{"id":1014680,"name":"Custom Pet Portrait - Floral Crown","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":1294135,"name":"SF-BLOOM-CROWN-CANVAS","description":null,"width":7904,"height":10498,"thumbnail":"users\/47856\/artworks\/6ab68df7001b1_thumbnail.webp","is_locked":null,"template_settings":{"label":"BLOOM-CROWN","display_type":"radio","show_in_cart":true},"current_version_id":2791919,"design_format":"rgb","status":0,"schema_version":2,"data":[{"id":"template-104851","url":"users\/47856\/images\/260908_MN7aiz0rKbYtNtz4_large.webp","name":"SF-BLOOM-CROWN-CANVAS","addons":[],"layers":[{"id":"layer-421322","top":0,"url":"users\/47856\/image-layers\/6aa03276acbdc_large.webp","left":-167.49,"name":"SF-BLOOM-CROWN-CANVAS","type":"photo","width":8239.96,"height":10600.51,"locked":false,"rotate":0,"effects":[{"id":"id-495134","type":"gemini:image_filter","color_sketch":"#000000","light_sketch":true,"enable_contour":true,"gemini_resolution":"4K","image_filter_prompt":"Generate a soft watercolor portrait of the animal or animals from the base image, crowned with delicate botanical flowers. Every animal's head and face must remain completely real and recognisable \u2014 the flower crown sits ON the head without changing it.\n\nFRAMING \u2014 decide this before anything else. It controls the whole composition.\nThe animal sits generously within the frame, filling most of the paper, with a clear, even margin of empty paper all around it. It is neither a tight close-up nor a small subject lost in space.\n\nTHE CROWN ADDS HEIGHT. Measure the top of the composition from the TOP OF THE FLOWERS, not from the ear tips.\n\nUse the animal's own anatomy as the ruler:\n- The space ABOVE the highest flower is AS TALL AS HALF AN EAR \u2014 a clear band of empty paper, but not a deep expanse.\n- The space to the LEFT of the composition is AS WIDE AS A QUARTER OF THE ANIMAL'S HEAD, measured from the outermost flower, leaf, whisker or spatter mark. The same on the RIGHT.\n- The animal's head is roughly HALF the image width.\n\nAs percentages of the image:\n- TOP: at least 14% of the image height is empty paper above the topmost flower.\n- LEFT and RIGHT: at least 14% of the image width on each side, measured from the outermost point of ANYTHING painted \u2014 ear, cheek, whisker, flower, leaf, halo wash or spatter.\n- BOTTOM: at least 12% of the image height below the lowest painted mark.\n- The whole composition therefore occupies roughly 72 to 74% of the image height and width. It fills the paper confidently.\n\nThese margins are print safety margins \u2014 the outer edges of the image are physically lost when the artwork is framed or wrapped around a canvas stretcher. Respect them exactly. No ear tip, flower, whisker or spatter mark may ever be cut off, cropped, or touch any edge. But do not leave more margin than stated either: a small subject floating in a large empty field is wrong for this style.\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 crown placement rules below.\n3. Prettiness, softness and floral beauty.\nThe crown is worn by the real animal. It never changes the animal, never covers a feature, and never competes with the face. If a prettier or softer choice would make the pet less recognisable, make the plainer choice. The charm of this portrait comes from the real animal wearing flowers \u2014 never from making the animal sweeter.\n\nWHAT THE OUTPUT IS\nA watercolor painting created from scratch, observed from the reference photo. It is NOT the photograph with a watercolor filter applied over it, and the crown is not a graphic pasted on top. No photographic detail, texture, fur, lighting or background survives beneath the paint \u2014 every part of the image is painted.\n\nCROP \u2014 HEAD AND UPPER CHEST ONLY.\n- Include: the crown, both ears complete, the head, the neck and the upper chest, fading out below.\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 bust portrait regardless of how much of the animal the photo shows.\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, each with its own flower crown, 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\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 as FUR, in the coat's own colour \u2014 never as leaves, petals or foliage. Reproduce the visible inner-ear surface in its real colour. The ears keep controlled, defined edges \u2014 they are part of the face, not part of the loose periphery. Never let a wash, bloom, bleed, flower or leaf soften, blur, shorten or reshape an ear.\nThe flower crown rests BEHIND and BETWEEN the ears and must NEVER cover, flatten, bend, push aside, or hide any ear. Both ears stay fully visible in their real shape from base to tip, with no flower, leaf, stem or petal resting on an ear, crossing over one, or touching one. Foliage stays clear of the ear edges entirely.