# Shanghai — big-city tea life

Shanghai · SH_C7

City of tea houses, markets and export port: characteristic Shanghai silhouettes in blue-orange hand drawing.

## Published file

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

Approved for publication · C7: fresh review of the drawing and technical check

[PNG](/assets/artwork/SH_C7.png) · [exact TXT](/assets/prompts/SH_C7.txt) · [browser dossier](/en/docs/designs/SH_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/shanghai.md).

## Factual basis and choice of subjects

Shanghai is a city of tea trade and conversation. Five tea groups of the new assignment are dedicated to Huxinting, the tea market, the export pier, a shikumen salon, and an object-focused tasting. Five more show the city and nature. Tea plantations are not added.

The market scene draws on Tianshan and Daning, but does not claim an exact facade. The tea meeting in the shikumen is generalized urban life. The historical pier and steamship are taken from the map; no specific vessel or voyage is asserted.

Pudong, Zhujiajiao, the tram with the Jing'an motif, Donghai/Yangshan, and the reeds with birds Chongming/Dongtan create a contrast of scale and subjects. He Lou Xuan and Longhua are excluded from the abridged version. The terraced strips of Sheshan are not interpreted as tea plantings.

## Title and drawing language

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

## Narrative inventory of the original concept

Below are the planned groups from the English author's prompt, quoted verbatim. This is a transparent explanation of the choice of subjects, not a promise that the generator reproduced every detail.

1. Huxinting teahouse: recognizable Chinese pavilion with TWO stacked upturned tiled roofs, open ground-floor tea table and two simple people sharing small cups; short zigzag bridge beside it. A welcoming clear silhouette, no immense temple or medieval castle.

2. An enlarged tea-tasting still life: lidded gaiwan, fairness pitcher, two tiny cups and bamboo scoop of long twisted loose leaves. Clear broad vessel curves. Tiny orange infusion accents; open transparent vessel bodies.

3. A tea-market stall: a plain counter with four unlabelled storage tins, scoop, open tray of leaves, and a vendor handing a little tasting cup to a customer. Hands and cup visible, no elaborate room.

4. A shikumen lane tea scene: stone-framed residential doorway with a small round table and two seated neighbours, one pouring tea. A few simple walls and roof edges, not a palace.

5. Historical tea-export dock: two open wooden chests holding dry leaves, one worker and a small ONE-funnel cargo steamer. A short Bund clock-tower facade behind them. No lettering on boxes or ship. This is Shanghai's trade heritage, not a tea plantation.

6. Distinctive modern Pudong landmark cluster, the tallest group but still fully inside the canvas: Oriental Pearl's large round sphere and smaller upper sphere on a narrow structure; stepped Jin Mao; Shanghai World Financial Center with its recognizable rectangular opening at the top; curved tapering Shanghai Tower. Four different, simple recognizable outlines, sparse windows, no fantasy towers and no giant panorama spanning the strip.

7. Zhujiajiao: one arched stone bridge, small skiff, two tiled roofs, two short willow branches and only two water lines. Bridge openings and surrounding water transparent.

8. Historical Shanghai SINGLE-deck tram, short and rounded, a few windows and two visible wheels, with a small offset Jing'an temple roof behind it. Blank tram signage, no Hong Kong double-decker.

9. Modern harbour: short curved Donghai Bridge segment with piers, one container crane and ship bow. No bridge stretched into a full-width border. All shapes comfortably contained.

10. Chongming wetland: two long-legged waterbirds and a loose cluster of reeds in the same blue/orange palette, three short bank strokes. No filled island or water background.

## 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

Fresh review of root and independent critique of Taiwan second version: complete SHANGHAI, four recognizable Pudong towers, tea ware and urban tea scenes; previous cropping and painterly haze eliminated.

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

Checked for display as an additional C7 pilot; does not imply a user claim of print run. The outline is somewhat smoother than a real hand pen; a separate historical tea pier is not recognized, and execution of the 10/10 scenes is not claimed.

