Fujian — Лист между скалой и морем

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: FUJIAN.
PALETTE: #245D58, #AB653D. 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:
Fujian is a major tea-growing and tea-making province, with distinct northern, eastern and southern traditions. Build varied real processes rather than identical green gardens. NORTHWEST: Wuyishan rock oolong among tall eroded cliffs, a maker shaking a bamboo tray, long twisted leaves and a charcoal-roasting basket; Tongmu black tea appears as a modest timber processing room and long dark leaves, not another rock-oolong clone. NORTHEAST: Fuding white tea has open withering trays with plump buds and leaves; neighbouring Bailin has a separate little black-tea sorting tray. Zhenghe has white-tea withering racks plus a small distinct dark-leaf basket for its gongfu black tea. Fu'an/Tanyang shows a hand sorting slender black leaves. EAST: Fuzhou is a scenting worktable with open jasmine flowers beside green tea, not flowers growing on tea bushes. SOUTH: Anxi Tieguanyin has a cloth-wrapped rolling bundle and tightly rolled oolong; Yongchun Foshou has a broad natural tea leaf and basket; Zhangping Shuixian has a wooden square mould and small square paper-wrapped cakes; Pinghe Baiya Qilan and Zhao'an Baxian occupy different little lower-slope branches of the southern garden with tea shoots and a picking basket. CENTRAL/WEST: Datian Beauty tea appears as a small hand-sorting activity, Wuping green tea as a shallow pan and fine green leaves. These secondary scenes share actual work surfaces, slopes and roofs. Min River links northern slopes with the Fuzhou story; the southern Jiulong drainage is a separate lower rhythm, not a claim all places stand on one river.
AUTHORED COMPOSITION:
A great Wuyi cliff cluster rises left of centre, while a foreground maker turns a wide roasting basket at its base. The rim becomes a strong visual arc leading into the smaller Zhangping square-mould workbench on the right. Above that lower arc, a sloping corridor of Fuding and Zhenghe withering racks counters the cliffs; racks have different heights and airy open legs. Tuck Tongmu's timber room behind the left cliff shoulder and Fu'an black-leaf sorting below the northern racks. The Min River remains a winding alpha opening through Fuzhou's jasmine table toward a small harbour on the far right. Anxi's cloth bundle anchors the lower middle; Yongchun, Pinghe, Zhao'an, Datian and Wuping become smaller but distinct craft discoveries nested in the surrounding slopes. A tall FUJIAN title fits the broken cliff-to-rack opening, not an empty horizontal header. Engraving follows basket weave and rock contours selectively; let smooth leaves and water gaps rest.
LETTERING PLAN:
Main title FUJIAN once. Exactly these small place captions, placed beside relevant work rather than inside boxes: WUYI, TONGMU, FUDING, ZHENGHE, TANYANG, FUZHOU, ANXI, ZHANGPING, YONGCHUN, PINGHE. Secondary Zhao'an, Datian and Wuping are drawn but need no additional text.
REGIONAL SAFEGUARDS:
Tea forms must differ: long rock-tea strips, white buds/leaves, rolled Anxi oolong and square Zhangping cakes. Jasmine is added during scenting of actual tea, not a medicinal herbal drink. Foshou is a tea name, not sliced Buddha's-hand citrus; Shuixian is not a narcissus-flower infusion. Keep Min and Jiulong as editorial river rhythms rather than one false hydrological channel. No mainland-wide landmark collage, no pagodas duplicated at every cluster, no exact-date or healing claims.
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.