ملصق فوتومونتاج بنائي بنكي

An avant-garde photomontage vertical poster transforming the woman from the reference photo into a fusion of 1920s constructivist graphic design and 1970s punk-zine collage. The canvas features aged off-white paper with rough torn blackened edges, visible grain, scuffs, creased folds, and tactile xerox texture. Composition and Cutouts: Arrange exactly three photographic cutouts of the woman from the reference photo: one small tilted street-view cutout on the middle left, one large tilted close-up portrait cutout in the upper right, and one tall narrow shard-like cutout slicing through the lower center. Recolor the photographic elements into a restricted high-contrast palette of vermilion red, deep black, cream, and muted flesh tones. Graphic Elements: Add bold constructivist geometry, including exactly one large solid red circle positioned behind the upper-right portrait, one small red dot near the bottom right, bold black diagonal bands, sharp cream triangular segmentations, and angular white cut borders framing the photo shards. Layer realistic strips of beige masking tape and torn newsprint scraps to emphasize a physically pasted handmade assembly. Typography: - Large slanted constructivist block letters reading "[POP]" in the upper left, composed of alternating black and red letters. - A ransom-note style date reading "[1924]" in the lower right, set on individual torn paper tiles with one tile highlighted in red. - A tiny torn-newspaper caption scrap on the left displaying the text "[The streets are full of noise and nonsense.]" Style: Screenprinted ink aesthetic, photocopied zine texture, subtle cut-paper drop shadows, imperfect mechanical alignment, and distressed paper fibers without modern digital gloss.