RENDERING REQUIREMENTS: Produce a new, completely crisp region-specific illustration. Borrow ONLY drawing style from the references; do not copy their region, title or place names. Use the exact region and English lettering in the brief. No blurred patches, mist, smoky shading, translucent brush smears or soft-focus architectural details. No clipping of objects or letters: keep an 80-pixel clear safety margin around the complete composition. True PNG RGBA transparency between the drawn shapes; no opaque white or coloured backing. Sharp ink edges, legible deliberate lettering.

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.


C3: LIVING TEA TERRITORIES. Make an oblique, connected illustrated tea world, held together by a locally meaningful river, street, mountain fold or caravan corridor. Large foreground hospitality or craft overlaps medium buildings and small distant geography. Five flat inks, expressive editorial drawing and carefully observed vessels. No administrative outline, amusement-park badge grid or generic ornamental tea leaves. Integrate a strong condensed regional heading in the lower rhythm, not in a separate title band.

REGION: Tibet. Exact ink palette: #24477D, #D6A135, #A34B43, #779EA4, #8F678C. The first colour supplies the main line; the others have deliberate separate roles, not gradients.

AUTHENTIC SUBJECT MATTER:
Tibet has three genuine tea-production clusters in the humid southeast, which must all remain distinct: Yigong/Bomi has a picker with a fresh-leaf basket on a wooded tea slope; Medog has steep humid tea gardens, a second leaf-gathering gesture and a compact processing tray; Zayu is represented by a leaf-sorting or drying bench, a few tea shrubs and a simple workshop roof, associated with regional black-tea production. Do not move these farms to Everest, Kailash, Nagqu or the cold western plateau. A much larger Lhasa sweet-teahouse table shows two relaxed guests, a kettle and plain glasses or cups; it is everyday urban sociability, not a named historic facade. A separate pastoral butter-tea host uses a wooden churn and bowl near one yak; this is tea drinking, not highland leaf cultivation. Wrapped compressed tea and a pack animal illustrate transport and provision, without inventing a monastery pressing factory. Contrasting forested southern folds and a dry open plateau ridge should explain the climatic difference visually. No health claims or assertions that all Tibetan tea is imported, and no falsely uniform carpet of plantations.

SPECIFIC COMPOSITION:
Use a broad climatic fold, not a literal provincial map: humid southeastern cultivation curls up from the right into three distinct Yigong, Medog and Zayu working scenes. Across the foreground an urban sweet-teahouse table meets the domestic butter-tea host and churn. A narrow pack route passes behind the vessels toward a small plateau tent and dry peak at the left. Forest and tea rows stop before that upland scene. The title sits at the lower turn of the route, with one empty channel separating the churn from the table. Make the picker basket and host gesture large enough to read; the geography clarifies where tea grows and where it is prepared.

VISIBLE TYPE: exact main title "TIBET" once. Use only these optional small English labels, integrated beside the appropriate scenes and large enough to read: YIGONG, MEDOG, ZAYU, LHASA, SWEET TEA, BUTTER TEA. Do not add other text. 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.