{"id":1014614,"name":"Custom Pet Portrait - Dark Academic","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":1294077,"name":"SF-OLD-SCHOLAR-CANVAS","description":null,"width":7904,"height":10498,"thumbnail":"users\/47856\/artworks\/6ab63deb2a8c2_thumbnail.webp","is_locked":null,"template_settings":{"label":"Choose their outfit","display_type":"radio"},"current_version_id":2798762,"design_format":"rgb","status":0,"schema_version":2,"data":[{"id":"template-320119","url":"users\/47856\/images\/260925_SuuaxaPLJ9m7CbE5_large.webp","name":"OLD-SCHOLAR-COLLAR","addons":[],"layers":[{"id":"layer-386311","top":-47.96,"url":"users\/47856\/image-layers\/6aa3a17557c65_large.webp","left":-281.42,"name":"Style 4 - Old Scholar","type":"photo","width":8466.85,"height":10593.92,"locked":false,"rotate":0,"effects":[{"id":"id-218386","type":"gemini:image_filter","color_sketch":"#000000","light_sketch":true,"enable_contour":true,"gpt_resolution":"3840","gemini_resolution":"4K","image_filter_prompt":"Generate a moody, scholarly vintage portrait of the animal or animals from the base image.\n\nFRAMING \u2014 decide this before anything else. It controls the whole composition.\nThis is a WIDE view of a SMALL subject, not a close-up. The animal sits small within a large dim setting, with generous space all around 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. Picture a second invisible copy of the ear stacked on top of the real one \u2014 that entire height 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.\nAs percentages of the image, the same rule: at least 20% of the image height is background above the tallest ear tip, and at least 15% of the image width is background on the left and on the right.\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 setting. Better far too small than touching an edge. No ear may ever be cut off, cropped, or touch 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 grading architecture below.\n3. Mood, atmosphere and vintage character.\nGrading is a lighting and finish effect laid over the real animal. It never changes the animal's colour, and it never hides a feature. If an atmospheric choice would make the pet less recognisable, make the less atmospheric choice. Mood lives in the background and the light, never in the animal's face.\n\nWHAT THE OUTPUT IS\nA painted portrait built from scratch, observed from the reference photo. It is NOT the photograph with a vintage, sepia, warm-tone, film or antique filter applied over it. No photographic texture, fur detail, lighting or background survives \u2014 the animal is repainted in brushwork and the setting 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\nGRADING ARCHITECTURE \u2014 how this style works. Read this before painting anything.\nThe animal is painted in its own real colours. The vintage, old-world character comes from the LIGHT and the SETTING, not from recolouring the animal.\n- Paint each animal's coat first, at its TRUE hue and TRUE lightness from the photo. A tan animal is tan, a red animal is red, a grey animal is grey, a black animal is black, a white animal is white, a brindle animal is brindle.\n- The vintage grading may then adjust VALUE and WARMTH only: deepening the shadow side, adding a warm cast to the lit edges. It may never adjust HUE. A grey coat never becomes brown. A white coat never becomes cream or ivory. A tan coat never becomes sepia. A black coat never becomes warm brown.\n- The grading acts most strongly on the background and least on the face. The animal's face is the least graded area in the image.\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, the eyes, the muzzle, the nose, the mouth and every facial marking \u2014 sits in readable light. It is modelled with soft directional light and gentle shadow, but nothing on the head is lost to darkness. Deep atmospheric shadow belongs to the BACKGROUND, the far shoulder and the lower chest \u2014 never to the face.\n- SHADOW FLOOR: no area of the animal is painted at full black or near-black shadow. Even the darkest shadow on the animal keeps visible detail and structure. The deepest darks in the image are in the background only.\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, fully lit and readable, with the whole tip visible and clear of the top edge. Neither ear is lost to shadow. 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 fully lit and clearly readable. Shadow, grading and atmosphere never swallow, dim, blur or merge a marking. If a marking would fall in shadow, light it anyway \u2014 the marking wins.