# Shanghai — городской парад вокруг чайной жизни

Shanghai · SH_C5_R2

Крупный округлый контур, трамвай и мосты ведут через единый городской рисунок; чайные рынки и павильон становятся частью живой улицы.

## Опубликованный файл

250 × 75 мм · 3840 × 1152 px · RGBA · 390.144 / 390.144 ppi.

Проверено для публикации · Командная художественная приёмка актуального R2-пилота

[PNG](../../assets/artwork/SH_C5_R2.png) · [точный TXT](../../assets/prompts/SH_C5_R2.txt) · [досье в браузере](SH_C5_R2.html) · [контекст коллекции](../projects/C5.html).

## Основание проверки

Явный release-allowlist ровно 18 актуальных R2; совпадающий artwork_path обязателен.

Актуальный верхний раздел фиксирует все 18 для показа; адресные исправления TW_C1 завершены. История прежних дефектов ниже не является статусом текущей версии.

История независимой критики, отказа от разрозненных сцен, контрольных дизайнов и адресных правок.

Допущен только актуальный R2 artwork, прошедший командную художественную проверку; статус пилота сохраняется, не означает пользовательского утверждения тиража.

## Палитра авторского задания

#203B73

#E06D58

#489A9A

## Точное текстовое задание

Текст ниже совпадает с опубликованным TXT. Надписи, детали и палитра в задании — авторский замысел; это не OCR конечного изображения. Использованные изображения-референсы не включены в TXT.

SHA-256 TXT: `2a97809caa16b26ea273a26f623a8ed5cdcde6054357e3e9b02abcf79eee57bf`.

```text


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 BOLD REGIONAL PARADE. Follow GD02's strong friendly outline language and double-contour regional lettering. Compose a lively continuous procession of local landmarks, people, vessels, landscape and tea episodes, varying heights and overlaps. Use larger confident positive and negative shapes, rounded pen turns and spare flat patches in three inks. The hero title and scenes feel cut from the same drawing. A caravan, tram, ridge or procession of rooflines provides rhythmic continuity appropriate to the region. No even icon row, no floating clip-art set, no uniform monumental silhouettes.

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.

C5 COMPOSITION — A BOLD FRIENDLY SHANGHAI PROCESSION. Build a confident three-ink panorama from large rounded contours, not a page of little symbols. A historic tram crossing the middle foreground and a substantial low river bridge provide the long human-scale rhythm. The tram's windows, passengers and wheels are clean simple shapes, not small printed advertising; a tea merchant carrying a tray appears near a street doorway, so tea lives within the urban procession. The line of roofs behind climbs toward Huxinting and then bursts upward into the contrasting shapes of the Bund and Pudong.
The left anchor is a wide stone water-town arch and willow leaning inward, with riverside houses sharing an irregular ground contour and one wooden boat below. Fold the smaller Qibao and wooded Sheshan details into the receding left landscape. At the centre-left, make Huxinting a warm inhabited tea palace with big clear roof corners, a zigzag bridge and an expressive open gaiwan placed at a near tea table. Adjacent canister shops and a pouring figure form a short connected tea-market street, rather than a freestanding teapot icon. The Jing'an roof and Longhua Pagoda become subordinate tall/low beats inside the city; a Shikumen gate offers a recognisable doorway into everyday life.
The right anchor is the four-form Pudong group across a transparent river opening. Nearer to the viewer, a Bund worker hands over a tea chest by a moored historical ship; crate corners and boat trim repeat coral accents. A farther container ship and two Yangshan cranes emerge beyond a short Donghai Bridge segment as smaller modern echoes. Chongming's three flying birds arc over that end, with reeds and small island strokes below. Northern Jiading/Baoshan/Wusong details sit much smaller in the built horizon, not on a row of their own.
Use the exact SHANGHAI name in large rounded double-outline capitals integrated through the upper-central roof rhythm. Keep title letters clear despite selective overlaps. Make colour work at a useful scale: coral roof planes and cargo, teal foliage and bounded water accents, cobalt contours and letters. Windows, arch openings, letter interiors and most water remain transparent. Alternate broad shapes and thin detail, tall buildings and long vessels, close human action and far silhouette. Avoid elaborate engraving, identical object sizes, detached monument stamps and a blank band dividing an upper row from a lower one. The final work feels cheerful, substantial and locally specific, with real visual momentum.

LOCAL CONTENT TO INTEGRATE INTO ONE SHANGHAI WORLD:
The western water-town approach combines Zhujiajiao's substantial stone arch, riverside houses, willow and wooden boat with a much smaller Qibao roof/bridge passage in deeper perspective. Sheshan is a low wooded hill with basilica, not tea terraces. Dianshan Lake is suggested by small water strokes, not a filled blue shape.
Old-town Huxinting is the recognisable two-storey waterside tea pavilion with upturned corners, zigzag bridge, lotus and tea drinkers. A close gaiwan with tilted lid, cups and a brewing hand anchors tea culture within actual city life. An adjacent roof/lantern passage hints at the Old City bazaar without becoming food advertising.
The modern metropolis includes the Bund clock tower and domed riverfront architecture, across the Huangpu from the four distinct Pudong tops: Oriental Pearl spheres, Jin Mao's steps, World Financial Center's trapezoid opening and Shanghai Tower's twist. A Shikumen stone gate, narrow residential facades, washing line and historic Shanghai tram add ordinary life at a smaller scale. Jing'an's roof profile and Longhua's tall tiered pagoda are distinct, not repeated generic towers.
Tea markets deserve real activity: canister-lined counter, open tray of twisted dry leaves, tea scoop and person serving tea; this is a composite of Tianshan/Daning specialist trade. A separate historical dock process shows a worker carrying tea chests past a balance scale toward a steam vessel or clipper, not a claim of local cultivation. One crate may say TEA.
The outer river story includes Chongming's Dongtan reeds and exactly three flying waterbirds, tiny coastline gestures for Changxing/Hengsha, and a Wusong port marker. A small Jiading pagoda and Baoshan industrial roof/chimney can sit in the remote northern built horizon. Toward the eastern finish, Donghai Bridge, Yangshan cranes and a container ship show the present port. Distinguish that modern vessel from the historical tea vessel; do not assert its present cargo.
Do not give every listed place an equal-sized picture. Bigger lived scenes contain smaller discoveries. Selective overlap, shared water/roof lines and distance integrate the inventory; no administrative shape or uniform caption row.

TYPE: main name SHANGHAI exactly once. Correct short names to place within suitable gaps near the relevant story: HUXINTING; THE BUND; PUDONG; ZHUJIAJIAO; QIBAO; SHIKUMEN; JING'AN; LONGHUA; SHESHAN; CHONGMING; WUSONG; YANGSHAN; TEA MARKETS. Small satellite objects need no separate label. English capitals in dark cobalt, about30–40px, not italic or fake microtext. A title integrated into roofs, river rhythm or foreground architecture, never an isolated header. Only TEA on one chest may be additional writing; no dates, Chinese, invented slogans or logos.

PALETTE: exactly 3 deliberate opaque inks: #203B73, #E06D58, #489A9A. Dark cobalt is the structural contour and all small type; coral is the principal warm accent. The third ink is teal; all line details and local surfaces stay in this trio. 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.
```