辽宁 — 景点巡礼

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 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.


C5: BOLD FRIENDLY LANDMARK PARADE. Confident rounded pen turns, double-contour regional lettering, reduced architectural silhouettes and a joyful procession of people, local travel motifs, vessels and landmarks. Three flat inks and spare patches of colour. Vary height and scale sharply; objects overlap through useful shared contours rather than being pasted in one equal-sized row. Tea must remain a visible living action in this mixed regional collection. Rounded does not mean infantile, and friendly does not mean generic.

REGION: Liaoning. Exact ink palette: #2A527D, #D08A55, #7FA59A. The first colour supplies the main line; the others have deliberate separate roles, not gradients.

AUTHENTIC SUBJECT MATTER:
Use a strong Mukden palace roof silhouette and a low Dalian historic waterfront facade as unequal architectural anchors. Between them introduce the elegant Qianshan pinnacles, a Benxi cave arch with a small boat, a short Dandong broken-truss bridge silhouette and a compact Hushan wall tower. The Panjin Red Beach is represented by a few recognisable branching saltmarsh plants and one crane, not an opaque red field. Add a small C-shaped Hongshan jade-inspired object as an archaeological motif, never a tea vessel, plus a lighthouse, one sailing boat and a sparse forest edge with a deer or tiger. A ginseng root can be one small natural-history detail, not a tea crop or medicinal claim. Keep tea retail and hospitality firmly in the foreground.

Tea anchors that remain visible: a Shenyang tea seller measuring imported leaves, two professional tasting samples, a convivial pot-and-cup table, and a contemporary museum-courtyard or waterfront tea pause.

SPECIFIC COMPOSITION:
A friendly procession starts with tea tins and a gesturing tea seller, rises through the bold double-contour LIAONING word, then descends toward a pot-and-cup table and a lighthouse. The palace roof, short bridge and Qianshan rocks vary strongly in width and height. One crane steps through spare saltmarsh stems near the left, one sailing boat and a small cave arch answer it on the right. Include a single forest deer above the promenade turn. All characters and objects belong to one travelling regional drawing, not a row of equal destination badges. Preserve the gaiwan or teapot as a recognisable ceramic form, not an architectural hybrid.

VISIBLE TYPE: exact main title "LIAONING" 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.