Тайвань — движение через чайные горы к морю

STEP 1 — original generation

Create a collector-quality TAIWAN ceramic decal using the ONE attached Guangdong illustration as the exact DRAWING-STYLE reference. Replace its subjects and names with Taiwan. Prioritise the specified graphic language, ink palette, clear captions and real tea processes. Not oil paint, watercolor, photograph or 3D landscape.

Native PNG RGBA 3840x1280, quality max; complete marks inside x60..3780/y95..1185, almost full width, undistorted. Final export 3840x1152/250x75mm. Genuine alpha-zero exterior and natural interior openings. No paper/sky/sea rectangle, opaque white backing, fog, halo, checkerboard or mockup.

Compose one rich interconnected graphic world with a dominant event, unequal counterweights and smaller discoveries. Use meaningful ridge/roof/work-surface/branch contours, varied scale and selected overlaps. No equal icon grid, two uniform rows, independent stickers or painted scenic backdrop. Preserve two or three calm interior apertures. Required captions sit beside their subjects in dark upright English capitals, in planned contour breaks, never white boxes. TAIWAN exactly once, fully legible and integrated. No Chinese, fake writing, slogans, dates or logos. No Guangdong subjects. Different teas retain distinct leaf forms; Ruby18 belongs to Yuchi, honey scent is not added honey, bare summits are not tea farms.

STYLE C6 / GD03: DECISIVE ANGULAR PEN AND A SWEEPING JOURNEY. Follow the attached reference's confident corners, broad diagonal marks and slanted lettering. This is mature crisp DRAWING, neither watercolor landscape nor smudged sketch. EXACTLY THREE INKS: deep PLUM #4F325E for forceful contours, all captions and key dark masses; mountain JADE #2B8775 for cool structure and foliage; muted tea-bud yellow-green #A7AF62 for selected basket lips, sail planes, clothing and title insets. These are flat graphic shapes, with directional marks on chosen material only. No black, copper, blue sky, photographic green or gradients. Do not blur small lines into painted grey texture.

A shallow sweeping S-shaped gesture leads through the entire artwork. The first close event is a Pinglin worker spreading LONG Baozhong across a wide bamboo tray. Forearm, tray edge and nearby tea-row diagonal lead upward toward Taipei's sharp tower and the northern roofs. A Hsinchu leafhopper shoot repeats that diagonal. One mountain spine rises sharply behind them toward Lishan, changes direction at the central Dong Ding basket and transparent Sun Moon Lake opening, then swings into Alishan's small moving train and finally the strong slant of a southern batten sail. Real objects create the movement; never add a dotted travel line to join unrelated stickers.

Use three clear scales: large foreground tea gesture, medium architecture/rail/sail, small remote peak/islets. Draw roofs, rock cuts and basket rims with confident angular simplification. Planted land remains visibly graphic rather than a green painted carpet. Some paths disappear behind a larger form; overlap is purposeful and does not turn the drawing into a solid rectangle. The lake supplies one quiet turn in the movement. A second small aperture accompanies the title. Tiny leaf or water tips may sit outside the shared silhouette, but the large stories are woven together.

TAIWAN is substantial slightly SLANTED BLOCK lettering at the upper-left-to-middle bend, six correct readable letters. A few diagonal inset marks reinforce its drawn energy. No scenic pictures filling the letters and no detached headline band. The northern cultivated slope and nearest ridge approach its edges without obscuring any character. All smaller captions remain UPRIGHT, so dynamic title treatment does not damage place-name readability. Limit printed macro groups to eight exactly as listed after the regional inventory; show the other places through imagery.

REGIONAL EPISODES TO WEAVE INTO THE DRAWING. These twelve narrative moments may overlap and share contours; they are not twelve boxes. Tea is carried by people, crop forms and tools throughout the travel illustration.
1. A close PINGLIN northern harvest: two different gestures, a broad tray of long Baozhong and a carrying basket among curved tea rows.
2. TAIPEI: correctly segmented Taipei101 with one spire, lower city roofs and a street-level tea table.
3. MAOKONG: tea-house eave, charcoal-roasting basket for Tieguanyin, tiny cable-car cabin supported by a real short cable.
4. HSINCHU: Hakka courtyard roof, tea shoot with one small leafhopper, tray of long white-tipped Oriental Beauty.
5. LISHAN: sharper ridge, cultivated lower slopes, bare high summit and tightly rolled oolong on a small tasting shelf.
6. DONG DING: hands at a round bamboo roasting basket, low stand and plain workshop roof. Leaves are rolled, not long Baozhong.
7. SUN MOON LAKE: a tiered shore pagoda, two broken shore contours with transparent water between; cup and long Yuchi black-tea leaves nearby.
8. ALISHAN: tea picker, curved tea rows and cypresses; a miniature locomotive follows a short forest-edge track, not through cultivated bushes.
9. Yushan: a clear uncultivated bare summit forming part of the far mountain spine. No altitude claim or tea on its top.
10. Eastern valley/coast: distant Hualien cliff contour and inland Ruisui long black-tea leaves, plus lower Luye Red Oolong craft. Do not grow inland tea on the ocean cliff or merge different tea forms.
11. Southern harbour: modest Tainan/Kaohsiung roofline, plain cargo chest, working person and believable batten-sail junk. No invented named monument or brand logo.
12. Penghu: a few angular low islets and a tiny second sail within broken sea strokes. No solid blue ocean fill.

