# Yunnan — Ten Things of Yunnan

Yunnan · YN_C7

A large tea leaf, press, and various rooftops read clearly in a simple three-color drawing.

## 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/YN_C7.png) · [exact TXT](/assets/prompts/YN_C7.txt) · [browser dossier](/en/docs/designs/YN_C7.html) · [collection context](/en/docs/projects/C7.html).

[C7: drawing method and style references](/en/docs/C7_METHOD_RU.md).

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

## Factual basis and choice of subjects

A large tea leaf, press, and various rooftops read clearly in a simple three-color drawing.

## Title and drawing language

The assignment provides only one word — YUNNAN, in large Latin serif letters. Small toponyms, Chinese text, numbers and third-party logos are excluded. This is the assignment description; actual legibility is assessed separately.

## Drawing method and style references

Photographs of real tourist mugs with city scenes of Guangzhou, Macau, Hong Kong and Zhuhai were studied. From them, observed drawing features were taken: medium lively hand outline, simple recognizable silhouettes, selective flat color accents and a large title in the upper band. The specific set of viewed angles varied by region.

Local scenes vary in scale, shape, and height. Their juxtaposition creates an overall rhythm; a continuous panorama, a shared horizon, a grid of identical modules, and a fixed percentage of empty space are not imposed. Transparency is preserved between and within outlines.

The ceramic surface, highlights, hands, and the object background of the photographs are not part of the new drawing. Reference images and personal source photos are not published here. The three colors of each region are the author's palette, not a measured paint standard of the photographed cup.

## Review basis

Clear medium outline, limited flat fills and only the full YUNNAN title. Tree, tea leaves, processing, caravan and architecture are recognizable; no dirty halos, pseudo-script or cropped large elements.

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

#174E47

#BD597E

#7AA361

## 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: `ef2bfbb0cf9b2f99b6cb8a47e5af3a0bb83459f305e5e1c4c03cbcf85da7eb23`.

```text
Create one original flat souvenir print, not a mug or mockup. Use the supplied successful C7 cup-illustration reference for scale and hand, not its subjects. PNG RGBA, 3840 x 1280 px, artwork inside x=60..3780 and y=110..1170; final print 3840 x 1152 px, 250 x 75 mm. Genuine transparent background and unfilled interiors. No white or cream panel, paper, shadow, fuzzy wash, gradient, background horizon or photographic ceramic. Crisp selective flat accents on actual objects, many open interiors. A broad organic arrangement across the strip, not a small central picture.
A SIMPLE HAND-DRAWN SOUVENIR ALBUM. Follow the supplied successful C7 reference for generous object scale, medium clean contours and selective flat colour. Use 5–7 px principal outlines at this master size, gently irregular; only 3–5 internal explanatory strokes per object. No dense weaving, tiny leaf carpets, stippling, crosshatching or painterly haze. Eight to ten unequal large groups fit around one another in a lively informal order, with open interiors. No badges, frames, equal grid or monumental continuous scenery. Only the large English region name is printed, once; no small captions.
REGION TITLE: YUNNAN. Only this text, exactly once. Large friendly upright hand-lettered capitals in a local opening, not a full-width banner.
PALETTE: #174E47, #BD597E, #7AA361. First colour is the contour/title; the other two are selective flat accents, with no extra colour or white ink.
ORIGINAL COMPOSITION:
TEN unequal generous groups with an informal hand-drawn souvenir rhythm. One: an arbor-tea branch with four large leaves and one reaching hand, each leaf mostly open. Two: a broad stone tea-cake press with one finished unbranded cake beside it; no pile of tiny wrapper lettering. Three: a shallow sun-drying mat with only six recognisable loose leaves. Four: a Fengqing rolling tray carrying five long twisted tea shapes and one maker hand, clearly different from the round cake. Five: a small Jingmai tea tree below one taller forest tree, simple unequal crowns and no carpet of miniature foliage. Six: a pack animal with two side bundles and one carrier, a gentle tea-road reference without fantasy costume. Seven: one Lijiang timber-roof house, showing a door and only a few beam strokes. Eight: a low Dali Bai-style gate beside three open Erhai water curves. Nine: a slender southern Dai roof and one palm, simplified broad silhouette. Ten: two small angular snow peaks, a northern travel token rather than a backdrop behind the tropical tree. Arrange the branch, tree and palm at unequal heights; press and mat are broad low anchors. Let the carrier path partly tuck behind the press and a leaf tip overlap a roof corner, but keep the overall album free of a global scenic horizon. Put YUNNAN once in a central upper opening, large friendly upright capitals, and shape the subjects around the word without creating an empty banner. Main contours must be clear 5–7 px strokes; limit each object to three to five interior explanation lines. Do not shade forests, engrave every tile, draw hundreds of leaves or fill the ground with colour. Colour is selective flat accent on leaf halves, roof sides and a few tool surfaces. Nearly all water, sky and building interiors are true transparency. Tea objects remain the largest memorable shapes, not a token cup beside generic tourism icons.
REGIONAL FACTS AND LIMITS:
Large-leaf tea and a stone cake press refer to southern Pu’er production; a Fengqing tray shows long twisted black-tea leaves instead of cakes. Jingmai tea grows beneath a forest canopy. Lijiang wooden roofs, Dali architecture, a Dai roof/palm and a caravan are map-derived travel motifs. Hani stepped flooded fields are rice, not tea. Northern snow peaks are separate travel scenery, not the background of a southern tea tree. Avoid precise costume claims, brand labels, Chinese writing, health motifs and tiny documentary text. This is a selected travel album, not all Yunnan clusters rendered literally.
FINISH: memorable large silhouettes, simple confident outside contours, few internal marks, restrained colour. Keep all required objects whole and all lettering readable. Do not fill trays with hundreds of miniature leaves. No small captions, numbers, signatures, logos, Chinese text or repeated extra words. Flat transparent artwork only.
```