{"id":1015055,"name":"Custom Pet Portrait - Royal Renaissance","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":1294877,"name":"SF-ROYAL-PORTRAIT","description":null,"width":7904,"height":10498,"thumbnail":"users\/47856\/artworks\/6ab631548f1d1_thumbnail.webp","is_locked":null,"template_settings":{"label":"Choose their costume","display_type":"radio","show_in_cart":true},"current_version_id":2799110,"design_format":"rgb","status":0,"schema_version":2,"data":[{"id":"template-578129","url":"users\/47856\/images\/260925_RNJeMgzWaQ2VbNFo_large.webp","name":"ROYAL-PORTRAIT","addons":[],"layers":[{"id":"layer-839794","top":-141.95,"url":"users\/47856\/image-layers\/6aa3acc9452e4_large.webp","left":-356.54,"name":"Royal Portrait","type":"photo","width":8617.08,"height":10781.89,"locked":false,"rotate":0,"effects":[{"id":"id-967135","type":"gemini:image_filter","color_sketch":"#000000","light_sketch":true,"enable_contour":true,"gemini_resolution":"4K","image_filter_prompt":"Generate a Renaissance-style royal oil portrait of the animal or animals from the base image, dressed in noble period costume. Every animal's HEAD and FACE must remain completely real and unchanged \u2014 only the body below the neck wears the costume.\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. A wide, dark, quiet expanse of background above the sitter is also correct for this style \u2014 it is how genuine court portraits are composed, and it is what makes the figure feel formal and monumental.\n\nThis is a WIDE view of a SMALL sitter, not a close-up. The figure sits small within a large dark painted interior.\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 sitter is AS WIDE AS HALF THE ANIMAL'S HEAD. The same on the RIGHT, measured from the outermost point of the costume, not the body.\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 painted background above the highest ear tip of ANY animal. This is by far the largest margin and the most important one.\n- LEFT and RIGHT: at least 15% of the image width on each side, measured from the outermost point of the sitter or group \u2014 including shoulders, cheeks, whiskers and every part of the costume.\n- BOTTOM: at least 12% of the image height below the lowest point of the subject. The costumed chest sits well above the bottom edge and clear of the corners.\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 painted background on all four sides.\n\nThe sitter 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 interior. 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 head must be recognisably THIS individual animal \u2014 its exact ears, head shape, facial 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. Opulence, grandeur and costume richness.\nThe costume is worn by the real animal. It never changes the animal, never covers the head, and never competes with the face. If a grander choice would make the pet less recognisable, make the less grand choice. The magnificence of this painting lives in the garment, the light and the interior \u2014 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, old-master or costume filter applied over it, and it is NOT a photograph of a pet in a costume. No photographic texture, fur detail, lighting or background survives \u2014 the head is repainted in visible brushwork, the costume is painted from imagination, and the interior is invented.\n\nCROP \u2014 HEAD AND COSTUMED UPPER CHEST ONLY, SEEN FROM A DISTANCE.\n- Include: both ears complete, the real head, the real neck, and the costumed shoulders and upper chest.\n- Do NOT include: waist, lower body, front legs, hind legs, paws, feet, tail, or any sitting, standing or lying pose. No paw, hand or limb appears anywhere. 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 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's head is painted in its own real colours. The old-master character comes from the LIGHT, the COSTUME and the dark INTERIOR \u2014 never from recolouring the animal.\n- Paint each animal's head, face and neck 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 COSTUME RECESSES, the far shoulder and the INTERIOR \u2014 never to the face.\n- SHADOW FLOOR: no area of the animal's head or neck is painted at full black or near-black. Even the darkest shadow there keeps visible detail, colour and structure. The deepest darks in the image are in the interior background and the deepest costume folds.\n- SEPARATION: the interior immediately behind a DARK animal is lifted \u2014 warmer and lighter \u2014 so the head reads clearly. The interior behind a PALE animal is deepened. The head never merges into the background 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 interior. The costume's collar or ruff sits at the base of the neck and must NEVER push, cover, bend, flatten or reshape the ears \u2014 both ears stay fully visible in their real shape, clear of any garment. 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. The head sits naturally and seamlessly on the costumed body, at correct proportion to it, with no distortion, stretching, shrinking, or visible seam at the neck join.\n\nMARKINGS \u2014 for each animal, reproduce every blaze, patch, mask, eyebrow spot, cheek marking, muzzle marking and colour break on the head, face and neck 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, face and neck 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. Markings below the neck are covered by the costume and are not painted.\n\nCOAT COLOUR AND LENGTH \u2014 for each animal, reproduce the actual coat colour, pattern and fur length of the head, face and neck from the photo, in true natural colour. 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. The painterly oil treatment may add rich lighting but must NOT recolour the real fur.\n- Reproduce the real coat length and texture where it is visible: a short smooth coat gives a tight head and neck silhouette; a long or double coat gives a fuller silhouette with a visible ruff, ear feathering and cheek fringing. The RUFF IS VISIBLE ABOVE THE COLLAR \u2014 the collar or ruff of the costume sits below the animal's own fur, never hiding it, so the owner can still tell the coat type. A curly or wiry coat gives a broken, irregular silhouette.