Shanghai — от водного городка к чайной метрополии

STEP 1 — original generation

Create an extraordinary original ceramic PRINTING DECAL of the requested region, using the attached approved GUANGDONG design as the compositional and drawing benchmark. This is a new richly connected regional illustration, not a mug mockup. The attached image is the STYLE reference; its Guangdong-specific subjects and lettering must all be replaced by researched content below. There is deliberately no regional map image in the input: the supplied text already contains the factual map inventory. Match the reference's visual richness, collector appeal, confident drawing and sense of a whole place.
THE CRITICAL LESSON: the previous trial failed because it looked like disconnected stickers in two rows. Do NOT make a contact sheet, a tidy row of icons, independent floating islands, equal-sized scenes, evenly spaced caption boxes, or a catalogue. Compose ONE engrossing panorama with three depths, dramatically varied scale and a continuous visual journey. Use a dominant local hero story, a counterweight and many integrated discoveries. Neighbouring scenes may meet, partially overlap, share a ridge, a street or an architectural contour. Smaller stories nest inside the larger world. Tea leaves, architecture, process tools, people and landscape must interact, not hover independently. The result should reward a minute of looking, not be exhausted as a list in two seconds.
TRANSPARENCY AND COMPOSITION: keep genuine alpha-zero exterior and natural interior openings. No rectangular paper/sky/sea/land background, no opaque white backing, no coloured atmospheric wash, no checkerboard. Transparency should feel like carved breathing channels WITHIN the illustration: a river gap, space under a bridge, a temple court, a clear aperture around a word. Only two or three quiet pockets across the panorama, never a blank moat around every item. Do NOT target a transparency percentage. Do not join the drawing with decorative dotted connector lines: link it through actual regional geography, streets, terrain rhythm, roof lines, branches and meaningful human action. Sparse irregular fine strokes may suggest water or roads. No solid province silhouette.
CANVAS: native RGBA PNG, 3840x1280, quality max. Draw a long shallow panorama across x=60..3780 and y=95..1185, using almost the full width. All marks and letters whole, with a modest clear safety margin. The final proportional print is3840x1152 at250x75mm. Do not create a central16:9 picture with huge blank side panels; do not solve spacing by shrinking the entire artwork. All objects remain undistorted. Most shapes should belong to a shared irregular silhouette, with selected disconnected tiny natural accents only.
CRAFT: exceptionally crisp intentional ink, precise silhouette design, beautiful local detail and confident line weight. Detailed does not mean fuzzy crosshatching everywhere. Small captions use dark high-contrast ink, correct English capitals and sufficient clear space to read at real mug scale. No tiny italic map handwriting, nonsense text, Chinese script or decorative fake writing. A clear main regional title appears once; the title is part of the composition, not a separate header with empty space beneath. Preserve the designated colour family, not the exact Guangdong colours of the reference. No borrowed commercial logos, political emblems, invented plantations, tea health promises, unverified dates or superlatives.
REGIONAL TRUTH: distinguish tea cultivation from trade, processing, drinking rituals and herbal infusions. More density must come from deeper local storytelling, not duplicated generic gardens or fabricated tea regions. In non-growing regions show how tea is transported, sold, prepared and shared. The content specification below outranks recognisable Guangdong objects in the attached style reference.

COLLECTION SIGNATURE: THE INTIMATE DRAWN REGIONAL ATLAS. Follow GD01's hand-drawn collector engraving: vivid richly observed local details, traditional roofs, animals/transport, crafts, nature and real tea life. A curved scenic backbone connects two hero stories at different scales; smaller details share terrain and lead the eye around an irregular outline. Tall elegant serif title nests among ridges or roofs. Tea, city and landscape are one lived place. Use three inks; show woven fabrics, carved wood and foliage with disciplined detail rather than photographic shading. Never an encyclopaedia of separate specimen boxes.

SHANGHAI: a shared cup is the small human event inside an immense trading city. Show tea being examined, weighed, carried, brewed and shared. Different places and periods form an intentional illustrated cultural geography, not one dated street scene. No locally grown tea claim, Sheshan tea plantation, Guangdong Dancong tree, citrus-tea shell, roundhouse or generic harvest terrace.

