{"id":1013196,"name":"Custom Pet Portrait - Classical Oil","label_available_product":null,"field_positions":null,"product_display_type":"radio","enable_artwork_navigation":false,"product_tags":null,"featured_image_url":null,"featured_image_thumbnail":null,"show_first_campaign_mockup_id":10715474,"artworks":[{"id":1279028,"name":"SF-NOBLE-OIL","description":null,"width":7904,"height":10498,"thumbnail":"users\/47856\/artworks\/6ab68d2138d06_thumbnail.webp","is_locked":null,"template_settings":{"label":"NOBLE-OIL","display_type":"radio","show_in_cart":true},"current_version_id":2798870,"design_format":"rgb","status":0,"schema_version":2,"data":[{"id":"template-852797","url":"users\/47856\/images\/260907_xLfoQe9BZYn2EraV_large.webp","name":"SF-NOBLE-OIL-CANVAS","addons":[],"layers":[{"id":"layer-591953","top":-401.35,"url":"users\/47856\/image-layers\/6a9eb958a684a_large.webp","left":-440.11,"name":"SF-NOBLE-OIL","type":"photo","width":8784.22,"height":11300.69,"locked":false,"rotate":0,"effects":[{"id":"id-889549","type":"gemini:image_filter","color_sketch":"#000000","light_sketch":true,"enable_contour":true,"gemini_resolution":"4K","image_filter_prompt":"Generate a fine-art oil painting portrait of the animal or animals from the base image.\n\nFRAMING \u2014 decide this before anything else. It controls the whole composition.\nThis artwork will be printed and either mounted in a frame or wrapped around a canvas stretcher, and the outer edges of the image will be physically lost in that process. The margins below are not decorative. They are print safety margins and they must be respected exactly.\n\nThis is a WIDE view of a SMALL subject, not a close-up. The animal sits small within a large dark painted ground, with generous space all around it and a notably deep expanse above it.\n\nUse the animal's own anatomy as the ruler:\n- The space ABOVE the ear tips is AS TALL AS ONE WHOLE EAR, and then some. Picture a second invisible copy of the ear stacked on top of the real one \u2014 that entire height, and a little more, is background before the real ear tip begins.\n- The space to the LEFT of the animal is AS WIDE AS HALF THE ANIMAL'S HEAD. The same on the RIGHT.\n- The animal's head is roughly one third of the image width.\n\nAs percentages of the image, the same rule:\n- TOP: at least 25% of the image height is empty ground above the highest ear tip of ANY animal. This is by far the largest margin and the most important one. A full quarter of the image height, measured down from the top edge, is background before the ears begin.\n- LEFT and RIGHT: at least 15% of the image width on each side, measured from the outermost point of the animal or group \u2014 including chest, ruff, shoulder, cheeks and whiskers.\n- BOTTOM: at least 12% of the image height below the lowest point of the subject.\n\nSUBJECT SIZE LIMIT: the entire subject \u2014 or the whole group \u2014 occupies no more than 60% of the image height and no more than 65% of the image width. It sits in the lower-middle area of the image, surrounded by generous dark ground on all four sides.\n\nThe animal is deliberately SMALL in the frame. If the head looks large, close, filling or impressive, it is WRONG \u2014 scale it down and paint more ground. Better far too small than close to an edge. No ear may ever be cut off, cropped, touch or approach the top edge.\n\nPRIORITY ORDER \u2014 if any two instructions in this prompt ever conflict, resolve them in this order:\n1. LIKENESS. The portrait must be recognisably THIS individual animal \u2014 its exact ears, head shape, markings, coat colour, coat length, eyes, nose, mouth state, age and expression as photographed.\n2. The FRAMING rule above, the CROP rule, and the light architecture below.\n3. Drama, atmosphere and old-master character.\nLight and palette are effects laid over the real animal. They never change the animal's colour, and they never hide a feature. If a more dramatic choice would make the pet less recognisable, make the less dramatic choice. The drama of this painting lives in the ground and the falloff, never in the animal's face.\n\nWHAT THE OUTPUT IS\nAn oil painting built from scratch, observed from the reference photo. It is NOT the photograph with a paint, oil, warm-tone or old-master filter applied over it. No photographic texture, fur detail, lighting or background survives \u2014 the animal is repainted in visible brushwork and the ground is invented.\n\nCROP \u2014 HEAD AND UPPER CHEST ONLY, SEEN FROM A DISTANCE.\n- Include: both ears complete, the head, the neck, and the upper chest and shoulder line \u2014 all of it small in the frame, per the FRAMING rule.\n- Do NOT include: lower body, belly, front legs, hind legs, paws, feet, tail, or any sitting, standing or lying pose. None of these are painted, outlined, suggested or hinted at.