Тайвань — гравюра о пути чайного листа

STEP 1 — original generation

Create a collector-quality TAIWAN ceramic decal using the ONE attached Guangdong illustration as the exact DRAWING-STYLE reference. Replace its subjects and names with Taiwan. Prioritise the specified graphic language, ink palette, clear captions and real tea processes. Not oil paint, watercolor, photograph or 3D landscape.

Native PNG RGBA 3840x1280, quality max; complete marks inside x60..3780/y95..1185, almost full width, undistorted. Final export 3840x1152/250x75mm. Genuine alpha-zero exterior and natural interior openings. No paper/sky/sea rectangle, opaque white backing, fog, halo, checkerboard or mockup.

Compose one rich interconnected graphic world with a dominant event, unequal counterweights and smaller discoveries. Use meaningful ridge/roof/work-surface/branch contours, varied scale and selected overlaps. No equal icon grid, two uniform rows, independent stickers or painted scenic backdrop. Preserve two or three calm interior apertures. Required captions sit beside their subjects in dark upright English capitals, in planned contour breaks, never white boxes. TAIWAN exactly once, fully legible and integrated. No Chinese, fake writing, slogans, dates or logos. No Guangdong subjects. Different teas retain distinct leaf forms; Ruby18 belongs to Yuchi, honey scent is not added honey, bare summits are not tea farms.

STYLE C1 / GD24: TWO-INK DECORATIVE ENGRAVING. Follow the reference's clear sculpted leaf silhouettes, carefully drawn human actions, crisp basket weave and delicate selective hatching. These are original drawn lines, not a photographic scene run through an etching filter. EXACTLY TWO INKS: deep PLUM #4F325E and mountain JADE #2B8775. Plum dominates structure and all typography; jade supplies foliage accents and a few contrasting land contours. No black, brown, grass green, gradient, opaque white or painted atmospheric colour. Inside a material, a few deliberate hatch marks describe it; do not fuzz every surface with uniform scratch texture.

The large anchoring form is an elegant DIAGONAL CAMELLIA BRANCH at the northern-left foreground. Its sharp leaves, one tiny leafhopper and nearby Oriental Beauty tray supply distinctive botanical intelligence. A curved Pinglin working terrace nestles around its base. Beneath the central part of this branch's gesture, make the Dong Ding hands-and-bamboo-basket event an unequal second focus. Its round rim continues into changing tea-row curves. The branch and basket are not giant disembodied objects containing the entire island: workers, roof joints and planting make them part of human-scale local life, with editorial scale contrast.

Behind these close details, a selectively broken mountain spine rises through Lishan and Shanlinxi, then lowers toward the eastern valley and the naturally taller Liugui tree at right. These are spare graphic ridges, not a painted wall of distant hills. The Mingjian plateau is lower and visibly broader. Carve the small Sun Moon Lake opening between shore strokes; a little pagoda and long black-tea leaves establish the correct place. Let the southern tea tree's branching mirror the northern shoot at a different scale. Its lower contour ends in Gangkou wind-bent coastal tea. Most marks belong to shared irregular contours, with a few leaf tips beyond them.

TAIWAN in a tall narrow plum serif nests asymmetrically in a right-of-centre pocket between ridge, lake and branch. It does not clear an empty horizontal strip. The local captions are essential components of the engraved atlas, placed in small natural contour breaks. Do not sacrifice them for extra foliage. At first glance: two beautifully drawn botanical/craft gestures and a whole island tea story. At hand distance: meaningful leaf, wood, vessel and weaving details.

