Sichuan — Чайные руки держат слово

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 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 LIVING REGIONAL WORD. Follow the supplied GD22 reference: a monumental original serif region name interlocks with illustrated tea life. Make each letter instantly legible. Roofs tuck under terminals, branches overlap selected edges, people work at letter bases, and regional landforms flow between counters. Crisp decorative pen illustration and selective five-colour accents, never a painting pasted inside letters.
REGION: SICHUAN.
PALETTE: #385A37, #BA4244, #97A657, #CA986B, #5C8D99. 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:
Give Sichuan several visibly different tea crafts. Mengding/Mingshan has a maker shaping small curled Ganlu green tea, beside a separate wrapped Huangya yellowing bundle. Ya'an has a substantial dark-tea pressing table and plain rectangular Zang Cha bricks, linked to a departing carrier, not a Buddhist relic. Emei/Leshan offers slender green-tea buds on a sorting tray below low mountain gardens. Yibin has an early picking scene and separate Chuanhong black-tea rolling table; Naxi/Luzhou has another low warm-valley early tea garden. Qianwei is a jasmine-scenting workshop with fresh flowers laid next to tea leaves, not flowers replacing tea. Pujiang Queshe uses neat pointed tender leaf shapes. Micang/Wangcang and Qingchuan occupy northern mountain garden shoulders; Wanyuan/Bashan is an eastern upland tea cluster. A small Chengdu open teahouse with a gaiwan and bamboo chair expresses serving and urban exchange. Pair small neighbouring territories where sensible but do not collapse every tea into green terraces. Ten local labels maximum; further subregions can appear visually. Western snow and caravan travel remain beyond the growing slopes, with no tea planted on ice.
AUTHORED COMPOSITION:
Set SICHUAN in large legible tall serifs across a varied low tea world. The S curves above the Mengding basket; I stands near a jasmine branch, C opens toward a Chengdu tea table, H spans two low workshop eaves. U shelters a plain Ya’an tea brick, A rises above Emei buds, and N ends beside a Yibin picking slope. Do not substitute objects for letter stems. Micang and Wanyuan gardens rise in small shoulders behind the word while Qianwei scenting and Chuanhong rolling remain distinct near the bases. Place clear dark captions beside workshops, not as a painted mural inside letters. Five inks form crisp selective accents on roofs, leaves, tools and flowers.
LETTERING PLAN:
SICHUAN once. Captions: MENGDING, YAAN, EMEI, YIBIN, NAXI, QIANWEI, PUJIANG, MICANG, QINGCHUAN, WANYUAN. No smaller third-level text.
REGIONAL SAFEGUARDS:
Green Ganlu, yellow Huangya, dark Ya’an tea and Chuanhong black tea must not share one false process. Jasmine scenting includes real tea leaves. Bamboo-leaf and sparrow-tongue tea names are not literal ingredients. No named Three Gorges, no snowy tea fields, no fantasy historic dates or therapeutic claims. Panda is a minor travel motif, never the main tea identity.
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.