STEP 1 — original generation

Create a collector-quality TAIWAN ceramic decal using the ONE attached Guangdong illustration as the exact DRAWING-STYLE reference. Replace its subjects and names with Taiwan. Prioritise the specified graphic language, ink palette, clear captions and real tea processes. Not oil paint, watercolor, photograph or 3D landscape.

Native PNG RGBA 3840x1280, quality max; complete marks inside x60..3780/y95..1185, almost full width, undistorted. Final export 3840x1152/250x75mm. Genuine alpha-zero exterior and natural interior openings. No paper/sky/sea rectangle, opaque white backing, fog, halo, checkerboard or mockup.

Compose one rich interconnected graphic world with a dominant event, unequal counterweights and smaller discoveries. Use meaningful ridge/roof/work-surface/branch contours, varied scale and selected overlaps. No equal icon grid, two uniform rows, independent stickers or painted scenic backdrop. Preserve two or three calm interior apertures. Required captions sit beside their subjects in dark upright English capitals, in planned contour breaks, never white boxes. TAIWAN exactly once, fully legible and integrated. No Chinese, fake writing, slogans, dates or logos. No Guangdong subjects. Different teas retain distinct leaf forms; Ruby18 belongs to Yuchi, honey scent is not added honey, bare summits are not tea farms.

STYLE C3 / GD18: A GRAPHIC TEA GEOGRAPHY IN FIVE FLAT INKS. Match the reference's bounded sculptural slopes, crisp decorative foliage, expressive small workers and legible named places. The drawing has simple strong masses with selected fine detail. It is NOT continuous-tone realism, watercolor, oil paint, panoramic scenery or engraved noise everywhere. Palette exactly: dark PLUM #4F325E, mountain JADE #2B8775, muted tea-bud yellow-green #A7AF62, roast COPPER #CE9566 and mountain PERIWINKLE #778DBB. Plum holds captions, contours and dark structure; jade and yellow-green share foliage; copper identifies baskets, roof faces and garments; periwinkle gives far rock and sparse water strokes. Show all five as separate intentional opaque shapes, not muddy blended natural green.

One cultivated world unfolds north-left to south-right. The large foreground DONG DING MAKER is the close event, turning rolled oolong in a broad circular bamboo roasting basket. The basket rim leads directly into sculptural tea-row curves on either side. Behind this event an evolving ridge is the visual backbone, but must never become a single filled mountain backdrop. The visible terrain is a series of adjoining bounded graphic shapes, interrupted by meaningful transparent courtyards and water passages. A bold northern tea shoot and a taller southern native tree provide unequal counterweights. Small people work INSIDE the planted areas and roofs, not beside floating specimens.

The left landscape links Pinglin's long-leaf craft, Maokong/Sanxia's distinct equipment and the Hsinchu leafhopper shoot. Low Yilan rows are quieter. Central land rises into sharp Lishan/Hehuanshan, narrow bamboo/conifer Shanlinxi and a visibly lower broad Mingjian plateau. The nearest round roasting event holds the middle together. A small crescent-shaped transparent Sun Moon Lake passage opens behind it, with the correct black-tea leaf scene. Alishan's carrying picker stands under cypresses along the same changing ridge.

On the right the land lowers into Ruisui and Luye's adjacent but visibly different tea processes, then the natural Liugui tree and coastal Gangkou shoots. A few strokes suggest water; no opaque river ribbon or all-over blue sea. Place strong condensed TAIWAN within the LOWER MIDDLE contour, its letters sharing space with landscape edges rather than occupying a separate footer. All local captions use solid plum, honest clear capitals, and small planned unprinted openings. Their geography is part of the design, not optional map decoration.

FOURTEEN REQUIRED CAPTION GROUPS AND THEIR DIFFERENT TEA ACTIONS. These are content and spelling requirements, not fourteen separate panels. Include every caption, 38–44 pixel capitals, plum ink, two lines where useful; never omit labels to make a prettier generic landscape.
PINGLIN / WENSHAN: picking and spreading LONG Baozhong leaves on a bamboo tray inside generous northern tea rows.
MAOKONG / SANXIA: a tea-house eave with a Tieguanyin charcoal-roasting basket and a separate little dish of curled Biluochun. Different teas, two linked craft details.
HSINCHU / MIAOLI: a large observed tea shoot with ONE small leafhopper, long white-tipped Oriental Beauty leaves on a tray beside a low courtyard roof.
YILAN: lower river-valley plots and a modest leaf-rolling board, deliberately not an alpine peak.
LISHAN / HEHUANSHAN: sharp high ridges with cultivation BELOW bare summits and tightly rolled oolong leaves on a working shelf.
MINGJIAN / SONGBOLING: broader lower plateau, straighter tea rows and three distinct shoots for cultivar variety.
LUGU / DONG DING: natural hands turning rolled oolong in a circular bamboo roasting basket on a low stand; humble workshop roof, no flames.
SHANLINXI: narrower bamboo-and-conifer slope with highland tea, a vertical rhythm unlike the broad lower plateau.
YUCHI / SUN MOON LAKE: transparent crescent water aperture between shore strokes, small tiered shore pagoda, a cup and LONG black-tea leaves.
ALISHAN: curved cultivated slopes beneath cypresses, a carrying picker and optional tiny forest-rail hint. Tea remains the main action.
RUISUI / WUHE: river-terrace gardens, long black-tea leaves and a plain tasting cup, no honey jar.
LUYE / TAITUNG: lower plateau garden, maker handling tightly rolled Red Oolong, distinct from Ruisui's long leaves.
LIUGUI: naturally taller native tea tree, large leaves and a hand-gathering figure under woodland cover, not another clipped hedge.
GANGKOU / MANZHOU: wind-bent coastal tea shoots, compact planted rows and spare sea strokes. End with tea, not a yacht or seaside hotel.

The fourteen groups belong to three overlapping narrative areas: northern leaf craft; central heights, roasting and lake; eastern valley descending to southern native-tree/coastal tea. An unfolded artist's geography, never an exact island outline or a claim that remote places occupy one physical plot. The tiny meaningful scenes are parts of a larger drawing, and each local product/process must stay distinct.

The reference's appeal comes from immediate graphic silhouettes and many specific local discoveries. Preserve that distinction from C1's engraving and C2's huge decorative word. At distance this is one named cultivated territory; close up, its tea techniques and terrain are different. Never hide missing places behind an atmospheric mountain painting. Keep all required labels readable, the five-ink separation evident, objects crisp and actual transparency throughout unprinted spaces.