贵州——河流开阔处周围的山地茶

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: ONE LIVING TEA TERRITORY. Follow GD18: connected editorial tea geography with a broad change in scale. A foreground craft episode leads through connected slopes and settlement contours into far terrain. Use five-colour accents, intentional fine drawing and a strong condensed regional title integrated low in the composition. Never fill an administrative silhouette or make equal garden badges.
REGION: GUIZHOU.
PALETTE: #243F72, #56866D, #A6935B, #BC737F, #7EA3B6. 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:
Represent ten tea territories through different visible forms and actions. Duyun Maojian: a maker shapes small curled tender leaves in a shallow pan, with soft southern hills. Meitan Cuiya: neat flatter pointed leaves on a sorting board beneath orderly garden contours. Zunyi Hong is separate black-tea rolling with darker twisted leaves, not another green-tea name. Fenggang has cultivated tea slopes alongside woodland, without mineral-health graphics. Shiqian Taicha has local tea branches and a hand selecting shoots. Fanjingshan/Yinjiang/Jiangkou is a forested mountain tea setting with a small village eave. Zheng'an Baicha is pale-leaf material made as green tea in this classic story, shown by an open pale sprig and a pan, not white-tea withering cakes. Leishan Yinqiu appears as a few deliberately formed tea balls on a tray, never silver jewellery. Guiding Yunwu has upland tea picking; Anshun/Pubu Maofeng has a delicate sorting basket near lower karst. Pu'an black tea is a small western rolling table. Guiyang may appear as an unlabelled tasting/trade counter. Ten caption limit means Meitan/Zunyi may share one macro area with distinct processes; eleven researched territories do not require eleven tiny labels.
AUTHORED COMPOSITION:
Create one connected bowl of tea-bearing terrain around a narrow open river gorge. Duyun curling occupies the nearest left slope; Meitan pointed-leaf sorting and Zunyi rolling occupy the nearest right terraces. Shiqian and forested Fanjingshan climb behind the gorge, with a small boat deeply below. Guiding and Leishan form a lower southern lane, tea-ball shaping visible near wooden roofs. Anshun/Pu’an and Zheng’an remain smaller outer shoulders, represented by distinct tray and sprig rather than identical garden badges. Set GUIZHOU low across a natural interval, with exact short tea captions placed by working places. Use near human gestures to dominate distant foliage.
LETTERING PLAN:
GUIZHOU once. Captions only DUYUN, MEITAN, FENGGANG, SHIQIAN, FANJINGSHAN, ZHENGAN, LEISHAN, GUIDING, ANSHUN, PUAN. Zunyi rolling remains visible within the Meitan/Zunyi macro area without extra microtext.
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.