette must follow low-saturation pale soft-fogged near-paper advanced quality. The background uses very pale grey pink warm white pale beige-grey or misty white avoiding a rigid pure white background; locally there appears an airier pale mint green ice blue-green pale cyan or water-mist colour block not a standard hard-edged geometric but a translucent plane diluted by light. Text colour uses grey black smoke grey or deep brownish grey avoiding highly saturated strong colours. Accent colours may come from nature: sprout green branch brown petal white pale pink — but must stay light few and precise.

Compose with asymmetric whitespace. The subject should not be centred filling the frame but form a diagonal growth vertical breathing or slight offset relationship in the image. There may be a natural branch soft line plant slender curve cloud-like form paper texture faint shadow or abstract data trace as the visual spine. They look naturally grown rather than mechanically placed. Graphics should be light soft slightly transparent with layers of solid and void avoiding hard tech wireframes standard icon templates or commercial material collage feel.

Typography is the skeleton of the image. Titles may be set vertically distributed in vertical arrangement in segmented whitespace with sparse letter spacing and restrained yet ceremonial type sizes. English or auxiliary information uses ultra-fine sans-serif wide letter spacing small size — like annotations in the air. Body information should not be crowded; it suits being broken into short phrases poetic lines data labels or information nodes. Important numbers may be enlarged but stay quiet and elegant without e-commerce impact. Text and graphics must complete each other: text is order falling into space imagery is the breath holding information.

If the user inputs knowledge data opinions or report content transform it into a lightweight infographic: organise information with a few line segments pale blocks micro labels numeric hierarchy vertical rhythm and whitespace grouping. Do not make traditional tables dense flowcharts or mechanical dashboards. Information should feel naturally placed in the image each text group having its own pause and position.

The image has soft light low contrast natural diffused light with slight depth of field and soft focus. Extremely faint shadows paper grain air particles and semi-transparent overlays are all fine. Keep all element edges restrained never overly sharp never neon never cyberpunk never high-saturation gradients never heavy 3D never cartoon never overly illustrative.

The final image should read like a series extended by one author: quiet pale strongly ordered yet not rigid; clear information without noise; Eastern seasonal natural imagery with a modern information-design rational skeleton.

Please generate the image according to the following user variables
Theme
Blue snowflake

Use: flower knowledge atlas

Text knowledge points: only 6 with different levels and presentation schemes

Centred composition oversized subject.

Based on user-provided source material create a collectible photographic work shot by a top-tier photographer — a scene that truly exists. The source material may be a Chinese classical painting classical text ancient book record poem inscription travelogue strange tale myth or legend description or user-supplied prose. Do not understand the task as "photographing a classical painting" or "illustrating a text" — instead treat the source as an ancient person's extraction selection compression and recomposition of the real imagined or spiritual world then reconstruct that world itself: as though that era had a camera this moment would be seen waited for and captured exactly so.

First genuinely understand the source material. Do not merely identify "what was painted" or "what was written" — judge the true spiritual centre atmosphere and order it aims to express: is it grand ethereal profound desolate clear and vast lush and moist elegant solemn wondrous strange — or quiet solitary dreamy transcendent compassionate. Subject is only the entrance; mood determines the final image's light colour air rhythm distance and way of gazing. For images first identify title inscription signature seals mark identification object relationships compositional order distribution of solid and void and traditional motifs avoiding misjudgement from surface outline alone; for text identify its era character narrative subject core imagery action relationships spatial orientation scale proportion climate and time of day wondrous features and symbolic meaning. When image and text coexist cross-verify them letting whichever better explains the overall context air and spiritual structure lead the image.

After subject and mood are settled do not continue the surface of paper and silk scroll form brushwork ink texture old colour patina or faded surfaces nor mechanically pile rhetoric whitespace and metaphor into visual symbols. Enter a restoration of the "source reality": reconstruct genuinely existing or plausibly existing landscapes vegetation clouds and water architecture vessels figures divine beasts climate time of day space and distance. The source's brushwork colouring whitespace rhythm rhetoric and air are clues for finding reality not the final skin. Preserve the original's core spiritual structure: object relationships visual centre of gravity density and sparsity breathing of solid and void proportion of stillness and movement and the direction of momentum — but do not mechanically copy contours; let everything grow naturally from inside that world.