\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. 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 and never warmed to brown. The face is carried by a clear directional key light across the brow, muzzle bridge and cheekbones, plus a rim light along the top of the skull and the ear edges, so the eyes, muzzle and facial structure are fully readable. The head must never collapse into a flat dark shape against the dim setting. Because this animal is dark, the background immediately behind it is painted lighter and warmer, so the silhouette separates clearly.\n- WHITE, CREAM OR VERY PALE coats: the coat stays white or pale. Do not warm, tint, antique, dim or cream a white coat to make it sit in the palette \u2014 the lit areas of a white animal read as white. Form is carried by cool and warm greys in the shadow side only. Because this animal is pale, the background immediately behind it is painted deeper, so the silhouette separates clearly.\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, with the iris in its real colour and one soft natural catchlight. Never darken, shadow or obscure an eye for mood.\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 grading.\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 soft, confident painterly strokes that stay clearly visible against the setting. 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 mood never changes it.\n- If the mouth is closed, keep it closed with no tongue showing. Paint the lip line exactly as it sits in the photo. Do not curve it upward into a smile, and do not turn it downward into gravity. Do not add an expression the photo does not show.\n- If the mouth is open or panting with the tongue visible, keep it open with the tongue in the same position, extending exactly as far as in the photo, painted in its real pink and clearly lit. The lower jaw is open to the same degree as the photo. If teeth are visible, paint them clearly. Never close a photographed open mouth to make the portrait more dignified.\n- Reproduce the real expression and the exact angle the head is held at, including a three-quarter or turned head if that is how it is photographed. Do not make an animal look more serious, wiser, older, more scholarly, more soulful or more dignified than the photo. The gravity of this portrait comes from the light and the setting, never from changing the animal's face.\n\nRender exactly what is shown in the reference photo. Do not idealize, beautify, generalize, or substitute any feature with a breed-typical or \"expected\" version. Each animal must be recognizably THAT individual to its owner, not a generic example of its breed or species.\n\nMULTIPLE ANIMALS \u2014 apply this section ONLY if the photo contains two or more subject pets. If there is only one pet, ignore this section entirely.\n- Include every subject animal from the photo. Do not omit one, and do not duplicate one.\n- DO NOT MIX THE ANIMALS. Each animal keeps only its own features. Never apply one animal's ear shape, coat colour, coat length, markings, eye colour, muzzle length, age, mouth state or expression to another. If one has erect ears and another floppy, keep them different. If one is dark and another light, keep them different. If one has an open mouth and another a closed mouth, keep them different. If one is older with a grey muzzle, keep only that one grey. The animals must not converge toward a shared appearance and must not be turned into look-alikes unless they genuinely are in the photo.\n- Work through the animals one at a time from left to right as they appear in the photo, completing each one's own features before moving to the next.\n- Every animal's head sits in the lit zone. No animal is placed in shadow, turned away, or pushed into the background.\n- Each animal wears its own separate collar, correctly fitted to its own neck. Do not merge them into one shared garment, and do not let one animal's collar cross onto another.\n- Keep the animals at their true relative scale and at the same distance from the viewer \u2014 do not push one further back or shrink it to fit the composition. If one is genuinely larger, keep it larger; if they are close in size, keep them close in size.\n- The whole group together obeys the FRAMING rule. A group of two is painted SMALLER than a single animal would be, not wider. Scale the whole group down until the space above the tallest ear is still one full ear tall, and half a head-width of background remains on the left and on the right.