Oblique Perspective Typographic Poster Design

Based on the user's input of [core text / words / phrases / phrases / short sentences / letters], create a highly completed 'Oblique Planar Perspective Typographic Poster.' 

User input: [Subject Text]; 
Text language: [Chinese / English / mixed Chinese-English]; 
Optional supplementary context: [____]; 
Optional emotional inclination: [____]; 
Optional disabled element: [____]. 

This is not an ordinary illustration, nor a simple font effect poster with enlarged text, nor a traditional front-facing flat layout, but a modern experimental font poster centered on "text as the main visual core." The overall design must adopt the "Oblique Planar Perspective Typography" approach: the text should not be fully applied to the front plane but should be placed on a two-dimensional plane with different tilt angles, using diagonal reference lines, perspective compression, plane deflection, angle cuts, misalignment composition, vector pointing, directional lines, translucent geometric planes, and modular color blocks to jointly create a font composition effect that is "still flat design but with a clear sense of angle, spatial direction, visual tension, and vector relationships." 

Please first truly understand the literal meaning, emotional temperament, implicit symbolism, cultural associations, psychological feelings, and semantic tension of the user's input, then translate these understandings into a font poster system with "directionality, tilt relationships, flat perspective, and visual confrontation/connection relationships." If the theme leans toward emotional type, focus on expressing it through the distance relationship of the diagonal text plane, center of gravity shift, direction of blank space, line trend, module density changes, and color block compression/release; If the theme leans toward action type, focus on expressing it through tilt advancement, velocity lines, directional arrows, perspective slices, misalignment planes, and vector trajectory; If the theme leans toward relational types, focus on the angle differences, intersections, overlaps, confrontations, wrapping, cutting, and intermediary structures between multiple text bodies, geometric planes, and graphic modules; If the theme leans toward abstract concepts, first find a concise abstract metaphor with visual translation potential, then construct the image using diagonal perspective fonts, vector assistance systems, partial occlusions, hierarchical offsets, modular repetition, and distorted grids. 

The overall image must present a modern, sharp, clear, fashionable, experimental, communicative and visually memorable high-quality font poster. The text input by users must become the primary visual subject and the core content of the entire poster. Text can be horizontal, vertical, split, misaligned, grouped, reorganized, partially cropped, partially occluded, nested, tilted, perspective compression, diagonally rotated, or even placed separately on two-dimensional planes at different angles, but must always maintain high recognition and clear legibility. At the very least, the image should clearly convey to the audience that the text is no longer flat on the front but has entered a flat spatial system composed of multiple tilted planes and directional relationships. 

Please emphasize the following stylistic features: text with a sense of diagonal angles, a sense of flat perspective with a large near and small distance, vector relationships in different directions, slanted reference lines, auxiliary arrows, geometric facets, module advancement, local borders, data-sensitive annotations, small directory-style auxiliary explanations, and a small amount of bits and path lines. This allows different text or groups of text to be placed in different inclined planes, forming differences in perspective, directional conflict, visual dialogue, or tension between them. Graphic elements must be constructed around the text, not as isolated decorations; They should support, cut, envelop, extend the direction of the text, reinforce the slanting momentum of the text, and together form a complete visual sentence. 

In terms of visual language, please adopt directions such as modern graphic design, oblique planar perspective typography, experimental typography, bold typographic composition, flat vector aesthetics, high-contrast graphic layout, contemporary editorial poster, and crisp vector-like precision. The overall approach is not realism, photography, retro literature covers, old Bauhaus poster styles, heavy textured styles, dark art posters, or ordinary PPT covers. It should be a more contemporary, clearer, sharper, more digital, and visually appealing design company proposal and exhibition poster feel. 

