Editorial Design Poster Layout

Generate a bifold poster with mature editorial design and exhibition visual quality.

Instead of simply cutting the frame into two columns, let the left and right visual areas express different states of the same theme, and let the "middle boundary" be where the change actually happens.

The left and right areas use an unequal layout (40:60, 45:55, 55:45) based on the weight of the subject, rather than a mechanical 50:50. The left side is responsible for establishing the starting point or original state, and the right side is responsible for showing the transformed result, for example:
Front of a work → structural and production path behind it;
Design sketch → real space after completion;
Sound source subject → vibration and sound field diffusing outward;
Real entity → rubbings, traces, or images on paper.

The most important part is the central axis translation. Do not use an obvious vertical line, but choose a core element to pass through the left and right areas and undergo continuous changes as it crosses the axis.

For example: petals gradually turning into stitches and threads; architectural line drawings gradually turning into real walls; object vibrations gradually diffusing into voiceprints; stone carvings gradually flattened into black ink rubbings.

This change must be continuous and natural, allowing viewers to immediately understand the causal, process, or translation relationship between the two sides, rather than two unrelated images spliced together.

Typography also participates in the left-right relationship, but all text must belong to the work itself. Use real titles, subtitles, short sentences, and exhibition info; avoid template placeholder text like "left-right composition" or "design case."

Reduce info on the visually heavier side; the emptier side can carry more titles and text, achieving visual balance through font size, density, and position.

Control colors within 2–4 main palettes. The two sides can have distinct brightness, temperature, or material differences, but at least one color, texture, or visual element must cross the axis to ensure unity.

Reading order: first see the two visually distinct states; second, discover the connection and change at the axis; third, understand "why the left becomes the right"; finally, read the title and information.

Overall requirements: two visual domains with their own roles, a clear translation process in the middle, visually balanced despite being unequal, with both content logic and a sense of a mature work.

生成一张具有成熟 Editorial Design 与展览视觉质感的左右构图海报。

不要简单把画面切成左右两栏，而是让左右两个视觉区域表达同一个主题的不同状态，并让“中间边界”成为变化真正发生的位置。

左右区域采用不等比例布局，根据主体重量使用 40:60、45:55、55:45 等关系，不要机械 50:50。左侧负责建立起点或原始状态，右侧负责展示变化后的结果，例如：
正面作品 → 背后的结构与制作路径；
设计草图 → 建成后的真实空间；
声源主体 → 向外扩散的振动与声场；
真实实体 → 纸面上的拓印、痕迹或图像。

最重要的是中轴转译。不要用明显竖线分隔，而要选择一个核心元素穿过左右区域，并在跨越中轴时连续发生变化.

例如：花瓣逐渐化成针脚和丝线；建筑线稿逐渐变成真实墙面；器物震动逐渐扩散成声纹；石刻浮雕逐渐压平成为黑墨拓印。

这种变化必须连续、自然，让观众一眼理解左右两边存在因果、过程或转译关系，而不是两张无关图片拼在一起。

Typography 也参与左右关系，但所有文字必须属于作品本身。使用真正的作品标题、副标题、短句和展览信息，不出现“左右构图”“设计案例”“视觉研究”等模板占位文字。

图像较重的一侧减少信息，较空的一侧可以承担更多标题与文字，通过字体大小、密度和位置完成视觉配重。

色彩控制在 2–4 个主要色系。左右可以有明显明暗、冷暖或材质差异，但至少保留一种颜色、纹理或视觉元素跨越中轴，保证整张作品统一。

最终阅读顺序：第一眼看到左右两种明显不同的视觉状态；第二眼发现中轴处正在发生连接和变化；第三眼理解“左边为什么会变成右边”；最后再阅读标题与作品信息。

整体要求：两个视觉域各有作用，中间有明确转译过程，左右不平均但视觉平衡，既有内容逻辑，也有成熟作品感。