\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 interior \u2014 lift the background behind it. The costume for a black animal is painted in a lighter, warmer tone so the head and the garment stay clearly distinct.\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 head must read as a solid three-dimensional form against the dark interior, never as a flat bright shape and never as a glowing blob. The costume for a pale animal is painted in a deeper jewel tone, never cream, ivory, white or pale gold.\n\nCOSTUME AND COAT MUST CONTRAST \u2014 the garment is never the same colour family or the same lightness as the animal's coat. A red or chestnut animal is never dressed in burgundy, oxblood or russet. A cream, gold or tan animal is never dressed in aged gold, ochre or cream. A black or dark animal is never dressed in midnight blue, charcoal or black. A grey animal is never dressed in silver-grey. Choose a jewel tone from the permitted palette that separates the head and neck clearly from the shoulders. The viewer must see instantly where the animal ends and the clothing 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 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.\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 brushstrokes in their real colour, painted so they stay clearly visible against whatever sits behind them. Do not omit them, do not multiply them, do not make them uniform or symmetrical. Whisker tips are part of the sitter 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 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 formality 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. A panting animal in state dress is correct and intended \u2014 never close a photographed open mouth to make the sitter more regal.\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. The charm comes from the real animal in noble dress \u2014 never from changing its face. Do not make an animal look more regal, more serious, more noble or more human than the photo.\n\nRender every head exactly as 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 costume \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 head and costume before moving to the next.\n- EACH ANIMAL WEARS ITS OWN SEPARATE COSTUME, correctly fitted to its own body, with its own collar or ruff at its own neck. Never merge two animals into one shared garment, one shared robe, or one shared body. Give the costumes distinct jewel tones so the two figures read as separate \u2014 and each costume must contrast its own animal's coat, per the contrast rule above.\n- The same single light source falls consistently across the whole group. Every head sits in the lit zone \u2014 no animal is placed in shadow, turned away, or pushed into the darkness.\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 and the SUBJECT SIZE LIMIT. A group of two is painted SMALLER than a single sitter would be, not wider. Costumed shoulders are broad \u2014 scale the whole group down until both sitters, with their costumes, sit well inside the side margins and a full ear of background remains above the tallest ear.\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 positioned slightly low in the frame, so there is more empty background above the sitter than below.\n\nIf ONE animal: a small head-and-upper-chest portrait \u2014 the real head plus the costumed shoulders and upper chest.\nIf TWO OR MORE animals: arrange them together as a single small 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\nSize the subject \u2014 or scale the WHOLE GROUP \u2014 DOWN as needed to satisfy both the margins and the size limit. If the ears are tall, the whiskers wide, or the costume broad at the shoulders, make the sitter smaller. Never enlarge the subject to fill the frame, and never reduce a margin to fit a larger subject. It is always better to have the sitter noticeably smaller and safely contained than large and close to any edge.\n\nThe eye line sits around the middle of the image, not high in the frame. Every ear complete, every muzzle full, every head fully inside the frame with wide breathing room on all sides. Nothing touching, approaching, or clipped by any edge or corner.\n\nBefore finishing, check the four edges. If any ear tip is cut off, touching, or within a quarter of the image height of the top edge, the sitter was painted too large \u2014 scale it down and paint it again, smaller.\n\nSTYLE \u2014 RENAISSANCE ROYAL OIL PORTRAIT\nA grand, museum-quality Renaissance state portrait in the manner of 16th\u201317th century European court painting \u2014 the kind of formal royal likeness that hangs in a national gallery or a great house. Serious, opulent, and commanding. This is a painting of a sovereign, not a costume photograph and not a novelty image.\n\nHead:\n- Each animal's real head and face, painted in warm, rich classical oil \u2014 visible brushwork, old-master lighting \u2014 but keeping its exact real features, colour and markings. The head is always fully animal, never humanised in any way.\n\nCOSTUME \u2014 the costume must look like real historical clothing that was cut, sewn and worn, painted from life by a master. It is heavy, structured, expensive and slightly worn with use, never a light digital overlay, never a smooth graphic pattern, never a costume-shop imitation.\n\n{costume_variant}\n\nConstruction and weight \u2014 applies to every variant:\n- The garment has real physical weight and structure. Heavy velvet and thick silk brocade hang and fall under their own weight, forming deep, soft folds at the shoulders and across the chest, with the fabric bunching and creasing naturally where the body moves beneath it. The shoulders are broad, padded and architectural, giving the sitter presence and authority.\n- Every material behaves as itself: velvet absorbs the light and shows a deep, dusty nap with a soft sheen where the pile catches the light; silk and satin have a sharper, cooler specular highlight along the fold ridges; heavy brocade sits stiffly and holds its shape.