A small Keelung harbour cue, Taichung tea-merchant table and broad Nantou landform may enrich shared architecture; do not increase caption count for each discovery. This is an unfolded north-to-south travel illustration, not a surveyed island map. Multiple periods and scales may meet through a visual rhyme, never a claim they stand on one actual street.

EIGHT PRINTED CAPTION GROUPS ONLY: PINGLIN; TAIPEI / MAOKONG; HSINCHU / MIAOLI; LISHAN; DONG DING; SUN MOON LAKE; ALISHAN; EAST COAST. Dark plum upright capitals, approximately 40–46 pixels high, generous clean letter forms. Yushan, Ruisui/Luye, the southern harbour and Penghu remain present as drawn episodes but need no additional tiny captions. EAST COAST covers two adjacent working moments: long Ruisui black tea and rolled Luye Red Oolong, not one identical product. No nonsense microtype or fake Chinese writing.

The final composition must hold GD03's bold route energy and confident angular line. A near maker, far ridge, turning train and full sail are strong different shapes; the eye can travel through their relationships. Resist filling behind them with scenic paint. Only three crisp inks and actual alpha create this expressive regional journey. Enough strong local colour mass to feel vivid; enough intentional open material and water apertures to remain a printable transparent decal.

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STEP 2 — targeted edit of preceding image

Redraw the attached TAIWAN regional journey into an exceptionally CRISP BOLD GRAPHIC PEN illustration. The supplied picture has unacceptable blur, watery edges and isolated patches. Preserve its subject idea and large slanted TAIWAN, but rebuild the actual drawing with clean sharp contour lines, flat colour areas and energetic angular hatching. No fuzzy texture, painting, mist, smudged letters, photographic shading or soft focus at any scale.
Only THREE opaque inks: deep plum #4F325E, jade #2B8775 and tea-bud yellow-green #A7AF62. Plum carries bold outlines and every caption; jade and yellow-green are confident enclosed accents. Do not add black or white ink. Transparent spaces remain actual alpha-zero.
Compose ONE sweeping tea-island journey, not a sheet of vignettes. A large northern tea maker and wide bamboo tray begin the lower-left foreground. Their tea rows rise behind them into a continuous angular mountain backbone that crosses the full picture, with Taipei101 and a Maokong roof/cable-car glimpse nested in the northern foothills. A Hsinchu courtyard and enlarged shoot with one tiny leafhopper meet the lower mountain edge; no floating tray in a blank gap. Lishan and other highland tea plots occupy slopes below the bare peaks. A clear, fully visible tea maker roasting Dong Ding oolong in a round basket anchors the middle foreground, with a small workshop behind the shoulders. Sun Moon Lake is a transparent crescent opening with a few sharp water strokes and a small shore pagoda. Connect it into Alishan cypress forest, actual cultivated slopes and a small forest train. On the right, a lower EAST COAST tea valley folds down into crisp coastal water strokes and one sailing junk. Yushan remains a distant bare ridge without tea gardens on its summit. Two or three organic open river/courtyard pockets give air; no blank moats separating every topic.
Main TAIWAN: very large confident slanted plum display capitals at upper-left through centre, angled about8degrees, readable and wholly within canvas. The title's lower edge engages roof and ridge lines; it must not occupy a separate white headline zone. Eight exact secondary labels only, dark upright plum capitals around46px cap height: PINGLIN at the left tea-maker; TAIPEI at101; HSINCHU at courtyard/leafhopper; LISHAN at highland ridge; DONG DING at central roasting; SUN MOON LAKE by lake; ALISHAN by cypress/train; EAST COAST at the right valley. No other labels, no blurry MAOKONG fragment, no microtext.
Give near maker/basket bold substantial scale, roofs and train medium scale, peaks and boats a lighter far rhythm. Dynamic angular pen marks and selective overlaps make everything one vigorous illustration. Whole art inside x60..3780/y95..1185 on a native3840x1280 PNG RGBA canvas; genuine transparent exterior and interior openings. Do not print a white panel, checkerboard, painted sea/sky rectangle, halo or clouded backing. International museum-shop quality graphic print, not a faded souvenir watercolor.