

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 BOLD REGIONAL PARADE. Follow GD02's strong friendly outline language and double-contour regional lettering. Compose a lively continuous procession of local landmarks, people, vessels, landscape and tea episodes, varying heights and overlaps. Use larger confident positive and negative shapes, rounded pen turns and spare flat patches in three inks. The hero title and scenes feel cut from the same drawing. A caravan, tram, ridge or procession of rooflines provides rhythmic continuity appropriate to the region. No even icon row, no floating clip-art set, no uniform monumental silhouettes.

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 — THE CARAVAN BECOMES THE TEA TABLE. Use the approved GD02's strong friendly line language and double-contour lettering, not delicate watercolor. A long asymmetrical procession of two-humped camels, hosts, curved streets and local roofs links the whole width. The lead camel is large, close and characterful but naturally drawn; its tea packs make a firm graphic rhythm at the left. Behind it a smaller camel and attendant pass around a Kashgar old-city building. Its large teahouse balcony extends into an arbor edge so the procession visibly arrives at a tea-table gathering rather than simply walking past symbols. The scene has an inviting visual joke: the grand journey of loaded camels ends in a modest shallow bowl being offered across a hand-carved table. Do not anthropomorphise animals or draw a teapot-shaped city.
XINJIANG in bold double-contour hand-lettered capitals is integrated into the lower-left/middle street rhythm, irregular yet impeccably readable. The title's ascending tops alternate with real roof steps rather than sitting on a blank strip. Behind the title, a large snow ridge rises, lowered at two points to reveal an Ili yurt, horse and milk-tea gathering. Urumqi's merchant counter, tea brick and scale are embedded among roofline steps, not freestanding product icons. A Turpan grape arbor with round leaves and a tea/naan table anchors the right; ochre Flaming Mountain contours descend into long elegant dune curves behind it. Hotan's infusion kettle, rose petals and silk cloth belong on a low foreground platform toward the right. A quiet Tacheng courtyard closes a middle gap. Small Apak Hoja dome, Lake Bosten reeds, Tarim strokes, Kunlun and flying eagle are clear secondary silhouettes attached to the place's rhythm.
Only three inks: adobe #733F33 thick outlines and labels, teal #187D83 a few strong pattern/roof/tile gestures, ochre #C99546 occasional solid desert and textile patches. Colour bounded to meaningful objects, exterior/interior gaps genuinely transparent. Bold varying pen weight, restrained hatching and strong silhouette logic preserve readability at cup size. Six tea-place captions can be secondary, main XINJIANG dominant. Do not distribute every animal, building and vessel at identical scale; foreground heroes should be several times larger than background discoveries.

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.

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STEP 2 — targeted edit of preceding image

Edit the attached bold XINJIANG illustrated panorama into a genuine transparent printing decal while preserving its strong double-outline title, lively connected Kashgar/caravan/tea scene, confident pen contours and adobe/teal/ochre palette. Keep the existing composition and tea characters, do not turn it into a realistic photograph.
The image mistakenly contains a painted grey-white checkerboard. DELETE this entire grid and the white paper, including all small interior gaps between mountain strokes, architecture, title counters, river openings, captions and the exterior. Those areas must have ACTUAL alpha=0 in the RGBA PNG, not a checkerboard painted to pretend transparency. Preserve solid ink edges and readable text, no pale fringe. Output native3840x1280 RGBA PNG, transparent background. Complete any clipped left/right ink at the edges and keep all drawn material within x60..3780/y95..1185, broad shallow layout.
Correct the local tea story at lower left: this is ILI milk-tea hospitality, with kettle, milk pitcher, bowl and baursak; put the clear caption ILI here, replacing the stray pseudo-word. Remove the small domed mausoleum from this lower-left label group; the Apak Hoja dome already belongs behind the large KASHGAR building. Add a small HOTAN rose-infusion worktable and folded silk beside the lower-right mountain bend, caption HOTAN. Keep KASHGAR under/near the grand tea house, URUMQI at the tea-brick trader, TURPAN by grape-arbor hospitality and TACHENG by the quiet right courtyard. Main XINJIANG once, double-outline capitals. All six correct tea-place names in dark clear English. No new language, filler wording or slogan. No Camellia plantations. Keep the rich map details, Bactrian camel train, felt yurts, horses, eagle, Tian Shan/Pamir/Kunlun, river and lake. Exterior transparency and internal white openings must be genuine transparent pixels, not pixels coloured grey or white.

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STEP 3 — targeted edit of preceding image

Clean the typography of this otherwise approved XINJIANG three-ink outlined panorama. Keep the rich connected Kashgar tea-house, caravan, yurts, tea trade, grape arbor, southern infusion table, mountains, title and all physical drawing. Do not redesign the picture or change its palette.
FIRST REMOVE EVERY secondary caption and every faint broken pseudo-letter left from earlier edits, including duplicated HOTAN, garbled ILI fragments at left, double TARIM and all ghost words among water, buildings and lower edge. Replace their ink with real transparent space or complete the adjacent existing drawing naturally. Keep only the large double-outline XINJIANG title intact throughout.
Then write EXACTLY SIX secondary names once each, in clean dark-adobe UPRIGHT capitals at least44px high, no plaque, no duplicated text: ILI at the far-left felt-yurt/horse and milk-tea area; KASHGAR by the large wooden teahouse; URUMQI by the central tea-brick merchant; TURPAN by the grape-arbor tea gathering; TACHENG by the quiet right courtyard; HOTAN directly beside the small rose-infusion table and rose-petal bowl at the lower middle-right. The large bottom-left kettle, milk pitcher, bowl and baursak belong to ILI, not HOTAN. Do NOT write any mountain, river, lake or desert names in this edition. Geography remains recognisable through drawing. The correct complete on-image text is therefore only XINJIANG plus ILI, KASHGAR, URUMQI, TURPAN, TACHENG, HOTAN. All seven words perfectly legible. No decorative microtext anywhere.
Preserve alpha-zero transparency outside the drawing and between actual strokes, no white replacement background or ghost/checkerboard pixels. Whole art and letters inside x60..3780/y95..1185. Native3840x1280 RGBA PNG, transparent. Fine crisp drawing retained; repair typography decisively, not by writing new names over the old ones.