\n- Real construction is visible: seams, panel lines, a lined edge, the join where a sleeve meets a shoulder, small irregularities and slight asymmetry, as in a real hand-tailored garment.\n- Real metal-thread embroidery where the variant calls for it: gold or silver bullion worked into the cloth in a period pattern, raised slightly off the surface so it catches the light and casts its own tiny shadows. The pattern follows the folds of the fabric and distorts with them \u2014 it is never printed flat on top of the cloth. Keep metal-thread work to a limited area \u2014 a border, a panel, a placket \u2014 never spread across the whole garment.\n- Metal reads as genuinely metallic \u2014 polished in places, darkened and slightly tarnished in the recesses. Gold is deep, warm and restrained, never bright yellow and never covering large areas.\n- The overall effect is understated wealth and inherited power: rich, dark, disciplined and expensive. Never bright, never gaudy, never cluttered with ornament, never plastic.\n\nCollar and the animal's own fur \u2014 applies to every variant:\n- The collar, ruff or neckline sits at the BASE of the neck, below the animal's own fur, clear of the jaw and well clear of both ears.\n- The animal's own ruff, neck fur and cheek fringing remain visible above the collar. The garment never hides the coat type.\n- There is a clear painted separation of value between the animal's fur and any fabric or trim it touches. Fur trim on the garment, if the variant includes it, sits LOW on the chest and shoulders, well away from the animal's own ruff, and is painted in a clearly different colour and value from the animal's coat. On a long-haired or double-coated animal, use gold or metal-thread trim instead of fur trim, so the real coat and the garment can never be confused.\n\nFit and join \u2014 applies to every variant:\n- The costume fits the animal's own body naturally and in correct proportion \u2014 shoulders where the shoulders are, chest where the chest is. The head joins the costumed body seamlessly at the neck, with no visible seam, no distortion, no size mismatch, and no floating or pasted-on look.\n- The body beneath the costume is the animal's own body in its own posture. No human torso, no human shoulders, no upright human posture, no squared human chest.\n\nLighting and background:\n- Warm, directional old-master lighting from the upper left, with soft chiaroscuro modelling the face and raking across the costume so the fabric's folds, nap and embroidery are described by light rather than by outline. Where there is more than one animal, the same single light source falls consistently across the whole group.\n- A classical state-portrait background: a deep, dark painted interior \u2014 heavy drapery, a shadowed column or wall, subtle and atmospheric, as in a real court portrait. No modern elements. The sitter stays the clear focus.\n- The dark background extends fully to all four edges and into all four corners, filling the entire margin area evenly, including the deep expanse above the sitter's head. This wide border is part of the painting and carries the same subtle painterly tonal variation \u2014 never left blank, flat or abruptly different, and never brighter or busier than the area around the sitter.\n- Even light falloff. No vignette, no darkened corners, no blackened edges beyond the interior's own subtle variation.\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- An authentic, ornate, gallery-quality Renaissance state portrait \u2014 grand, formal and commanding, painted with the confidence and material honesty of an old master.\n- Painterly and hand-made throughout. The brushwork is the texture: do not render canvas weave, linen grain, craquelure or cracking into the image.\n- Sharpest focus and strongest light on the real face and eyes; the costume painted with rich, tactile realism but always secondary to the face.\n\nEXCLUDE\nNo subject that fills the frame. No tight crop, no zoom, no close-up. No ear, whisker, cheek, shoulder or any part of any animal or costume touching, overlapping or approaching within the stated margin of any edge or corner. No enlarging the subject at the expense of the margins. No placing the head high in the frame \u2014 the top margin is always the widest.\n\nNo recolouring of any real fur. No sepia, umber, brown, ochre, amber or uniform warm wash over the animal's head or neck. No grey coat turned brown. No white or cream coat warmed, tinted, dimmed, ochred or antiqued. No black coat lightened to grey or warmed to brown. The light changes value and warmth only, never hue.\n\nNo costume in the same colour family or the same lightness as the animal's coat. No head or neck merging into the garment. No fur trim adjacent to the animal's own ruff. No fur trim at all on a long-haired or double-coated animal.\n\nNo marking, ear, eye, nose or muzzle lost, dimmed, blurred or swallowed by shadow. No ear hidden on the shadow side. No eye left in darkness. No area of the head or neck painted at full black. No head merging into the dark interior. No vignette, no darkened corners, no blackened edges.\n\nNo collar, ruff, neckline or trim touching, covering, bending, flattening or reshaping any ear. No collar hiding the animal's own ruff or neck fur.\n\nNo added smile. No added gravity, nobility 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, widened or glossy eyes.\n\nNo flat, printed, pasted-on or digitally overlaid costume. No smooth plastic or rubbery fabric. No cheap costume-shop or fancy-dress look. No repeating wallpaper-style pattern lying flat across the cloth and ignoring its folds. No cartoon or theatrical costume. No weightless, shapeless or floating garment. No garish, neon or candy colours. No excessive jewellery, no cluttered ornament, no gold everywhere, no large expanses of bright gold.\n\nNo human figures, hands, arms or human skin \u2014 every head is fully the animal's, never humanised, and no human hand or arm may appear. No human torso, upright human posture or squared human chest beneath the costume. No crown, hat, headdress, glasses, monocle or prop on any head \u2014 every head stays clear so the ears and face are unobstructed. No sword, weapon, sceptre, book or object held in a paw or hand. No paws, legs, feet or tail anywhere in the image. No distortion or size mismatch where a head meets a costumed body.