\nNever straighten, raise, lower, crop, round, point, prick or symmetrize the ears. Never substitute the ear shape typical for the breed or species.\n\nCROWN PLACEMENT \u2014 where the crown sits, exactly.\n- The crown sits on the CREST OF THE SKULL and BEHIND it \u2014 the band runs across the top-back of the head, between and behind the ears, and slightly down each side behind the ear bases.\n- It does NOT sit on the forehead. The whole forehead and brow, from the eyes up to the crest of the skull, stays bare fur and fully visible in front of the crown.\n- Any marking on the forehead, brow or crown of the head \u2014 a blaze, a widow's peak, a coloured cap, an eyebrow spot \u2014 sits IN FRONT of the flower band and remains completely visible, unobstructed and readable. If a marking runs up over the skull, the crown sits behind where the marking ends. The marking always wins over the flower placement.\n- The crown sits lightly. It never flattens the skull, alters the head shape, presses the ears down, or changes the head's silhouette beneath it.\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, as fur. Do not lengthen, shorten, narrow, widen, 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 is painted with a crisp, deliberate edge where it meets the surrounding colour \u2014 markings are controlled areas, never wet-on-wet. No wash, bloom, bleed, spatter, flower, leaf or stem may dissolve, blur away, cover, merge or obscure any marking.\n\nCOAT COLOUR AND LENGTH \u2014 for each animal, reproduce the actual base coat colour, secondary colours, pattern and fur length 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. Keep the true colour of the coat as the recognisable local colour of each area, even while rendering it in a loose watercolor manner. Do not shift the coat's hue toward the flower colours, and do not let floral pigment bleed into the fur.\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- WHITE, CREAM OR VERY PALE coats: the pale areas are the untouched white of the paper. Form is carried by soft cool and warm grey shadow washes on the shadow side of the skull, under the ears, beneath the jaw and along the muzzle, and by a pale halo wash defining the outer edge. The animal reads as a solid, three-dimensional, clearly bounded form, never faint, formless or ghostly. For a pale animal the crown uses DEEPER, more saturated blooms \u2014 dusty rose, coral, lavender, deep sage \u2014 never warm white, cream or pale pink, so the crown and the animal never merge into one soft pale mass. The halo wash behind a pale animal is stronger.\n- BLACK OR VERY DARK coats: the coat stays black or very dark. Build it from layered deep washes \u2014 indigo, sepia, neutral dark \u2014 so it reads as rich black, not grey, not steel blue. The face structure is carried by reserved lighter areas where the light falls: brow, bridge of the muzzle, cheekbones, top of the skull, edges of the ears. The head must read clearly and never become a dark shapeless mass. For a dark animal the crown uses lighter blooms \u2014 warm whites, creams, soft pinks \u2014 so the flowers read clearly against the coat.\n\nCROWN AND COAT MUST SEPARATE \u2014 wherever a flower, petal, leaf or stem sits next to fur, there is a clear difference in value and a clean painted edge between them. On a long-haired or double-coated animal, the crown sits clear of the ruff and the ear feathering, and no bloom is painted so softly that it merges with the fur. A viewer must see instantly where the flowers end and the animal begins.\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 sharpest, most defined and most controlled element of the entire painting \u2014 the lid shape and eye rim clearly drawn, the iris in its true colour, the pupil crisp, one soft natural catchlight. No bloom, bleed or wash enters the eye. No flower, leaf or petal may cover, touch or approach an eye. No eyelashes are added, lengthened or darkened.\n\nNOSE \u2014 for each animal, reproduce the photographed nose colour, shape and size, including any pink, spotted, or partly-depigmented areas. Painted with a controlled edge, defined and readable, never dissolved by the washes and never covered or touched by a flower.