Guizhou — Крытый мост и чайная деревня

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 an original collectible regional ceramic PRINTING DECAL, not a mug or mockup. The supplied image is a drawing/style benchmark only: replace every reference-region subject and word with the researched region described below. Make a confident, rewarding composition whose tea craft, architecture and landscape belong together.
OUTPUT: PNG RGBA, native 3840 x 1280 px. Keep every mark inside x=60..3780 and y=110..1170; use nearly the whole long strip. The final export is 3840 x 1152 px for 250 x 75 mm. Do not shrink the entire design to a central 16:9 picture. Preserve normal object proportions and complete edge objects.
ALPHA: genuine transparent exterior and natural transparent openings inside the drawing. No white or cream rectangle, paper texture, sky wash, sea fill, provincial silhouette, checkerboard, aura, gradient or drop shadow. Unpainted architecture, water and negative openings reveal alpha. Colour belongs to actual drawn objects, never a vague backdrop. Do not reproduce any opaque field visible in the reference.
For C1–C6, create ONE connected varied panorama with two or three unequal anchors, overlapping near/middle/far scales and smaller discoveries. Connect through real terrain, streets, roofs, branches and human actions, not dotted diagram routes. No two-row sticker sheet, isolated equal scenes, caption boxes, repetitive generic gardens or an empty band under the title. Do not impose a percentage of blank space. C7 instead follows its explicit irregular album direction below.
English lettering only, exact spelling, dark clear capitals for allowed captions. One main regional title. No Chinese characters, logos, invented seals, pseudo-writing, promotional superlatives or health claims. A short legible caption is preferable to microscopic text. Respect the stated distinctions between growing tea, processing it, trading it and serving it. A full research inventory need not become a printed gazetteer.

COLLECTION: AN INTIMATE HAND-DRAWN ATLAS. Follow GD01: richly observed buildings, objects, plants and lived tea culture, in three inks. Draw disciplined collector engraving with beautiful changes of scale. A curved scenic backbone links two unequal hero stories; smaller details share the terrain. An elegant serif title belongs among roofs or ridges. No independent encyclopaedia panels.
REGION: GUIZHOU.
PALETTE: #243F72, #56866D, #A6935B. Preserve this regional colour family; first colour supplies the strongest contour/text. Extra dark/light rendering colours and full-colour watercolour are not wanted.
RESEARCHED CONTENT:
The source map combines rounded karst hills, Meitan and Duyun tea slopes, a narrow Wu River gorge with a small boat, the broad falling curtain of Huangguoshu, Anshun stone houses, and southeast wooden stilt houses, a drum tower and covered bridge. Use the covered bridge and timber roofs as specific southeast travel motifs, not universal architecture across every county. Tea stays in the foreground: Duyun curling hand, Meitan flat-leaf board, Leishan tea-ball tray, Shiqian branch, and one small Zunyi/Pu'an black-tea workbench. Guiding and Fanjingshan gardens can nest into farther slopes. Keep the waterfall an open line-and-edge subject, never an opaque white rectangle. Do not invent a named village or architectural identity beyond what the map supports; do not draw costume pageantry in place of tea production.
AUTHORED COMPOSITION:
Make the southeast covered bridge the long near architectural backbone, asymmetrical and carefully observed. A tea table with Duyun leaves and a Leishan ball tray occupies one broad foreground porch; behind it timber houses rise at unequal heights toward a smaller drum tower. At far left, Anshun stone houses and open Huangguoshu waterfall form the second anchor, with a low tea sorting basket nearby. The Wu River gorge leads toward farther Meitan and Fanjingshan tea contours on the right. Use three-ink collector drawing for timber joints and hands but keep walls, waterfall interior and river transparent. GUIZHOU sits above the low bridge roof, not in a framed cartouche.
LETTERING PLAN:
GUIZHOU once; supporting captions only DUYUN, MEITAN, LEISHAN, FANJINGSHAN, HUANGGUOSHU, WU RIVER.
REGIONAL SAFEGUARDS:
Zheng’an Baicha is not automatically white-tea processing. Leishan tea balls are leaves, not silver pearls. Separate black-tea rolling from green-tea shaping. No zinc/selenium health claims or mythical ancient-tree ages. Southeastern drum towers and covered bridges are not universal Guizhou architecture. The print is an editorial journey, not a precise surveyed geographic map.
FINAL STANDARD: sharply drawn object edges, deliberate line hierarchy, vivid meaningful local differences and a recognisable whole place. Protect the main title and key silhouettes; never solve complexity by making everything equally tiny.