# Guizhou — Tea Leaf over a Wooden Bridge

Guizhou · GZ_C1

A large hand shapes the leaf, and a covered bridge connects mountain workshops.

## 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/GZ_C1.png) · [exact TXT](/assets/prompts/GZ_C1.txt) · [dossier in browser](/en/docs/designs/GZ_C1.html) · [collection context](/en/docs/projects/C1.html).

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

## Review basis

Complete GUIZHOU and clear tea captions; clean two-color engraved line, distinct manual processes and local tea forms. Main objects intact, no muddy blurring.

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

#243F72

#56866D

## 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: `e2c45bc126c41ad2603dc511383ada274c17028ae17aec4e93d9b69a6e05233a`.

```text
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.

PRODUCTION CALIBRATION: use the supplied crisp print illustration as the leading standard for edge clarity, and use any cup photo only for its hand-drawn spirit. Create original local subjects; never reproduce the reference title or region. All strokes and letters must be sharp, complete, readable and deliberately drawn. No painterly blur, soft dirty halos, translucent smearing, duplicated words or pseudo-writing. Every complete object and letter stays 120 pixels inside each native edge. All unpainted exterior and interior openings must be genuine transparent alpha, not an opaque white canvas. Replace any weak fine detail with fewer clear graphic marks.

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: A TWO-INK ENGRAVED TEA ATLAS. Follow the supplied GD24 reference for delicate but decisive engraving, botanical specificity and the contrast of foreground craft with smaller distant discoveries. Use only the two specified inks. No atmospheric colour fields, decorative network dots or specimen boxes. Tall narrow serif region lettering fits a natural opening within the world.
REGION: GUIZHOU.
PALETTE: #243F72, #56866D. 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:
Represent ten tea territories through different visible forms and actions. Duyun Maojian: a maker shapes small curled tender leaves in a shallow pan, with soft southern hills. Meitan Cuiya: neat flatter pointed leaves on a sorting board beneath orderly garden contours. Zunyi Hong is separate black-tea rolling with darker twisted leaves, not another green-tea name. Fenggang has cultivated tea slopes alongside woodland, without mineral-health graphics. Shiqian Taicha has local tea branches and a hand selecting shoots. Fanjingshan/Yinjiang/Jiangkou is a forested mountain tea setting with a small village eave. Zheng'an Baicha is pale-leaf material made as green tea in this classic story, shown by an open pale sprig and a pan, not white-tea withering cakes. Leishan Yinqiu appears as a few deliberately formed tea balls on a tray, never silver jewellery. Guiding Yunwu has upland tea picking; Anshun/Pubu Maofeng has a delicate sorting basket near lower karst. Pu'an black tea is a small western rolling table. Guiyang may appear as an unlabelled tasting/trade counter. Ten caption limit means Meitan/Zunyi may share one macro area with distinct processes; eleven researched territories do not require eleven tiny labels.
AUTHORED COMPOSITION:
Place a Duyun maker and broad curling pan at near left, with a few large beautifully drawn tea curls. The pan rim echoes the gentle arc of a long southeast covered bridge farther behind, but the bridge is a travel connective, not a claim Duyun has that exact structure. Meitan flat-leaf work and Zunyi rolling anchor the right bank under separate low roofs. Shiqian branch and Fanjingshan forest slopes rise above the bridge; Zheng’an pale leaf, Leishan tea balls and Guiding picker are smaller discoveries along the near lane. Anshun and Pu’an work sit at the western lower turn. GUIZHOU fits in an open roof-and-hill gap; the two inks carry form rather than filled atmosphere.
LETTERING PLAN:
GUIZHOU once. Captions only DUYUN, MEITAN, FENGGANG, SHIQIAN, FANJINGSHAN, ZHENGAN, LEISHAN, GUIDING, ANSHUN, PUAN. Zunyi rolling remains visible within the Meitan/Zunyi macro area without extra microtext.
REGIONAL SAFEGUARDS:
Zheng’an Baicha is not automatically white-tea processing. Leishan tea balls are leaves, not silver pearls. Separate black-tea rolling from green-tea shaping. No zinc/selenium health claims or mythical ancient-tree ages. Southeastern drum towers and covered bridges are not universal Guizhou architecture. The print is an editorial journey, not a precise surveyed geographic map.
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.
```