Taiwan — island of tea craft

Factual basis and choice of subjects

In Taiwan, leaf shapes, processing methods, and local landscapes differ. Long rolled Baozhong, oolong roasting basket, Oriental Beauty leafhopper, and a cup of black tea make the tea story concrete.

The abridged edition includes Wenshan, Oriental Beauty, Lishan, Dong Ding, Sun Moon Lake, Alishan, eastern and southern tea subjects, Taipei and Penghu. The four explicitly named tea territories of the original map — Wenshan, Lishan, Dong Ding and Alishan — are retained in the design.

Taipei and Dadaocheng denote the city and trade, not cultivation. The train next to the tea rows is a regional combination, not proof of a railway passing through a specific farm. Not all areas of the large study received a separate marker; there is no promise of complete coverage of every village and variety.

Title and drawing language

The assignment provides for only one word — TAIWAN, 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. PINGLIN / WENSHAN: large tilted shallow bamboo tray holding just SIX distinct long curled Baozhong leaves. Four short rim marks suggest bamboo. Two small tea-row curves beside it, not a filled landscape.

2. ORIENTAL BEAUTY: tall graceful tea shoot with three large leaves and one bud. One clearly visible little leafhopper rests on a leaf. Three veins suffice. Colour only two leaf halves. No bee or butterfly.

3. LISHAN: two angular mountain outlines, small pine silhouette and THREE broad curved tea rows on lower slopes. Sky and most mountain interiors transparent. No plantation on a rocky summit.

4. DONG DING: handsome big round roasting basket, four sparse weaving strokes, FIVE rounded oolong pellets visible on its open top. Apricot rim only; no heap of tiny leaves.

5. SUN MOON LAKE: simplified three-tier pagoda, two water strokes and small open cup with apricot tea. No filled lake shape, distant background or reflective haze.

6. ALISHAN: substantial friendly short narrow-gauge locomotive with clear cab, chimney and three wheels, one cypress and two low tea-row curves. Plum contours with small apricot train panels. No smoke, dense machinery or rows of tiny windows.

7. EASTERN TEAS: two open dishes diagonally placed; one has FOUR long twisted black-tea leaves for Ruisui/Wuhe, the other FOUR round pellets for Luye/Taitung. Bare interiors, selective jade rims. No honey or syrup.

8. SOUTHERN TEAS: broad-leaved tree-tea branch for Liugui beside a small wind-bent coastal tea shrub for Manzhou and two sea strokes. Few veins, distinct plant silhouettes, no forest.

9. TAIPEI: recognisable Taipei 101 stepped outline beside one small unlettered tea shipping chest. Keep the characteristic stacked exterior; omit rows of minute windows. Tea trade, not an urban plantation.

10. PENGHU: friendly little sailing boat, three simple low islets and two short open water strokes. No opaque sea.

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.

Local correction of the basket in the final file

The accepted drawing revealed an accidental transparent gap in the front side of the basket. The second used prompt restored the apricot wall and several plum weave lines. This is a generative local edit, without manual redrawing.

The service response also changed pixels outside the specified mask. Therefore, only the corrected area 311 × 221 px with coordinates x=2240, y=700 was transferred from it onto the native master 3840 × 1280 px. The rest of the area is preserved from the accepted version. The recorded area of differences is limited to this rectangle; outside it the values RGBA match.

The public TXT contains two actually used stages: independent generation of the accepted drawing and local editing of the basket. Rejected independent attempts are not included in the chain of the final result.

Review basis

The composition of the second version was reviewed by root and Shanghai; an accidental transparent break in the basket rim was fixed via AtlasCloud using a mask. Root checked the restored rim and confirmation of unchanged pixels outside the edit area. TAIWAN is readable, edges intact, background transparent.

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

Reviewed for display as an additional C7 pilot; does not imply user approval of the print run. The shapes of rolled tea are intentionally enlarged and conventional; the diagram is not an accurate map. The three-color palette describes the concept, not color separation: individual water lines have a blue tint.

Creative brief palette

#513B4F

#8DAC95

#E9B58A

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: 95297088203298e1ec06a2c1515b75f30c546964e2e4720dc7a30baf56dbe935

# Stage 1 — independent generation; exact prompt

Draw one ORIGINAL TAIWAN souvenir print in the simple hand-drawn language of the supplied Guangzhou and Hong Kong cup photographs: large shapes, medium contours, sparse marks, open interiors and selective flat colour. Create new Taiwan subjects; do not copy cities, logos or compositions. FLAT artwork only, no cup or mockup.

FORMAT: true transparent PNG RGBA, 3840 x 1280 px. Keep all ink inside x=75..3765 and y=110..1170. Removing 64 px above and below will produce 3840 x 1152 px for 250 x 75 mm. Use the broad strip. No paper, ceramic rectangle, frame, lighting or shadows. Open spaces AND unfilled interiors must reveal alpha transparency.

