Guangxi — Ten things of Guangxi

Factual basis and choice of subjects

Open line and large tea forms: basket, jasmine, whole leaf.

Title and drawing language

The assignment provides only one word — GUANGXI, in large Latin serif letters. Small toponyms, Chinese text, numbers and third-party logos are excluded. This is a description of the assignment; actual readability 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. A large Liubao bamboo storage basket anchors the lower middle. One clearly drawn hand lifts its round lid, revealing curled dark tea leaves. Show a complete rim, simple woven bands and a firm base. The basket is drawn, not shaded: no chalky patch or blurred tan wash.

2. At left, a Hengzhou tea worker gently mixes recognisable small jasmine flowers with real tea leaves on a wide round bamboo tray. Distinguish flowers from leaves, and draw the hands, sleeves, face and tray edge cleanly. This is scenting tea, not a bowl of decorative blossoms alone.

3. A broad-leaved Lingyun tea shoot rises beside the worker as a strong near-view accent. Give each leaf a clear midrib, a few teeth and sparse edge marks; no fuzzy botanical texture.

4. A Sanjiang picker with a carrying basket reaches into two curved rows of tea bushes. Use large leaf clusters and an intelligible plucking hand. Keep the entire figure inside the scene.

5. A northern Guangxi covered timber bridge and one neighbouring tiered wooden tower form a single architectural group. Clear posts, railings and roof edges; leave the openings transparent.

6. Three rounded karst peaks rise above a small bamboo raft with a standing boatman. Use a few curved rock contours and three calm water lines. The river and mountain interiors remain largely open.

7. A Wuzhou river junk with two ochre sails carries a few visible tea baskets. Keep the hull, rigging and cargo simple, complete and cleanly separated.

8. A small coastal lighthouse and one leaning palm provide the final compact accent at the opposite end. The lighthouse is a regional travel motif; do not add an invented name or inscription.

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

The new version corrected the previous dirty fills: complete GUANGXI, clean outlines of the Liubao basket, jasmine scenting, picking and local motifs. Even flat colors, clear hands and architecture, no major defects.

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

#423D65

#A17A28

#538A72

Original generation prompt

Text matches the public TXT. The list of inscriptions and details describes the author's brief; this is not OCR and not a promise of reproducibility without the references used.

SHA-256: b9166e34bd8c3a1683b4ca5c15a2363ca7d4e640f837a9e03f2d44278e459626

RENDERING REQUIREMENTS: Produce a new, completely crisp region-specific illustration. Borrow ONLY drawing style from the references; do not copy their region, title or place names. Use the exact region and English lettering in the brief. No blurred patches, mist, smoky shading, translucent brush smears or soft-focus architectural details. No clipping of objects or letters: keep an 80-pixel clear safety margin around the complete composition. True PNG RGBA transparency between the drawn shapes; no opaque white or coloured backing. Sharp ink edges, legible deliberate lettering.

Draw a collectible GUANGXI tourist-cup transfer with confident medium pen contours and restrained flat colour, following the reference's souvenir language. Eight substantial episodes reveal tea baskets, jasmine, broad leaves, wooden bridges, karst and river craft.

Deliver one 3840 x 1280 PNG with true RGBA transparency. Keep all marks inside x60..3780 and y110..1170 for a 250 x 75 mm wrap. No mockup, border, paper or backdrop. Unpainted spaces stay transparent, never white. Use indigo #423D65 contours, ochre #A17A28 and jade #538A72 selective solid fills. No gradients or extra colours.

The only text is GUANGXI, once, large upright serif capitals across the upper middle. Keep the whole word complete and unobstructed. No location labels, Chinese, numbers, logos, signatures or decorative pseudo-writing.

Arrange these eight clearly differentiated episodes in a varied, unboxed rhythm:
1. A large Liubao bamboo storage basket anchors the lower middle. One clearly drawn hand lifts its round lid, revealing curled dark tea leaves. Show a complete rim, simple woven bands and a firm base. The basket is drawn, not shaded: no chalky patch or blurred tan wash.
2. At left, a Hengzhou tea worker gently mixes recognisable small jasmine flowers with real tea leaves on a wide round bamboo tray. Distinguish flowers from leaves, and draw the hands, sleeves, face and tray edge cleanly. This is scenting tea, not a bowl of decorative blossoms alone.
3. A broad-leaved Lingyun tea shoot rises beside the worker as a strong near-view accent. Give each leaf a clear midrib, a few teeth and sparse edge marks; no fuzzy botanical texture.
4. A Sanjiang picker with a carrying basket reaches into two curved rows of tea bushes. Use large leaf clusters and an intelligible plucking hand. Keep the entire figure inside the scene.
5. A northern Guangxi covered timber bridge and one neighbouring tiered wooden tower form a single architectural group. Clear posts, railings and roof edges; leave the openings transparent.
6. Three rounded karst peaks rise above a small bamboo raft with a standing boatman. Use a few curved rock contours and three calm water lines. The river and mountain interiors remain largely open.
7. A Wuzhou river junk with two ochre sails carries a few visible tea baskets. Keep the hull, rigging and cargo simple, complete and cleanly separated.
8. A small coastal lighthouse and one leaning palm provide the final compact accent at the opposite end. The lighthouse is a regional travel motif; do not add an invented name or inscription.

Contrast the big basket, broad tray and tall shoot. Weave architecture and boats between them at varied heights. Allow natural overlaps but keep breathing spaces and complete silhouettes. No equal rows, same-size stickers or filler objects.

Use steady medium strokes, flat hard-edged patches and few interior lines. No dense hatching, watercolour, grain, shadows, mist, blur, smudges, ghost lines, feathering or low-opacity paint. Keep faces and fingers simple but intentional. All letters and objects stay inside the safe area.