\n- Every animal is equally sharply painted, equally finished, and equally lit. None is blurred, cropped, turned away, or treated as a secondary or background subject.\n\nCOMPOSITION AND FRAMING\nVertical portrait, 3:4 aspect ratio, with the subject or group centered horizontally and sized and placed according to the FRAMING rule at the top of this prompt.\n\nIf ONE animal: a small head-and-upper-chest bust portrait, centered.\nIf TWO OR MORE animals: arrange them together as a single small centered group, side by side and close together, heads at slightly different heights so every face is clearly visible and no animal is hidden behind another. Head-and-upper-chest crop for each.\n\n- The eye line sits slightly ABOVE the vertical centre of the image.\n- The lowest point of the chest sits clear of the bottom edge and both bottom corners.\n- The background is fully visible as a continuous, generous border framing the subject on every side.\n\nBefore finishing, check the four edges. If any ear tip is cut off, touching, or close to the top edge, the animal was painted too large \u2014 scale it down and paint it again, smaller.\n\nSTYLE \u2014 DARK ACADEMIA VINTAGE PORTRAIT\nA moody, scholarly, old-world painted portrait \u2014 the pet as a distinguished academic subject, in the manner of an aged oil painting hanging in a candlelit university library. Refined and atmospheric, never comedic, never costumed.\n\nRendering:\n- Rich, painterly oil-portrait finish with soft visible brushwork and the warm patina of an old painting. The brushwork is the texture \u2014 do not render canvas weave, linen grain, craquelure, cracking or any painted-surface texture into the image.\n- Directional low-key lighting: a soft warm key light falling from one side, modelling the head in quiet three-dimensional depth, with gentle shadow on the opposite side. The head stays fully readable throughout. Where there is more than one animal, the same single light source falls consistently across the whole group.\n- The darkness of this style lives in the BACKGROUND and the lower chest. The face is warm and clearly lit.\n- Muted, desaturated old-world palette in the setting \u2014 deep browns, forest greens, dark ambers, aged golds, ink blacks \u2014 with each animal's own true coat colour preserved and clearly readable within that muted world.\n- Even light falloff. No vignette, no darkened corners, no blackened edges.\n\nAttire \u2014 always present, always minimal:\n- Every animal wears ONE understated dark academic collar at the base of the neck: a narrow band of muted tweed, dark velvet or deep forest-green fabric, suggested in a few soft strokes at the very bottom of the neck where it meets the chest.\n- It is small, low, and clearly secondary to the face. It never rises above the jawline, never touches the ruff, cheeks, muzzle or ears, never covers a chest marking, and never reshapes the head or neck.\n- Nothing else is worn. No gown, no robe, no jacket, no lapels, no shirt, no tie, no cravat, no ruff collar, no academic hood, no mortarboard, no cap, no glasses, no chain.\n\nBackground:\n- A dim, atmospheric scholarly setting: the soft suggestion of antique shelving and stacked books, warm lamplight falling somewhere beyond the frame, or dark botanical foliage. Heavily blurred and shadowed so it reads as mood, not as objects.\n- Books are painted as soft blurred blocks of muted colour with suggested edges only. No spine detail, no lettering, no labels, no legible or illegible writing, no titles, no numbers, no gilt, no ornament. A viewer should read \"books\" from shape and colour alone and find nothing to try to read.\n- The setting always recedes. The subject is always the sharpest thing in the image.\n- Completely replace whatever background appears in the reference photo. Do not retain any grass, pavement, modern furniture, indoor room, sky, vehicle, foliage, studio backdrop or blur from the original image.\n\nFinish:\n- A moody, gallery-quality vintage painted portrait \u2014 atmospheric, warm and quietly dignified, like an heirloom academic painting.\n- Sharpest focus and warmest light on the eyes and face; the setting recedes into soft shadow.\n\nEXCLUDE\nNo close-up. No zoomed-in, tight or cropped composition. No head filling the frame. No ear cut off, clipped, touching or nearly touching the top edge. No part of any animal inside the background bands above the ears or at the left and right.