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A brush, seemingly in the act of painting, traces a fine, elegant curve from the lower left to the upper right. Within the stroke are miniature landscapes of famous Tokyo and Japanese landmarks: Senso-ji Temple and Kaminarimon Gate, Tokyo Tower, Tokyo Skytree, the crowds and neon lights of Shibuya Crossing, the torii gate of Meiji Shrine, the moat and stone bridge of the Imperial Palace, the reflection of the Sumida River and its gentle ripples, and in the distance, the silhouette of Mount Fuji under the setting sun (a distant view, subtly depicted). The overall style is a combination of impasto (oil painting style) and academic poster design: varying brushstrokes create a sense of three-dimensionality, with 3D miniature landscapes and a bas-relief texture. Warm orange-red and gold tones dominate (sunset, lantern light, warm neon light), with antique Japanese architecture interspersed with the modern Tokyo skyline. The image is a minimalist top-down view, with large areas of white space outside the handwriting. The background is a pure white textured paper (high-quality fiber texture). The overall design blends traditional Japanese aesthetics with modern three-dimensional art, featuring high detail, hyper-realism, HDR, and 8K resolution.

Poster text requires master-level typography (exquisite grid, precise white space control, extremely accurate letter spacing and hierarchy):

Main title: "TOKYO METROPOLIS" (Artistic font, very eye-catching, high contrast, key visual level)

Subtitle: "A Fusion of History and Tomorrow" (Masterful typography to complement the main title)

Decorative copy (all in serif font, segmented and integrated to create rhythm and hierarchy with the headline):

"Sumida River Echoes"

"Where lantern-lit alleys meet neon horizons, a city reborn."

"Neon Shibuya"

"Cross the scramble, feel the rhythm of tomorrow—where tradition meets tech."

Small text in the top left corner: "Undrwood"

In very small print at the bottom right corner: "Undrwood"

Composition requirements: The brush tip should stop at the end of the stroke (upper right), leaving clean white space outside the stroke; the miniature landscape exists only within the stroke, with dense details but not cluttered;

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