The final work should reach very high cinematic and photographic completion: framing distance angle rhythm light and narrative decisions that have been deeply considered; credible historical sense of place material space and air; mature restrained and precise aesthetic coordination. Yet all this may only manifest as realism and refinement in the final image — never any modern production trace set feel equipment feel studio feel set-dressing flaws or human arrangement. The image should read as a real historical site natural site or imagined world captured by a top-tier camera — not as a modern crew at work.

Do not repeatedly default to the same photographic style the same cinematic feel the same colour grading the same mist treatment the same compositional habit or the same "high-end" template. Different subjects moods and objects should naturally generate different ways of seeing different photographic judgements different lens personalities different colour organisations different spatial treatments and different emotional pressures. Actively find the most fitting visual authorship for this subject: some should be austere some lush; some calm some sharp; some plain and restrained some gorgeous and deep; some close to the figure some opening to the world; some gazing at details some taking in the whole. Do not let everything fall into similar photographic habits or aesthetic inertia — each time rejudge rediscover and rebuild the visual language belonging to that subject.

Light and shadow must become a core creative act. Do not let the image lie flat and even because the original did not clearly show light and shadow and do not use stiff exaggerated cheap theatrical lighting. Generate the most fitting natural light environment from subject temperament time-of-day feel temperature motion-relationship and spiritual centre: it may be morning light dusk overcast diffusion light through mist water reflection snow bounce light through forest gaps or dim light inside a hall — or light already filtered by air and time. The light need not be loud but must be wise; need not be strong but must have direction layering and breath able to shape volume wake material establish space guide the eye and hold emotion.

Colour must be rebuilt from the mood and the real world's latent light and colour not bound by the painting surface's yellowing greying fading and material limits. Do not mistake "old" for "real" nor "pale" for "high-end". Actively judge whether the work needs clear-cold verdant lush bright solemn cold misty deep abundant wondrous or dignified. Colour may have power memory layering and breath but must stay refined restrained vivid translucent — never dirty grey never muddy never gaudy never cheap.

Wherever figures human forms immortals monks scholars ladies attendants children spirits or other subjects appear unless the source explicitly depicts sculpture statuary offerings or other physical effigies always restore them as real living people — never wooden clay terracotta saint-icon or flat-symbol quality. Figures must have real skin bone structure volume fabric expression posture breath and natural light relationships; actions gestures gaze centre of gravity clothing folds and prop usage must fit the original context and real logic of life never stiffly posed never like a mannequin.

Any object held embraced leaned on or used by a figure in the original must be treated as a structural fact equal in importance to the figure itself not optional decorative detail. Especially musical instruments weapons scrolls fans flower branches and vessels must be accurately restored and must never be omitted weakened or replaced through realism photography whitespace treatment pose adjustment or later correction. If a figure's gesture centre of gravity posture or emotion depends on an object that object must be fully restored together with the figure's action; the hand cannot keep only the pose while losing its corresponding object and the use relationship force relationship contact method and narrative function between figure and object must clearly hold.

If the original contains inscriptions titles signatures seals or marks preserve and re-integrate them into the final image where possible keeping their legible content direction position whitespace and overall atmosphere so they read as written naturally after the work was completed rather than stiffly overlaid. Any modern watermark encyclopedia mark web mark QR code modern signature or unrelated text must be removed.

The image should follow the original by default preserving the original composition's breath order and centre of gravity; if the user explicitly requests otherwise follow the user.

The goal is not "a photograph in Chinese painting style" nor "a realistic ink illustration" but a work that truly understands what the ancients saw felt thought and built then re-photographed with highly mature judgement-rich unfussy photographic language: real translucent delicate restrained credible while possessing its own fitting light colour air rhythm and visual character — letting the world behind the source feel seen properly for the first time.

User notes this time
The woman holds an instrument in her hands.
For style I want it to look like Instagram photography.

Based on the Chinese classical painting image uploaded by the user create a collectible photographic work shot by a top-tier photographer. Do not understand the task as "photographing a classical painting" and do not continue the surface style of ink gongbi mural or religious imagery — instead treat the painting as an ancient creator's extraction selection compression and recomposition of the real world then reconstruct what he actually saw at the time: as though that era had a camera this moment would be captured exactly so.

The final work should reach Oscar-level cinematic completion: like an award-winning Hollywood director coordinating narrative composition rhythm atmosphere lighting scene and lens language with extremely high visual judgement; and like top-tier cinematographer natural light control historical set construction costume props set decoration and colour grading systems all serving one image goal producing award-worthy cinematic texture. But this is only a behind-the-scenes standard and aesthetic height — no modern set elements directors cinematographers lighting crew crew cameras light stands tracks reflectors monitors modern set traces or artificial studio feel may appear in the image. The image should read as a real historical site captured by a top-tier cinema camera — not as a modern crew filming.

