In a tall, nearly all-white museum atrium, take a photo of an exhibition poster: a monumental installation stands on a circular platform, several oversized everyday objects are misaligned and stacked into a building, and a white spiral ramp wraps around it, turning the still life into a walkable path. A life-sized visitor stands on the polished floor looking up at it, using their body to prove this is the scale of an exhibition hall, not a studio tabletop piece. A smooth giant character sits on top of the installation, with its hat, scarf, and bag all being volumetric clothing blocks; smaller versions of the same character are dotted along the ramps and in the gaps between layers, as if people are already climbing. On the right stands a corresponding directional sign, making the same set of categories, icons, and arrows into a flat signpost, serving as a legend for the three-dimensional climbing. The subject is photography or highly realistic three-dimensional visualization, not an illustration. The installation occupies real volume, receives window light from the upper side, casts shadows on the ground, and leaves softened color reflections on the polished stone. The characters are continuous toy shells with window light highlights. The stacked body consists of spray-colored geometric blocks with physical thickness and layer edges; the spiral consists of thin, hard white tubes, interspersed front and back to cut through the rectangular contours. Flat fonts are pasted on the image as a second layer, not entering perspective and not casting shadows on the building. The only hand-drawn part is a relaxed brush-written slogan, which can include a tiny character doodle. The composition places the monument in the center-right, leaving the left third and the four corners for poster information. The main title is roughly at the same height as the character's head, conversing across a large area of white wall, never pressing onto the character or installation. The installation and the circular pedestal are fully included in the frame, while the walls and window frames are cropped to make the space appear larger than the poster. Each stacked layer is made into a color-block legend: a word plus a pictogram, slightly rotated and misaligned. The same set of high-saturation graphic colors forms a loop from the main title, the brush-writing, the directional sign, and the pedestal ring, locking the flat text and three-dimensional objects into one system. The main title uses a large, compact, slightly slanted industrial bold font, with saturated color block-like stacking, having enough volume to compete with the characters. Below it is a smaller, regular explanatory sentence. The rest consists of institution names, numbers, dates, and a closing slogan in the corners, as well as label text on the objects. Text density is at the edges, leaving the center for the installation. Almost all high-saturation colors are piled on the installation and then placed into a large area of cold white high-key space. The architecture is nearly achromatic. The characters are the lightest and warmest blocks; deeper cold-colored layers are interspersed in the middle, breaking up the warm-colored stacking so it reads as encoded layering rather than a clump of warm color. Ground reflections seat the colors into the space. Do not color the architecture, do not fill the entire scene with chroma, do not draw it as a character illustration poster, do not remove the scale figure and the spiral path, and do not let the title ride on the installation. ——————— Theme: Mid-Autumn Festival Poster Protagonists: Jade Rabbit and Mooncake