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: THE REGION AS A LIVING WORD. Follow GD22's large memorable original serif name, and pack the surrounding space with interlocking local tea life. Letters and the world are co-designed: a roof tucks under a terminal, tea branches overlap selected edges, mountain contours flow between counters, a small person engages the base of a letter. Preserve every letter's instant readability. This is dense editorial decorative typography, not a naked word with a row of mini stickers above and below. The richly varied stories must visually touch the word at selected points. Long names use naturally condensed letter proportions, never smaller artwork.

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.

C2 COMPOSITION — SHANGHAI IS A LIVING TYPOGRAPHIC CITY. Design an original monumental serif SHANGHAI across almost the full width at mid-height. The eight letters form the central architecture of the artwork, with strong elegant stems and immediately readable counters. Use colour deliberately across large letters, linked to the same colours in roofs, porcelain and cargo. The city is woven into the name, not arranged above and below as a miniature catalogue.
Make Huxinting and its human tea ritual a substantial left-of-centre roof-and-bridge group. Its roof tips tuck beneath selected upper serif terminals, while the zigzag bridge projects forward across the lower edge of the word. The cup inspection gesture appears in front of an open bridge court. A tall Bund clock tower and clipper masts rise through the upper right rhythm, with their lower quays overlapping the base of two letters. Keep the underlying lettering complete enough to read instantly; overlap at selected edges only, never substitute a tower for a letter or cross out a whole stem.
Through the left half of the typographic world, Tianshan's canisters, Daning's teaware shelf and Difute's tea tools fill a layered market street, with vendors working at different scales. Roof contours and repeated cup/canister forms carry the eye through gaps in the word. Their three small names belong in irregular architectural apertures, not a straight top row. He Lou Xuan's low roof emerges from the lower-left margin as a horizontal architectural counterpoint. Jing'an's shared tea table is tucked between a plane-tree branch and an inward serif curve; a small export tin makes a second scale discovery.
On the right, a transparent Huangpu bend runs around the title's lower rhythm and opens toward distinct Pudong tower tops. Put a modern unbranded tea table in front of this far city, large enough for kettle, pitcher and hands to matter. Historical cargo travels toward the ship along a diagonal quay in front of the word. A small worker with a tea crate may engage the base of a letter, but never behave like a cartoon climbing an alphabet toy.
Three depths remain clear despite the decorative typography: cups/people/cargo in front, the huge word and inhabited city in the middle, tiny towers and roofs behind. Allow roofs, branches, ship contours and tea gestures to visually touch the name at several decisive points. Leave only a few open letter counters and a quiet river aperture as breathing channels. Avoid equal-sized scenes, two caption rails, giant bare letters isolated on white, or overfilling every counter. The result must feel like an extraordinary illustrated book title made into a collectible wrap.

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 5 deliberate opaque inks: #203B73, #E06D58, #489A9A, #BEA357, #A981A8. Dark cobalt is the structural contour and all small type; coral is the principal warm accent. Teal, brass and mauve supply local architectural, foliage and porcelain accents, not independent background washes. 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.

======================================================================

STEP 2 — targeted edit of preceding image

Edit the attached SHANGHAI artwork. Preserve its strong connected composition, large complete serif word SHANGHAI, old-town roofs, Bund architecture, Pudong skyline, foreground tea conversation, river bridges and historical cargo dock. Keep the same panoramic scale and irregular outer silhouette. Make these specific corrections without rebuilding it as separate pictures.

Restore eight exact English place captions, each beside the relevant tea activity. Use solid dark cobalt, clear capitals about 30–40 native pixels high; long names may use two lines. Place labels in small natural openings, never over the main word or as an external legend:
- HUXINTING beside the ornate pavilion at the upper left. Retain its waterside character and tea-serving veranda.
- TIANSHAN TEA CITY beside the left foreground merchant, canisters and dry-leaf sample trays.
- DANING TEA CITY beside the upper-middle-right worker. Replace his harvest-basket pose with a market merchant in ordinary work clothes inspecting imported dry tea at a counter, surrounded by open canisters and a small balance. Remove the conical harvesting hat and the suggestion of tea growing around him.
- DIFUTE TEA PLAZA beside the lower-right teaware display: clay pot, porcelain pitcher, cups, tea scoop and tongs.
- JING'AN TEA CULTURE beside the two seated people sharing tea at the lower centre-left.
- TEA EXPORT DOCK beside the cargo workers and wooden tea chests at the upper right.
- HE LOU XUAN beside the small lower-centre-right waterside pavilion. Give this small structure its correct low broad thatched roof, gently curved ridge, thin bamboo posts and a tea table. It must differ visibly from ornate Huxinting.
- CITY TEA SALON beside the contemporary tea-preparing woman and glass brewing vessel at the right edge; show loose-leaf brewing, not harvesting.

SHANGHAI is a place of tea trade, preparation and social life. Preserve the rich tea content through dry leaves in trays, canisters, brewing tools, serving hands and cargo. Reduce the oversized flowering tea bushes that imply a local plantation. Where plants are needed to connect architecture, use modest plane-tree or willow branches; a few tea sprigs may remain as clearly decorative botanical motifs. No planted tea rows or tea-picking figures.

Replace the naturalistic multicolour rendering with disciplined crisp five-ink illustration. Use only cobalt #203B73, coral #E06D58, teal #489A9A, muted brass #BEA357 and mauve #A981A8. Cobalt carries all outlines and small lettering. Give the main title clean opaque ink-colour faces with restrained engraved detail, not landscape-filled letters, shiny gold or blue photographic reflections. Translate foliage into teal and cobalt; roofs, cargo and porcelain use the other specified inks. No extra emerald, bright yellow, pale blue, black, white ink, gradients or painterly shading. Retain rich precise drawing through controlled lines and local flat shapes.

Preserve genuine RGBA transparency. The outside and natural openings under bridges, between roofs and inside letter counters remain alpha-zero. Turn broad sky or water washes into sparse opaque contours with transparent gaps; keep the city visually connected through its architecture and river rhythm. No white backing, checkerboard, paper, rectangular panel or glow. Native output 3840 × 1280 PNG RGBA. Keep every letter and important object complete within modest clear edge margins. No other new wording except TEA on one cargo chest.