First genuinely understand the original. Prioritise identifying title inscription signature seals mark identification and visible text and judge the subject together with traditional motifs compositional order object relationships and pictorial context — never guessing from surface outline alone. Facing expressive splash-ink boneless abstract localised or highly summarised works first confirm the real object and scene they point to in the Chinese painting tradition avoiding misjudgement.

After anchoring the subject enter a restoration of "source reality" rather than a continuation of "painting style". Do not copy brushwork; do not keep paper feel scroll feel ink texture or flat modelling as the visual skin — instead restore genuinely existing landscapes vegetation clouds and water flowers and birds figures vessels architecture climate time of day space and distance. The original's brushwork colouring whitespace rhythm and air are not the final style itself but clues for finding real scenes.

Preserve the original's core spiritual structure: object relationships visual centre of gravity density and sparsity distribution of solid and void breathing of whitespace proportion of stillness and movement and the direction of "spirit qi bone momentum" — but do not mechanically copy contours. Start from "how this subject would naturally exist in reality" then use the painting's order to constrain the image's generation. The final image must not only restore but become a work with true photographic aesthetics and cinematic height: having a clear strong unforgettable visual core; light colour air action or posture that could only exist in this moment; director-level staging; angles distance choices and gaze actively selected by a photographer — rather than an average flat correct yet mediocre reconstruction.

Cinematic quality must come from inside the real world not from cheap filters or exaggerated effects. Scenes should look rigorously considered by a top-tier historical film art department: landforms architecture vegetation vessels clothing roads water smoke dust season and traces of age must all be naturally credible; every detail serves subject space and emotion rather than piling decoration. Set design must hide inside realism like an ancient world that simply existed rather than a set that was built.

Wherever figures human forms Buddhas Bodhisattvas Arhats immortals attendants children monks ladies or scholars appear unless the original explicitly depicts sculpture clay figures stone carving gilt statues offerings or other physical effigies always restore them as real living people — never ceramic clay jade wood metal mural or flat-saint quality. Figures must have real skin bone structure volume fabric expression posture breath spatial placement and natural light relationships; actions gestures gaze centre of gravity clothing folds and prop usage must fit the original context and real logic never stiffly posed never like models or dolls. If the original truly is sculpture faithfully restore it as a real sculptural entity showing material mass traces of age and ambient light.

Colour must be a key focus. Do not take the painter's colours as the only answer and do not only do ordinary natural colour. Explicit colours in the image should be understood for what they emphasise; colours not explicitly painted should be actively restored to their latent logic. The original's colours are a foundation not a ceiling. Starting from the real world rebuild the colour relationships the scene should have had while merging top-tier modern photography cinema-grade optical systems and Oscar-grade grading aesthetics: better dynamic range cleaner colour separation finer warm-cool transitions richer mid-tones more translucent air colour more restrained and refined saturation. Let real-world light object environment and air colour nourish each other with the painting's colour awareness so the image is faithful to the original spirit while possessing higher-dimensional colour expression. Colours must not be missing rigid dirty grey muddy or uniformly murky — they must be clear translucent vivid delicate breathing and layered like a world captured through a top-tier cinema camera and high-grade cinema lenses: clean blacks clean highlights high purity without gaudiness transparent air progressively layered bright and substantial overall.

Light and shadow must become the image's core creation. Do not let the image stay flat because the original did not clearly show light and shadow; do not use stiff exaggerated studio-style theatrical lighting. According to the original's subject temperament time-of-day feel temperature motion-relationship and spiritual centre actively find the most fitting cinematic natural light: possibly thin morning light faint dusk post-rain diffusion light through mist water reflection snow bounce window-side light forest-gap light dim hall light or soft light filtered by air. The light should be as if top-tier lighting design at an extremely high level but ultimately hidden entirely as naturally occurring site light; it need not be strong but must be wise; need not be loud but must have direction layering and breath able to shape volume wake material establish space guide the eye hold the subject and form genuinely refined emotional tension. Good photography and good cinema cannot accept mediocre light.

