甘肃 — 旅行线路

Create one exceptional, completely flat regional ceramic-print artwork. This is the actual printable illustration, never a cup, product photograph, mockup, presentation board or simulated ceramic surface. The collection reference controls drawing language only: invent a new composition for the specified region and replace all Guangdong-specific objects. The source map supplies a regional inventory, not a paper texture or a layout to trace literally.

TECHNICAL CONTRACT: native canvas exactly 3840 x 1280 pixels, true RGBA PNG. Keep every visible mark, letter, ornament and antialiased edge inside x=60..3780 and y=110..1170. The final delivery will use a centered 3840 x 1152 export for a 250 x 75 mm wrap; leave the native safety area completely transparent. Compose for a long horizontal physical print, not a conventional poster. Nothing is cut off at either end. All exterior space and meaningful holes between objects must have alpha zero. No painted background, white underpainting, sky rectangle, tinted paper, land silhouette, colour fog, opaque backdrop or checkerboard. The wearer-visible ceramic supplies the unprinted space. Use the specified colours as ink, with normal edge antialiasing; do not invent extra white, black or metallic ink. Never print dimensions, crop marks, palette swatches, filenames, reference names or instructions.

ART DIRECTION: create a memorable hierarchy, a major focal scene and a quieter counterweight; alternate large close forms with medium stories and a few small discoveries. Let tea life interact with the region. Connect selected objects through a real roofline, tabletop, lane, ridge or river contour; retain clear breathing channels so each gesture and vessel is legible. Do not impose any percentage of empty space. Avoid both a cramped rectangular carpet and timid isolated stickers. Use confident, intentional linework that will survive the 75 mm print height. Limit texture to useful material clues. Any water, snow, steam or clouds are sparse outlines with transparent interiors, never washed fills. No photographic gradients, glow, heavy grunge, blurred edges or tiny illegible hatch fields.

FACTUAL DISCIPLINE: the scenes below distinguish cultivation, processing, trade, hospitality and non-tea infusions. Do not turn imported tea, berries, ginseng, barley, trees or grasslands into tea plantations. Do not invent a local tea cultivar, a named historic tea shop, medical effects, a precise trade route or archaeological evidence. Landmarks are cultural/geographic motifs, not assertions that tea was grown or traded at their gates. A contemporary tea pause next to a landmark is an authored scene, not a documentary historical claim. Keep people natural and respectful, with plausible hands and gestures; use no decorative pseudo-script.


C6: JOURNEY IN MOTION. The Guangdong journey-lines language becomes a region-specific sweeping diagonal or shallow S: energetic angular ink, a bold lightly slanted regional title, directional line accents and three flat inks. A close tea-making gesture or vessel anchors the foreground while local transport, architecture and landforms recede and return. The entire print should have a clear direction of movement, varied silhouette and a second discovery on the reverse side of the cup. No speed-line background, watercolor mist or row of stickers.

REGION: Gansu. Exact ink palette: #564238, #B97D2E, #428A99. The first colour supplies the main line; the others have deliberate separate roles, not gradients.

AUTHENTIC SUBJECT MATTER:
Gansu is an extraordinary transition from desert corridor to humid southern mountains. Include a compact Jiayuguan gate and short crenellated wall, two Bactrian camels with a guide, a crescent spring and sparse oasis tree, a few striped Zhangye Danxia ridges, the angular Qilian skyline, and the curved steel-truss bridge across the Yellow River at Lanzhou. Counterweight these dry northern forms with the wooded Longnan tea valley. Add a small Maijishan cliff facade, a modest Labrang roof group, and one yak near a pastoral tent. Use these as recognizable geographic objects at deliberately unequal sizes, not every monument as a giant equal hero. Mogao may be suggested by a small arched cave entrance rather than a large sacred portrait. No painted desert or river fill. Tea appears through actual people and vessels, integrated into the journey.

Tea anchors that remain visible: Wenxian green-tea picking, a Sanpaotai gaiwan with a pouring hand, Tianshui clay-pot tea on a stove, and a small Gannan butter-tea bowl/churn; the first is cultivation, the others are drinking customs.

SPECIFIC COMPOSITION:
Start with the angular near-view clay pot and stove at lower left; two strong steam contours pull the eye upward toward a small Jiayuguan silhouette and a moving Bactrian pair. Sweep down along a Qilian ridge into the Lanzhou bridge, then curl upward into Longnan tea rows and a picker whose basket is a close foreground counterweight on the right. A Sanpaotai lid held above its cup supplies the principal circular interruption in this travelling diagonal. A small yak and butter-tea churn sit in the highland bend, while crescent spring and Danxia are concise mid-distance cues. The lightly slanted GANSU title follows the open upper-left rhythm, never covering the camel heads or becoming a broad opaque banner.

VISIBLE TYPE: exact main title "GANSU" once. The regional title is the only printed text. Do not add small location labels. No Chinese characters, bilingual captions, pseudo-calligraphy, gibberish, slogans, logos or signatures. Prioritize visual storytelling over words. Do not allow letters to merge with foliage or buildings. The design must feel like a collectible regional artwork that a tea professional would want to handle and study.