# 云南——林叶与压饼石

云南 · YN_C1

一片大型森林茶树叶将南方村寨与普洱茶匠人的劳作联系起来。

## 已发布文件

250 × 75 毫米 · 3840 × 1152 像素 · RGBA · 390.144 / 390.144 ppi。

已审核可发布 · 已查看图画并对当前文件进行技术检查

[PNG](/assets/artwork/YN_C1.png) · [精确 TXT](/assets/prompts/YN_C1.txt) · [浏览器档案](/zh/docs/designs/YN_C1.html) · [系列背景](/zh/docs/projects/C1.html)。

[区域研究与来源](/zh/docs/research/yunnan.md)。

## 审核依据

新版本消除了模糊的烟雾：干净的双色版画，完整的 YUNNAN，名称清晰可读。大茶树、采摘、加工与贸易细节分明，主要对象未被裁切。

PNG RGBA 3840 × 1152 像素；真实 alpha 通道；按比例导出 250 × 75 毫米。

经审阅后允许用于开放画廊；并不意味着用户认可工业化批量生产。

## 创作方案配色

#174E47

#BD597E

## 原始生成提示词

以下文本与已发布的 TXT 一致。任务中的标注、细节和调色板是作者的设计意图；这不是最终图像的 OCR。使用的参考图像不包含在 TXT 中。

SHA-256 TXT：`3fa6f8e4279648a6c9fbf8ad66e6ece516ecd79fb68a403a97b758d9ea9d9665`。

```text
RENDERING REQUIREMENTS: Produce a new, completely crisp region-specific illustration. Borrow ONLY drawing style from the references; do not copy their region, title or place names. Use the exact region and English lettering in the brief. No blurred patches, mist, smoky shading, translucent brush smears or soft-focus architectural details. No clipping of objects or letters: keep an 80-pixel clear safety margin around the complete composition. True PNG RGBA transparency between the drawn shapes; no opaque white or coloured backing. Sharp ink edges, legible deliberate lettering.

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: A TWO-INK ENGRAVED TEA ATLAS. Follow the supplied GD24 reference for delicate but decisive engraving, botanical specificity and the contrast of foreground craft with smaller distant discoveries. Use only the two specified inks. No atmospheric colour fields, decorative network dots or specimen boxes. Tall narrow serif region lettering fits a natural opening within the world.
REGION: YUNNAN.
PALETTE: #174E47, #BD597E. 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:
Differentiate Yunnan's tea ecologies and processes. Southwest Xishuangbanna includes Menghai with Bulang, Nannuo and Bada: large-leaf tea branches, a maker sun-drying leaves and a stone cake press. Yiwu/Mengla has village roofs and a tea-carrying path, distinct from Menghai. Jinghong provides another southern garden/processing cluster. Jingmai/Lancang must show tea trees growing beneath a varied forest canopy beside modest village buildings, not clipped monoculture rows. Simao/Ning'er in Pu'er carries a sorting and pressing workshop; Jinggu/Jingdong has inland tea hills and a loose-leaf tray. Lincang's Shuangjiang/Mengku and Yongde have arbor-tea branches and a plucking hand. Fengqing Dianhong is a separate black-tea story: long twisted leaves and buds on a rolling/sorting table, not a stack of Pu'er cakes. Baoshan/Changning/Tengchong and Dehong form western tea valleys. Dali/Nanjian has actual tea hills, whereas a small Xiaguan packing counter and Kunming table express processing/trade. Use twelve macro territories but only ten labels; small neighbours may share a locally plausible scene. Northern snow mountains are a distant travel context, never tropical growing ground. Show large leaves, sun-drying, rolling and pressing with distinct readable tools.
AUTHORED COMPOSITION:
A large arbor-tea branch curves from left foreground across a stone cake press near centre. Beneath the branch a Jingmai picker reaches into the shaded tea tree while taller forest crowns rise behind; the branch is a real tree, not a decorative wreath. The press and a sun-drying mat form the strong second anchor, connected by village roof edges to Yiwu and Menghai craft. Across the right, Fengqing rolling and Lincang leaf sorting occupy a higher workbench under western foothills. Smaller Pu’er, Jinggu, Baoshan, Dehong and Nanjian stories fit into the changing slopes, with a tiny Kunming trading counter at the far end. Engrave leaf veins sparingly and preserve alpha beneath the canopy.
LETTERING PLAN:
YUNNAN once. Supporting tea captions only: MENGHAI, YIWU, JINGHONG, JINGMAI, PUER, JINGGU, MENGKU, FENGQING, BAOSHAN, DEHONG. Nanjian/Xiaguan scenes remain unlabelled rather than extra tiny text.
REGIONAL SAFEGUARDS:
Jingmai is forest-understorey tea, not regimented clipped terraces. Fengqing Dianhong is black tea; Pu’er cakes do not replace every regional tea. Hani terraces grow rice, not tea. Snowy Shangri-La/Jade Dragon is travel context, not a tropical tea estate. Do not merge the three parallel rivers. No invented ethnic costume, giant ancient-age labels, brand wrappers or medical claims.
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.
```