Zhejiang — Ten Things of Zhejiang

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.

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: ZHEJIANG. Only this text, exactly once. Large friendly upright hand-lettered capitals in a local opening, not a full-width banner.
PALETTE: #345C47, #688C9E, #9BA958. First colour is the contour/title; the other two are selective flat accents, with no extra colour or white ink.
ORIGINAL COMPOSITION:
TEN large unequal groups in a playful irregular arrangement. First, a broad Longjing wok with one clear hand and only six flat tea leaves. Second, a tall pale Anji tea sprig with three leaves beside two slender bamboo stems; leave leaf halves open. Third, an old arched canal bridge with three arch-stone marks and a tiny boat passing through its transparent opening. Fourth, a small West Lake pavilion with one open teacup on its veranda, no dense lattice. Fifth, a generous Songyang market scale and two baskets, each showing only four clear leaves. Sixth, a simple folded Pingyang yellowing cloth beside an open cup, drawn as fabric rather than a cube of compressed tea. Seventh, a tea picker with one basket and three broad terrace curves. Eighth, a short angular Yandang ridge with two pine silhouettes and open interiors. Ninth, a long low modern bay bridge with a few supports, clearly different from the old arched bridge. Tenth, one Zhoushan sailing boat and three low island shapes, with a tiny tea-row cue on one island. Arrange tall bamboo and sail at different heights and vary the sizes; no aligned icon rows. Put the single ZHEJIANG title in a local upper opening, with the wok and bridge beneath different parts of the word rather than creating an empty band. Only three to five internal marks per main object. Keep the wok, scale, old bridge and sprig large enough to recognise at cup size. Limited flat accents on leaf halves, roofs and basket rims; all surrounding water and most interior surfaces remain transparent. Never add a cloud of tinted atmosphere or a repetitive microscopic tea-leaf carpet.
REGIONAL FACTS AND LIMITS:
Longjing uses flat leaves and a wok; Anji Baicha is green tea from pale-leaf material, not white-tea processing. Songyang combines gardens and trade. Pingyang Huangtang is yellow tea; its cloth-wrapped processing bundle is not a tea cake. West Lake, bamboo, canal bridges, bay bridge and islands are regional map motifs. The illustration is an editorial selection, not proof that every scene stands at one address. No medicinal plants, oil-tea fruits or extra Chinese lettering. Let the leaf shapes stay large and visibly distinct.
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.