## Creative brief palette

#214D69

#96C6D0

#DD9151

## 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: `e89ad1652c6b1853c7e15576ffd16758ef15b71599e19035ad518129a8b3ba8e`.

```text
Draw a NEW SHANGHAI tea-and-travel illustration, matching the supplied real tourist-cup photos very closely in graphic style. Deliver ONLY flat print artwork on genuine transparent RGBA. Never depict a mug, photograph, ceramic, perspective cylinder, hands holding a product or a mockup. Learn the simple, friendly hand-drawn medium outline and sparse flat colour of the cup illustrations. Do not imitate any photographed logo, copy any monument from another city, or reproduce the curved crop of a cup photograph.

COMPLETE UNCROPPED STRIP. Native image 3840 x 1280 pixels. Fit the ENTIRE composition within x=60..3780 and y=110..1170. All marks including text, roof peaks, leaves, ship, vessel bases and tower antennas must be inside that rectangle with transparent margins on every side. Design the overall artwork as one long, low strip for a 250 x 75 mm print. Nothing may touch the canvas boundary. This is a complete finished panorama of separate little objects, never a zoomed-in fragment. No border or measurement marks.

Only visible text: SHANGHAI, spelled correctly once. Large charming uppercase souvenir serif letters in dark petrol blue, upper middle-left, occupying about one quarter of the width. Leave space above every letter. No captions, numbers, Chinese, shop signs or any other text. Letters are readable simple letters, not buildings.

Use just THREE inks: dark petrol blue #214D69 for the main drawing; soft sky blue #96C6D0 and muted orange #DD9151 for occasional flat interior patches. No black, green, white, beige, grey or additional colours. Most object interiors stay unpainted and genuinely transparent. Pen contours approximately 5 to 7 pixels thick at native size, a little uneven as drawn by a person. Simple windows, a few leaf veins, only a few hatching strokes. Crisp flat ink rather than scratchy dry brush, pencil grain, detailed engraving, watercolor, photorealism, isometric 3D or generic vector icons. Match the actual souvenir-cup drawing's immediate clear silhouettes.

Arrange TEN unequal groups in a lively interlocking rhythm, staggered heights, some larger and some smaller, like the original cups. Open irregular channels separate the groups; not a uniform icon grid and not a continuous coloured landscape. Tea activity occupies five substantial groups:
1. Huxinting teahouse: recognizable Chinese pavilion with TWO stacked upturned tiled roofs, open ground-floor tea table and two simple people sharing small cups; short zigzag bridge beside it. A welcoming clear silhouette, no immense temple or medieval castle.
2. An enlarged tea-tasting still life: lidded gaiwan, fairness pitcher, two tiny cups and bamboo scoop of long twisted loose leaves. Clear broad vessel curves. Tiny orange infusion accents; open transparent vessel bodies.
3. A tea-market stall: a plain counter with four unlabelled storage tins, scoop, open tray of leaves, and a vendor handing a little tasting cup to a customer. Hands and cup visible, no elaborate room.
4. A shikumen lane tea scene: stone-framed residential doorway with a small round table and two seated neighbours, one pouring tea. A few simple walls and roof edges, not a palace.
5. Historical tea-export dock: two open wooden chests holding dry leaves, one worker and a small ONE-funnel cargo steamer. A short Bund clock-tower facade behind them. No lettering on boxes or ship. This is Shanghai's trade heritage, not a tea plantation.
Balance them with FIVE compact city and nature groups:
6. Distinctive modern Pudong landmark cluster, the tallest group but still fully inside the canvas: Oriental Pearl's large round sphere and smaller upper sphere on a narrow structure; stepped Jin Mao; Shanghai World Financial Center with its recognizable rectangular opening at the top; curved tapering Shanghai Tower. Four different, simple recognizable outlines, sparse windows, no fantasy towers and no giant panorama spanning the strip.
7. Zhujiajiao: one arched stone bridge, small skiff, two tiled roofs, two short willow branches and only two water lines. Bridge openings and surrounding water transparent.
8. Historical Shanghai SINGLE-deck tram, short and rounded, a few windows and two visible wheels, with a small offset Jing'an temple roof behind it. Blank tram signage, no Hong Kong double-decker.
9. Modern harbour: short curved Donghai Bridge segment with piers, one container crane and ship bow. No bridge stretched into a full-width border. All shapes comfortably contained.
10. Chongming wetland: two long-legged waterbirds and a loose cluster of reeds in the same blue/orange palette, three short bank strokes. No filled island or water background.

Make the headline, round gaiwan, pavilion and Pudong silhouettes the anchors; fit smaller scenes between their irregular edges. Vary scale generously. The title and vessels must be easily seen at printed 250 mm width. Do not crowd architecture with hundreds of windows, do not invent western towers, no huge botanical leaf, no repeated anonymous cups or filler clouds. Tea grows elsewhere and is traded/enjoyed here: no tea plantation in Shanghai. Only the specified local urban and wetland subjects.

Crucial transparency: every area without an actual coloured pen mark or deliberately small accent fill is alpha zero. No white rectangle, white stickers behind objects, paper, cream wash, background painting, checkerboard simulation, glow or drop shadow. No opaque interior fill by default. The white visible in reference photographs is ceramic and MUST become transparency in this new flat file. Produce one clear, complete, uncropped, inviting drawing in the real cups' visual language.
```