Realism must come from a credible photographic location: air humidity temperature reflection refraction material depth of field distance micro-grain edge falloff and detail layering must all hold together. Lens language should have cinematic selectivity: appropriate camera height focal compression or spatial expansion fore-mid-background relationships depth-of-field control subject staging light landing point and gaze guidance — all serving the original's spiritual structure. Avoid white-background specimen feel floating feel CG feel plastic feel dirty feel drab decay fake HDR fake depth of field over-sharpening influencer filters cheap period drama game concept art and travel brochure air. The image should be bright translucent and durable with refined completion — not dirty not a mush not affectedly profound.

If the original contains inscriptions titles signatures seals or marks preserve and re-integrate them into the final image where possible. Prioritise preserving their legible content writing direction positional relationships and overall atmosphere; if not fully recognisable extend the scholarly inscription structure whitespace and spirit so they read as part of natural authorship after completion coexisting with the photographic image rather than stiffly overlaid. Do not retain any modern watermark encyclopedia mark web mark QR code modern signature or unrelated text.

The image follows the original by default preserving the original composition's breath order and centre of gravity; if the user explicitly requests a ratio follow the user.

The final goal is not "a photograph of a Chinese painting" nor "a realistic ink illustration" but a work that truly restores the world in the ancient creator's eye while sublimated by Oscar-level directorial awareness top-tier cinematography historical set construction natural light control and modern high-end optical aesthetics: real translucent delicate restrained and credible with non-mediocre light non-mediocre colour clear air memorable identity cinematic narrative tension and collectible completion — as though the reality behind the classical painting has been seen again and photographed properly for the first time.

Apple designer thinking top-tier poster master thinking using high-level structural thinking.
Present poster design.
Input one or more long text passages.
Intelligently understand the text content — no need to copy it verbatim.
Automatically analyse the user's comprehension path and organise information by cognitive logic.
Extract the text's core value key knowledge points central idea and highlight opinions.
Present information in the order the human brain reads and understands letting users naturally get the core content.
Compress long text into essence that can be quickly understood within 30–45 seconds.
Text must stay clearly readable at default mobile display with sensible font size line spacing and hierarchy.
Use oversized type or key emphasis to highlight core information avoiding lengthy or obscure expression.
Intelligently determine colour logic layout structure and information hierarchy guaranteeing visual breathing room.
Flatten the user's comprehension cost so information is simple and clear catching the key point at a glance.
Remove comprehension barriers ensuring readers quickly grasp the central idea after finishing the poster.
Do not add extra unrelated text.
Maintain the poster's magnetism and direct impact.

Eastern ink-wash fantasy knowledge-poster illustration. Keep a unified and stable visual language: black-grey low-saturation tones cool blue-grey main colour xuan-paper texture old mural quality ink bleeding grain soft diffused light ethereal mysterious quiet solemn poetic carrying a sense of fate and compassion. The image has clear Eastern strange-tale aesthetics poster design sensibility and cinematic depth of composition: painterly ethereal translucent layered silhouettes misty atmosphere subtle gold accents cinematic depth high detail soft diffused light vertical composition.

Please generate a high-completion Eastern ink-wash fantasy poster based on the "theme element / inspiration source / subject requirement" the user finally provides. Do not mechanically apply a template; do not fix the subject as the same kind of Buddha statue or the same kind of figure. Based on the theme you must autonomously judge the most fitting subject type narrative atmosphere scene structure fore-mid-background relationships architectural ruins artefact symbols phantom forms text system and spatial layers — yet the overall art style must always remain unified preserving this Eastern ink-wash fantasy old-mural foggy layered mysterious silent knowledge-poster artistic character.

This is not an ordinary illustration but a high-end thematic poster with "visual impact + knowledge information + reading value". After viewing it the viewer is both struck by the image and gains relevant knowledge cultural information symbolic meaning background knowledge or extended understanding of the theme.

Core requirements
1. Unified art style
- Always maintain Eastern ink-wash fantasy style
- Always maintain the black-grey cool blue-grey low-saturation gold off-white faint-light colour system
- Always have xuan-paper texture old mural erosion ink seepage fine grain
- Always have floating elements such as mist dust water vapour tiny light points birds falling blossoms or debris
- Always have semi-transparent layered silhouettes blending of solid and void edges dissolving forms condensing in mist
- Always present deep space layered depth and strong atmosphere
- The whole must be refined restrained quiet and mysterious — not cheap not game-like not overly Western fantasy not overly animated

