# Heilongjiang — Based on real mugs

Heilongjiang · HL_C7

Nine large outline episodes, including real tea trade and a separate berry drink.

## Published file

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

Checked for publication · Drawing review and technical check of the current file

[PNG](/assets/artwork/HL_C7.png) · [exact TXT](/assets/prompts/HL_C7.txt) · [dossier in browser](/en/docs/designs/HL_C7.html) · [collection context](/en/docs/projects/C7.html).

[C7: drawing method and style references](/en/docs/C7_METHOD_RU.md).

[Regional research and sources](/en/docs/research/heilongjiang.md).

## Factual basis and choice of subjects

Nine large outline episodes, including real tea trade and a separate berry drink.

## Title and drawing language

The assignment provides only one word — HEILONGJIANG, in large serif Latin letters. Small toponyms, Chinese text, numbers, and third-party logos are excluded. This is a description of the assignment; actual legibility is assessed separately.

## Drawing method and style references

Photographs of real tourist mugs with city scenes of Guangzhou, Macau, Hong Kong and Zhuhai were studied. From them, observed drawing features were taken: medium lively hand outline, simple recognizable silhouettes, selective flat color accents and a large title in the upper band. The specific set of viewed angles varied by region.

Local scenes vary in scale, shape, and height. Their juxtaposition creates an overall rhythm; a continuous panorama, a shared horizon, a grid of identical modules, and a fixed percentage of empty space are not imposed. Transparency is preserved between and within outlines.

The ceramic surface, highlights, hands, and the object background of the photographs are not part of the new drawing. Reference images and personal source photos are not published here. The three colors of each region are the author's palette, not a measured paint standard of the photographed cup.

## Review basis

HEILONGJIANG is intact and the only inscription; a clear medium open outline, a large samovar and tea work are separated from the berry drink. Northern architecture, crane, tiger, and train are legible; C7 is simplified relative to C1–C6, without haze and obvious cropping.

PNG RGBA 3840 × 1152 px; real alpha channel; proportional export 250 × 75 mm.

Approved after review for the open gallery; does not imply the user's endorsement of industrial production.

## Creative brief palette

#23465F

#BC4551

#6D99AF

## Original generation prompt

The text below matches the published TXT. Inscriptions, details, and palette in the assignment are the author's intent; this is not OCR of the final image. Reference images used are not included in the TXT.

SHA-256 TXT: `880abd493b499590b975e02ca9ecd36fa19b1b8aebecd36741102f8a6221293f`.

```text
Create an original flat souvenir-cup decal, not a mug mockup or a photographed product. Follow the approved real-cup outline style with simple shapes and restrained accents. Do not reproduce the source map's parchment, dense relief shading or filled scenery. Native canvas 3840 x 1280 pixels, actual RGBA PNG, with every mark safely inside x60..3780/y110..1170; final centered export is 3840 x 1152 for 250 x 75 mm. Keep all canvas margins alpha zero. No visible frame or printed technical information.

Use confident, slightly human 5–7 px outlines, readable at 75 mm print height. Most object bodies are open alpha-zero interiors: the ceramic itself becomes the unprinted colour. Only small, sharply bounded flat accent patches; no white or cream backing, no sky/ground slab, no brown wash, watercolor, airbrush, photographic texture, dense engraving or crosshatching. Use 3–5 short interior marks for an ordinary vessel or object, a few essential openings for a building. Tea steam is at most one or two open curls. No global ground line connecting every scene.

Arrange 8–10 substantial, unequal episodes in a lively irregular field. Put the largest episode off-center, let a tall narrow object answer it, and fit a few smaller ones into purposeful gaps. Different heights and natural overlaps are welcome, but every episode needs a legible silhouette and a clean breathing channel. No fixed whitespace percentage, no equal two-row sticker grid, no miniatures scattered under an enormous empty heading. Preserve real regional identity through observed objects and explicit tea actions. Never invent tea farms or label herbs as tea leaves. Architecture is a geographic motif; contemporary tea pauses are authored scenes, not historical evidence.


C7: REAL SOUVENIR-CUP PEN DRAWING. Match the approved Xinjiang and Shanghai cup illustrations through warm, assured medium outlines and selective small flat accents. At native size use approximately 5–7 px main strokes and only 3–5 interior strokes per simple object. Larger buildings may have a few more essential windows, never dense hatching. Most enclosed bodies remain transparent. Draw 8–10 unequal, generous subject groups at different heights, with irregular open channels between them. This is neither an evenly spaced icon grid nor a tightly packed panoramic painting. No watercolor, sepia haze, opaque cream objects, stippled shading or engraving.

REGION: Heilongjiang. Palette: #23465F, #BC4551, #6D99AF. First colour is the main outline; remaining two are small flat accents. No additional inks.

Draw NINE substantial unequal episodes: (1) a large samovar with a small teapot on top and two open-outline glasses, its tap easy to see; (2) a present-day Harbin tea seller using a scoop at a simple counter with two tea tins and a tasting cup; (3) one St Sophia dome and a short arched streetfront, deliberately less detailed than a architectural engraving; (4) one small locomotive and two unlabelled transport parcels, without route arrows; (5) a Mohe timber cabin with a traveller pouring a thermos and one larch; (6) a Zhalong crane with a little reed cluster, anatomically slim and elegant; (7) a single Amur tiger beside two sparse trees, its stripe count reduced and confident; (8) two volcanic rims and a short Jingpo waterfall as one compact landscape group, transparent water; (9) a separate forest-berry glass, a berry twig and two simple ice-tower shapes, making a winter still life. No fur, hunting weapon, medical recipe or tea plantation. The samovar and cabin group are the biggest anchors, the crane is the tall counterweight; do not put the nine scenes into nine matching boxes. Use dark ice-blue outlines, tiny rowan-red berry and roof accents, and small lighter-blue glass/ridge accents. Aurora, if present, is just two open ribbons above the cabin, never a painted sky.

PRINTED TEXT: exactly "HEILONGJIANG" once, near the upper composition, in warm hand-drawn block-serif capitals. This is the only visible text: no place names, subheadings, numbers, Chinese, labels, logos or signatures. Keep the word readable and scaled to the drawing, not an oversized empty banner. Preserve the anatomy and silhouette of local animals and vessels; do not repeat or multiply episodes to fill gaps. Deliver the drawing itself on genuine transparency.
```