\n\nNo paint, oil, old-master or costume filter applied over the photograph. No photograph of a pet in a real costume. No photographic fur, texture, blur or depth of field carried over from the original image. No rendered canvas weave, linen grain, craquelure or cracking. No photorealism, no 3D render, no flat vector look.\n\nNo text, letters, numbers, words, engraving, watermarks, signatures, logos or borders anywhere in the image. 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 costume is applied to the body; every head is always the real animal, unchanged.","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","use_hd_layer":false,"photo_replace":true,"schema_version":2,"shadow_display":"mockup_order","customization_type":"normal","direct_upload_style":"contain","direct_clipart_style":"contain"},{"id":"layer-199538","top":9176.62,"left":3952.49,"name":"Text layer","text":null,"type":"text","align":"center","color":"#E5D8B8","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":"#180E0D","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-839794","layer-199538"],"charge_enabled":false},{"id":"template-321470","url":"users\/47856\/images\/260925_nz4vSxtxj9te5rKH_large.webp","name":"The Admiral","addons":[],"layers":[{"id":"layer-157499","top":-318.71,"url":"users\/47856\/image-layers\/6aa3b5df6c54c_large.webp","left":-497.81,"name":"The Admiral","type":"photo","width":8899.62,"height":11135.42,"locked":false,"rotate":0,"effects":[{"id":"id-625685","type":"gemini:image_filter","color_sketch":"#000000","light_sketch":true,"enable_contour":true,"gemini_resolution":"4K","image_filter_prompt":"Generate a grand military dress-uniform oil portrait of the animal or animals from the base image, dressed as a distinguished senior officer. Every animal's HEAD and FACE must remain completely real and unchanged \u2014 only the body below the neck wears the uniform.\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. A wide, dark, quiet expanse of background above the sitter is also correct for this style \u2014 it is how genuine officer portraits are composed, and it is what makes the figure feel formal and commanding.\n\nThis is a WIDE view of a SMALL sitter, not a close-up. The figure sits small within a large dark painted interior.\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 sitter is AS WIDE AS HALF THE ANIMAL'S HEAD. The same on the RIGHT, measured from the outermost point of the EPAULETTE, not the body.\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 painted background above the highest ear tip of ANY animal. This is by far the largest margin and the most important one.\n- LEFT and RIGHT: at least 15% of the image width on each side, measured from the outermost point of the sitter or group \u2014 including epaulettes, shoulders, cheeks and whiskers.\n- BOTTOM: at least 12% of the image height below the lowest point of the subject. The uniformed chest sits well above the bottom edge and clear of the corners.\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 painted background on all four sides.\n\nEpaulettes make the shoulders much wider than the head. Measure the side margins from the epaulettes and scale the whole sitter down until they fit.\n\nThe sitter 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 interior. 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 head must be recognisably THIS individual animal \u2014 its exact ears, head shape, facial 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. Decoration, grandeur and uniform richness.\nThe uniform is worn by the real animal. It never changes the animal, never covers the head, and never competes with the face. If a more decorated choice would make the pet less recognisable or the chest less legible, make the plainer choice. The authority of this painting lives in the uniform, the light and the interior \u2014 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, old-master or uniform filter applied over it, and it is NOT a photograph of a pet wearing a real costume. No photographic texture, fur detail, lighting or background survives \u2014 the head is repainted in visible brushwork, the uniform is painted from imagination, and the interior is invented.\n\nCROP \u2014 HEAD AND UNIFORMED UPPER CHEST ONLY, SEEN FROM A DISTANCE.\n- Include: both ears complete, the real head, the real neck, and the uniformed shoulders and upper chest.\n- Do NOT include: waist, lower body, front legs, hind legs, paws, feet, tail, or any sitting, standing or lying pose. No paw, hand or limb appears anywhere. 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 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's head is painted in its own real colours. The old-master character comes from the LIGHT, the UNIFORM and the dark INTERIOR \u2014 never from recolouring the animal.\n- Paint each animal's head, face and neck 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 UNIFORM RECESSES, the far shoulder and the INTERIOR \u2014 never to the face.\n- SHADOW FLOOR: no area of the animal's head or neck is painted at full black or near-black. Even the darkest shadow there keeps visible detail, colour and structure. The deepest darks in the image are in the interior background and the deepest cloth folds.\n- SEPARATION: the interior immediately behind a DARK animal is lifted \u2014 warmer and lighter \u2014 so the head reads clearly. The interior behind a PALE animal is deepened. The head never merges into the background 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 interior. The uniform's standing collar sits at the base of the neck and must NEVER push, cover, bend, flatten or reshape the ears \u2014 both ears stay fully visible in their real shape, clear of any garment. 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.\n\nHEAD-TO-BODY PROPORTION AND JOIN \u2014 this must be anatomically convincing.\nThe head is sized correctly for the uniformed body beneath it, in the natural proportion that animal's real head bears to its real shoulders. The head is never too large, never too small, never balloon-like, and never perched on a body that belongs to a different animal.