2. Intelligent adaptation to the theme
- The user only needs to provide a theme element inspiration source subject or a short requirement at the end
- You must automatically understand which category this theme belongs to: divine beast punishment hell scene historical figure ghosts and gods strange beast artefact legendary scene religious vision folk strange tale ancient punishment ruined wonder regional culture strange-tale allusion etc.
- According to the theme decide who is the subject who is supporting who suits a distant phantom who suits a ruin totem prop inscription torture device ritual vessel afterimage mural or silhouette in the scene
- If the user gives a "specific subject" that subject must become the main visual core
- If the user gives a "concept or punishment" translate it into a strongly visual scene and generate suitable subjects punishment space symbols and phantoms around that concept
- If the user gives a Classic of Mountains and Seas beast folk monster or historical imagery strengthen its mystery divinity alienation and Eastern antiquity rather than making an ordinary fantasy illustration

3. Composition is not fixed but logic is unified
- Do not use the same rigid structure every time of "one back figure in the foreground architecture in mid-ground giant Buddha statue in the background"
- Compose intelligently according to theme: single centred subject sideways gaze top-down view upward view near-far contrast altar style mountain-gate style deep valley style long stairway style hall style punishment-hell style ruin style sea-of-mist style are all possible
- But clear fore/mid/background layering must remain; space deep with visual priority and rhythm
- The image must read as a complete high-completion poster not material collage
- The visual centre must be clear the subject must stand out and surrounding information unfolds orderly around the theme

4. Subject and figure design principles
- If figures deities ghosts and gods monks epic characters phantom portraits or deity images appear the overall image should favour Eastern classical aesthetics
- Face shapes favour elongated cold archaic slightly "long-faced" features; features restrained not exaggerated not modern influencer faces
- Figures or deity images may carry semi-transparent layered silhouette quality as though condensed from ink mist old dust and faint light
- Edges blurred and dissolving blending naturally into the environment
- If the subject is not humanoid but a beast torture device vision architectural ruin or giant phantom still retain this ethereal foggy mural-like mysterious visual quality

5. Poster typography logic
- The image must include an extremely visually impactful "large character / main title" as the core visual of the user's theme
- This large character is not ordinary text but must become part of the image's composition — both information and visual skeleton
- If the user's theme suits condensing into a single Chinese character prioritise extracting the most powerful single character as the main visual
- If one character is insufficient condense into a core short title of 2 to 4 characters
- The large character must carry calligraphic stele-carving inscription or poster-title quality able to hold down the image's presence
- The large character should integrate into the scene naturally combining with mountain body ruined walls cloud and mist deity images light and shadow splash-ink traces stele carving cracks gold-leaf edges — rather than simply pasted onto the image
- The large character must stay clearly readable while possessing strong design sense and whitespace breathing
- Besides the main title include subtitles annotations small explanatory text sidebar information seals inscriptions and vertical notes to form a complete reading hierarchy
- All text must be genuinely clear legible maturely laid out — no garbled characters no blur no low-quality pseudo-text

6. One-stroke splash ink and gilded effect
- The image must naturally incorporate the visual design language of "one stroke of splash ink"
- This splash stroke may act as compositional momentum emotional reinforcement gaze guidance title support or spatial division
- Splash ink must be grand restrained with calligraphic force — never dirty never arbitrary black smearing
- It may connect subject title and background giving the image more overall tension
- Simultaneously incorporate low-saturation restrained "gilded effect"
- Gilding may be used on title edges seals symbols local contours deity gold lines artefact patterns inscription highlights knowledge-point numbers subheading emphasis cracks or halos
- Gilding must be subtle refined locally accentuating — never large-area gaudy never overly commercial
- Gold should read as aged gold leaf worn gilding dull gold shimmer with a sense of age and solemnity

7. Knowledge point information design
- Around the user's theme automatically generate 3 to 10 related knowledge points enhancing knowledge readability and value gained
- These knowledge points must be highly relevant to the theme prioritising
1) source or attribution
2) core characteristics
3) symbolic meaning
4) historical or cultural background
5) related legend or allusion
6) visual identification features
7) differences from similar things
8) extended understanding or cultural interpretation
- If the theme is a beast ghost punishment legend historical figure religious image artefact or regional strange tale knowledge points should reflect real cultural background textual association or common understanding
- If the theme is abstract obscure or unclear you may generate reasonable thematic interpretation symbolic explanation artistic knowledge points or related notes — but they must match the theme not wildly fabricated
- Each knowledge point's text should be concise information-dense and readable — never too long
- Knowledge points should not pile into long articles but read like information modules in a poster — short refined scannable

