Design a high-end Oriental editorial poster / cultural visual poster / solar term poster / literary cover-style poster for [Theme]. The overall style should not be a common clean illustration, but rather a "visual afterimage left behind by time, paper, air, and old printing."
The core highlight of the visual is: use large silhouettes of symbolic objects related to [Theme], such as [Theme Symbolic Objects], and let these silhouettes cut into the frame significantly from the top, bottom, or edges. Do not display the objects in full; instead, show only fragments, edges, contours, and truncated forms, letting the graphics naturally invade from outside the frame, creating a high-end, restrained compositional tension rich in white space.
These silhouettes cannot be clean vector graphics or ordinary illustrations. They must be processed with halftone dots, screen printing grain, old newspaper textures, Risograph retro printing textures, damaged ink, ink leakage, misaligned color registration, paper fiber erosion, rough edges, partial fading, and partial fracture effects. The graphics should look like afterimages left on old paper after many years, rather than patterns just drawn.
The composition adopts an "upper and lower climate layering" method. The upper part of the image uses warm-toned graphic processing, such as rust red, ochre, withered leaf orange, old cinnabar, caramel brown, and dark orange, to express external emotions, heat, memory, vitality, maturity, or a sense of history in [Theme]. The lower part uses cool-toned graphic processing, such as light cyan, mist blue, grayish green, cool bluish-gray, pale water blue, and diluted blue, to express internal emotions, air, water vapor, distance, silence, dreams, echoes, or spirituality in [Theme].
The background cannot be pure white. The background must be a warm old paper texture, using cream, ivory white, light beige, linen white, or old book page colors as the base, with subtle paper grain, horizontal fibers, slight stains, faded particles, printing indentations, and a sense of old poster wear. All colors should look as if they have been absorbed by the paper, low-saturation, soft, dry, and slightly faded, not bright or glowing, and without modern digital gradients.
Keep a large area of "breathing" white space at the center or visual center of gravity for placing the [Theme] main title. The main title should become the spiritual anchor of the visual. The font can be selected based on the theme: Songti, stela-style fonts, calligraphic fonts, or modern Chinese magazine title fonts for Oriental themes; restrained serif fonts, editorial magazine fonts, or minimalist title fonts for modern themes. The text color should not be pure black; use dark green, grayish green, dark tea color, old ink color, or faded brown to make the text also look printed on paper.
The typography should have an editorial design feel: the main title large yet restrained, the subtitle small and exquisite. English translations, dates, short sentence descriptions, vertical text, sidebar information, numbers, footnote-style explanations, and catalog-style small text can be added. Small text should not overpower the main subject; it should be like the explanatory text on old book pages, botanical archives, poetry collection covers, or exhibition posters. A breathing relationship must be formed between the text and graphics, avoiding crowding.
The visual needs a sense of "climate on paper": the graphics are not decorations but the deposition of air, temperature, time, memory, and emotion on paper. The warm parts are like sunlight, flames, autumn leaves, history, and the residual warmth of life; the cool parts are like dew, mist, rivers, night, silence, and inner echoes. There is no need for a hard division between the upper and lower colors; instead, they transition naturally through white space, paper grain, halftone dot density, and color dilution.
Overall style references: East Asian solar term posters, retro screen printing, Risograph posters, old book covers, botanical archival maps, poetry book binding, folk art printing, old newspaper halftone dots, Japanese seasonal posters, modern Oriental editorial design. The visual should have a high-end sense of design, collectability, cultural depth, paper texture, a sense of time, and restrained poetry.
Avoid: Do not make common commercial illustrations, no clean vector graphics, no excessive realism, no plastic texture, no neon colors, no high-saturation gradients, no cartoon styles, no overly complex backgrounds, do not place the main subject completely centered, and do not make the text look like it was pasted on later.
Final visual should be like a theme printed matter preserved by time: huge cropped symbolic objects forming warm-cool contrast at top and bottom edges, white space in the middle supporting the title, and paper grain, dots, ink leakage, and fading giving the entire image a high-end texture of old paper, climate, memory, and poetic afterimages.
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This session is for a poetry appreciation theme: "Want to buy osmanthus and carry wine together, but it's no longer like a youth's outing."
You must provide at least 5 relevant knowledge points about flowers with different logic and style information points.
Follow the same logic a total of 4 times, each time with different famous poetry lines about flowers.
The color scheme for each image must be distinctly different.
Aspect ratio 16:9.