\nThe shoulders sit directly beneath and slightly wider than the head, at the correct height, so the figure reads as one continuous body. The neck has real length, thickness and volume, and turns naturally into the shoulders.\nThe body beneath the uniform is the ANIMAL'S OWN body in its own posture and its own proportions. It is never a human torso, never a human chest, never human shoulders, and never an upright human posture. A dog or cat wearing a uniform still has the shoulders and chest of a dog or cat.\nThe join at the neck is completely seamless: the fur of the neck runs down and disappears naturally behind the collar. There is no visible cut line, no halo, no soft blur, no hard edge, no colour mismatch, and no sense of a head pasted onto a body.\nThe head sits at a natural angle on the shoulders, consistent with the photographed head angle \u2014 not floating, not tilted independently of the body, not rotated away from the torso.\n\nMARKINGS \u2014 for each animal, reproduce every blaze, patch, mask, eyebrow spot, cheek marking, muzzle marking and colour break on the head, face and neck 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, face and neck 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. Markings below the neck are covered by the uniform and are not painted.\n\nCOAT COLOUR AND LENGTH \u2014 for each animal, reproduce the actual coat colour, pattern and fur length of the head, face and neck from the photo, in true natural colour. 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. The painterly oil treatment may add rich lighting but must NOT recolour the real fur.\n- Reproduce the real coat length and texture where it is visible: a short smooth coat gives a tight head and neck silhouette; a long or double coat gives a fuller silhouette with a visible ruff, ear feathering and cheek fringing. The RUFF IS VISIBLE ABOVE THE COLLAR \u2014 the standing collar sits below the animal's own neck fur, never hiding it, so the owner can still tell the coat type. There is always a clear painted separation of value between the animal's fur and the collar it meets.\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 interior \u2014 lift the background behind it. The uniform for a black animal is NOT dark navy or black: use deep crimson with pale facings, so the head and the coat stay clearly distinct.\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 head must read as a solid three-dimensional form against the dark interior, never as a flat bright shape and never as a glowing blob. The uniform for a pale animal is a deep, dark tone \u2014 never cream, ivory, white or pale gold.\n\nUNIFORM AND COAT MUST CONTRAST \u2014 the uniform is never the same colour family or the same lightness as the animal's coat. A black or very dark animal is never dressed in navy, charcoal or black. A red, chestnut or ginger animal is never dressed in crimson, scarlet or maroon. A cream, gold or tan animal is never dressed in gold-heavy facings or pale cloth. A grey animal is never dressed in silver-grey. Choose the coat colour and the facings so the viewer sees instantly where the animal ends and the uniform 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 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.\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 brushstrokes in their real colour, painted so they stay clearly visible against whatever sits behind them. Do not omit them, do not multiply them, do not make them uniform or symmetrical. Whisker tips are part of the sitter 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 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 formality 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 severity. 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. A panting animal in dress uniform is correct and intended \u2014 never close a photographed open mouth to make the sitter more commanding.\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. The character comes from the real animal in a dignified uniform \u2014 never from changing its face. Do not make an animal look more commanding, more serious, more severe or more human than the photo.\n\nRender every head exactly as 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 uniform \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 head and uniform before moving to the next.\n- EACH ANIMAL WEARS ITS OWN SEPARATE UNIFORM, correctly fitted and correctly proportioned to its own body, with its own standing collar at its own neck and its own epaulettes on its own shoulders. Never merge two animals into one shared coat or one shared body. Give the uniforms distinct coat colours or facings so the two figures read as separate officers \u2014 and each uniform must contrast its own animal's coat, per the contrast rule above.\n- The same single light source falls consistently across the whole group. Every head sits in the lit zone \u2014 no animal is placed in shadow, turned away, or pushed into the darkness.\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 and the SUBJECT SIZE LIMIT. Two sets of epaulettes are very wide. A group of two is painted SMALLER than a single sitter would be, not wider \u2014 scale the whole group down until both sets of epaulettes sit well inside the side margins and a full ear of background remains above the tallest ear.\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 positioned slightly low in the frame, so there is more empty background above the sitter than below.\n\nIf ONE animal: a small head-and-upper-chest portrait \u2014 the real head plus the uniformed shoulders and upper chest.\nIf TWO OR MORE animals: arrange them together as a single small 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\nSize the subject \u2014 or scale the WHOLE GROUP \u2014 DOWN as needed to satisfy both the margins and the size limit. If the ears are tall, the whiskers wide, or the epaulettes broad at the shoulders, make the sitter smaller. Never enlarge the subject to fill the frame, and never reduce a margin to fit a larger subject. It is always better to have the sitter noticeably smaller and safely contained than large and close to any edge.