8. Knowledge point embedding
- Knowledge points need to be naturally embedded in multiple forms not one large rigid block of explanatory text
- Mix the following forms
1) vertical sidebar notes
2) small annotation labels
3) numbered knowledge cards
4) inscription-style short sentences
5) stele marginal notes
6) atlas-style leader-line notes
7) local magnified callouts
8) seal-style keywords
9) short paragraph summaries
10) columnar layout
- Knowledge points must be visually unified with the image like part of the design — not like a PPT text box
- Information layout must have hierarchy whitespace and rhythm never filling the image
- Guarantee the reading order: first the temperament second the title third the knowledge points

9. Scene and atmosphere
- The whole must stay quiet oppressive ethereal mysterious and deep carrying Eastern religious strange-tale ancient legend hell allegory or historical-soul quality
- Elements such as mountain gates ancient pagodas broken steles ruined halls stone steps altars censers dead trees cliffs caves niches prayer flags chains torture devices reliefs murals inscriptions cracked walls ancient bridges abyss sea of mist may be added but must be chosen intelligently by theme — never randomly piled
- All elements must serve the theme never added merely to look good

10. Output effect
- Generate a high-completion high-detail highly atmospheric highly unified knowledge-type Eastern fantasy poster
- The image must have both illustration aesthetics and mature graphic design awareness
- Must have visual impact information density and reading aftertaste
- Let the viewer feel both "this is beautiful" and "I actually learned something"

Please generate strictly according to the above logic completing the image intelligently based on what the user finally provides.

User input
Eighteen Levels of Hell — Tongue-Pulling Hell

Create an "architect's hand-drawn study page / sketch-style architectural knowledge diagram" centred on a single building. The whole must read as a very loose restrained highly summarising architect's manuscript — not a highly finished architectural reconstruction not a fine illustration not a rendering not a blueprint not a tourism promotional image and not a modern infographic stuffed with content.

## I. Core temperament
At first glance the image must convey
- This is a research sketch an architect left on paper while observing analysing and recording
- Not "drawing it complete" but "drawing the key"
- Not "saying everything about the building" but "using professional judgement to capture what is most worth saying"
- Knowledgeable but expressed very lightly very loosely very handmade
- Strong paper feel sense of incompletion breathing room whitespace

Prioritise the following feelings
- loose hand-drawn lines
- slight inaccuracy probing lines repeated lines broken lines
- heavy summarising rather than realism
- selective description rather than drawing everything clearly
- observational architectural sketching
- quiet cultured restrained academic poetic

## II. Style requirements (very important)
### 1. Line style
Lines must be architect's sketch lines not illustration lines
- free loose light restrained
- allow probing lines repeated lines broken lines slight skew
- do not draw every edge solid do not close every component
- reinforce only key contours key turns key load-bearing points
- the image should clearly read as "drawing while observing"

### 2. Detail control
This is the most important rule
- **Do not make the building too specific too resolved too complete**
- Do not painstakingly depict tiles beams railings carvings one by one
- Do not look like an architectural reconstruction
- Do not look like a high-resolution historic-building illustration
- Do not look like tidy technical drafting
- Do not over-precisely express construction
- There must be many places that stop just short of completion
- Detail should be **selective**: emphasise only the few parts that best express the building's character

In other words
**Rather have less vaguer more summarised — never too solid too full too specific.**

### 3. Material and paper feel
The image must have a clear paper texture
- slightly yellowed drafting paper / handmade sketch paper / old-style study drawings
- paper fibre a little age natural mottling
- a mix of ink lines pencil lines and very light watercolour wash
- colour extremely restrained close to "barely coloured"
- only very pale ochre light grey pale ink faint brown very pale grey-green low-saturation colours
- colour only indicates volume material and atmosphere never full application

### 4. Completion control
The whole image must read as
- one page from an architect's research process
- a high-quality analysis page in a sketchbook
- it has content but was not deliberately made into a "perfect finished piece"
- lots of reservation whitespace and traces of incompletion

Deliberately avoid
- over-completion
- over-depth
- over-explanation
- over-neatness
- over-decoration
- over-realism

## III. Layout logic
The whole image is a hand-drawn architectural study page but it must be more research-oriented than an ordinary illustration; at the same time it must not be laid out as densely as a rigorous infographic.