DRAWING: sharp hand-drawn outlines 5–7 px wide at this master size, gently irregular. Describe each object chiefly by its OUTSIDE shape. Literally only 3–5 internal strokes per object: a few basket slats, veins, windows or water lines. Stop there. No hatching, stippling, grain, dense weaving, tiny repeated leaves or fuzzy edges. The reference tram shows the right simplicity. NOT an engraving, watercolour, botanical plate or detailed map.

ONLY THREE INKS: dark plum #513B4F outlines and title; muted jade #8DAC95 and soft apricot #E9B58A selective FLAT accents. Leave most interiors unpainted. Colour only selected roof faces, leaf halves, tea surfaces, train panels or basket rims. Crisp boundaries. No gradients, washes, grey shadows, scenic colour backdrops or halos. No white or cream ink; unfilled means transparent.

ONLY TEXT: TAIWAN, exactly once. Large upright, hand-drawn narrow serif capitals in plum, in an upper-middle opening, about one quarter of the strip width. Simple solid letters. No illustrated letters, small captions, other words, numbers, Chinese characters, logos or pseudo-writing.

TEN UNEQUAL GROUPS form a lively irregular souvenir album. Mix tall, round, slanted and horizontal shapes. Neighbours fit around one another with close, naturally uneven clear intervals. Some sit higher, some lower; the title fills one local opening. No regular grid, equal badges, sticker borders, straight rows or huge empty gaps. No common horizon, river or continuous mountainous panorama.

1. PINGLIN / WENSHAN: large tilted shallow bamboo tray holding just SIX distinct long curled Baozhong leaves. Four short rim marks suggest bamboo. Two small tea-row curves beside it, not a filled landscape.
2. ORIENTAL BEAUTY: tall graceful tea shoot with three large leaves and one bud. One clearly visible little leafhopper rests on a leaf. Three veins suffice. Colour only two leaf halves. No bee or butterfly.
3. LISHAN: two angular mountain outlines, small pine silhouette and THREE broad curved tea rows on lower slopes. Sky and most mountain interiors transparent. No plantation on a rocky summit.
4. DONG DING: handsome big round roasting basket, four sparse weaving strokes, FIVE rounded oolong pellets visible on its open top. Apricot rim only; no heap of tiny leaves.
5. SUN MOON LAKE: simplified three-tier pagoda, two water strokes and small open cup with apricot tea. No filled lake shape, distant background or reflective haze.
6. ALISHAN: substantial friendly short narrow-gauge locomotive with clear cab, chimney and three wheels, one cypress and two low tea-row curves. Plum contours with small apricot train panels. No smoke, dense machinery or rows of tiny windows.
7. EASTERN TEAS: two open dishes diagonally placed; one has FOUR long twisted black-tea leaves for Ruisui/Wuhe, the other FOUR round pellets for Luye/Taitung. Bare interiors, selective jade rims. No honey or syrup.
8. SOUTHERN TEAS: broad-leaved tree-tea branch for Liugui beside a small wind-bent coastal tea shrub for Manzhou and two sea strokes. Few veins, distinct plant silhouettes, no forest.
9. TAIPEI: recognisable Taipei 101 stepped outline beside one small unlettered tea shipping chest. Keep the characteristic stacked exterior; omit rows of minute windows. Tea trade, not an urban plantation.
10. PENGHU: friendly little sailing boat, three simple low islets and two short open water strokes. No opaque sea.

Place names above are instructions ONLY, never printed. The basket, sprig, train and tower should be large and memorable. Others are smaller, never microscopic. Simple travel-cup drawing, open interiors, clean medium lines and two soft accents. Deliver only the transparent print.

# Stage 2 — masked local repair of the basket; exact prompt

Repair ONLY the small masked area on the front wall of the large round roasting basket to the right of centre. The current source has an accidental ragged transparent gap interrupting the apricot basket wall and its dark plum woven slats. Reconstruct that missing basket section: continue the existing soft apricot flat wall smoothly across the gap, continue the few dark plum horizontal and vertical slat lines so the weave is coherent, and preserve the existing curved lower contour. Match adjacent line weight and flat colour exactly. Do not introduce white paint, a patch outline, blur, glow, new leaves or extra decoration. All other pixels, typography TAIWAN, scenes, objects, colours, geometry and composition are to remain unchanged. Preserve the native 3840 x 1280 size and genuine RGBA transparency outside the existing artwork. The supplied alpha mask marks only the repair region. Output the same complete flat artwork with this tiny basket defect repaired; no crop, no new background, no mockup.