\n\nThe eye line sits around the middle of the image, not high in the frame. Every ear complete, every muzzle full, every head fully inside the frame with wide breathing room on all sides. Nothing touching, approaching, or clipped by any edge or corner.\n\nBefore finishing, check the four edges. If any ear tip is cut off, touching, or within a quarter of the image height of the top edge, the sitter was painted too large \u2014 scale it down and paint it again, smaller.\n\nSTYLE \u2014 MILITARY DRESS UNIFORM OIL PORTRAIT\nA grand, museum-quality ceremonial officer's portrait in the manner of 18th\u201319th century European military state painting \u2014 the kind of formal likeness that hangs in a naval college or a regimental mess. Serious, decorated, and commanding. This is the portrait of a senior officer, not a costume photograph and not a novelty image.\n\nHead:\n- Each animal's real head and face, painted in warm, rich classical oil \u2014 visible brushwork, old-master lighting \u2014 but keeping its exact real features, colour and markings. The head is always fully animal, never humanised in any way.\n\nUNIFORM \u2014 the uniform must look like a real, tailored garment that was cut, stitched and worn, painted from life by a master. It is heavy, structured, expensive and slightly worn with service, never a light digital overlay, never a smooth graphic pattern, never a costume-shop imitation.\n\nConstruction and weight:\n- The coat has real physical weight and structure. Heavy wool broadcloth holds a sharp tailored line at the shoulder and lapel, breaking into soft, deep folds where the body moves beneath it. The shoulders are broad and architectural \u2014 but they are the animal's own shoulders, in the animal's own proportion.\n- Every material behaves as itself: wool has a dense matte nap that absorbs the light; silk facings and the sash have a sharp, cool specular highlight along the fold ridges; gold bullion is thick, raised and slightly fibrous, catching the light in fine metallic threads; brass is hard, polished on the raised faces and darkened in the recesses.\n- Real construction is visible: seams, panel lines, a lined lapel edge, the join where a sleeve meets a shoulder, the stitched edge of the collar, small irregularities and slight asymmetry, as in a real hand-tailored garment.\n- The garment shows honest service wear: a faint softening at the collar edge, a slight sheen on the wool where it has been worn, gold braid very slightly dulled with age. Never pristine, never plastic-new.\n\nORNAMENT BUDGET \u2014 this is a fixed list. Paint these four things and nothing else. The chest is a small area in this composition; more ornament than this becomes unreadable at print size and is wrong.\n1. A high standing collar at the base of the neck, clear of the ears and jaw, worked with raised gold bullion embroidery in a simple period pattern. Three-dimensional, sitting proud of the cloth, casting its own small shadows, following and distorting with the folds of the collar \u2014 never printed flat on top of it.\n2. One gold bullion epaulette on each shoulder, with thick hanging bullion fringe of individual twisted metal cords that fall under their own weight and separate naturally.\n3. One row of polished brass buttons with real thickness, catching hard specular highlights and casting small shadows onto the cloth beneath.\n4. One broad sash of watered silk across the chest in a contrasting tone, with real fabric weight, a soft moir\u00e9 sheen and natural folds \u2014 and ONE single breast order pinned to the coat: an enamelled star or cross with genuine metallic weight, hanging naturally, never floating flat.\n\nNothing else. No aiguillette, no frogging, no braid across the chest, no second row of buttons, no additional medals, no medal bar, no shoulder cords, no collar tabs, no lanyard.\n\nGOLD LIMIT: gold appears only on the collar, the epaulettes and the buttons. It never spreads across the chest or the coat body. Gold is deep, warm and restrained \u2014 never bright yellow, never large flat expanses.\n\nINSIGNIA: the breast order and any device on the collar are INVENTED and generic \u2014 simple geometric or heraldic-looking shapes with no real-world meaning. Never a real national order, decoration, medal, flag, crest, regimental device or coat of arms of any country or service. No lettering, numerals, initials or motto of any kind on any part of the uniform.\n\nThe overall effect is disciplined, earned authority: rich, dark, weighty and expensive. Never bright, never gaudy, never cluttered with ornament, never plastic.\n\nFit and join:\n- The uniform fits the animal's own body naturally and in correct proportion \u2014 shoulders where the shoulders are, chest where the chest is, collar sitting on the neck below the ruff. The head joins the uniformed body seamlessly at the neck, with no visible seam, no distortion, no size mismatch, and no floating or pasted-on look.\n\nLighting, finish and background:\n- Warm, directional old-master lighting from the upper left, with soft chiaroscuro modelling the face and raking across the uniform so the wool's nap, the folds, the bullion and the metal are described by light rather than by outline. Where there is more than one animal, the same single light source falls consistently across the whole group.\n- DEPTH OF FINISH \u2014 the image has a clear hierarchy, and this is what makes it a painting rather than a render:\n  1. The face and eyes are the sharpest, most resolved area \u2014 every fur direction described, the eyes crisply painted.\n  2. The uniform is crisply and tactilely painted, with defined edges on every stitch, bullion thread and metal face \u2014 but slightly less resolved than the face.\n  3. The interior background is soft, atmospheric and least resolved, receding behind the sitter.\n  \"Crisp\" means clean, confident, well-defined edges and no muddiness \u2014 it does not mean uniform sharpness across the whole image, and it does not mean a photographic render. The chiaroscuro shadows remain soft and painterly throughout.