\n\nNo recolouring of any coat. No sepia, brown, amber, antique or uniform warm wash over the animal. No grey coat turned brown. No white or cream coat warmed, tinted, dimmed or antiqued. No black coat lightened to grey or warmed to brown. No coat hue shifted for palette harmony. The grading changes value and warmth only, never hue.\n\nNo shadow on the face. No marking, ear, eye, nose or muzzle lost, dimmed, blurred or swallowed by shadow or atmosphere. No area of the animal painted at full black. No vignette, no darkened corners, no blackened edges.\n\nNo text, letters, numbers, words, engraving, book titles, spine lettering, labels, watermarks, signatures, logos or borders anywhere in the image. Book spines and parchment are blank blurred shapes with no markings of any kind.\n\nRemove entirely from the output any collar, harness, bandana, lead, leash, clip, chain, ring, name tag, bell, or hardware of any kind visible in the reference photo. The only thing worn in the finished portrait is the single dark academic collar described above.\n\nNo gown, robe, jacket, lapels, shirt, tie, cravat, academic hood, mortarboard, cap, hat, glasses, monocle, crown or jewellery. No human figures or hands. No modern clothing. No bright or saturated costume. No comedic or novelty treatment.\n\nNo added smile. No added gravity or solemnity. No closing of a photographed open mouth. No shortening or removing of a visible tongue. No changing the expression in either direction. No enlarged, rounded or widened eyes.\n\nNo body below the upper chest. No lower body, belly, legs, paws, feet or tail. No sitting, standing or lying pose, regardless of what the reference photo shows.\n\nNo vintage, sepia, film, antique or warm-tone filter applied over the photograph. No photographic fur, texture, blur or depth of field carried over from the original image. No rendered canvas weave, linen grain, craquelure or cracking.\n\nNo busy, brightly-lit or cluttered background. No readable objects. No photorealism, no 3D render, no flat vector look, no neon or modern colours. Do not add any animal that is not a subject in the reference photo. Do not add or remove markings. Do not change ear carriage. Do not alter head proportions, coat length, age, mouth state or expression to fit the style. The style is applied to the animals; the animals are never redrawn to fit the style.","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. Phone photos are fine.","photo_editor":"static","show_in_cart":false,"use_hd_layer":false,"photo_replace":true,"schema_version":2,"shadow_display":"mockup_order","customization_type":"normal","direct_upload_style":"cover","direct_clipart_style":"contain"},{"id":"layer-931801","top":9576.62,"left":3952.01,"name":"Text layer","text":null,"type":"text","align":"center","color":"#241C04","width":5089.97,"locked":false,"rotate":0,"visible":true,"form_label":"Name on the portrait (optional)","max_length":25,"typography":{"size":683.96,"family":"Roboto","variant":"regular"},"custom_font":{"url":"users\/47856\/fonts\/6a8c49da1f32a.woff2","size":500,"family":"EBGaramond-SemiBold"},"curve_radius":4207.88,"stroke_color":"#2B1815","stroke_width":8,"color_opacity":"FF","schema_version":2,"shadow_display":"mockup_order","stroke_enabled":false,"form_input_type":"text","typography_type":"custom","form_placeholder":"Their name","autoscale_enabled":true,"background_enabled":true,"customization_type":"normal","reposition_enabled":false,"form_input_textcase":"capitalize","autofill_default_value":false}],"positions":["template-layer","layer-386311","layer-931801"],"charge_enabled":false},{"id":"template-196183","url":"users\/47856\/images\/260925_YuRx0RFyqXm247T6_large.webp","name":"OLD-SCHOLOR-TWEED","addons":[],"layers":[{"id":"layer-205773","top":-95.92,"url":"users\/47856\/image-layers\/6aa3a281c0254_large.webp","left":-319.75,"name":"Style 4 - Old Scholar","type":"photo","width":8543.5,"height":10689.83,"locked":false,"rotate":0,"effects":[{"id":"id-218386","type":"gemini:image_filter","color_sketch":"#000000","light_sketch":true,"enable_contour":true,"gpt_resolution":"3840","gemini_resolution":"4K","image_filter_prompt":"Generate a moody, scholarly vintage portrait of the animal or animals from the base image.\n\nFRAMING \u2014 decide this before anything else. It controls the whole composition.