Tạo hình ảnh địa phương bằng AI

## QUICK CONTROLS [ĐỊA ĐIỂM] = # Gợi ý: thành phố, khu vực hoặc địa danh [ĐIỂM NHẤN ĐỊA DANH] = # Gợi ý: landmark / cảnh quan / văn hóa / đặc sản muốn nhấn; có thể để trống [MỤC ĐÍCH / DỊP] = # Gợi ý: dịp / mục đích / nội dung chính; có thể để trống ## VISUAL SPECIFICATION Create a 16:9 horizontal editorial card centered on [ĐỊA ĐIỂM]. Let [ĐIỂM NHẤN ĐỊA DANH] strengthen place recognition when present, and let [MỤC ĐÍCH / DỊP] shape the communication emphasis when present. ### Place and Message Build a recognizable local identity, coherent communication, and a specific atmosphere from the named place and any explicit cues. Let explicit wording in the controls remain authoritative. When no landmark cue is named, choose only a few distinctive and defensible place-specific landmarks, architectural forms, terrain features, waterways, vegetation, cultural structures, objects, or motifs. Use Vietnamese for unspecified copy unless another language is stated in the controls. Keep all newly composed text concise and evergreen. Avoid unsupported current weather, dates, schedules, prices, statistics, or event facts. ### Composition Compose a 16:9 horizontal editorial card on a clean matte white paper field. The paper may retain only a barely perceptible natural warmth but must clearly read as white, never cream, beige, parchment, or aged paper. Let one monumental thematic headline own the first read inside the calmest communication region. Balance it against one strong asymmetric PRIMARY place carrier entering from an edge, corner, or lower field. A lighter SECONDARY carrier may support recognition. Add several faint TERTIARY PLACE ECHOES through the distant field: partial rooflines, gates, bridges, towers, skyline fragments, terrain profiles, vegetation groups, waterways, streets, or other locally specific evidence. Keep these echoes incomplete, fragmented, and separated by generous white-paper gaps. They add rhythm, depth, and discovery without forming a complete panorama. Preserve broad untouched white space. Sparse means low visual closure, not low semantic richness. ### DOT Construction Regular circular halftone DOT fields are the native construction material of all illustrated forms. Construct architecture, landscape, terrain, vegetation, water, and distant place echoes directly from screened graphic planes. Reduce each important subject to the recognition evidence that matters most: silhouette, proportion, principal mass, secondary plane, roofline, major opening, structural axis, terrain profile, negative space, or characteristic spatial relationship. Let DOT fields carry most visible mass. Use sparse crisp lines only where essential structural evidence is required for recognition. The imagery must read as graphic forms made from visible regular DOT screens, not as conventional illustration with a halftone effect placed over it. ### Depth and Dissolution Use the same DOT grammar throughout the image while changing physical screen scale and closure. **NEAR** — large, coarse, dense DOTs with concentrated visual weight. **MIDDLE** — clearly visible medium DOTs with more open spacing. **DISTANT** — fine sparse DOTs, low closure, incomplete silhouettes, and abundant exposed white paper. Different planes within the same landmark may use different dot scale and closure to establish structure and light. Let screened forms transition physically through: **large + dense → medium + open → small + sparse → clean white paper** Reduce dot diameter and dot density together as a form recedes or releases toward open space. Keep recognition-bearing portions sufficiently clear while secondary planes, bases, walls, vegetation, terrain, and atmospheric support progressively dissolve. White-paper exposure creates pale tone, depth, and atmospheric release. ### Color Color is independent from form construction. **DOT geometry owns form.** **DOT scale, spacing, and white-paper exposure own depth.** **Color controls only hue, chroma, and chromatic relationship.** Use two harmonized low-to-medium-chroma pastel spot inks across the DOT-built forms, with one tiny luminous accent when useful. Suitable relationships include dusty coral + muted teal; soft vermilion + mineral blue-green; pale terracotta + faded indigo; muted apricot + sage; dusty cyan + warm rose; soft jade + muted ochre. Let the strongest near mass concentrate one principal hue. Let the secondary carrier and selected middle structures use the companion hue. Let tertiary echoes use sparse screened states of either principal ink. Create lighter visual color mainly through increased white-paper exposure between smaller and sparser DOTs rather than by adding many tint colors. Allow [MỤC ĐÍCH / DỊP] to influence which hue receives emphasis while [ĐỊA ĐIỂM] contributes a compatible chromatic counterweight. Let headline color use whichever principal hue best balances the strongest landmark mass. Pastel affects color only. Every DOT remains crisp, flat, regular, and visibly screened. ### Communication Derive information density from [MỤC ĐÍCH / DỊP]. Prefer one monumental headline, an optional much smaller secondary line, one concise supporting phrase, and only a few compact editorial details when useful. A thin continuous journey gesture may connect place, message, and information when naturally suggested by a river, coastline, road, street, bridge, travel corridor, or spatial axis. Keep journey lines, nodes, labels, icons, local motifs, and supporting copy several scales below the headline. Use local cultural details as selective narrative punctuation rather than as an inventory of attractions. ### Typography Use correct Vietnamese letterforms, diacritics, spacing, and natural word recognition. Historic, heritage, ceremonial, or formally architectural subjects may use a refined higher-contrast editorial display character. Natural, coastal, contemporary, or relaxed subjects may use a restrained simpler construction. Typography remains cleaner and more solid than the screened image field. ### Final Visual Character A matte 16:9 limited-ink editorial card with monumental typography, asymmetric place-derived pressure, clearly visible DOT-built planes, coarse-to-fine screened depth, forms dissolving through decreasing dot size and density, two harmonized pastel spot inks, faint place-specific discoveries, and generous clean white breathing space. White paper is part of the contrast system and remains visibly white. The first impression is crisp, calm, airy, and ordered; closer inspection reveals richer place evidence and screen detail. The visual identity comes from precise DOT construction, controlled paper exposure, chromatic layering, and culturally specific place translation.