FOURTEEN REQUIRED CAPTION GROUPS AND THEIR DIFFERENT TEA ACTIONS. These are content and spelling requirements, not fourteen separate panels. Include every caption, 38–44 pixel capitals, plum ink, two lines where useful; never omit labels to make a prettier generic landscape.
PINGLIN / WENSHAN: picking and spreading LONG Baozhong leaves on a bamboo tray inside generous northern tea rows.
MAOKONG / SANXIA: a tea-house eave with a Tieguanyin charcoal-roasting basket and a separate little dish of curled Biluochun. Different teas, two linked craft details.
HSINCHU / MIAOLI: a large observed tea shoot with ONE small leafhopper, long white-tipped Oriental Beauty leaves on a tray beside a low courtyard roof.
YILAN: lower river-valley plots and a modest leaf-rolling board, deliberately not an alpine peak.
LISHAN / HEHUANSHAN: sharp high ridges with cultivation BELOW bare summits and tightly rolled oolong leaves on a working shelf.
MINGJIAN / SONGBOLING: broader lower plateau, straighter tea rows and three distinct shoots for cultivar variety.
LUGU / DONG DING: natural hands turning rolled oolong in a circular bamboo roasting basket on a low stand; humble workshop roof, no flames.
SHANLINXI: narrower bamboo-and-conifer slope with highland tea, a vertical rhythm unlike the broad lower plateau.
YUCHI / SUN MOON LAKE: transparent crescent water aperture between shore strokes, small tiered shore pagoda, a cup and LONG black-tea leaves.
ALISHAN: curved cultivated slopes beneath cypresses, a carrying picker and optional tiny forest-rail hint. Tea remains the main action.
RUISUI / WUHE: river-terrace gardens, long black-tea leaves and a plain tasting cup, no honey jar.
LUYE / TAITUNG: lower plateau garden, maker handling tightly rolled Red Oolong, distinct from Ruisui's long leaves.
LIUGUI: naturally taller native tea tree, large leaves and a hand-gathering figure under woodland cover, not another clipped hedge.
GANGKOU / MANZHOU: wind-bent coastal tea shoots, compact planted rows and spare sea strokes. End with tea, not a yacht or seaside hotel.

The fourteen groups belong to three overlapping narrative areas: northern leaf craft; central heights, roasting and lake; eastern valley descending to southern native-tree/coastal tea. An unfolded artist's geography, never an exact island outline or a claim that remote places occupy one physical plot. The tiny meaningful scenes are parts of a larger drawing, and each local product/process must stay distinct.

The final image must visibly remain the attached GD24 family: two controlled ink colours, sharply designed hand-drawn forms, disciplined engraved detail and readable regional captions. Connected richness does not require a background painting. Build depth by unequal size and overlap; the interior river, window, leaf and title openings remain genuinely transparent. Preserve all fourteen tea territories in the caption/content hierarchy. No anonymous wall of green mountains.

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STEP 2 — targeted edit of preceding image

Precisely correct one anatomical defect in this otherwise approved TAIWAN two-ink engraved tea atlas. In the middle foreground at LUGU / DONG DING, two hands currently emerge awkwardly from behind a roof with no visible person. Replace that small central arrangement with ONE clearly drawn human tea maker: visible head, neck, shoulders, clothed torso, two normal arms emerging naturally from sleeves, and hands gently working the leaves in the existing large round bamboo basket. Seat or stand the maker realistically behind the basket; keep the workshop roof behind the person, never cutting across arms. Normal proportions, exactly two hands with natural anatomy. The basket, bench and the hillside remain connected to the surrounding landscape.
Preserve all the rest: large TAIWAN title, all14 local tea caption groups and their spelling/positions, tea fields, processes, leafhopper shoot, mountains, large native tea tree, tea shops, cups and scenery. Do not delete or invent captions. Keep the same crisp deep plum #4F325E and jade #2B8775 engraved pen language. No full-colour painting, no extra hues or new scene. Keep all artwork whole with transparent safety margins.
Preserve genuine alpha-zero background and internal openings; do not add white paper, checkerboard, sky fill or coloured wash. Output actual RGBA PNG3840x1280 with transparent background. Retain native sharp detail. Only the central maker's anatomy and the immediately adjacent roof/basket intersection need alteration.

