Guizhou — Десять вещей Гуйчжоу

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: GUIZHOU. Only this text, exactly once. Large friendly upright hand-lettered capitals in a local opening, not a full-width banner.
PALETTE: #243F72, #56866D, #A6935B. First colour is the contour/title; the other two are selective flat accents, with no extra colour or white ink.
ORIGINAL COMPOSITION:
TEN unequal clear groups in lively irregular order. One: a large shallow Duyun pan with one shaping hand and five curled leaves. Two: a Meitan sorting board with six pointed flatter leaves in loose rows. Three: a Leishan tray holding three recognisable tea balls with two leaf-texture marks each, never shiny silver spheres. Four: a Shiqian tea sprig with three broad leaves and a bud, mostly open interiors. Five: a picker with one basket beside three sweeping terrace curves. Six: a southeast covered timber bridge with three roof peaks and a few supports, leaving the openings transparent. Seven: one drum tower of four broad roof tiers, smaller than the tea pan, no intricate carving. Eight: two stilt-house silhouettes joined at one roof corner, each with one door and a few posts. Nine: Huangguoshu waterfall as two edge lines and four vertical falling strokes above a small open basin, no opaque white rectangle. Ten: a little boat between two rounded karst walls, with only three water strokes. Place the large GUIZHOU title once in an upper local opening, its friendly upright letters fitting between the sprig and tower rather than sitting in an empty banner. Let the terrace picker tuck behind the board and the bridge overlap one house corner, but avoid global panorama scenery. Keep the pan, leaves and tea balls generous and immediately legible at cup scale. Use 5–7 px principal contours and only three to five internal strokes per subject. Limit flat accents to leaf halves, roof faces and a few tool patches. Most house interiors, sky and water stay genuine alpha. No paper grain, mist, gradients, dense basket weaving, hundreds of leaves, jewellery costume, badges or little place captions. All ten groups have unequal sizes and heights; no aligned icon grid.
REGIONAL FACTS AND LIMITS:
Duyun curled green leaves, Meitan flatter pointed leaves, Leishan tea balls and Shiqian tea branches are distinct tea cues. Zheng’an pale leaves do not mean white-tea processing. Huangguoshu waterfall, rounded karst, southeast timber houses/drum tower/covered bridge and Wu River boat come from the map. Keep the tower and bridge as regional travel motifs, not a claim that each tea village has these buildings. No health claims or invented ethnic dress. The simplified album selects ten subjects; it is not proof that all tea clusters appear separately.
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.