\n- The reference photo may show the animal's full body with legs, paws and a ground beneath it. Ignore everything below the upper chest and paint a small bust portrait regardless of how much of the animal the photo shows.\n- \"Head and upper chest\" describes WHAT is included, never how large it is painted. It is not a close-up, not a zoom, not a tight crop.\n\n[OPTIONAL \u2014 OWNER-STATED TRAITS. Delete this block if the trait field is not wired into this prompt.]\nThe owner has described this animal's distinctive features as follows. Treat each as a confirmed fact and reproduce it exactly:\n{trait_block}\n[END OPTIONAL BLOCK]\n\nFIRST, DETERMINE THE SUBJECT COUNT\nLook at the reference photo and count how many pets are the intended subject.\n- If there is ONE pet: create a single-subject portrait of that animal, following all instructions below.\n- If there are TWO OR MORE pets clearly and deliberately present: create a group portrait including every one of them, following all instructions below including the MULTIPLE ANIMALS section.\n- Ignore any animal that is incidental, background, blurred, partially out of frame, or clearly not the subject. Do not invent or add an animal that is not in the photo.\n\nThen study the reference photo closely and lock these features exactly as they appear in THIS photo, FOR EACH ANIMAL INDIVIDUALLY. Observe and reproduce the real values \u2014 never assume typical values for the breed or species. Where a feature is uncommon for the breed, reproduce what the photo shows and never revert to the breed's more common or expected version.\n\nLIGHT ARCHITECTURE \u2014 how this style works. Read this before painting anything.\nThe animal is painted in its own real colours. The old-master character comes from the LIGHT and the dark GROUND, not from recolouring the animal.\n- Paint each animal's coat first, at its TRUE hue and TRUE lightness from the photo. A red coat is red, a tan coat is tan, a grey coat is grey, a black coat is black, a white coat is white, a brindle coat is brindle.\n- The warm palette may then adjust VALUE and WARMTH only: deepening the shadow side, warming the lit edges. It may never adjust HUE. A grey coat never becomes brown. A white coat never becomes cream, ivory or ochre. A red coat never becomes sepia or umber. A black coat never becomes warm brown.\n- THE LIT ZONE: the whole of the animal's head \u2014 from the ear tips down to the chin, including BOTH ears, the brow, both eyes, the muzzle, the nose, the mouth and every facial marking \u2014 sits in readable light. The chiaroscuro models the head in three dimensions with a clear lit side and a softer shadow side, but nothing on the head is lost to darkness. Both ears are lit and readable, including the ear on the shadow side. The deep shadow of this style belongs to the FAR SHOULDER, the LOWER CHEST and the GROUND \u2014 never to the face.\n- SHADOW FLOOR: no area of the animal is painted at full black or near-black. Even the darkest shadow on the animal keeps visible detail, colour and structure. The deepest darks in the image are in the background ground only.\n- SEPARATION: the ground immediately behind a DARK animal is lifted \u2014 warmer and lighter \u2014 so the silhouette reads clearly. The ground immediately behind a PALE animal is deepened. The animal never merges into the ground on any side.\n\nEAR CARRIAGE AND SHAPE \u2014 the single most important feature. For each animal, reproduce the exact position, angle, length, thickness, set and fold of each ear as photographed \u2014 whether fully erect, semi-erect with folded tips, hanging\/floppy, rose-folded, cropped, tufted, or feathered. If one ear sits differently from the other, or is tilted, lower, or turned, preserve that exact asymmetry. Reproduce any ear tufts or fringing, and the visible inner-ear surface in its real colour. Both ears are painted complete, from base to tip, lit and readable, with the whole tip visible and well clear of the top edge. Neither ear is lost to shadow or merged into the dark ground. Never straighten, raise, lower, crop, round, point, prick or symmetrize the ears. Never substitute the ear shape typical for the breed or species.\n\nHEAD AND FACIAL STRUCTURE \u2014 for each animal, reproduce the exact skull width and shape, muzzle length and thickness, stop depth, jawline, cheek and whisker-pad shape, and overall head proportions from the photo. A long, fine, tapered muzzle stays long and tapered; a short, broad muzzle stays short and broad. For cats, reproduce the exact face shape as photographed \u2014 wedge, round, or flat \u2014 and the true muzzle length. Reproduce any facial furnishings \u2014 beard, moustache, eyebrows, brow tufts \u2014 in their real length and colour. Do not lengthen, shorten, narrow, widen, thicken, flatten or idealize the head to suit the style or a breed standard.