[New Color Requirements]
Color schemes must be bright, transparent, clear, vivid, and highly contrasting, but do not rigidly use blue and orange combinations, nor default to common blue-orange color schemes. Based on the theme's semantics, emotional temperament, and visual metaphors, automatically generate a bolder, more imaginative, and fresher modern high-contrast color scheme. Unconventional combinations, jumpy colors, strong color blocking, contrasting warm and cool tones, neon effects, digital sensibilities, futuristic or artistic color schemes are allowed, but the overall color scheme must remain orderly, aesthetically controlled, and design-sensual, without chaos or loss of control. 

Please prioritize the color scheme of "2 main colors + 1 to 2 high-brightness accent colors + blank/structural pivot colors." You can explore but are not limited to the following directions: fluorescent green + magenta + cool white, bright yellow + violet + black, lime green + deep purple + blue, rose red + teal + silver white, cherry red + lake blue + pure white, mint blue + bright red + dark blue, fluorescent yellow + peach red + purple, coral orange + teal + white, colorful digital patchwork color schemes, etc. Each time you generate, try to form an independent color memory point, avoid repeating a single fixed main color scheme, and do not let the series look like the same image with just a word swap. 

Text colors should not be entirely black; depending on composition, different text subjects can be used with different highly saturated colors, or primary and secondary colors can be allocated within the same group of large characters. A small amount of dark color is allowed as structural focal points, but the overall image should focus on bright, clear, eye-catching, and avant-garde color impressions. Color should serve semantic expression, not just lively entertainment; It should make the audience feel that colors are "designed," not randomly piled up. 

The composition should be bold, slanted, and have a sense of progress and direction, but at the same time, control the order of the image. It is recommended to use one core heading body, one set of diagonal perspective text plane systems, one set of geometric vectors and color block structures, and a small amount of auxiliary annotation and dot-line symbols. The image should retain enough blank space to give highly saturated colors and slanted text a sense of breath and exhibition poster feel. You can add a small amount of small text descriptions, tags, numbering, English keywords, minimalist subtitles, or short sentences to reinforce the concept, but this must be restrained and not overshadow the visual weight of the main title. Auxiliary information can simulate annotation language in visual recognition systems or editorial design, such as short words, parameters, indexes, directions, and concept tags. 

Fonts and typography must be modern, clear, eye-catching, powerful, and have a certain degree of experimentation. Chinese is suitable for geometric sans-sers, modern design headlines, narrow and elongated fonts, or fonts with a sense of face-to-face; English is suitable for using bold grotesk, condensed sans, geometric sans, editorial sans, etc. Local stretching, compression, bevel cutting, perspective deformation, and slice misalignment are allowed, but do not make text into real 3D extruded text, do not use heavy projections, avoid realistic 3D modeling, do not use metallic fonts, do not use glass fonts, and do not use embossed fonts. The focus is on "spatial sense in flat planes," not "physical three-dimensional effects." 

Graphic elements can include: diagonal rectangles, slanted plane frames, triangular chamfers, dot systems, arrows, pathlines, fine auxiliary grids, perspective borders, directional vectors, bitmap modules, data-sensitive short lines, color block patches, translucent geometric slices, local ring lines, partition labels, small-size index information, etc. These elements must serve the theme semantics and typography and should not be reduced to mere decoration. 

Please avoid the following issues: do not make posters with plain front-facing flat fonts, do not use traditional minimalist layouts on covers, do not make realistic photography or illustrations, do not use heavy 3D text, do not make retro low-saturation or beige-gray posters, do not pile up irrelevant graphics, do not over-decorate, do not make the text unreadable, do not make the image dirty or crowded, do not disconnect graphics from the theme keyword, and do not repeatedly default to the same main color scheme. 

If appropriate, automatically generate a very short subtitle or concept sentence to help explain the topic, such as "Between ____ and ____", "The tension of ____", "A state of ____", "Where ____ begins", or a more concise Chinese sentence based on the Chinese context, but it must remain concise, restrained, and designed. 

The final output should be: a modern font concept poster that is highly polished, modern, bright, high-contrast, flat, sharp, highly experimental, with a sense of diagonal perspective font composition, readable and design-sensitive, and bold, freer, more imaginative in color schemes, and avoiding the usual blue-orange formula.