# Fujian — Tea channels of Fujian

Fujian · FJ_C3

A diagonal atlas from northwestern cliffs to eastern jasmine, with a separate southern branch Anxi–Zhangping; processes show the differences between teas.

## Published file

250 × 75 mm · 3840 × 1152 px · RGBA · 390.144 / 390.144 ppi.

Checked for publication · Drawing review and technical check of the current file

[PNG](/assets/artwork/FJ_C3.png) · [exact TXT](/assets/prompts/FJ_C3.txt) · [dossier in browser](/en/docs/designs/FJ_C3.html) · [collection context](/en/docs/projects/C3.html).

[Regional research and sources](/en/docs/research/fujian.md).

## Review basis

Third version: sharp graphic tea region, FUJIAN whole, Wuyi/Tongmu/white tea/jasmine/Anxi/Zhangping distinguishable. Illegible duplicates eliminated; current export has alpha.

PNG RGBA 3840 × 1152 px; real alpha channel; proportional export 250 × 75 mm.

Approved after review for the open gallery; does not imply the user's endorsement of industrial production.

## Creative brief palette

#245D58

#AB653D

#829C49

#C89983

#608BA5

## Original generation prompt

The text below matches the published TXT. Inscriptions, details, and palette in the assignment are the author's intent; this is not OCR of the final image. Reference images used are not included in the TXT.

SHA-256 TXT: `37398b59ec73d7c2ffd0fe4270e6534a0e4f7e9d04c6a7cb4ca8475288a82f86`.

```text
FINAL PRINT DISCIPLINE: Draw sharp original graphic strokes with clean antialiasing, no blur, soft halos, watery texture, fake shadow or doubled outlines. The full scene has authentic transparent exterior and transparent open interiors, never a white or beige backing. Every complete subject and word is kept 120 pixels inside all native borders. Match only the supplied example drawing language, not its region. All content must belong to the requested region.

PRODUCTION REVISION: Use crisp deliberate print strokes and bounded flat colours, not a textured low-resolution painting. No fuzzy contour, photographic shading, painterly haze or opaque landscape panel. All exterior and interior empty space is transparent alpha zero. Keep all letterforms and complete objects inside x100..3740 and y120..1160 on the native canvas. Render the main region title clearly; if a tiny caption would be unreadable, omit that caption rather than duplicate or distort it. The white surface in the reference is a viewing aid and must not be drawn.

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: FUJIAN.
PALETTE: #245D58, #AB653D, #829C49, #C89983, #608BA5. 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:
Fujian is a major tea-growing and tea-making province, with distinct northern, eastern and southern traditions. Build varied real processes rather than identical green gardens. NORTHWEST: Wuyishan rock oolong among tall eroded cliffs, a maker shaking a bamboo tray, long twisted leaves and a charcoal-roasting basket; Tongmu black tea appears as a modest timber processing room and long dark leaves, not another rock-oolong clone. NORTHEAST: Fuding white tea has open withering trays with plump buds and leaves; neighbouring Bailin has a separate little black-tea sorting tray. Zhenghe has white-tea withering racks plus a small distinct dark-leaf basket for its gongfu black tea. Fu'an/Tanyang shows a hand sorting slender black leaves. EAST: Fuzhou is a scenting worktable with open jasmine flowers beside green tea, not flowers growing on tea bushes. SOUTH: Anxi Tieguanyin has a cloth-wrapped rolling bundle and tightly rolled oolong; Yongchun Foshou has a broad natural tea leaf and basket; Zhangping Shuixian has a wooden square mould and small square paper-wrapped cakes; Pinghe Baiya Qilan and Zhao'an Baxian occupy different little lower-slope branches of the southern garden with tea shoots and a picking basket. CENTRAL/WEST: Datian Beauty tea appears as a small hand-sorting activity, Wuping green tea as a shallow pan and fine green leaves. These secondary scenes share actual work surfaces, slopes and roofs. Min River links northern slopes with the Fuzhou story; the southern Jiulong drainage is a separate lower rhythm, not a claim all places stand on one river.
AUTHORED COMPOSITION:
Use an editorial oblique north-at-upper-left geography. Wuyi and Tongmu rise far left; Fuding and Zhenghe form different high northern slopes toward the upper right, with Fu'an below them. An alpha-clear branching Min River cuts diagonally down to a foreground Fuzhou jasmine-scenting room open to view. In a separate lower-left sweep, the Anxi rolling scene and Yongchun leaf garden lead toward Zhangping's square cake table, then smaller Pinghe and Zhao'an shoots. The lower-right harbour and open sea strokes visually balance the mountain height. Datian pan-side sorting and Wuping green-tea work are tucked into interior slope passages, not anonymous duplicate plantations. Make the foreground jasmine blossoms and maker's hands larger than distant roofs; the distinction of processes should be readable before every caption is read. Place FUJIAN in the lower geographic rhythm with the river bending naturally past it. Shared terraces and roof edges unite the broad print without forming a filled provincial outline.
LETTERING PLAN:
FUJIAN once, strong condensed title. Use WUYI, TONGMU, FUDING, ZHENGHE, TANYANG, FUZHOU, ANXI, ZHANGPING, YONGCHUN, PINGHE as the complete small-caption set. River lines remain unlabelled; do not add tiny county lists.
REGIONAL SAFEGUARDS:
Tea forms must differ: long rock-tea strips, white buds/leaves, rolled Anxi oolong and square Zhangping cakes. Jasmine is added during scenting of actual tea, not a medicinal herbal drink. Foshou is a tea name, not sliced Buddha's-hand citrus; Shuixian is not a narcissus-flower infusion. Keep Min and Jiulong as editorial river rhythms rather than one false hydrological channel. No mainland-wide landmark collage, no pagodas duplicated at every cluster, no exact-date or healing claims.
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.
```