\n\nMARKINGS \u2014 for each animal, reproduce every blaze, patch, mask, saddle, eyebrow spot, cheek marking, muzzle marking, chest marking, ticking, tabby striping, brindle striping, points and colour break in the same position, size, shape and orientation as photographed. If a marking is off-centre, irregular, or asymmetric, keep it exactly so \u2014 do not centre, straighten, simplify or mirror it. Do not add markings an animal does not have. Do not remove markings it does have. Every marking on the head and upper chest is lit and clearly readable. Shadow, falloff, palette and atmosphere never swallow, dim, blur or merge a marking. If a marking would fall on the shadow side, light it anyway \u2014 the marking wins over the lighting.\n\nCOAT COLOUR AND LENGTH \u2014 for each animal, reproduce the actual base coat colour, secondary colours and pattern from the photo. If the animal is tricolour, bicolour, brindle, merle, or any pattern less common for its breed, reproduce that exact pattern \u2014 never simplify it to the breed's most typical colouring. Each animal's true coat colour is the recognisable local colour of each area of its body.\n- Reproduce the real coat length and texture in the silhouette and in the brushwork: a short smooth coat gives a tight silhouette and close, smooth strokes; a long or double coat gives a fuller silhouette with a ruff, ear feathering and cheek fringing, painted in longer directional strokes; a curly or wiry coat gives a broken, irregular silhouette. Fur is painted as directional brushwork following the real direction the fur grows in each area. The owner must be able to tell the coat type from the painting.\n- BLACK OR VERY DARK coats: the coat stays black \u2014 never lightened to grey, never warmed to brown. The face is carried by a clear directional key light across the brow, the bridge of the muzzle and the cheekbones, plus a rim light along the top of the skull, the jaw and both ear edges, so the eyes, muzzle and facial structure are fully readable. The head must never collapse into a flat dark shape, and must never merge into the dark ground \u2014 lift the ground behind it.\n- WHITE, CREAM OR VERY PALE coats: the coat stays white or pale. Do not warm, tint, antique, dim, ochre or cream a white coat to make it sit in the old-master palette \u2014 the lit areas of a white animal read as white. Form is carried by cool and warm greys on the shadow side only. The animal must read as a solid, three-dimensional form against the dark ground, never as a flat bright shape and never as a glowing blob.\n\nEYES \u2014 for each animal, reproduce the photographed eye colour, shape, size, spacing and set exactly. Keep the eyes their true size and true narrowness \u2014 never enlarged, rounded, widened or sweetened. For cats, reproduce the true pupil shape. If an animal has two different-coloured eyes, keep both colours exactly \u2014 never make them match. If an eye is partly closed, cloudy, or absent, reproduce it as photographed. The eyes are the focal point: clearly lit, sharply painted, the iris in its real colour, with one soft natural catchlight. BOTH eyes are lit and readable, including the eye on the shadow side. Never darken, shadow or obscure an eye for drama.\n\nNOSE \u2014 for each animal, reproduce the photographed nose colour, shape and size, including any pink, spotted, or partly-depigmented areas. Clearly lit and readable, never lost to shadow, never recoloured by the palette.\n\nWHISKERS \u2014 for each animal, reproduce the whiskers as photographed: their real length, number, direction and colour, on the cheeks and above the eyes. Render them as clean, confident single brushstrokes in their real colour, painted so they stay clearly visible against whatever sits behind them \u2014 pale whiskers as light strokes, dark whiskers lit along their length where they cross the dark ground. Do not omit them, do not multiply them, do not make them uniform or symmetrical. Whisker tips are part of the animal and stay inside the side margins.\n\nAGE AND CONDITION \u2014 for each animal, reproduce its real age as photographed. If it is a puppy or kitten, keep it a puppy or kitten \u2014 do not age it into an adult. If there is grey or white fur on the muzzle, chin, or brow, preserve it exactly and keep it lit \u2014 never rejuvenate a senior animal into a young one. Preserve a real thin, heavy, or aged appearance. Preserve any scar, notch, torn ear, missing eye, or other permanent feature exactly as photographed \u2014 never repair, tidy, or \"correct\" it.\n\nMOUTH AND EXPRESSION \u2014 for each animal, reproduce the photographed mouth state exactly. This is a locked feature, not a stylistic choice, and drama never changes it.\n-","color_sketch_image_filter":"#000000"}],"visible":true,"fit_mode":"contain","required":true,"form_label":"Their photo","photo_hint":"One clear photo of their face, front on, in daylight, with both ears in the frame. 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Elevate your space with our framed canvas prints, featuring rich texture that adds depth for a captivating art experience:<\/p>\n