Create one exceptional, completely flat regional ceramic-print artwork. This is the actual printable illustration, never a cup, product photograph, mockup, presentation board or simulated ceramic surface. The collection reference controls drawing language only: invent a new composition for the specified region and replace all Guangdong-specific objects. The source map supplies a regional inventory, not a paper texture or a layout to trace literally.

TECHNICAL CONTRACT: native canvas exactly 3840 x 1280 pixels, true RGBA PNG. Keep every visible mark, letter, ornament and antialiased edge inside x=60..3780 and y=110..1170. The final delivery will use a centered 3840 x 1152 export for a 250 x 75 mm wrap; leave the native safety area completely transparent. Compose for a long horizontal physical print, not a conventional poster. Nothing is cut off at either end. All exterior space and meaningful holes between objects must have alpha zero. No painted background, white underpainting, sky rectangle, tinted paper, land silhouette, colour fog, opaque backdrop or checkerboard. The wearer-visible ceramic supplies the unprinted space. Use the specified colours as ink, with normal edge antialiasing; do not invent extra white, black or metallic ink. Never print dimensions, crop marks, palette swatches, filenames, reference names or instructions.

ART DIRECTION: create a memorable hierarchy, a major focal scene and a quieter counterweight; alternate large close forms with medium stories and a few small discoveries. Let tea life interact with the region. Connect selected objects through a real roofline, tabletop, lane, ridge or river contour; retain clear breathing channels so each gesture and vessel is legible. Do not impose any percentage of empty space. Avoid both a cramped rectangular carpet and timid isolated stickers. Use confident, intentional linework that will survive the 75 mm print height. Limit texture to useful material clues. Any water, snow, steam or clouds are sparse outlines with transparent interiors, never washed fills. No photographic gradients, glow, heavy grunge, blurred edges or tiny illegible hatch fields.

FACTUAL DISCIPLINE: the scenes below distinguish cultivation, processing, trade, hospitality and non-tea infusions. Do not turn imported tea, berries, ginseng, barley, trees or grasslands into tea plantations. Do not invent a local tea cultivar, a named historic tea shop, medical effects, a precise trade route or archaeological evidence. Landmarks are cultural/geographic motifs, not assertions that tea was grown or traded at their gates. A contemporary tea pause next to a landmark is an authored scene, not a documentary historical claim. Keep people natural and respectful, with plausible hands and gestures; use no decorative pseudo-script.


C3: LIVING TEA TERRITORIES. Make an oblique, connected illustrated tea world, held together by a locally meaningful river, street, mountain fold or caravan corridor. Large foreground hospitality or craft overlaps medium buildings and small distant geography. Five flat inks, expressive editorial drawing and carefully observed vessels. No administrative outline, amusement-park badge grid or generic ornamental tea leaves. Integrate a strong condensed regional heading in the lower rhythm, not in a separate title band.

REGION: Jilin. Exact ink palette: #254D43, #A44366, #849E6F, #C3945C, #6F95AD. The first colour supplies the main line; the others have deliberate separate roles, not gradients.

AUTHENTIC SUBJECT MATTER:
Focus on present-day tea practice in a northern region: an expert at a Jilin old-street tea table warms a gaiwan and pours imported loose-leaf tea into two small cups; a separate shelf holds plain tea tins and a weighing scoop. Nearby hands compare dry leaves on a narrow presentation tray and brewed liquor in two glasses. A Changbai traveller carries a simple tea thermos into a pine-side shelter; this is an authored contemporary pause, not a claimed old ritual. A Songhua riverside window and restrained roof profile establish the Jilin setting around these tea actions. As a smaller, clearly separate botanical scene, show one ginseng root, a cut-root plate and a transparent herbal-infusion glass beside a shaded ginseng bed; ginseng is not tea and the bed must never become tea-bush rows. Let the winding river, the Tianchi crater lip and one pine branch supply a distinctive natural framework. No invented Changbai tea cultivar, local tea plantation, medical claims or purported historic ceremonial shop.

SPECIFIC COMPOSITION:
Compose one tea-learning journey along a shallow Songhua S. Start at a tea-tin shelf, move through leaf weighing and the broad central gaiwan-pouring scene, then pass two tasting glasses to a forest tea pause. The river contour climbs behind the counterweight into the Tianchi crater and Changbai pine ridge. The separate ginseng still life is a quiet side alcove under a shade frame, not the main beverage. Keep human scale clear: one large practitioner, one medium traveller and small distant architecture. Integrate the title along the lower river opening; tea tools and their use must read before the geography.

VISIBLE TYPE: exact main title "JILIN" once. Use only these optional small English labels, integrated beside the appropriate scenes and large enough to read: JILIN CITY, TEA ART, CHANGBAI, HERBAL INFUSION. Do not add other text. No Chinese characters, bilingual captions, pseudo-calligraphy, gibberish, slogans, logos or signatures. Prioritize visual storytelling over words. Do not allow letters to merge with foliage or buildings. The design must feel like a collectible regional artwork that a tea professional would want to handle and study.