

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 LANGUAGE — THE REGION AS A LIVING WORD. Follow GD22's large memorable original serif name, and pack the surrounding space with interlocking local tea life. Letters and the world are co-designed: a roof tucks under a terminal, tea branches overlap selected edges, mountain contours flow between counters, a small person engages the base of a letter. Preserve every letter's instant readability. This is dense editorial decorative typography, not a naked word with a row of mini stickers above and below. The richly varied stories must visually touch the word at selected points. Long names use naturally condensed letter proportions, never smaller artwork.

XINJIANG — TEA ARRIVES; HOSPITALITY MAKES IT LOCAL. This must be recognisably Central Asian Xinjiang, not a southern Chinese tea garden wearing a different label. Tea is imported and consumed here; NO Camellia plantations, southern tea terraces or tea pickers. Desert trade and six distinct forms of serving create the tea story. Draw real everyday hospitality with dignity, no costume caricatures. Felt yurts, Uyghur adobe houses and religious architecture are different building types. Use actual poplars and grape arbors, not tropical palms. Bactrian camels have two humps. Tea-bale caravan imagery is an editorial symbol of exchange, not a surveyed historical route.
Six researched tea-culture episodes must live within the shared world, with unequal importance: KASHGAR: a magnificent two-storey adobe old-city teahouse, carved wooden balcony, open arcade, host pouring from a copper kettle into shallow bowls, naan and a low carved tea table; this is the emotional hero. ILI: Kazakh milk-tea hospitality beside a felt yurt, milk pitcher, kettle, bowls and baursak, one tethered horse and poplars. URUMQI: imported compressed tea commerce inside a bazaar arcade, opened brick showing pressed leaf texture, parcels, balance scale, hands weighing tea, no invented vendor logo or local cultivar. TURPAN: tea and naan under a grape arbor, a sun-warmed earthen wall, one slender local minaret in the distance and Flaming Mountain ridges. HOTAN: a rose/herbal infusion distinct from Camellia tea, metal kettle, scattered rose petals, carved bowls and a silk-fold cue; no medical promises. TACHENG: a quieter courtyard milk-tea conversation, benches and a shared tray. These are places along a thematic tea journey, not six equally sized postcard frames.
Source-map richness to integrate naturally: snowy Altai peaks and three yurts with horses toward the north; Tian Shan's extended mountain barrier through the middle distance; Ili's river/poplar oasis; angular Flaming Mountains by Turpan; the Tarim River along the desert's northern edge with Aksu and Korla; the small Lake Bosten and sparse dry channels recalling Lop Nur toward the east; Taklamakan dune ribbons; Kashgar's old-city roof maze; the turquoise-tiled Apak Hoja dome with four corner towers near Kashgar, never labelled Hotan; Pamir and Kunlun ridges at the southern side; a tiny soaring eagle. Oasis agricultural rows may be hinted but must not look like tea cultivation. Include Altay and Karamay as subtle settlement silhouettes if useful, not gratuitous tiny labels. Preserve the distinct map vocabulary through drawing rather than through a mass of unreadable text.
English typography only. Main name exactly XINJIANG once. Six short tea-place captions KASHGAR, ILI, URUMQI, TURPAN, HOTAN, TACHENG should be easy to find at the correct local episode; never on disconnected rectangles or leader-line diagrams. Optional geography words limited to TIAN SHAN, TARIM, TAKLAMAKAN where the chosen composition offers real legible space. No Chinese, Cyrillic, Arabic script, pseudo-lettering, dates or tourism marketing slogans. A vessel never substitutes for an entire landscape: the world is large, the kettle belongs to people in it. Do not make a giant cup-shaped container for the whole region.

COMPOSITION — XINJIANG IS A CITY YOU CAN ENTER. Start with an exceptional original tall serif XINJIANG spanning about two-thirds of the wrap, placed just below the vertical centre. Use beautifully condensed letter architecture, alternating dark adobe, teal and restrained golden ochre faces; accurate readable letter silhouettes matter more than any decorative overlap. Do not turn the letters into hollow windows containing unrelated clip art. Instead build the same continuous regional world around, behind and in selected places in front of the word. A carved wooden Kashgar balcony runs from the top of the X toward the first I; its balustrade then flows into a stepped roof cluster. A host on a low platform in front of the N pours tea into a shared bowl. Naan and a patterned cloth are foreground shapes with real visual weight. The rear of the platform becomes a caravan street, curling around the lower stems toward the right.
Tian Shan ridges occupy the upper central rhythm, their fine teal and adobe peaks rising between letter terminals. A felt-yurt cluster at upper left shares a shelf with horses, Ili poplars and a visible small milk-tea gathering. The Urumqi bazaar's open brick tea and weighing hands nest above the first J, physically part of the roofline. On the right, a Turpan grape arbor dips toward the final G, the letter counter remaining open and readable; a tea table sits under the actual vine, not floating inside the letter. Behind are ochre Flaming Mountain contours. Low Hotan rose-infusion objects and carved bowls share the foreground sweep with a fold of silk. A quiet Tacheng courtyard is glimpsed through an architectural opening below a joining roof. The small Apak Hoja turquoise dome belongs near Kashgar, left side, not transplanted to Turpan. Tiny dune rhythms, a Tarim opening and Kunlun peaks interweave the bottom edge without making an opaque strip.
Five inks: adobe #733F33, teal #187D83, ochre #C99546, olive #87965A, muted rose #A46C8B. Dominant title and local architecture dark adobe/teal; ochre gives desert rhythm, olive is selective real foliage, rose is a restrained Hotan/cloth accent. No rainbow gradient, white outline stickers or repeated floating motifs. The emotional trick is that a viewer reads XINJIANG first, then realises its letters are living among six tea cultures. Deep foreground/roof/mountain layering and small witty human interactions supply discovery. Six local captions live on nearby clear apertures, not in a bottom legend. Composition must remain dense, bright and coherent like the approved Guangdong lettering, with an entirely new Xinjiang geography.

FINAL PRIORITIES: one connected world, instant Xinjiang identity, real tea hospitality, extraordinary crisp drawing, true alpha and whole English lettering. The attached Guangdong reference sets the visual craft and richness; do not reproduce its tea gardens or place names.