\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 fine, confident single brush strokes in their true colour \u2014 pale whiskers as reserved paper or fine light strokes, dark whiskers as fine dark strokes \u2014 that stay clearly visible against the washes and the florals. Do not omit them, do not multiply them, do not make them uniform or symmetrical. Whisker tips are part of the composition 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, paint it as a distinctly lighter area with its own clear edge, exactly where it sits \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 prettiness 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. Do not add a smile 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. The tongue is a defined pink shape with a controlled edge, not a soft pink bloom. The lower jaw is open to the same degree as the photo. If teeth are visible, paint them as small defined light shapes. Never close a photographed open mouth to make the portrait softer or prettier.\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 sweeter, softer, happier, gentler or more appealing than the photo.\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, wearing a flower crown \u2014 not a generic pet.\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 face and crown before moving to the next.\n- EACH ANIMAL WEARS ITS OWN SEPARATE FLOWER CROWN, sitting on the crest of its own skull, behind and between its own ears. Never merge the crowns into one shared garland spanning both animals, and never let one animal's flowers rest on another animal's head, ears or face. Give the crowns complementary but slightly different blooms so they read as separate \u2014 and each crown must contrast its own animal's coat, per the rules above.\n- Do not let the washes or floral colours of one animal bleed into or blend with another animal. Where two animals meet, the boundary is a controlled, dried edge. Each animal keeps its own clear form and its own colours.\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. Two crowns make the group wider and taller \u2014 scale the whole group down until both crowns and both sets of ears sit inside the margins. A group fills the same 72 to 74% of the image as a single animal would; it does not spill wider.\n- Every animal is equally finished and equally defined in the face. 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 head-and-upper-chest bust portrait, centered, filling the paper generously.\nIf TWO OR MORE animals: arrange them together as a single centered group, side by side and close together, heads at slightly different heights so every face and every crown 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. It is NOT in the upper third \u2014 the crown occupies the space above the head and needs room.\n- The chest dissolves softly into the paper and sits clear of the bottom edge and both bottom corners.\n- Spatter, halo washes and loose floral marks are subject to the same margins: none may touch or run off any edge of the image.\n- The paper is visible as a clean, even border framing the subject on every side \u2014 present and clear, but not wide.\n\nBefore finishing, check the four edges. If any flower, ear tip, whisker or spatter mark is cut off, touching, or closer to an edge than the stated margin, the composition was painted too large \u2014 scale it down slightly and paint it again. If the margin on any side is much wider than stated, it was painted too small \u2014 scale it up.\n\nSTYLE \u2014 FLORAL CROWN WATERCOLOR\nA soft, delicate watercolor portrait of the pet crowned with fresh botanical flowers \u2014 pretty, gentle and heartfelt, in the manner of fine hand-painted floral pet portraiture.\n\nWhere control ends and looseness begins \u2014 this boundary is fixed:\n- FULLY RESOLVED, controlled, with deliberate dried edges: everything from the ear tips down to and including the jaw and chin \u2014 both ears, skull, brow, eyes, muzzle, nose, mouth, cheeks, whisker pads, all facial markings, and the outer contour of the head. This is where the likeness lives and it is painted with care.\n- The CROWN is painted with similar control: each bloom has a readable shape and a defined edge. It is soft, not vague.\n- LOOSENING BEGINS at the ruff and neck, below the jaw.\n- LOOSE, wet-on-wet, dissolving: the chest and the lower edges of the bust, fading gradually into the paper. This is the only region where blooms, bleeds and drips belong.\n\nThe crown \u2014 size and content:\n- A NARROW BAND of flowers and foliage, not a mass. Roughly five to nine blooms in total, at varied sizes, with a little greenery between them. The band is no taller than half an ear at its highest point.\n- Soft, natural blooms \u2014 for example roses, peonies, daisies, wildflowers, eucalyptus and greenery \u2014 in gentle watercolor washes with readable petal shapes.\n- Flower colours chosen to CONTRAST the animal's coat in value, per the pale-coat and dark-coat rules above: the crown must always read clearly as flowers against fur, and must never make the animal harder to read.