Create an original flat souvenir-cup decal, not a mug mockup or a photographed product. Follow the approved real-cup outline style with simple shapes and restrained accents. Do not reproduce the source map's parchment, dense relief shading or filled scenery. Native canvas 3840 x 1280 pixels, actual RGBA PNG, with every mark safely inside x60..3780/y110..1170; final centered export is 3840 x 1152 for 250 x 75 mm. Keep all canvas margins alpha zero. No visible frame or printed technical information.

Use confident, slightly human 5–7 px outlines, readable at 75 mm print height. Most object bodies are open alpha-zero interiors: the ceramic itself becomes the unprinted colour. Only small, sharply bounded flat accent patches; no white or cream backing, no sky/ground slab, no brown wash, watercolor, airbrush, photographic texture, dense engraving or crosshatching. Use 3–5 short interior marks for an ordinary vessel or object, a few essential openings for a building. Tea steam is at most one or two open curls. No global ground line connecting every scene.

Arrange 8–10 substantial, unequal episodes in a lively irregular field. Put the largest episode off-center, let a tall narrow object answer it, and fit a few smaller ones into purposeful gaps. Different heights and natural overlaps are welcome, but every episode needs a legible silhouette and a clean breathing channel. No fixed whitespace percentage, no equal two-row sticker grid, no miniatures scattered under an enormous empty heading. Preserve real regional identity through observed objects and explicit tea actions. Never invent tea farms or label herbs as tea leaves. Architecture is a geographic motif; contemporary tea pauses are authored scenes, not historical evidence.


C7: REAL SOUVENIR-CUP PEN DRAWING. Match the approved Xinjiang and Shanghai cup illustrations through warm, assured medium outlines and selective small flat accents. At native size use approximately 5–7 px main strokes and only 3–5 interior strokes per simple object. Larger buildings may have a few more essential windows, never dense hatching. Most enclosed bodies remain transparent. Draw 8–10 unequal, generous subject groups at different heights, with irregular open channels between them. This is neither an evenly spaced icon grid nor a tightly packed panoramic painting. No watercolor, sepia haze, opaque cream objects, stippled shading or engraving.

REGION: Gansu. Palette: #564238, #B97D2E, #428A99. First colour is the main outline; remaining two are small flat accents. No additional inks.

Draw TEN uneven episodes, each with a few large legible objects: (1) a generous Sanpaotai gaiwan, tilted lid and pouring hand at lower left, with three or four dry-fruit shapes on a small plate; (2) a compact clay tea pot on a little Tianshui stove, its cup to one side; (3) a Wenxian picker and three curved tea-bush rows, leaf basket open and unfilled; (4) a Yangba leaf-sorting tray beneath one wooded hill contour; (5) a Yuhe tea bench beside two tea shrubs, visibly smaller than Wenxian but still readable; (6) a Gannan host offering a butter-tea bowl beside a plain churn and one yak, not a tea garden; (7) a Jiayuguan gate answered by two simple Bactrian camels; (8) the crescent spring with a tiny pavilion and a narrow oasis tree, all water unfilled; (9) three striped Danxia ridges transitioning to two sharper Qilian peaks; (10) a low Lanzhou truss bridge and a simple Maijishan cliff niche as one compact travel group. Main gaiwan and picker are unequal visual anchors. Arrange the ten episodes at changing heights around the title, not as ten matching stamps; connect at most a few neighbours with a short land contour. Small ochre accents belong to fruit, gate roofs and ridge stripes; turquoise belongs to tiny bowl rims and a few river strokes. The dark brown line remains clean, never diluted into a wash. All scenes are present-day illustrative motifs; do not show desert tea cultivation or label a camel load as historical tea evidence.

PRINTED TEXT: exactly "GANSU" once, near the upper composition, in warm hand-drawn block-serif capitals. This is the only visible text: no place names, subheadings, numbers, Chinese, labels, logos or signatures. Keep the word readable and scaled to the drawing, not an oversized empty banner. Preserve the anatomy and silhouette of local animals and vessels; do not repeat or multiply episodes to fill gaps. Deliver the drawing itself on genuine transparency.