STEP 1 — original generation

Create an extraordinary original ceramic PRINTING DECAL of the requested region, using the attached approved GUANGDONG design as the compositional and drawing benchmark. This is a new richly connected regional illustration, not a mug mockup. The attached image is the STYLE reference; its Guangdong-specific subjects and lettering must all be replaced by researched content below. There is deliberately no regional map image in the input: the supplied text already contains the factual map inventory. Match the reference's visual richness, collector appeal, confident drawing and sense of a whole place.
THE CRITICAL LESSON: the previous trial failed because it looked like disconnected stickers in two rows. Do NOT make a contact sheet, a tidy row of icons, independent floating islands, equal-sized scenes, evenly spaced caption boxes, or a catalogue. Compose ONE engrossing panorama with three depths, dramatically varied scale and a continuous visual journey. Use a dominant local hero story, a counterweight and many integrated discoveries. Neighbouring scenes may meet, partially overlap, share a ridge, a street or an architectural contour. Smaller stories nest inside the larger world. Tea leaves, architecture, process tools, people and landscape must interact, not hover independently. The result should reward a minute of looking, not be exhausted as a list in two seconds.
TRANSPARENCY AND COMPOSITION: keep genuine alpha-zero exterior and natural interior openings. No rectangular paper/sky/sea/land background, no opaque white backing, no coloured atmospheric wash, no checkerboard. Transparency should feel like carved breathing channels WITHIN the illustration: a river gap, space under a bridge, a temple court, a clear aperture around a word. Only two or three quiet pockets across the panorama, never a blank moat around every item. Do NOT target a transparency percentage. Do not join the drawing with decorative dotted connector lines: link it through actual regional geography, streets, terrain rhythm, roof lines, branches and meaningful human action. Sparse irregular fine strokes may suggest water or roads. No solid province silhouette.
CANVAS: native RGBA PNG, 3840x1280, quality max. Draw a long shallow panorama across x=60..3780 and y=95..1185, using almost the full width. All marks and letters whole, with a modest clear safety margin. The final proportional print is3840x1152 at250x75mm. Do not create a central16:9 picture with huge blank side panels; do not solve spacing by shrinking the entire artwork. All objects remain undistorted. Most shapes should belong to a shared irregular silhouette, with selected disconnected tiny natural accents only.
CRAFT: exceptionally crisp intentional ink, precise silhouette design, beautiful local detail and confident line weight. Detailed does not mean fuzzy crosshatching everywhere. Small captions use dark high-contrast ink, correct English capitals and sufficient clear space to read at real mug scale. No tiny italic map handwriting, nonsense text, Chinese script or decorative fake writing. A clear main regional title appears once; the title is part of the composition, not a separate header with empty space beneath. Preserve the designated colour family, not the exact Guangdong colours of the reference. No borrowed commercial logos, political emblems, invented plantations, tea health promises, unverified dates or superlatives.
REGIONAL TRUTH: distinguish tea cultivation from trade, processing, drinking rituals and herbal infusions. More density must come from deeper local storytelling, not duplicated generic gardens or fabricated tea regions. In non-growing regions show how tea is transported, sold, prepared and shared. The content specification below outranks recognisable Guangdong objects in the attached style reference.

COLLECTION SIGNATURE: TWO-INK ENGRAVED TEA ATLAS. Use the exceptionally detailed navy/copper GD24 as reference, recoloured into this region's two inks. Replace its loose constellation metaphor with a continuous varied field-guide panorama: one magnificent central local tea story, smaller stories tucked into its surroundings, long organic landscape threads and varied title placement. Engraved organic contours, tiny meaningful details, not repeated crosshatched blobs. Strong selective silhouette and beautiful large-to-small scale shifts. No dotted route-node diagram, no two-tier icon grid. The regional title is a tall narrow serif woven into a deliberately reserved pocket; it does not demand symmetric empty flanks.

SHANGHAI: a shared cup is the small human event inside an immense trading city. Show tea being examined, weighed, carried, brewed and shared. Different places and periods form an intentional illustrated cultural geography, not one dated street scene. No locally grown tea claim, Sheshan tea plantation, Guangdong Dancong tree, citrus-tea shell, roundhouse or generic harvest terrace.

C1 COMPOSITION — THE TEA CITY IN TWO ENGRAVED INKS. Make a magnificent tea-export wharf the central foreground story. A large articulated stack of tea chests, the gentle arc of a scale, a porter's bent carrying gesture and a rope coil form one memorable irregular mass. A masterfully engraved clipper rises behind it; masts and sail seams create a vertical rhythm that becomes the Bund's clock tower, dome and receding riverside facades. Render plank grain, rope twist and restrained leaf samples with intimate clarity, not blackened crosshatching. A single plainly lettered TEA crate is enough to make the cargo specific.
From the wharf, a sinuous open river edge leads left into Huxinting's zigzag bridge and ornate roof; the pavilion is a medium-distance inhabited building, with drinkers visible under its eaves. Bring one server's gaiwan and cup closer in the left foreground so the domestic ritual answers the industrial scale of the tea ship. Behind the pavilion, market canopies grow into a connected city fabric. Tianshan is the canister-lined tasting counter; Daning the taller porcelain shelf/pouring scene; Difute is the compact teaware-tool seller within a lane. Their architecture shares silhouettes and space, while distinct captions clarify researched identities. They are not freestanding matching stalls.
He Lou Xuan's low thatched roof settles into the far-left foreground court with bamboo furniture; its quiet humble form balances the ornate pavilion. The Jing'an tea conversation happens under one broad branch near a market corner, the seated people small enough to reward discovery. On the right, a close modern brewing table overlaps the lower skyline rhythm; thin distant Pudong forms lift behind it. The table edge echoes the historical cargo stack across the river, connecting tea now with tea trade then.
Set a tall elegant SHANGHAI serif into the irregular upper-right aperture between the masts and far towers, not centred as a page heading. Cobalt is exquisitely controlled structure; coral animates sails, cup rims, roof eaves, crate straps and one botanical tea sample inside a merchant's hand. Keep contrasting scales: large cargo and craft gesture, medium inhabited streets, very small far roofs and waterbirds. The eye should discover linked tea lives through architectural continuations and river bends. No dotted constellations, scattered loose leaf decorations, map-key boxes or decorative sky.

