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 one exceptional, completely flat regional ceramic-print artwork. This is the actual printable illustration, never a cup, product photograph, mockup, presentation board or simulated ceramic surface. The collection reference controls drawing language only: invent a new composition for the specified region and replace all Guangdong-specific objects. The source map supplies a regional inventory, not a paper texture or a layout to trace literally.

TECHNICAL CONTRACT: native canvas exactly 3840 x 1280 pixels, true RGBA PNG. Keep every visible mark, letter, ornament and antialiased edge inside x=60..3780 and y=110..1170. The final delivery will use a centered 3840 x 1152 export for a 250 x 75 mm wrap; leave the native safety area completely transparent. Compose for a long horizontal physical print, not a conventional poster. Nothing is cut off at either end. All exterior space and meaningful holes between objects must have alpha zero. No painted background, white underpainting, sky rectangle, tinted paper, land silhouette, colour fog, opaque backdrop or checkerboard. The wearer-visible ceramic supplies the unprinted space. Use the specified colours as ink, with normal edge antialiasing; do not invent extra white, black or metallic ink. Never print dimensions, crop marks, palette swatches, filenames, reference names or instructions.

ART DIRECTION: create a memorable hierarchy, a major focal scene and a quieter counterweight; alternate large close forms with medium stories and a few small discoveries. Let tea life interact with the region. Connect selected objects through a real roofline, tabletop, lane, ridge or river contour; retain clear breathing channels so each gesture and vessel is legible. Do not impose any percentage of empty space. Avoid both a cramped rectangular carpet and timid isolated stickers. Use confident, intentional linework that will survive the 75 mm print height. Limit texture to useful material clues. Any water, snow, steam or clouds are sparse outlines with transparent interiors, never washed fills. No photographic gradients, glow, heavy grunge, blurred edges or tiny illegible hatch fields.

FACTUAL DISCIPLINE: the scenes below distinguish cultivation, processing, trade, hospitality and non-tea infusions. Do not turn imported tea, berries, ginseng, barley, trees or grasslands into tea plantations. Do not invent a local tea cultivar, a named historic tea shop, medical effects, a precise trade route or archaeological evidence. Landmarks are cultural/geographic motifs, not assertions that tea was grown or traded at their gates. A contemporary tea pause next to a landmark is an authored scene, not a documentary historical claim. Keep people natural and respectful, with plausible hands and gestures; use no decorative pseudo-script.


C2: THE REGION BECOMES A LIVING WORD. Build an original monumental serif wordmark from the exact regional name, with every letter readable. Interlock authentic tea stories with the letters: a roof meets a terminal, a hand pours beside a counter, a branch emerges behind a stem, paths travel between letters. Use five disciplined flat inks with crisp pen detail, not rainbow gradients. Typography and illustration are one drawing, never a title above two rows of stickers. Keep enough real tea storytelling to reward close inspection.

REGION: Jilin. Exact ink palette: #254D43, #A44366, #849E6F, #C3945C, #6F95AD. The first colour supplies the main line; the others have deliberate separate roles, not gradients.

AUTHENTIC SUBJECT MATTER:
Focus on present-day tea practice in a northern region: an expert at a Jilin old-street tea table warms a gaiwan and pours imported loose-leaf tea into two small cups; a separate shelf holds plain tea tins and a weighing scoop. Nearby hands compare dry leaves on a narrow presentation tray and brewed liquor in two glasses. A Changbai traveller carries a simple tea thermos into a pine-side shelter; this is an authored contemporary pause, not a claimed old ritual. A Songhua riverside window and restrained roof profile establish the Jilin setting around these tea actions. As a smaller, clearly separate botanical scene, show one ginseng root, a cut-root plate and a transparent herbal-infusion glass beside a shaded ginseng bed; ginseng is not tea and the bed must never become tea-bush rows. Let the winding river, the Tianchi crater lip and one pine branch supply a distinctive natural framework. No invented Changbai tea cultivar, local tea plantation, medical claims or purported historic ceremonial shop.

SPECIFIC COMPOSITION:
Use the five big serif letters of JILIN as a shifting riverbank: the first J curves beside a low tea table, the first I gives a vertical pause for a pine, L shelters the tea seller and measuring scoop, and the final two letters interact with the crater contour and thermos shelter. A large gaiwan overlaps the front of a lower serif without hiding the word. Place the ginseng root with its separate infusion near the far-right letter edge, no tea-shaped leaves attached. The compact word permits generous illustrated counterspaces: spend them on visible hands, a dry-leaf tray and two unequal roof groups rather than decorative filler.

VISIBLE TYPE: exact main title "JILIN" once. Use only these optional small English labels, integrated beside the appropriate scenes and large enough to read: JILIN CITY, TEA ART, CHANGBAI, HERBAL INFUSION. Do not add other text. No Chinese characters, bilingual captions, pseudo-calligraphy, gibberish, slogans, logos or signatures. Prioritize visual storytelling over words. Do not allow letters to merge with foliage or buildings. The design must feel like a collectible regional artwork that a tea professional would want to handle and study.