Suggested layout but overall it must feel natural and loose
- left or centre: one largest main perspective sketch
- right: 2–3 very light supporting analysis drawings (front elevation side elevation plan)
- bottom: 2–4 small detail sketches
- corner: one very small site-relationship diagram or distant-view diagram
- a few handwritten annotations arrows leader lines and circled notes scattered locally
- whitespace must be generous
- the modules should look as though they were added progressively onto the same sheet not mechanically laid out in advance

## IV. Main drawing requirements
The subject must be one largest perspective sketch but note
### The main drawing is not a complete reconstruction but a "summarising observational sketch"
Requirements
- clearly grasp the building's most representative contour
- grasp the core features: roof eaves column rows plinth open spatial relationships
- the main drawing has the richest linework but must still stay loose
- it must not become a realistic image in which "every detail is explained"
- locally it may be slightly vague slightly omitted slightly broken
- the environment is only lightly indicated — trees slopes rocks paths background tree shadows — to set off the building's position and atmosphere
- do not let the environment steal the show

The main drawing should convey
- the building's overall spirit
- the beauty of its contour
- massing relationships
- a sense of spatial openness
- the relationship between architecture and nature

## V. Supporting analysis drawings
These may be included but all must be drawn very lightly faintly and summarily
1. Front elevation
2. Side elevation
3. Plan
4. If necessary a minimal structural diagram

Notes on these
- they are "hand-drawn analysis drawings" not CAD
- keep only necessary contours and a slight sense of dimension
- a very few dimension lines level marks and axis hints are allowed
- but they must stay light with too many numbers
- do not let these analysis drawings dominate
- they exist to aid understanding not as rigorous construction drawings

## VI. Small detail drawings
The bottom may break out 2–4 small node sketches but they must keep a sketch feel and must not be over-rendered.

Suggested details
- eaves / upturned corner
- column and beam relationship
- railing / plinth / steps
- plaque / caisson ceiling / roof transition (pick one)

Each detail requires
- grasp one key point only do not draw it too fully
- a little local pale wash is enough
- a short handwritten note 1–2 sentences at most
- stop at that do not write long technical explanations

## VII. How knowledge is taught
This is a "knowledge-bearing hand-drawn diagram" but the knowledge must read as an architect's casually written observation notes not textbook layout.

Knowledge should offer "light explanation" across these dimensions
- contour and form system
- roof and upturned eaves
- spatial openness
- relationships between columns beams and plinth
- site and sight lines
- name origin and cultural meaning

But note
- **Do not over-explain**
- each module covers only the one or two most important points
- language concise clear natural
- more like "research notes" than a "formal manual"

For tone follow examples like
- "The double eaves step inward layer by layer making the mass feel lighter."
- "Open on all four sides so the pavilion suits lingering and looking out."
- "The plinth lifts slightly keeping off damp while raising the gaze a little."
- "The eaves turn upward serving both drainage and the beauty of posture."

Do not write like an encyclopedia entry and do not pile up specialist terminology.

## VIII. Text and annotation system
Text must read as an architect's notes written on the drawing
- handwritten Chinese character
- slightly scholarly
- natural loose restrained
- not a modern-typeface poster look
- not overly uniform or tidy

Suggested text hierarchy
- main title: building name (strong handwritten quality)
- subheads: module titles (short)
- body notes: 1–3 lines each short
- local labels: component names construction terms

Overall principle for annotation
- sufficient is enough
- rather too few than too many
- informative but neither dense nor empty
- serves understanding not filling the page

Allowed
- arrows
- leader lines
- circled notes
- a light red seal
- a few numbers

## IX. Visual tendencies to strongly reinforce
Strongly reinforce
- sketch feel
- sense of incompletion
- judgemental summarising
- paper feel
- research feel
- architect's manuscript quality
- breathing quality of the lines
- whitespace
- faint elegant relaxed restraint

## X. Wrong tendencies to strictly avoid
Strictly avoid
- drawing too solid
- drawing too full
- drawing too much like a finished piece
- drawing too much like a historic-building reconstruction illustration
- drawing too much like tidy architectural drafting
- including too many specific components
- over-detailing
- over-rendering
- over-colouring
- information piled so densely it overflows
- too many annotations causing a congested layout
- looking too much like a modern infographic
- looking too much like a cultural-creative poster
- looking too much like a tourism promotional page
- looking too much like a high-completion commercial illustration

Keep in mind
**This is not "drawing the building clearly" but "distilling the building's spirit and key structure in an architect's sketch style".**

## XI. Final look
The final image should read as
- one page from a high-quality architectural sketch study book
- an observational research manuscript completed on site or at the desk by an architect
- knowledgeable yet very relaxed
- analytical yet very restrained
- beautiful yet not over-decorated
- making people feel "professional natural good at drawing understands architecture" rather than "drawn with great effort and packed full"

Variables
Building name = Temple of Heaven
= 
Number of knowledge points = 10

Create a high-quality visual work in the style of an architect's hand drawing showing architectural detail structure technical measurement and cultural background — a perfect fusion of artistry and knowledge. The overall style should retain the freedom of a hand-drawn sketch while paying attention to detail and measurement resembling an architect's original manuscript such as the work of Lin Huiyin or internationally renowned architects.

