# 广东——茶乡

广东 · GD_C7

茶园与制叶、新会陈皮、城市工夫茶与珠江：旅游线描中大型绿粉物件。

## 已发布文件

250 × 75 毫米 · 3840 × 1152 像素 · RGBA · 390.144 / 390.144 ppi。

已审核可发布 · C7：重新查看图稿并进行技术检查

[PNG](/assets/artwork/GD_C7.png) · [精确 TXT](/assets/prompts/GD_C7.txt) · [浏览器档案](/zh/docs/designs/GD_C7.html) · [系列背景](/zh/docs/projects/C7.html)。

[C7：绘画方法和风格参考](/zh/docs/C7_METHOD_RU.md)。

## 事实依据与题材选择

在广东，茶区和茶叶加工成为主要内容。主题选自原始地图和此前对十三个宏观区域的研究；几个相邻区域被合并为大型主题组。

区分Fenghuang/Raoping、英德、Renhua/Shaoguan、梅州、Heyuan/Zijin、Huizhou/Jieyang、西部地带与廉江。新会通过柑皮与加工呈现：并非声称当地种植普洱。广东工夫茶以器具与人物动作传达。

茶叶、篮子、炒锅、柑橘皮、茶树与船只呈现不同剪影。丹霞、岭南建筑、桥梁与内河船补充了地图背景。组合场景并不标示茶场的精确地址或所有物品的共处位置。

## 图名与图语

任务中仅规定一个词——GUANGDONG，采用带衬线的大号拉丁字母。小地名、中文文本、数字和第三方标志均被排除。此为任务描述；实际可读性另行评估。

## 原始构思的情节清单

以下逐字列出英文作者提示中计划的组别。这是对选题的透明解释，而非承诺生成器复现了每个细节。

1. 前景是一组宽绰的工夫茶静物：一把圆润的小紫砂壶，壶盖微微掀起，恰好三只小品茗杯，一只窄竹茶则盛着长条扭曲的散茶。茶壶轮廓保持开放轻盈，点缀玫瑰色或芹菜色。这是作品宽幅的人性尺度核心。

2. 凤凰与饶平作为两处相邻的微型茶景，绘成一个令人难忘的东方茶组：一株高大虬曲的茶树立于岩石坡上，长枝分叶，旁边是低矮弯曲的茶行，配两只宽大的竹制萎凋盘。不要画神话中的凤凰，不要添加年代数字，也不要让两地茶丛轮廓雷同。几片修长卷曲的茶叶可置于茶组旁。

3. 英德北部红茶之乡：一座紧凑起伏的茶园，一位采茶人挎着一篮茶芽，前景是一只浅竹盘，里面松散卷曲的加工叶。梯田是几行平缓的弧线，不是巨大的彩绘山景背景。

4. Renhua/Shaoguan：一根独立的细长丹霞岩柱剪影和一片带有浅色未印刷芽心的大嫩茶芽，局部由两条植物线条连接。地理和芽形很重要；不要仅仅因为芽看起来有绒毛就将产品标注为白茶。

5. 梅州客家茶文化：传统封闭式客家围屋的干净半景，带瓦檐，近旁小茶园，以及一人在浅锅中手工炒青。将锅放大到足以看清散叶。一幅亲切的乡村片段，而非巨大堡垒。

6. Heyuan/Zijin：一根优雅的茶枝，一只小的楔形叶蝉停在叶片上，配一个小 rolling/withering 盘。昆虫虽小但可辨认，不是蝉、蜜蜂或蝴蝶。没有蜂窝或蜂蜜倒入茶中。

7. 惠州和揭阳的炒青茶传统：一张低矮的家用制茶台、宽口铁锅、竹铲和青叶。将这一近距离物体群与客家院落场景区分开；不要出现第二座完整建筑或重复的采茶人。

8. 新会：一个超大的打开陈皮壳，内含干茶叶，圆形切盖斜靠一旁，另有数条弯曲陈皮条置于浅竹晾架上。这是柑普茶加工；无普洱树、无果汁杯，也不声称当地种植普洱。

9. 肇庆、云浮和茂名的西部茶带：一个紧凑的扇形坡地茶梯田，止于一个篮子，带一段短河弯和一个简单的乡村屋顶。单一多样的种植景观代表西部茶带，不假装定位每个农场。没有大象或虚构的异域茶树品种。

10. 西南部的连江：一片独立的低矮茶园山脊，一个浅篮装着卷曲的乌龙茶叶，旁边有一棵适度的沿海棕榈树作为区域景观提示。茶行仍在内陆；不要将茶树置于海滩沙地中。

11. 温暖的广州城市片段：一条带有明显岭南瓦屋顶和细长宝塔轮廓的短骑楼街，加上一对坐在骑楼下喝茶的小人物。建筑大部分保持未填充，使用中等粗细的轮廓线。这是一个紧凑、可识别的城市平衡元素，而非连续的天际线。不要借用其他参考照片中的香港或澳门地标。