\nThis is a WIDE view of a SMALL subject, not a close-up. The animal sits small within a large dim setting, with generous space all around 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. Picture a second invisible copy of the ear stacked on top of the real one \u2014 that entire height 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.\nAs percentages of the image, the same rule: at least 20% of the image height is background above the tallest ear tip, and at least 15% of the image width is background on the left and on the right.\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 setting. Better far too small than touching an edge. No ear may ever be cut off, cropped, or touch 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 grading architecture below.\n3. Mood, atmosphere and vintage character.\nGrading is a lighting and finish effect laid over the real animal. It never changes the animal's colour, and it never hides a feature. If an atmospheric choice would make the pet less recognisable, make the less atmospheric choice. Mood lives in the background and the light, never in the animal's face.\n\nWHAT THE OUTPUT IS\nA painted portrait built from scratch, observed from the reference photo. It is NOT the photograph with a vintage, sepia, warm-tone, film or antique filter applied over it. No photographic texture, fur detail, lighting or background survives \u2014 the animal is repainted in brushwork and the setting 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\nGRADING ARCHITECTURE \u2014 how this style works. Read this before painting anything.\nThe animal is painted in its own real colours. The vintage, old-world character comes from the LIGHT and the SETTING, not from recolouring the animal.\n- Paint each animal's coat first, at its TRUE hue and TRUE lightness from the photo. A tan animal is tan, a red animal is red, a grey animal is grey, a black animal is black, a white animal is white, a brindle animal is brindle.\n- The vintage grading may then adjust VALUE and WARMTH only: deepening the shadow side, adding a warm cast to the lit edges. It may never adjust HUE. A grey coat never becomes brown. A white coat never becomes cream or ivory. A tan coat never becomes sepia. A black coat never becomes warm brown.\n- The grading acts most strongly on the background and least on the face. The animal's face is the least graded area in the image.\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, the eyes, the muzzle, the nose, the mouth and every facial marking \u2014 sits in readable light. It is modelled with soft directional light and gentle shadow, but nothing on the head is lost to darkness. Deep atmospheric shadow belongs to the BACKGROUND, the far shoulder and the lower chest \u2014 never to the face.\n- SHADOW FLOOR: no area of the animal is painted at full black or near-black shadow. Even the darkest shadow on the animal keeps visible detail and structure. The deepest darks in the image are in the background only.\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, fully lit and readable, with the whole tip visible and clear of the top edge. Neither ear is lost to shadow. 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 fully lit and clearly readable. Shadow, grading, atmosphere and clothing never swallow, dim, blur, cover or merge a marking. If a marking would fall in shadow, light it anyway \u2014 the marking wins.\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. The owner must be able to tell the coat type from the painting. The jacket never hides the ruff or the coat length \u2014 the fur silhouette stays visible above and around it.\n- BLACK OR VERY DARK coats: the coat stays black \u2014 never lightened to grey and never warmed to brown. The face is carried by a clear directional key light across the brow, muzzle bridge and cheekbones, plus a rim light along the top of the skull and the ear edges, so the eyes, muzzle and facial structure are fully readable. The head must never collapse into a flat dark shape against the dim setting. Because this animal is dark, the background immediately behind it is painted lighter and warmer, so the silhouette separates clearly, and the jacket is painted in a lighter, warmer tweed so it does not merge with the coat.\n- WHITE, CREAM OR VERY PALE coats: the coat stays white or pale. Do not warm, tint, antique, dim or cream a white coat to make it sit in the palette \u2014 the lit areas of a white animal read as white. Form is carried by cool and warm greys in the shadow side only. Because this animal is pale, the background immediately behind it is painted deeper, so the silhouette separates clearly, and the jacket is painted in a deeper tweed so it does not merge with the coat.