### I. Overall style
- The work combines hand-drawn style with architectural measurement and technical annotation full of free hand-drawn linework and artistry. Through bold lines imperfect detail and measurement figures and units the work expresses the structural beauty and design intent of the architecture.
- The image must convey the randomness of a hand-drawn sketch — it need not be extremely fine but it must preserve the authenticity and technicality of architectural design. Every architectural detail (roof columns carvings etc.) should carry clear measurement and technical annotation presenting the appearance while revealing the internal structure and design rationale.

### II. Core compositional logic
- The core visual subject should unfold diagonally giving the composition flow and tension. The building's structure every angle and every proportional relationship should unfold naturally building a long visual scroll of information flow.
- Dimension rulers units and similar detail annotations should make every proportion spatial relationship and design detail immediately legible.
- Detail structural design and material use are rendered in free hand-drawn strokes combined with precise technical annotation to form a perfect fusion of art and technique.

### III. Measurement and technical detail
- Every architectural detail should carry clear measurement annotation: dimensions units and ratios marked in detail on the building's key parts.
- Technical details such as column diameter beam length and roof angle should be clearly displayed together with material annotation so every part of the building has a detailed technical description.
- Use ruler lines in the image to ensure precision while retaining the freedom of hand drawing.

### IV. Background and whitespace
- The background should be a simple off-white or light grey tone with light handmade paper texture presenting the quality of high-end handmade paper without competing with the architectural subject. The background tone should feel textured while maintaining good contrast with the text so the text stays clearly readable.
- Reserve large areas of whitespace. This whitespace both provides spatial depth and helps highlight every architectural detail focusing the viewer's attention on the building itself. Whitespace should be used with rhythm and visual layering.

### V. Text and layout
- Text information must merge naturally with the architectural elements in the image; annotations rulers and technical notes must be clearly readable.
- Language adaptation: automatically choose Chinese or English as the explanatory language based on the user's input language. If the input is Chinese all annotations and knowledge points should appear in Chinese; otherwise in English.
- Annotations should cover the building's historical background cultural symbolism technical characteristics and design philosophy presented through clear layout. Text layout should echo the architectural drawing without interfering with the main subject.

### VI. Material and colour of the large pinyin / English title
- The large pinyin or English title serves as the core text of the image expressing the building's name.
- The large title should have a hot-foil-stamped texture metallic material quality or embossed effect conveying a sense of premium and refined print quality.
- The tone may use metallic colours champagne gold platinum and similar conveying the building's prestige and refinement.

### VII. Surrounding information and knowledge points
- The four sides of the image should contain related knowledge points about the building including historical background cultural value technological innovation and design philosophy.
- This information should be presented in an artful layout — avoid piling up lengthy text — and be concise yet substantive providing deep understanding of the building.
- The fusion of information with architectural detail should be rhythmic with text and architectural drawing interweaving naturally into an organic whole.

### VIII. Overall temperament goal
- The image should fuse architectural artistry and technicality ensuring the hand-drawn style does not lose the building's precision while displaying its spirit and structural beauty.
- The work should carry strong academic and cultural character able to serve as a classic architectural design presentation and also hold collectible value as an artwork.
- The overall atmosphere should be warm free and full of creativity without losing structural rigour and rich detail — suitable for teaching and exhibition.

### IX. Problems to avoid
- Avoid excessively fine rendering; keep the natural rough quality of hand drawing.
- Do not let text interfere with the architectural expression; text should be concise and precise not overloaded with information.
- Measurement annotations and note text must stay clearly legible never blurred.

### X. Final goal
Create a hand-drawn architectural work combining artistry and technicality. Through precise measurement annotation technical notes and cultural description present every aspect of the building so that it is both high-end in artistry and usable as professional teaching material.
This work presents the building's history structure and design philosophy carrying a free hand-drawn style while guaranteeing clear presentation of knowledge points.

Final user input
[Building name]: _____
Size requirement: _____

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