Shanghai — город, выросший вокруг чашки

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: ONE LIVING TEA TERRITORY. Follow GD18's connected tea geography and broad changing scale. Regional geography acts as the underlying structure: a branching transparent river, a mountain spine, caravan corridor or urban street shape links tea stories. Never force literal administrative borders; preserve sensible relative relationships where they serve the map idea. A large foreground craft/hospitality scene leads into middle-distance places and tiny far ridges. Regional heading in strong condensed type belongs inside the lower landscape rhythm. No park badge collection, no identical icons, no numbered map keys.

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.

C3 COMPOSITION — A CITY GROWN AROUND A SHARED CUP. Construct one five-ink urban tea geography around a shallow S-shaped Huangpu opening. The middle foreground is dominated by Huxinting and its tea ritual, approximately one-third of the artwork width. Its zigzag bridge projects toward the viewer; a large beautifully drawn gaiwan and server's hands at a terrace table invite the eye inward. Normal-size tea drinkers inhabit the veranda behind. Pavilion roofs overlap an older roofline; the bridge turns toward the Bund quays. Architecture and purposeful activity, not a frame or connector line, hold the panorama together.
In the western left third, a low He Lou Xuan garden roof leads upward into Tianshan's open market street and the taller Daning/Difute tea-shop fabric behind. A merchant carrying a tray, repeated cylindrical canisters, shelves, doorways and a plane-tree branch lead between them. Jing'an's two-person tea table tucks into a street-corner courtyard. These named nodes need distinct actions, not eight separate picture compartments. Songjiang remains a low western counterpoint; markets concentrate west/north of the old riverfront. This is editorial relative geography, not a street plan.
Beyond the central bridge, the Bund clock tower and dome form a strong vertical counterweight. Quay steps descend to a cargo exchange: one worker passes a tea chest to another, a scale and chest stack point toward the elegant clipper. Masts and rigging rise through a gap in the distant roof rhythm. Across the transparent river bend on the right are four different slender skyline tops: Oriental Pearl spheres, Jin Mao steps, World Financial Center's trapezoid opening, Shanghai Tower's twisting taper. The modern tea salon occupies the right foreground, its diagonal tabletop answering the historical dock and returning attention to tea.
Build three depths: close tea objects/hands, middle pavilion/market/quays, far towers. Use sculptural bounded colour areas plus selective fine roof tiles, lattice, dry leaves and cargo planks. Keep shared irregular city contours; water is a carved opening with a few strokes, never a filled ribbon. Reserve only a river-bend pause and a lower-centre pocket for strong condensed SHANGHAI, nested under the bridge/quay rhythm. Complete title letters engage nearby foreground edges instead of sitting below a separate city strip. A tiny reed tuft and three birds near the distant right edge can acknowledge Chongming; they remain subordinate to the tea metropolis.

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.