Sichuan — Caravan leaves the tea courtyard

PRODUCTION CALIBRATION: use the supplied crisp print illustration as the leading standard for edge clarity, and use any cup photo only for its hand-drawn spirit. Create original local subjects; never reproduce the reference title or region. All strokes and letters must be sharp, complete, readable and deliberately drawn. No painterly blur, soft dirty halos, translucent smearing, duplicated words or pseudo-writing. Every complete object and letter stays 120 pixels inside each native edge. All unpainted exterior and interior openings must be genuine transparent alpha, not an opaque white canvas. Replace any weak fine detail with fewer clear graphic marks.

Create an original collectible regional ceramic PRINTING DECAL, not a mug or mockup. The supplied image is a drawing/style benchmark only: replace every reference-region subject and word with the researched region described below. Make a confident, rewarding composition whose tea craft, architecture and landscape belong together.
OUTPUT: PNG RGBA, native 3840 x 1280 px. Keep every mark inside x=60..3780 and y=110..1170; use nearly the whole long strip. The final export is 3840 x 1152 px for 250 x 75 mm. Do not shrink the entire design to a central 16:9 picture. Preserve normal object proportions and complete edge objects.
ALPHA: genuine transparent exterior and natural transparent openings inside the drawing. No white or cream rectangle, paper texture, sky wash, sea fill, provincial silhouette, checkerboard, aura, gradient or drop shadow. Unpainted architecture, water and negative openings reveal alpha. Colour belongs to actual drawn objects, never a vague backdrop. Do not reproduce any opaque field visible in the reference.
For C1–C6, create ONE connected varied panorama with two or three unequal anchors, overlapping near/middle/far scales and smaller discoveries. Connect through real terrain, streets, roofs, branches and human actions, not dotted diagram routes. No two-row sticker sheet, isolated equal scenes, caption boxes, repetitive generic gardens or an empty band under the title. Do not impose a percentage of blank space. C7 instead follows its explicit irregular album direction below.
English lettering only, exact spelling, dark clear capitals for allowed captions. One main regional title. No Chinese characters, logos, invented seals, pseudo-writing, promotional superlatives or health claims. A short legible caption is preferable to microscopic text. Respect the stated distinctions between growing tea, processing it, trading it and serving it. A full research inventory need not become a printed gazetteer.

COLLECTION: A SWEEPING REGIONAL JOURNEY. Follow GD03: energetic angular pen contours, bold slanted region lettering, selective directional hatching and three clear inks. Compose a shallow diagonal or S-shaped journey carried by a real regional movement motif. Bold near craft and people interlock with farther landmarks and terrain. Clean graphic edges, never watercolour, fuzzy labels or sticker scenes.
REGION: SICHUAN.
PALETTE: #385A37, #BA4244, #97A657. Preserve this regional colour family; first colour supplies the strongest contour/text. Extra dark/light rendering colours and full-colour watercolour are not wanted.
RESEARCHED CONTENT:
Preserve the map's contrasts: high western Hengduan/Qionglai peaks, a tea carrier caravan and suspension bridge, Mengding gardens, Emei temple mountain, a recognisable seated Leshan cliff Buddha, basin teahouse roofs, panda with bamboo, and a river junk between eastern rocks. The Buddha is a distant landscape landmark, not a teapot or serving character. Bring real tea into the near plane with a Mengding maker, Ya'an brick-pressing table, Qianwei jasmine leaves/flowers and Chengdu gaiwan on a bamboo-chair tea table. Yibin early buds and northern Micang gardens are small discoveries. Water and suspension-bridge gaps remain alpha. The eastern gorge is a generic map motif; do not claim it is the Three Gorges. Avoid filling the entire province with mountains or using pandas instead of tea content.
AUTHORED COMPOSITION:
The nearest Ya’an carrier steps left to right with two tea bundles, forming the main diagonal. A brick press and Mengding basket sit behind the start of the path; an open suspension bridge continues its upward sweep toward distant western peaks. Bend the lower path back through a Chengdu tea table to Qianwei jasmine work and a Yibin river boat at the right. Emei roofs and northern tea slopes provide angular counter-rhythms. Bold slanted SICHUAN follows the upper curve, separated from the cable bridge enough to remain readable. Use decisive contour strokes and occasional directional hatching; no floating tea icons or atmospheric washes.
LETTERING PLAN:
SICHUAN once; supporting captions only CHENGDU, MENGDING, YAAN, EMEI, LESHAN, YIBIN.
REGIONAL SAFEGUARDS:
Green Ganlu, yellow Huangya, dark Ya’an tea and Chuanhong black tea must not share one false process. Jasmine scenting includes real tea leaves. Bamboo-leaf and sparrow-tongue tea names are not literal ingredients. No named Three Gorges, no snowy tea fields, no fantasy historic dates or therapeutic claims. Panda is a minor travel motif, never the main tea identity.
FINAL STANDARD: sharply drawn object edges, deliberate line hierarchy, vivid meaningful local differences and a recognisable whole place. Protect the main title and key silhouettes; never solve complexity by making everything equally tiny.