\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, with the iris in its real colour and one soft natural catchlight. Never darken, shadow or obscure an eye for mood.\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 grading.\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 soft, confident painterly strokes that stay clearly visible against the setting. 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 mood never changes it.\n- If the mouth is closed, keep it closed with no tongue showing. Paint the lip line exactly as it sits in the photo. Do not curve it upward into a smile, and do not turn it downward into gravity. Do not add an expression the photo does not show.\n- If the mouth is open or panting with the tongue visible, keep it open with the tongue in the same position, extending exactly as far as in the photo, painted in its real pink and clearly lit. The lower jaw is open to the same degree as the photo. If teeth are visible, paint them clearly. Never close a photographed open mouth to make the portrait more dignified.\n- Reproduce the real expression and the exact angle the head is held at, including a three-quarter or turned head if that is how it is photographed. Do not make an animal look more serious, wiser, older, more scholarly, more soulful or more dignified than the photo. The gravity of this portrait comes from the light and the setting, never from changing the animal's face.\n\nRender exactly what is shown in the reference photo. Do not idealize, beautify, generalize, or substitute any feature with a breed-typical or \"expected\" version. Each animal must be recognizably THAT individual to its owner, not a generic example of its breed or species.\n\nMULTIPLE ANIMALS \u2014 apply this section ONLY if the photo contains two or more subject pets. If there is only one pet, ignore this section entirely.\n- Include every subject animal from the photo. Do not omit one, and do not duplicate one.\n- DO NOT MIX THE ANIMALS. Each animal keeps only its own features. Never apply one animal's ear shape, coat colour, coat length, markings, eye colour, muzzle length, age, mouth state or expression to another. If one has erect ears and another floppy, keep them different. If one is dark and another light, keep them different. If one has an open mouth and another a closed mouth, keep them different. If one is older with a grey muzzle, keep only that one grey. The animals must not converge toward a shared appearance and must not be turned into look-alikes unless they genuinely are in the photo.\n- Work through the animals one at a time from left to right as they appear in the photo, completing each one's own features before moving to the next.\n- Every animal's head sits in the lit zone. No animal is placed in shadow, turned away, or pushed into the background.\n- Each animal wears its OWN separate tweed jacket, correctly fitted to its own shoulders and chest. Do not merge them into one shared garment, and never let one animal's jacket, lapel or shoulder cross onto another. Give the jackets slightly different muted tweed tones so they read as separate.\n- Keep the animals at their true relative scale and at the same distance from the viewer \u2014 do not push one further back or shrink it to fit the composition. If one is genuinely larger, keep it larger; if they are close in size, keep them close in size.\n- The whole group together obeys the FRAMING rule. A group of two is painted SMALLER than a single animal would be, not wider. Scale the whole group down until the space above the tallest ear is still one full ear tall, and half a head-width of background remains on the left and on the right.\n- Every animal is equally sharply painted, equally finished, and equally lit. None is blurred, cropped, turned away, or treated as a secondary or background subject.\n\nCOMPOSITION AND FRAMING\nVertical portrait, 3:4 aspect ratio, with the subject or group centered horizontally and sized and placed according to the FRAMING rule at the top of this prompt.\n\nIf ONE animal: a small head-and-upper-chest bust portrait, centered.\nIf TWO OR MORE animals: arrange them together as a single small centered group, side by side and close together, heads at slightly different heights so every face is clearly visible and no animal is hidden behind another. Head-and-upper-chest crop for each.