福建 — 叶与帆的巡游

DRAWING CALIBRATION: The supplied clean example shows the required crisp professional print finish; borrow its line clarity and art direction only, replace its entire regional subject matter with the region specified below. All forms use deliberate sharp edges and clear internal strokes. No fog, painterly smearing, wobbly double text or background colour fields. Transparent alpha is mandatory, including outside and between objects. Do not paint the example white viewing surface. Keep all letters and complete objects 120 px inside every native edge.

REVISED PRODUCTION PRIORITY: Render exceptionally clean sharp linework and crisp lettering, never a blurred imitation of the reference. Every outside edge and all empty openings must be truly transparent alpha zero. Absolutely no opaque white canvas. All complete objects must end at least 100 pixels before left/right borders and 120 pixels before top/bottom borders; do not crop the drawing. Use defined ink strokes with transparent gaps instead of fog, grey halos or soft shadows. Preserve the regional composition below. The supplied reference has a white viewing surface; this viewing surface is not part of the new output.

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 BOLD REGIONAL PARADE. Follow GD02: confident friendly pen contours, spare flat three-colour accents and large double-contour regional lettering. Build a lively procession of unequal silhouettes, tea activity, architecture and vessels. Let actual terrain and roof rhythms connect the drawings. This should be immediate and memorable, with clear positive and negative shapes, not intricate engraving.
REGION: FUJIAN.
PALETTE: #245D58, #AB653D, #829C49. 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:
The source map offers Wuyi cliff towers and lower tea gardens, northern white-tea slopes, Daiyunshan ridges, the Min River, Fuzhou waterside roofs, Sanming and Putian settlement details, a round Yongding tulou, Anxi terraces, Quanzhou coastal roofs, the Jiulong River, Xiamen and Zhangzhou harbours, stone arched bridges, sailing junks and coastal islets. Use these as regional visual facts, not a literal flattened map or named identification of anonymous buildings. Keep six substantial tea stories: Wuyi rock-oolong tray work; Fuding/Zhenghe open white-tea withering racks; Anxi cloth rolling and little rolled leaves; Fuzhou jasmine scenting table; Zhangping square cake mould; a small southern garden associated with Yongchun/Pinghe. Tulou is lived architecture, not a giant teapot. Tea chests and a junk support coastal trade, while the separate mountain gardens show cultivation. Ordinary roofs and footbridges link human scale to the much larger cliffs and courtyard. Show no tea fields on bare cliff summits or in the sea.
AUTHORED COMPOSITION:
Make a warm bold procession rising from a low left sailing junk to a large central circular tulou, then to the high stepped Wuyi cliffs at the right. This is deliberate editorial sequencing, not a geographically literal coastline. The tulou's round court echoes the open round white-tea tray held by a figure in front; the sail echoes the angled cloth used for Anxi rolling. Nest Fuzhou jasmine blossoms and a simple open scenting table against a bridge approach rather than floating flowers in the sky. A square Zhangping cake set interrupts the round forms near the lower right. Tea terraces climb between the varied roofs, with only a few broad rows; place a conspicuous picker on the middle slope and small coastal rooflets lower down. The double-contour FUJIAN title follows the shared upper rhythm, interlocking at selected edges with a cliff or leaf tip. Strong rounded contour, large clean shapes and three flat accents give immediate collectable impact, while the connected smaller actions reward a second look.
LETTERING PLAN:
Large double-contour FUJIAN. Only five supporting captions: WUYI, ANXI, FUDING, FUZHOU, YONGDING. The words are secondary to the silhouettes; no tiny tea-type catalogue.
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.