Sichuan — Ten Sichuan things

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 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: SICHUAN. Only this text, exactly once. Large friendly upright hand-lettered capitals in a local opening, not a full-width banner.
PALETTE: #385A37, #BA4244, #97A657. First colour is the contour/title; the other two are selective flat accents, with no extra colour or white ink.
ORIGINAL COMPOSITION:
TEN clear unequal groups across the long strip, with lively irregular spacing and generous scale. One: a large open gaiwan with its lid tilted beside the cup and a saucer, the main near anchor. Two: one bamboo chair with only four seat strokes, angled toward a small tea table. Three: a Mengding maker holding a broad shallow basket with five curled leaves. Four: a simple Ya’an tea press and one unbranded rectangular dark-tea brick, no wrapper writing. Five: a Qianwei jasmine sprig with three blossoms beside five tea leaves on a shallow tray. Six: a low Emei roof above three broad tea-terrace curves. Seven: a small carrier and pack animal beside a short suspension bridge; the bridge has only a few cable and plank strokes. Eight: a seated Leshan Buddha integrated into a plain cliff outline, respectfully simple and smaller than the tea objects. Nine: a river junk with one broad sail and three water strokes. Ten: a little panda sitting beside two bamboo stems, a minor travel accent. The title SICHUAN appears once, large and upright, in an upper central opening between bamboo and roof. Do not turn the title into a banner or align ten subjects in equal rows. Let the chair partly overlap the table and the bridge tuck behind the carrier, but do not connect everything through a grand painted landscape. Each main outline is 5–7 px; each object gets only three to five inner explanatory marks. Leave gaiwan interiors, house walls, water and cliff interiors mostly transparent. Flat accent patches may colour leaf halves, one sail side and a roof face, never the whole background. No dense basket weave, hundreds of leaves, ornate costume, clouds of steam, stippling or crosshatching. At cup size the gaiwan and tea-making tools must read first; panda and monument are supporting details.
REGIONAL FACTS AND LIMITS:
Mengding tea making, Ya’an compressed dark tea, Qianwei jasmine scenting and Chengdu gaiwan culture are distinct. The map provides panda/bamboo, suspension bridge/caravan, Emei roofs and Leshan cliff Buddha. Keep the Buddha a respectful remote landscape silhouette; no cartoon tea service performed by it. Tea leaves remain Camellia leaves, not bamboo. Jasmine is an aromatic partner to tea, not a replacement infusion. Snow is western travel context. This album selects ten clear groups and does not claim all researched growing territories have a separate visible symbol.
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.