\n- SHADOW FLOOR: no area of the head, neck or uniform is painted at full black. Even the deepest fold keeps visible structure. The deepest darks in the image are in the interior background only.\n- A classical state-portrait background: a deep, dark painted interior \u2014 heavy drapery, a shadowed column or wall, subtle and atmospheric, as in a real officer's portrait. No modern elements. The sitter stays the clear focus.\n- The dark background extends fully to all four edges and into all four corners, filling the entire margin area evenly, including the deep expanse above the sitter's head. This wide border is part of the painting and carries the same subtle painterly tonal variation \u2014 never left blank, flat or abruptly different, and never brighter or busier than the area around the sitter.\n- Even light falloff. No vignette, no darkened corners, no blackened edges beyond the interior's own subtle variation.\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- An authentic, decorated, gallery-quality military state portrait \u2014 formal, commanding and precisely painted, with the confidence and material honesty of an old master.\n- Painterly and hand-made throughout. The brushwork is the texture: do not render canvas weave, linen grain, craquelure or cracking into the image.\n- Sharpest focus and strongest light on the real face and eyes; the uniform painted with rich, tactile realism but always secondary to the face.\n\nEXCLUDE\nNo subject that fills the frame. No tight crop, no zoom, no close-up. No ear, whisker, cheek, shoulder, epaulette or any part of any animal or uniform touching, overlapping or approaching within the stated margin of any edge or corner. No enlarging the subject at the expense of the margins. No placing the head high in the frame \u2014 the top margin is always the widest.\n\nNo recolouring of any real fur. No sepia, umber, brown, ochre, amber or uniform warm wash over the animal's head or neck. No grey coat turned brown. No white or cream coat warmed, tinted, dimmed, ochred or antiqued. No black coat lightened to grey or warmed to brown. The light changes value and warmth only, never hue.\n\nNo uniform in the same colour family or the same lightness as the animal's coat. No head or neck merging into the uniform. No navy or black uniform on a dark animal. No crimson uniform on a red or ginger animal. No collar hiding the animal's own ruff or neck fur.\n\nNo marking, ear, eye, nose or muzzle lost, dimmed, blurred or swallowed by shadow. No ear hidden on the shadow side. No eye left in darkness. No area of the head, neck or uniform painted at full black. No head merging into the dark interior. No vignette, no darkened corners, no blackened edges.\n\nNo collar or trim touching, covering, bending, flattening or reshaping any ear.\n\nNo oversized, undersized or balloon-like head. No head disproportionate to the body. No human torso, human chest, human shoulders or upright human posture beneath the uniform. No visible cut line, halo, blur, hard edge or colour mismatch where the head meets the neck or collar. No pasted-on, floating or collaged appearance.\n\nNo added smile. No added severity, gravity or command. 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, widened or glossy eyes.\n\nNo ornament beyond the four items in the ORNAMENT BUDGET. No aiguillette, no frogging, no chest braid, no second button row, no additional medals, no medal bar, no shoulder cords, no collar tabs, no lanyard. No gold outside the collar, epaulettes and buttons. No large flat expanses of bright gold. No excessive medals, no cluttered ornament.\n\nNo real national order, decoration, medal, flag, crest, regimental device, coat of arms or heraldry of any country or service. No lettering, numerals, initials, motto, regimental lettering, engraving, watermark, signature, logo or border anywhere in the image \u2014 all insignia is invented, generic and carries no readable marking.\n\nNo flat, printed, pasted-on or digitally overlaid uniform. No smooth plastic or rubbery fabric. No cheap costume-shop or fancy-dress look. No repeating wallpaper-style pattern lying flat across the cloth and ignoring its folds. No weightless, shapeless or floating garment. No flat painted-on medals, braid or buttons \u2014 every ornament has real thickness and casts a shadow. No garish, neon or candy colours.\n\nNo muddiness, smearing or loss of definition in the face or the uniform. No hazy or washed-out image overall.\n\nNo human figures, hands, arms or human skin \u2014 every head is fully the animal's, never humanised, and no human hand or arm may appear. No bicorne, cap, shako, helmet, beret or military headwear of any kind \u2014 every head stays bare so the ears and face are unobstructed. No glasses, monocle or eyepatch. No sword, sabre, weapon, telescope, baton or object held in a paw or hand. No paws, legs, feet or tail anywhere in the image.\n\nRemove entirely from the output any modern collar, harness, bandana, lead, leash, clip, chain, ring, name tag, bell, or hardware visible in the reference photo. The only attire in the finished portrait is the military uniform described above.\n\nNo paint, oil, old-master or uniform filter applied over the photograph. No photograph of a pet in a real costume. No photographic fur, texture, blur or depth of field carried over from the original image. No rendered canvas weave, linen grain, craquelure or cracking. No photorealism, no 3D render, no flat vector look.\n\nDo 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 uniform is applied to the body; every head is always the real animal, unchanged.","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","use_hd_layer":false,"photo_replace":true,"schema_version":2,"shadow_display":"mockup_order","customization_type":"normal","direct_upload_style":"contain","direct_clipart_style":"contain"},{"id":"layer-597077","top":9176.62,"left":3952.49,"name":"Text layer","text":null,"type":"text","align":"center","color":"#E5D8B8","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":"#180E0D","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-157499","layer-597077"],"charge_enabled":false},{"id":"template-696313","url":"users\/47856\/images\/260925_PtrQhMhWl95NhTff_large.webp","name":"The Noble","addons":[],"layers":[{"id":"layer-912554","top":-128.33,"url":"users\/47856\/image-layers\/6aa1add04c239_large.webp","left":-345.65,"name":"The Noble","type":"photo","width":8595.31,"height":10754.66,"locked":false,"rotate":0,"effects":[{"id":"id-909952","type":"gemini:image_filter","color_sketch":"#000000","light_sketch":true,"enable_contour":true,"gemini_resolution":"4K","image_filter_prompt":"Generate a refined Renaissance nobleman's oil portrait of the animal or animals from the base image, dressed as landed aristocracy. Every animal's HEAD and FACE must remain completely real and unchanged \u2014 only the body below the neck wears the costume.