# 云南——云南十物

云南 · YN_C7

大茶叶、压茶机和不同的屋顶在简单的三色图案中清晰可读。

## 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_C7.png) · [精确 TXT](/assets/prompts/YN_C7.txt) · [浏览器档案](/zh/docs/designs/YN_C7.html) · [系列背景](/zh/docs/projects/C7.html)。

[C7：绘画方法和风格参考](/zh/docs/C7_METHOD_RU.md)。

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

## 事实依据与题材选择

大茶叶、压茶机和不同的屋顶在简单的三色图案中清晰可读。

## 图名与图语

任务中只规定了一个词——YUNNAN，用大号衬线拉丁字母。小地名、中文文本、数字和第三方标志均被排除。这是任务描述；实际可读性另行评估。

## 绘制方法与风格参考

研究了广州、澳门、香港和珠海城市主题的真实旅行杯照片。从中提取了观察到的图案特征：中等生动的手绘轮廓、简单可识别的剪影、选择性平面色彩点缀和顶部带状大标题。具体查看的角度组合因地区而异。

当地场景在尺度、形态和高度上各不相同。它们的并置形成整体节奏；不设定连续全景、统一地平线、相同模块网格或固定留白比例。轮廓之间与内部保持通透。

陶瓷表面、高光、手和照片中的物体背景不属于新绘图。参考图像和个人原始照片不在此发布。每个地区的三种颜色是作者调色板，而非所拍摄茶杯的实测涂料标准。

## 审核依据

清晰的中等轮廓、克制的平涂色块，只保留完整的 YUNNAN 主标题。树木、茶叶、加工、商队和建筑均可辨识；没有脏污光晕、伪手写体或被裁切的大型元素。

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

#7AA361

## 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：`ef2bfbb0cf9b2f99b6cb8a47e5af3a0bb83459f305e5e1c4c03cbcf85da7eb23`。

```text
Create one original flat souvenir print, not a mug or mockup. Use the supplied successful C7 cup-illustration reference for scale and hand, not its subjects. PNG RGBA, 3840 x 1280 px, artwork inside x=60..3780 and y=110..1170; final print 3840 x 1152 px, 250 x 75 mm. Genuine transparent background and unfilled interiors. No white or cream panel, paper, shadow, fuzzy wash, gradient, background horizon or photographic ceramic. Crisp selective flat accents on actual objects, many open interiors. A broad organic arrangement across the strip, not a small central picture.
A SIMPLE HAND-DRAWN SOUVENIR ALBUM. Follow the supplied successful C7 reference for generous object scale, medium clean contours and selective flat colour. Use 5–7 px principal outlines at this master size, gently irregular; only 3–5 internal explanatory strokes per object. No dense weaving, tiny leaf carpets, stippling, crosshatching or painterly haze. Eight to ten unequal large groups fit around one another in a lively informal order, with open interiors. No badges, frames, equal grid or monumental continuous scenery. Only the large English region name is printed, once; no small captions.
REGION TITLE: YUNNAN. Only this text, exactly once. Large friendly upright hand-lettered capitals in a local opening, not a full-width banner.
PALETTE: #174E47, #BD597E, #7AA361. First colour is the contour/title; the other two are selective flat accents, with no extra colour or white ink.
ORIGINAL COMPOSITION:
TEN unequal generous groups with an informal hand-drawn souvenir rhythm. One: an arbor-tea branch with four large leaves and one reaching hand, each leaf mostly open. Two: a broad stone tea-cake press with one finished unbranded cake beside it; no pile of tiny wrapper lettering. Three: a shallow sun-drying mat with only six recognisable loose leaves. Four: a Fengqing rolling tray carrying five long twisted tea shapes and one maker hand, clearly different from the round cake. Five: a small Jingmai tea tree below one taller forest tree, simple unequal crowns and no carpet of miniature foliage. Six: a pack animal with two side bundles and one carrier, a gentle tea-road reference without fantasy costume. Seven: one Lijiang timber-roof house, showing a door and only a few beam strokes. Eight: a low Dali Bai-style gate beside three open Erhai water curves. Nine: a slender southern Dai roof and one palm, simplified broad silhouette. Ten: two small angular snow peaks, a northern travel token rather than a backdrop behind the tropical tree. Arrange the branch, tree and palm at unequal heights; press and mat are broad low anchors. Let the carrier path partly tuck behind the press and a leaf tip overlap a roof corner, but keep the overall album free of a global scenic horizon. Put YUNNAN once in a central upper opening, large friendly upright capitals, and shape the subjects around the word without creating an empty banner. Main contours must be clear 5–7 px strokes; limit each object to three to five interior explanation lines. Do not shade forests, engrave every tile, draw hundreds of leaves or fill the ground with colour. Colour is selective flat accent on leaf halves, roof sides and a few tool surfaces. Nearly all water, sky and building interiors are true transparency. Tea objects remain the largest memorable shapes, not a token cup beside generic tourism icons.
REGIONAL FACTS AND LIMITS:
Large-leaf tea and a stone cake press refer to southern Pu’er production; a Fengqing tray shows long twisted black-tea leaves instead of cakes. Jingmai tea grows beneath a forest canopy. Lijiang wooden roofs, Dali architecture, a Dai roof/palm and a caravan are map-derived travel motifs. Hani stepped flooded fields are rice, not tea. Northern snow peaks are separate travel scenery, not the background of a southern tea tree. Avoid precise costume claims, brand labels, Chinese writing, health motifs and tiny documentary text. This is a selected travel album, not all Yunnan clusters rendered literally.
FINISH: memorable large silhouettes, simple confident outside contours, few internal marks, restrained colour. Keep all required objects whole and all lettering readable. Do not fill trays with hundreds of miniature leaves. No small captions, numbers, signatures, logos, Chinese text or repeated extra words. Flat transparent artwork only.
```