12. 珍珠 River/coast：桥墩上一段优雅的短桥片段，一艘传统小帆船，帆肋清晰，两条短波浪线。大部分水面完全透明。保持这一局部场景轻盈；桥不成为贯穿整个画面的边界或连接。

## 绘制方法与风格参考

研究了广州、澳门、香港和珠海城市主题的真实旅行杯照片。从中提取了观察到的图案特征：中等生动的手绘轮廓、简单可识别的剪影、选择性平面色彩点缀和顶部带状大标题。具体查看的角度组合因地区而异。

当地场景在尺度、形态和高度上各不相同。它们的并置形成整体节奏；不设定连续全景、统一地平线、相同模块网格或固定留白比例。轮廓之间与内部保持通透。

陶瓷表面、高光、手和照片中的物体背景不属于新绘图。参考图像和个人原始照片不在此发布。每个地区的三种颜色是作者调色板，而非所拍摄茶杯的实测涂料标准。

## 审核依据

重新查看 root 并对 Shanghai 进行独立评审：GUANGDONG 可读，轮廓和边缘完整，茶主题明显，场景之间的背景透明。该图稿获准展示。

PNG RGBA 3840 × 1152 像素；真实alpha通道；按比例导出为250 × 75 毫米。

已核实可作为额外 C7 试点展示；不代表用户确认印量。中央的排与叶比参考更密集；未声称单独解读所有 13 茶域。

## 创作方案配色

#165641

#B1C761

#D69AAA

## 原始生成提示词

以下文本与已发布的 TXT 一致。任务中的标注、细节和调色板是作者的设计意图；这不是最终图像的 OCR。使用的参考图像不包含在 TXT 中。

SHA-256 TXT：`979b612044ae10fb3cbf0976b79e98b3a1e47d491f25df6f23aef6df0c8e7752`。

```text
Create an original GUANGDONG souvenir illustration: only flat unwrapped artwork, intended for a 250 x 75 mm tea cup print. Study the supplied real tourist-cup photographs as the primary and decisive visual reference. Match their friendly medium-weight hand-drawn outlines, open unpainted interiors, selective flat pastel accents, playful changes of scale and little local scenery episodes. Make fresh Guangdong drawings, never reproduce the cup photographs or their logos. There is no cup, handle, cylindrical distortion, hand, room, shadow or mockup in the output. This is a new drawing in that close visual language, not an intricate antique atlas, realistic painting, dense engraving, vector icon pack or collage of labelled badges.

CANVAS AND TEXT
Native carrier: 3840 x 1280 transparent RGBA PNG. Compose a wide print strip occupying nearly the entire width and the middle 1120 pixels of height; keep at least 80 truly transparent pixels above and below, and 40 at either side. All marks stay inside the canvas. The export will be proportional, without distorting any object, onto 3840 x 1152 pixels. Do not depict measurements or technical guides.
The sole visible text is exactly GUANGDONG, once, in large confident uppercase souvenir serif letters, dark forest green with a few unfilled worn flecks. Put it across one substantial upper-left-to-middle portion, as the city name on the reference mugs; it must not become a full-width masthead. Nine clearly formed letters. No Chinese, other place names, micro-labels, slogans, dates, numbers or logos anywhere. All baskets, chests, signs and containers remain unlettered.

THE THREE-INK LOOK
Dark forest green #165641 for the outlines and headline, mellow celery green #B1C761 and dusty rose #D69AAA for selected interior accents. Limit the artwork to these three colour families and transparency. No black, brown, yellow or white underpaint. Medium human pen lines, lively but controlled, with small irregularities, a few widely spaced hatching strokes or little stippled marks. Most walls, boats, leaves and vessel bodies are only outlined. Some leaf planes, roof patches, petals, tea surfaces and mountain facets receive small flat fills. Use the original photographs' clarity and easy charm: not fine scratchy illustration or shading built from thousands of lines. Antialias naturally, but do not add gradients, glossy lighting, watercolor clouds, paper grain or a sepia field.

STORY: A PROVINCE UNDERSTOOD THROUGH TEA
Tea must occupy most of the storytelling. Guangdong includes several distinct growing and processing cultures, not only one famous Dancong mountain. Weave the following subjects into approximately twelve unequal illustrated groups. They are an unlabelled artistic regional anthology, not a literal scale map. Combine neighbouring related subjects where described. A few large shapes anchor the strip; smaller scenes tuck into their irregular open pockets. Tea plants are recognizable branching bushes with pointed serrated leaves, never rice fields or coffee cherries.

1. A generous foreground gongfu still life: a small rounded clay teapot with its lid slightly lifted, exactly three little tasting cups, a narrow bamboo scoop with long twisted loose tea leaves. The teapot outline stays open and light, with selective rose or celery accents. This is the broad human-scale heart of the artwork.
2. Fenghuang and Raoping as two neighbouring miniature tea landscapes, drawn as one memorable eastern-tea group: a tall gnarled tea bush on a rocky slope with long branching leaves, and beside it lower curved rows with two broad bamboo withering trays. Do not draw a mythical phoenix, add age numbers or give the two places identical bush silhouettes. A few long twisted leaves can sit beside the group.