RESEARCHED TEA LIFE TO EMBED IN THE BUILT CITY:
HUXINTING: ornate two-storey waterside tea pavilion, upturned roof corners, angular zigzag bridge, lotus leaves. Its veranda contains tea drinkers; a server inspects a gaiwan with tilted lid beside a pitcher and cups.
TIANSHAN TEA CITY, Changning: open tea-market shopfront, cylindrical canisters, bamboo scoop and twisted dry-leaf trays; a merchant offers a cup. DANING TEA CITY, Jing'an: shelves of ceramic teaware, sample trays and a pouring demonstration. DIFUTE TEA PLAZA: tea tools, clay pot and a compact display cabinet in the wider market fabric. Distinct real trade nodes, represented in a joined illustrated city; do not imply they share one actual street address.
JING'AN TEA CULTURE: two people drink tea under a plane-tree canopy, antique export tin on the table. This reflects documented urban tea life, not an invented museum.
TEA EXPORT DOCK: Bund clock tower/domed riverfront buildings, tea chests, lever balance, carrying workers and a three-masted clipper at a wharf. Historically grounded composite, not a specific ship portrait or the1866 race. One chest may say TEA. No export statistics or dates.
HE LOU XUAN, Songjiang: low broad four-slope thatched roof, gently curved ridge, thin bamboo posts, rattan table/chairs and cup. Humble light architecture must contrast with ornate Huxinting.
CITY TEA SALON: contemporary unbranded kettle, pitcher, cups and leaf-inspection spoon near modern urban architecture. Editorial composite, not a named real venue.
Markets sell tea from producing regions, not Shanghai-grown leaves. Porcelain, clay pots and gaiwans have correct distinct shapes; hands pour and carry plausibly. No coffee beans, bubble-tea logos or invented plantations.

TYPE: SHANGHAI once as the clear main name. Integrated dark-cobalt captions: HUXINTING; TIANSHAN TEA CITY; DANING TEA CITY; DIFUTE TEA PLAZA; JING'AN TEA CULTURE; TEA EXPORT DOCK; HE LOU XUAN; CITY TEA SALON. Long names can use two lines, about30–40px capital letters. Place beside the correct local story, never aligned into a legend. Only TEA on one crate is extra text. No other scripts, slogans, dates or logos.

PALETTE: exactly 2 deliberate opaque inks: #203B73, #E06D58. Dark cobalt is the structural contour and all small type; coral is the principal warm accent. Use warm coral selectively against cobalt engraving, with no metallic gradients. Do not preserve the Guangdong greens. No white ink, cream backing, grey shading, extra hues or digital glow; edge antialiasing only. Transparent openings are absence of ink.

DIRECTOR'S TEST: one extraordinary SHANGHAI world first, tea story second, meaningful tiny discoveries third. Vary scale dramatically and use real architecture, water edges and human movement as links. All lettering and important objects stay whole. Exterior and natural interior openings are true alpha-zero; no painted white, paper, sky or fog behind the illustration.

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STEP 2 — targeted edit of preceding image

Repair the attached SHANGHAI two-ink engraved panorama. Preserve the strong tea-export dock and its workers/tea chests, the orange sailing ship, the wide city panorama, Huxinting pavilion, tea markets, modest thatched He Lou Xuan and the close tea-serving hands. Keep original tall serif SHANGHAI, same integrated position. Exactly two principal inks: cobalt #203B73 and coral #E06D58 with crisp controlled engraving strokes; no full-colour repaint.
CRITICAL technical repair: remove the entire painted grey-white checkerboard and white paper ground. Replace all background with REAL alpha-zero transparency, including every interior opening between pen strokes, under lettering, through open water, sky, courts and title counters. A checkerboard is a defect here, never something to draw. No white rectangle, grey squares, halo, pale wash or backdrop. Preserve solid ink lines and genuinely open transparent river areas. Output native PNG RGBA 3840x1280, transparent background. Complete any cropped edge and keep all ink whole within x60..3780/y95..1185; no stretching.
Repair text, removing ALL stray pseudo-words. Exactly these eight local captions in upright DARK COBALT capitals with clear spacing and no plaque: JING'AN TEA CULTURE at the upper-left conversation; TIANSHAN TEA CITY at the left shop; DANING TEA CITY at the middle shop; DIFUTE TEA PLAZA at the upper-middle pottery shelves; HE LOU XUAN at the low thatched bamboo pavilion, correct the misspelled last word; HUXINTING at the main pavilion; TEA EXPORT DOCK below the workers; CITY TEA SALON beside the right foreground. Main SHANGHAI once and small TEA on actual cargo crates permitted. Delete all other microtext. Names must be spelled exactly, about40px cap height, nearby fine-line clutter simplified just enough to read. Keep the connected varied-scale composition, not separate stickers. No new tea plantations or claims. The final must be genuine transparent engraved printing artwork with beautiful clear English captions.