\n\n- The eye line sits slightly ABOVE the vertical centre of the image.\n- The lowest point of the chest sits clear of the bottom edge and both bottom corners.\n- The background is fully visible as a continuous, generous border framing the subject on every side.\n\nBefore finishing, check the four edges. If any ear tip is cut off, touching, or close to the top edge, the animal was painted too large \u2014 scale it down and paint it again, smaller.\n\nSTYLE \u2014 DARK ACADEMIA VINTAGE PORTRAIT\nA moody, scholarly, old-world painted portrait \u2014 the pet as a distinguished academic subject, in the manner of an aged oil painting hanging in a candlelit university library. Refined and atmospheric, never comedic, never costumed.\n\nRendering:\n- Rich, painterly oil-portrait finish with soft visible brushwork and the warm patina of an old painting. The brushwork is the texture \u2014 do not render canvas weave, linen grain, craquelure, cracking or any painted-surface texture into the image.\n- Directional low-key lighting: a soft warm key light falling from one side, modelling the head in quiet three-dimensional depth, with gentle shadow on the opposite side. The head stays fully readable throughout. Where there is more than one animal, the same single light source falls consistently across the whole group.\n- The darkness of this style lives in the BACKGROUND and the lower chest. The face is warm and clearly lit.\n- Muted, desaturated old-world palette in the setting \u2014 deep browns, forest greens, dark ambers, aged golds, ink blacks \u2014 with each animal's own true coat colour preserved and clearly readable within that muted world.\n- Even light falloff. No vignette, no darkened corners, no blackened edges.\n\nAttire \u2014 always present, always minimal:\n- Every animal wears a soft muted TWEED JACKET, visible only at the shoulders and upper chest: a notched lapel on each side, a collar following the base of the neck, and the shoulder line suggested in a few soft strokes. Muted heathered browns, greens, greys or oatmeal \u2014 the fabric of a worn academic's jacket, soft and lived-in, never sharp, new, formal or tailored.\n- The jacket sits LOW. It begins at the base of the neck where the neck meets the chest, and never rises above the jawline. It never touches the ruff, cheeks, muzzle or ears, and never reshapes the head or neck.\n- It is painted loosely and softly, clearly secondary to the face \u2014 suggested, not tailored, with less detail than the face at all times.\n- The jacket must not cover any chest marking. Where a marking sits on the chest, the jacket opens around it or sits below it so the marking stays fully visible. The animal's coat, ruff and chest fur remain the dominant thing below the jaw; the jacket is a quiet frame at the outer edge of the chest.\n- The jacket is the animal's own size and posture \u2014 it follows the real shoulders in the photo. It never adds a human body, human shoulders, an upright human posture or a squared chest.\n- Nothing else is worn.\n\nBackground:\n- A dim, atmospheric scholarly setting: the soft suggestion of antique shelving and stacked books, warm lamplight falling somewhere beyond the frame, or dark botanical foliage. Heavily blurred and shadowed so it reads as mood, not as objects.\n- Books are painted as soft blurred blocks of muted colour with suggested edges only. No spine detail, no lettering, no labels, no legible or illegible writing, no titles, no numbers, no gilt, no ornament. A viewer should read \"books\" from shape and colour alone and find nothing to try to read.\n- The setting always recedes. The subject is always the sharpest thing in the image.\n- Completely replace whatever background appears in the reference photo. Do not retain any grass, pavement, modern furniture, indoor room, sky, vehicle, foliage, studio backdrop or blur from the original image.\n\nFinish:\n- A moody, gallery-quality vintage painted portrait \u2014 atmospheric, warm and quietly dignified, like an heirloom academic painting.\n- Sharpest focus and warmest light on the eyes and face; the setting recedes into soft shadow.\n\nEXCLUDE\nNo close-up. No zoomed-in, tight or cropped composition. No head filling the frame. No ear cut off, clipped, touching or nearly touching the top edge. No part of any animal inside the background bands above the ears or at the left and right.