C4 COMPOSITION — AN INTIMATE DRAWN JOURNEY FROM WATER TOWN TO TEA METROPOLIS. Begin with one large Zhujiajiao stone bridge sweeping up from the left foreground, its arch a naturally transparent window. A little water-town boat passes below; willow branches, riverside gables and a small tea table under an eave make this corner richly lived-in. A distant low Sheshan basilica and the smaller Qibao bridge are discovered through changing depth, not displayed as two separate specimens.
The bridge's river edge curves toward a central Huxinting pavilion, deliberately less monumental than the left bridge but more richly inhabited. Its zigzag approach and lotus stems pick up the foreground arch's rhythm. A close gaiwan, lid and serving hand form a subtle but beautiful tea anchor; people in the veranda and a canister-filled market doorway behind expand the story. The market street rises into Shikumen stone portals, laundry, tram windows and a plane-tree canopy. Let a little tea carrier and a merchant pouring at a counter connect ordinary activity to architectural detail.
A second major mass grows on the right: the Bund clock tower and dome above the historical tea dock. The dock is loaded with recognisable tea chests, a balance and purposeful workers, with a complete slender historical vessel nestling beside the quay. The transparent river opens beyond it toward smaller Pudong tower silhouettes; tiny modern cranes, a distant shortened Donghai Bridge and a container ship form the far eastern continuation. Those remote objects must not compete with the close bridge or dock.
Tuck Jing'an roof planes and Longhua Pagoda into the middle-distance city, making their silhouettes different; a little northern Jiading/Baoshan/Wusong horizon can appear beyond the roofs. At the far upper-right edge, Chongming reeds, three waterbirds and two small island contours finish the natural story. Title SHANGHAI sits tall and graceful among upper-central roof breaks, not above an empty stripe. Use cobalt pen outlines, coral roof/cargo/fabric accents and teal foliage/water gestures. Basket weave, timber, stone joints and leaf shapes are precise selective details. There is an irregular shared panoramic outline, foreground overlaps and changing scale, with transparent courts, archways and river channels carved inside. The image should offer the visual pleasure of travelling through a crafted city rather than identifying a dozen labelled monuments.

LOCAL CONTENT TO INTEGRATE INTO ONE SHANGHAI WORLD:
The western water-town approach combines Zhujiajiao's substantial stone arch, riverside houses, willow and wooden boat with a much smaller Qibao roof/bridge passage in deeper perspective. Sheshan is a low wooded hill with basilica, not tea terraces. Dianshan Lake is suggested by small water strokes, not a filled blue shape.
Old-town Huxinting is the recognisable two-storey waterside tea pavilion with upturned corners, zigzag bridge, lotus and tea drinkers. A close gaiwan with tilted lid, cups and a brewing hand anchors tea culture within actual city life. An adjacent roof/lantern passage hints at the Old City bazaar without becoming food advertising.
The modern metropolis includes the Bund clock tower and domed riverfront architecture, across the Huangpu from the four distinct Pudong tops: Oriental Pearl spheres, Jin Mao's steps, World Financial Center's trapezoid opening and Shanghai Tower's twist. A Shikumen stone gate, narrow residential facades, washing line and historic Shanghai tram add ordinary life at a smaller scale. Jing'an's roof profile and Longhua's tall tiered pagoda are distinct, not repeated generic towers.
Tea markets deserve real activity: canister-lined counter, open tray of twisted dry leaves, tea scoop and person serving tea; this is a composite of Tianshan/Daning specialist trade. A separate historical dock process shows a worker carrying tea chests past a balance scale toward a steam vessel or clipper, not a claim of local cultivation. One crate may say TEA.
The outer river story includes Chongming's Dongtan reeds and exactly three flying waterbirds, tiny coastline gestures for Changxing/Hengsha, and a Wusong port marker. A small Jiading pagoda and Baoshan industrial roof/chimney can sit in the remote northern built horizon. Toward the eastern finish, Donghai Bridge, Yangshan cranes and a container ship show the present port. Distinguish that modern vessel from the historical tea vessel; do not assert its present cargo.
Do not give every listed place an equal-sized picture. Bigger lived scenes contain smaller discoveries. Selective overlap, shared water/roof lines and distance integrate the inventory; no administrative shape or uniform caption row.

TYPE: main name SHANGHAI exactly once. Correct short names to place within suitable gaps near the relevant story: HUXINTING; THE BUND; PUDONG; ZHUJIAJIAO; QIBAO; SHIKUMEN; JING'AN; LONGHUA; SHESHAN; CHONGMING; WUSONG; YANGSHAN; TEA MARKETS. Small satellite objects need no separate label. English capitals in dark cobalt, about30–40px, not italic or fake microtext. A title integrated into roofs, river rhythm or foreground architecture, never an isolated header. Only TEA on one chest may be additional writing; no dates, Chinese, invented slogans or logos.

PALETTE: exactly 3 deliberate opaque inks: #203B73, #E06D58, #489A9A. Dark cobalt is the structural contour and all small type; coral is the principal warm accent. The third ink is teal; all line details and local surfaces stay in this trio. Do not preserve the Guangdong greens. No white ink, cream backing, grey shading, extra hues or digital glow; edge antialiasing only. Transparent openings are absence of ink.

