[THEME TEXT] Oblique Perspective Typography Poster

Create a highly finished “Oblique Planar Perspective Typographic Poster” from the user's core text, word, phrase, short sentence, or letterform. Preserve these input fields: User input: [THEME TEXT]; Text language: [CHINESE / ENGLISH / MIXED CHINESE AND ENGLISH]; Optional context: [____]; Optional mood: [____]; Optional excluded elements: [____]. Do not make an ordinary illustration, an enlarged text effect, or a front-facing flat layout. Treat typography as the primary visual subject in a modern experimental poster. Use Oblique Planar Perspective Typography: organize the text across two-dimensional planes set at different angles, creating spatial direction through oblique guides, perspective compression, planar rotation, angular entry points, offset composition, vector cues, directional lines, translucent geometric planes, and modular color blocks. First interpret the literal meaning, emotion, cultural associations, psychological feeling, and semantic tension of [THEME TEXT], then choose an appropriate compositional logic. For emotional themes, use distance, center of gravity, negative space, lines, and module density to express pressure or release. For action themes, use angled forward motion, speed lines, directional arrows, perspective slices, and vector paths. For relational themes, use multiple text subjects and the intersection, opposition, enclosure, or cutting of geometric planes. For abstract themes, first extract a visual metaphor, then compose with oblique type, supporting vectors, occlusion, hierarchical offsets, repeated modules, and warped grids. The text may run horizontally or vertically and may be split, offset, grouped, reorganized, cropped, obscured, nested, angled, perspective-compressed, or rotated, but it must remain clearly legible. Give the visual language the bright, sharp clarity of modern graphic design. Build an angle system with oblique planar perspective typography and make a bold typographic composition the main image. Integrate experimental typography, flat vector aesthetics, a contemporary editorial-poster sensibility, a high-contrast graphic layout, and crisp vector-like precision across the type, color fields, and supporting annotations. Avoid realistic photography, retro covers, old Bauhaus posters, heavy texture, dark fine-art posters, and ordinary presentation-slide covers. Use a bright, luminous, high-contrast palette rather than a fixed blue-and-orange scheme. Derive two primary colors, one or two vivid accent colors, and a whitespace or structural-anchor color from the theme's meaning. Possible directions include fluorescent green with magenta and cool white; bright yellow with violet and black; lime green with deep purple and cyan; or rose pink with teal and silver white. Other options include cherry red with lake blue, mint cyan with bright red, fluorescent yellow with hot pink, coral orange with cyan, or a multicolor digital collage. Every result must establish its own memorable palette. The composition should include one core headline, one oblique perspective typographic-plane system, one geometric vector and color-block structure, and a small amount of supporting annotation, dot-and-line symbols, numbering, English keywords, minimalist subheads, or short conceptual phrases. Use geometric sans serif, modern display type, narrow elongated forms, bold grotesk, condensed sans, geometric sans, or editorial sans. Local stretching, compression, shearing, perspective deformation, and sliced offsets are allowed, but do not use true 3D extrusion, heavy drop shadows, metallic type, glass type, or embossed lettering. Optional devices include oblique rectangles, tilted planar frames, triangular corner cuts, dot systems, arrows, path lines, supporting grids, perspective borders, directional vectors, dot-matrix modules, short data rules, color-block facets, translucent geometric slices, partial circular lines, sectional labels, and small index information. The final poster must feel modern, luminous, sharp, vivid, legible, and experimental without falling into a repeated blue-and-orange formula.