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STEP 3 — targeted edit of preceding image

Precise typography correction of this approved transparent TAIWAN two-ink engraving. Preserve the now-correct central tea maker with visible upper body, the large basket, every illustrated tea region, giant botanical shoot, mountains, plantations, leaves and title. Keep native crisp plum #4F325E and jade #2B8775 pen strokes.
FIRST erase ALL fourteen secondary caption groups completely, including every existing letter. Do not overwrite new words on old words. Keep only the main TAIWAN title. The deleted caption areas become genuine transparent openings with no white patches.
THEN write exactly these fourteen caption groups near the SAME corresponding subjects, using perfectly legible plain upright dark PLUM capitals approximately44px tall; two lines per pair. Use the spelling below literally, no tea-name substitution, no synonym, no omitted place:
1 PINGLIN / WENSHAN — at the upper-left maker with a round tray. The first word must be PINGLIN, not PAOCHUN, BAOCHUN or BAOZHONG.
2 MAOKONG / SANXIA — by upper-central workshop and its two trays.
3 HSINCHU / MIAOLI — below the large left botanical leafhopper shoot.
4 YILAN — by the lower middle-right tea worker.
5 LISHAN / HEHUANSHAN — above the middle high mountain range.
6 MINGJIAN / SONGBOLING — at the left middle tea slopes.
7 LUGU / DONG DING — by the central foreground tea maker and large basket.
8 SHANLINXI — by the upper-right narrow conifers.
9 YUCHI / SUN MOON LAKE — beside the lake, pagoda, cup and long black leaves.
10 ALISHAN — below the left forest train and tea slopes.
11 RUISUI / WUHE — by the lower centre-right long black leaves and cup. Second word WUHE, not HONEY.
12 LUYE / TAITUNG — by the lower-right tea roller. Second word TAITUNG, not RED OOLONG.
13 LIUGUI — beside the large upper-right branching tea tree.
14 GANGKOU / MANZHOU — beneath the far-right coastal shoots. Second word MANZHOU, not JINXUAN.
Slashes above mean two lines, do not require printed slash characters. Every group appears exactly once. These fourteen groups and TAIWAN are ALL the text. No extra lettering, script, faint ghosts, abbreviations or decorative fragments. Do not change any illustration, palette or title to make this edit. Keep true alpha=0 around and within the drawing, no painted paper or checkerboard. Output native3840x1280 RGBA PNG, background transparent. All artwork and captions whole, crisp, no rescaling artifacts.

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STEP 4 — targeted edit of preceding image

Make ONLY two small caption changes in this otherwise approved transparent TAIWAN illustration. Preserve every drawn subject, person, tea field, leaf, colour, title and all other existing labels exactly.
At the upper-left tea maker with a round tray, the present two-line label MAOKONG / SANXIA is attached to the wrong local scene. Replace that label there with exactly:
PINGLIN
WENSHAN
Then place the two-line label:
MAOKONG
SANXIA
directly beside the nearby upper-middle tea workshop with the tiled roof and two small trays. There is an open patch above/left of that roof. The two tea scenes must have separate correct labels. Both groups are essential; do not delete either.
All letters in the same crisp dark plum upright uppercase style as the other captions, approximately44px high. No slash needs printing, just two lines. No other textual changes whatsoever. Especially preserve RUISUI / WUHE, LUYE / TAITUNG, GANGKOU / MANZHOU, LUGU / DONG DING and all other current names.
Preserve genuine transparent alpha outside and inside the illustration, no white backing, grid, checkerboard or halo. Native RGBA PNG3840x1280, quality max, transparent background. No repainting or recomposition. This is only a missing-place-caption repair.

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STEP 5 — targeted edit of preceding image

A precise two-word spelling correction in the provided finished TAIWAN tea illustration. Keep the entire design exactly identical, including all other captions, drawings, human anatomy, plum-and-jade palette, sharp engraved details and genuine transparent alpha. Change only these two words:
1. Above SUN MOON LAKE, the current word TUCHI must read YUCHI, spelled Y U C H I. Keep SUN MOON LAKE unchanged.
2. At the far-right edge below the enormous broadleaf tree and beside the small person carrying two baskets, the current word LUGU must read LIUGUI, spelled L I U G U I. This refers only to that far-right tree caption. The central two-line LUGU / DONG DING caption near the large roaster remains exactly unchanged.
Preserve PINGLIN WENSHAN, MAOKONG SANXIA and every other existing name exactly. Do not add or remove captions, do not reshape or repaint any illustration. Match the existing lettering scale and plum serif type. Native RGBA PNG3840x1280 with real transparent alpha, no backing, grid or checkerboard.