西藏 — 手绘风格地图集

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.


C4: INTIMATE DRAWN REGIONAL ATLAS. Use the Guangdong garden-atlas reference as a collector-illustration benchmark: fine lively contours, locally observed architecture, nature, animals and tea. Three inks, selected wood, stone and textile marks; delicate tall serif regional title nestled among roofs or ridges. Two unequal scenic anchors and smaller discoveries share a curved geographic backbone. Draw a believable regional journey, not a dense medieval engraving or a diagram of isolated objects.

REGION: Tibet. Exact ink palette: #24477D, #D6A135, #A34B43. The first colour supplies the main line; the others have deliberate separate roles, not gradients.

AUTHENTIC SUBJECT MATTER:
Balance the humid southeastern tea world against the spare architectural and mountain silhouettes of the plateau. Include a compact stepped Potala silhouette, a lower Gyantse stupa, a small Shigatse monastery roof group, and the angular sacred Kailash peak beside a simple Manasarovar lake outline. On the wetter side a Nyingchi river gorge, one peach-blossom branch and a Namcha Barwa-like steep peak join the real Yigong/Bomi, Medog and Zayu tea actions. A pack yak and pastoral tent belong on the open highland side; a few Everest ridge strokes may appear behind them, never above tea rows. Choose the geography as unequal scenes, without a political boundary map or a single impossible continuous mountain skyline. Sacred buildings are respectful silhouettes, not imaginary commercial tea factories.

Tea anchors that remain visible: Yigong/Bomi picking, Medog humid tea gardens and processing, Zayu leaf preparation, Lhasa sweet-teahouse conversation, a pastoral butter-tea churn and transport of compressed tea.

SPECIFIC COMPOSITION:
Pair a substantial lower-right tea garden and leaf basket with a narrow upper-left Potala silhouette. A Lhasa table sits in the opening beneath the palace, while the butter-tea churn and bowl create a close central foreground. Between and beyond, Kailash with the Manasarovar outline occupies a dry small group, and a Gyantse stupa interrupts the low roof rhythm. The humid side includes three distinct tea stations, a Nyingchi gorge and one peach branch; the pack yak and tent stay on the dry side. Place TIBET delicately between the uneven heights. Avoid flattening every sacred building and farm onto one shared stage.

VISIBLE TYPE: exact main title "TIBET" once. The regional title is the only printed text. Do not add small location labels. 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.