\n- The crown frames the face. It never dominates it, never covers it, never competes with it, and never grows into a wreath, halo or garland that surrounds the whole head.\n\nRendering:\n- Translucent watercolor washes with visible pigment granulation, layered light to dark in the animal's true colours. Loose and painterly at the periphery, controlled and accurate in the face and the crown.\n- Wet-on-wet blooms and soft bleeds only in the loose region. In the controlled region, edges are crisp and dried where features, markings and petals meet.\n- Spatter: a small amount of deliberate, visibly sized spatter near the outer edge of the chest and shoulders, in the animal's or the crown's colour family. Sparse and restrained. Never fine mist, never dust-fine speckle, never on or near the face, never on a marking, never touching the image edge.\n- Delicate, natural colour \u2014 transparent and light rather than heavy, never brightened or saturated beyond the photo.\n\nBackground:\n- Clean watercolor paper \u2014 a soft off-white with a very subtle, even tonal variation. Not a flat pure white, not cream, not tinted, not a gradient. The paper surface is smooth: no rendered paper tooth, grain or fibre. Granulation lives in the pigment, not in the paper.\n- Mostly untouched. Only a soft, pale halo wash immediately around the subject, defining its outer edge, plus the sparse spatter described above. No scene, no objects, no pattern.\n- Completely replace whatever background appears in the reference photo. Do not retain any grass, pavement, furniture, indoor room, sky, vehicle, foliage, studio backdrop or blur from the original image.\n\nFinish:\n- A gentle, gallery-quality floral watercolor \u2014 airy, soft and quietly warm.\n- Loose and painterly at the periphery, precise and recognisable in the face. Sharpest focus on the eyes.\n\nEXCLUDE\nNo small subject floating in a large empty field. No composition occupying less than about 70% of the image. No margin wider than stated on any side. No head or crown that looks lost, distant or under-scaled.\n\nNo close-up, no zoom, no tight crop. No flower, ear tip, whisker or spatter mark cut off, clipped, touching or closer to any edge than the stated margin. No eye line high in the frame.\n\nNo flower, petal, leaf or stem covering, touching, crossing or approaching any ear, eye, nose, muzzle, mouth or marking. No crown resting on the forehead or brow. No crown hiding, flattening, bending or reshaping any ear. No leaves or foliage painted where ear tufts or fringing sit \u2014 ear fringing is always fur.\n\nNo crown larger than a narrow band. No floral mass, no full wreath, no halo of flowers surrounding the head, no flowers below the jaw, no cascading blooms down the chest. No crown taller than half an ear.\n\nNo crown in the same value range as the coat. No pale crown on a pale animal. No crown merging into long fur. No floral pigment bleeding into the fur or shifting the coat's colour.\n\nNo wash, bloom, bleed, drip, spatter or flower on the ears, eyes, nose, mouth or any marking. No softening or blurring of the ears. No loose dissolving edge above the jaw.\n\nNo pale coat darkened or tinted. No black or dark coat turned grey, brown or blue. No coat hue shifted toward the flower colours.\n\nNo added smile. No closing of a photographed open mouth. No shortening or blurring of a visible tongue into a pink bloom. No changing the expression in either direction. No enlarged, rounded, widened or glossy eyes. No added or darkened eyelashes.\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 watercolor filter applied over the photograph. No photographic fur, texture, blur or depth of field. No crown pasted on as a graphic overlay.\n\nNo flat pure white paper. No tinted or cream paper. No rendered paper texture, tooth or grain. No gradient, vignette or background wash filling the paper. No fine mist or dust-fine spatter. No spatter on the face, on a marking, or touching any edge.\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. Every neck and chest is rendered as bare fur, apart from the flower crown on the head.\n\nNo text, letters, numbers, words, watermarks, signatures, logos or borders anywhere in the image. No human figures, hands, clothing, costumes, hats, glasses or jewellery. Do not add any animal that is not a subject in the reference photo. No insects, butterflies, bees or wildlife among the flowers. No photorealism, no 3D render, no hard vector edges, no flat digital fill, no heavy black outlines, no dark or busy background. 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 flower crown sits on the head; the animal beneath is always its real self.","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