DIRECTOR'S TEST: one extraordinary SHANGHAI world first, tea story second, meaningful tiny discoveries third. Vary scale dramatically and use real architecture, water edges and human movement as links. All lettering and important objects stay whole. Exterior and natural interior openings are true alpha-zero; no painted white, paper, sky or fog behind the illustration.

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STEP 2 — targeted edit of preceding image

Repair this exact SHANGHAI hand-drawn regional atlas as a transparent print decal. Preserve its fine connected pen drawing, large water-town bridge at left, prominent SHANGHAI serif title, tea table and pouring hand, middle-distance city, port and skyline, and cobalt/coral/teal ink palette. Do not repaint as a photograph.
REMOVE the entire false grey-white checkerboard and all paper backing. Every grid pixel outside the actual coloured pen drawing, inside river spaces, around roofs, beneath bridges and behind letters must become actual alpha-zero transparency. No painted checkerboard, white replacement rectangle, halo or haze. Fine blue/coral/teal strokes remain intact, all water openings and unprinted architectural interiors transparent. Output native3840x1280 PNG RGBA, background transparent. Complete any cut-off left edge of bridge/foliage, keep every mark whole inside x60..3780/y95..1185.
Fix all typographic mistakes, with crisp dark-cobalt UPRIGHT capitals near their actual scenes. Main title SHANGHAI exactly once. Retain ONLY these short local labels once each: ZHUJIAJIAO under the left water-town bridge; QIBAO by the smaller bridge; SHESHAN by the distant wooded hill and basilica; LONGHUA by the pagoda; HUXINTING by its pavilion (correct HUXINYING); SHIKUMEN beneath the central lane; TEA MARKETS by the tea-shop gathering; THE BUND by the historic waterfront; PUDONG by modern towers; CHONGMING by the bird/reed island; WUSONG by the estuary lighthouse; BAOSHAN by the lower-right settlement; YANGSHAN by the container port; DONGHAI BRIDGE by its cable bridge. Correct PANGSHAN to YANGSHAN. Delete repeated or pseudo-word labels and all extra tiny lettering. TEA on cargo boxes may remain. Simplify tiny local hatch marks near captions only as needed for clean lettering. Keep tea commerce and human hospitality prominent. No tea plantations. The beautiful drawn atlas should emerge as actual transparent ink with clear correct place names, not over a grey grid.

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STEP 3 — targeted edit of preceding image

Final typography cleanup of this SHANGHAI pen atlas. Keep the lovely connected water-town bridge, clear large SHANGHAI title, tea table and serving hand, historic streets, port and skyline. Preserve the drawing and cobalt/coral/teal palette.
ERASE every secondary label, ALL faded former letters, duplicate names and illegible ghosts entirely. Do not merely overlay new names. Keep the large title SHANGHAI and the word TEA on the actual cargo box only. The erased label spaces must be transparent, no pale white patch, blur or smearing. Restore adjacent pen contours neatly where necessary.
Write only EIGHT secondary names, once each, in strong dark cobalt UPRIGHT SIMPLE capitals, about48px cap height with roomy spacing. Make each caption much clearer than the old tiny labels:
ZHUJIAJIAO — below the large left bridge and its tea table.
QIBAO — by the small lower-left arched bridge.
HUXINTING — by the traditional pavilion behind the left bridge.
TEA MARKETS — below the central tea shop and gathering.
THE BUND — beside the central-right historic waterfront.
PUDONG — beside the modern towers.
CHONGMING — by the reed-and-bird island at right.
YANGSHAN — beside the distant container port at upper-right.
No other place words. Remove former SHESHAN, LONGHUA, SHIKUMEN, WUSONG, BAOSHAN and DONGHAI BRIDGE labels completely but keep their actual landmarks illustrated. Delete all stray pseudo-words behind the skyline and all duplicated island labels. English typography must be crisp dark ink, never faded or ghosted. The main SHANGHAI remains beautiful large serif, unchanged.
Strengthen weak ink edges very selectively while keeping fine engraved detail; no added grain, blur, mist or haze. Genuine alpha-zero transparency outside the art and in water/sky/courtyard/letter openings. No painted checkerboard, white background or opaque rectangle. Native PNG RGBA3840x1280, all outlines and text whole inside x60..3780/y95..1185. This is a focused label cleanup, not a new landscape or a photographic repaint.

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STEP 4 — targeted edit of preceding image

AUTOMATIC API OPERATION — no text prompt.
Model: youchuan/v8.2/remove-background
Input: preceding SH_C4 native master.
Actual operation removes the painted background and returns a transparent PNG.
The illustration and captions were generated with the preceding exact prompts.