\n\nNo recolouring of any coat. No sepia, brown, amber, antique or uniform warm wash over the animal. No grey coat turned brown. No white or cream coat warmed, tinted, dimmed or antiqued. No black coat lightened to grey or warmed to brown. No coat hue shifted for palette harmony. The grading changes value and warmth only, never hue.\n\nNo shadow on the face. No marking, ear, eye, nose or muzzle lost, dimmed, blurred or swallowed by shadow or atmosphere. No area of the animal painted at full black. No vignette, no darkened corners, no blackened edges.\n\nNo jacket rising above the jawline. No jacket covering the ruff, the cheeks, the chest fur or any chest marking. No high collar, no turtleneck, no scarf, no ruff collar. No sharp, new, crisp, formal or tailored suiting. No visible buttons, pocket square, shirt, tie, cravat, waistcoat, chain, watch or lapel pin. No human body, human shoulders, upright human posture or squared human chest beneath the jacket \u2014 the shoulders are the animal's own.\n\nNo gown, robe, academic hood, mortarboard, cap, hat, graduation dress, glasses, monocle, crown or jewellery. No human figures or hands. No modern clothing. No bright or saturated costume. No comedic or novelty treatment.\n\nNo text, letters, numbers, words, engraving, book titles, spine lettering, labels, watermarks, signatures, logos or borders anywhere in the image. Book spines and parchment are blank blurred shapes with no markings of any kind.\n\nRemove entirely from the output any collar, harness, bandana, lead, leash, clip, chain, ring, name tag, bell, or hardware of any kind visible in the reference photo. The only thing worn in the finished portrait is the single tweed jacket described above.\n\nNo added smile. No added gravity or solemnity. No closing of a photographed open mouth. No shortening or removing of a visible tongue. No changing the expression in either direction. No enlarged, rounded or widened eyes.\n\nNo body below the upper chest. No lower body, belly, legs, paws, feet or tail. No sitting, standing or lying pose, regardless of what the reference photo shows.\n\nNo vintage, sepia, film, antique or warm-tone filter applied over the photograph. No photographic fur, texture, blur or depth of field carried over from the original image. No rendered canvas weave, linen grain, craquelure or cracking.\n\nNo busy, brightly-lit or cluttered background. No readable objects. No photorealism, no 3D render, no flat vector look, no neon or modern colours. Do not add any animal that is not a subject in the reference photo. Do not add or remove markings. Do not change ear carriage. Do not alter head proportions, coat length, age, mouth state or expression to fit the style. The style is applied to the animals; the animals are never redrawn to fit the style.","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. Phone photos are fine.","photo_editor":"static","show_in_cart":false,"use_hd_layer":false,"photo_replace":true,"schema_version":2,"shadow_display":"mockup_order","customization_type":"normal","direct_upload_style":"cover","direct_clipart_style":"contain"},{"id":"layer-328710","top":9656.62,"left":3952,"name":"Text layer","text":null,"type":"text","align":"center","color":"#EBE6D8","width":5089.97,"locked":false,"rotate":0,"visible":true,"form_label":"Name on the portrait (optional)","max_length":25,"typography":{"size":683.96,"family":"Roboto","variant":"regular"},"custom_font":{"url":"users\/47856\/fonts\/6a8c49da1f32a.woff2","size":500,"family":"EBGaramond-SemiBold"},"curve_radius":4207.88,"stroke_color":"#2B1815","stroke_width":8,"color_opacity":"FF","schema_version":2,"shadow_display":"mockup_order","stroke_enabled":false,"form_input_type":"text","typography_type":"custom","form_placeholder":"Their name","autoscale_enabled":true,"background_enabled":true,"customization_type":"normal","reposition_enabled":false,"form_input_textcase":"capitalize","autofill_default_value":false}],"is_global":false,"positions":["template-layer","layer-205773","layer-328710"],"charge_enabled":false}],"global_options":[],"global_option_ids":[]}],"campaign_products":[{"id":1827494,"campaign_id":1014614,"product_id":354824,"created_at":"2026-09-08T14:53:01.000000Z","updated_at":"2026-09-08T14:53:01.000000Z","position":0,"platform_title":"Framed Canvas","campaign_variants_position":null,"product":{"id":354824,"user_id":47856,"fulfillment_id":20,"fulfillment_linked_id":"framed-canvas","title":"Framed Canvas - ver","description":"

Elevate your space with our framed canvas prints, featuring rich texture that adds depth for a captivating art experience:<\/p>\n