3. Yingde's northern black-tea country: a compact rolling tea garden with one picker holding a basket of buds, and a small shallow bamboo tray with loosely curled processed leaf in the foreground. The terraces are a few gently arcing rows, not a giant painted mountain backdrop.
4. Renhua/Shaoguan: a separate slender Danxia rock-pillar silhouette and a large tender tea shoot with pale unprinted bud interiors, joined locally by two plant lines. The geography and bud shape matter; do not label the product white tea merely because the buds look downy.
5. Meizhou's Hakka tea culture: a clean half-view of a traditional enclosed Hakka courtyard with tiled eaves, a nearby small tea garden, and a person hand-firing leaves in a shallow wok. Enlarge the wok enough that the loose leaves are readable. An intimate rural episode rather than a giant fortress.
6. Heyuan/Zijin: one elegant tea branch with a small wedge-shaped leafhopper resting on a leaf, paired with a little rolling/withering tray. The insect is small but recognizable, not a cicada, bee or butterfly. No honeycomb or honey being poured into tea.
7. Huizhou and Jieyang's pan-fired tea traditions: a low domestic tea-work counter, broad open wok, bamboo scoop and green leaf. Distinguish this close object group from the Hakka courtyard scene; no second full building or repeated picker.
8. Xinhui: an oversized opened mandarin peel shell containing dry tea leaf, its round cut lid leaning beside it, plus several curved peel strips resting on a light bamboo drying rack. This is citrus-peel tea processing; no Pu'er trees, no fruit juice glass and no locally grown Pu'er claim.
9. The western tea belt of Zhaoqing, Yunfu and Maoming: a compact fan of sloping tea terraces ending at a basket, with a short river bend and one simple rural roof. A single varied growing landscape represents the western belt without pretending to locate every farm. No elephants or exotic invented tea species.
10. Lianjiang in the southwest: a separate low tea-garden ridge, a shallow basket of rounded rolled oolong leaves, and a modest coastal palm off to one side as a regional landscape cue. Tea rows remain inland; do not place bushes in beach sand.
11. A warm Guangzhou city episode: a short arcade street with recognizably Lingnan tiled rooflines and a slender pagoda silhouette, plus a small seated pair sharing tea under the arcade. Keep the architecture mostly unfilled and medium-outlined. It is a compact recognizable urban counterweight, not a continuous skyline. No Hong Kong or Macau landmark borrowed from the other reference photos.
12. Pearl River/coast: a graceful short bridge fragment on piers, a small traditional junk with a clearly ribbed sail, and two short wavy water lines. Most water is completely transparent. Keep this local scene light; the bridge does not become a border or connector across the entire picture.

LAYOUT AS ON THE ACTUAL CUPS
The headline, broad gongfu vessels, gnarled tea bush and the tall rock/pagoda are the strongest silhouettes. Let small figures, baskets, citrus curves, leaf forms, eaves and local terrain weave between them. Mix upper and lower positions and unequal baseline heights. Objects near each other have complementary shapes and pleasant close spacing, while their contours stay legible. Some groups are one object, others tiny scenes, exactly as the references. Avoid an evenly spaced sticker sheet, two rigid rows, uniform circles or boxes. Avoid a large barren middle. Equally avoid turning all the scenes into one continuous landscape or covering the strip with coloured hills. A handful of objects may locally overlap within a scene, never all piled onto the same silhouette.
The viewer should recognize a lively tourist cup drawing instantly, then discover genuine tea details on closer inspection. The overall amount of detail is moderate and readable at 250 mm wide: simplify architecture and plants rather than miniaturizing dozens of elements. No decorative route dots, arrows, star confetti, steam ribbons, border frames, unrelated foods or generic repeated cup filler.

GENUINE TRANSPARENT PRINT
Only drawn ink marks and their small chosen accent fills are present. All untouched spaces between subjects and inside open objects are alpha zero. No white rectangle, white sticker silhouette, simulated ceramic background, checkerboard drawn into the image, translucent paper layer, broad landscape wash, sky or sea field. In particular, the space around the title, beneath bridge arches, between branches and inside unfilled vessel outlines remains truly transparent. Produce one finished complete strip, without any presentation layout.
```