\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. A wide, dark, quiet expanse of background above the sitter is also correct for this style \u2014 it is how genuine noble portraits are composed, and it is what gives the figure its calm formality.\n\nThis is a WIDE view of a SMALL sitter, not a close-up. The figure sits small within a large dark painted interior.\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 sitter is AS WIDE AS HALF THE ANIMAL'S HEAD. The same on the RIGHT, measured from the outermost point of the shoulder, not the neck.\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 painted background above the highest ear tip of ANY animal. This is by far the largest margin and the most important one.\n- LEFT and RIGHT: at least 15% of the image width on each side, measured from the outermost point of the sitter or group \u2014 including shoulders, cheeks and whiskers.\n- BOTTOM: at least 12% of the image height below the lowest point of the subject. The costumed chest sits well above the bottom edge and clear of the corners.\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 painted background on all four sides.\n\nThe sitter 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 interior. 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 head must be recognisably THIS individual animal \u2014 its exact ears, head shape, facial 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. Elegance, restraint and refinement.\nThe costume is worn by the real animal. It never changes the animal, never covers the head, and never competes with the face. If a more refined choice would make the pet less recognisable, make the plainer choice.\nRESTRAINT IS NOT INVISIBILITY. This costume is quiet, not absent. The cloth must be visibly, obviously expensive \u2014 the light must make the velvet, the tailoring and the collar clearly readable as luxury. A flat dark shape below the head is a failure, not restraint.\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, old-master or costume filter applied over it, and it is NOT a photograph of a pet wearing a real costume. No photographic texture, fur detail, lighting or background survives \u2014 the head is repainted in visible brushwork, the costume is painted from imagination, and the interior is invented.\n\nCROP \u2014 HEAD AND COSTUMED UPPER CHEST ONLY, SEEN FROM A DISTANCE.\n- Include: both ears complete, the real head, the real neck, and the costumed shoulders and upper chest.\n- Do NOT include: waist, lower body, front legs, hind legs, paws, feet, tail, or any sitting, standing or lying pose. No paw, hand or limb appears anywhere. 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 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's head is painted in its own real colours. The old-master character comes from the LIGHT, the CLOTH and the dark INTERIOR \u2014 never from recolouring the animal.\n- Paint each animal's head, face and neck 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 COSTUME FOLDS, the far shoulder and the INTERIOR \u2014 never to the face.\n- SHADOW FLOOR: no area of the animal's head, neck or doublet is painted at full black or near-black. Even the deepest velvet fold keeps visible structure and the woven pattern remains faintly traceable. The deepest darks in the image are in the interior background only.\n- SEPARATION: the interior immediately behind a DARK animal is lifted \u2014 warmer and lighter \u2014 so the head reads clearly. The interior behind a PALE animal is deepened. The head never merges into the background on any side, and never merges into the doublet below it.\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 interior. The costume's flat collar sits low at the base of the neck and must NEVER push, cover, bend, flatten or reshape the ears \u2014 both ears stay fully visible in their real shape, clear of any garment. 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.\n\nHEAD-TO-BODY PROPORTION AND JOIN \u2014 this must be anatomically convincing.\nThe head is sized correctly for the costumed body beneath it, in the natural proportion that animal's real head bears to its real shoulders. The head is never too large, never too small, never balloon-like, and never perched on a body that belongs to a different animal.\nThe shoulders sit directly beneath and slightly wider than the head, at the correct height, so the figure reads as one continuous body. The neck has real length, thickness and volume, and turns naturally into the shoulders.\nThe body beneath the doublet is the ANIMAL'S OWN body in its own posture and its own proportions. It is never a human torso, never a human chest, never human shoulders, and never an upright human posture. A dog or cat in a doublet still has the shoulders and chest of a dog or cat.\nThe join at the neck is completely seamless: the fur of the neck runs down and disappears naturally behind the collar. There is no visible cut line, no halo, no soft blur, no hard edge, no colour mismatch, and no sense of a head pasted onto a body.\nThe head sits at a natural angle on the shoulders, consistent with the photographed head angle \u2014 not floating, not tilted independently of the body, not rotated away from the torso.\n\nMARKINGS \u2014 for each animal, reproduce every blaze, patch, mask, eyebrow spot, cheek marking, muzzle marking and colour break on the head, face and neck 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, face and neck 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. Markings below the neck are covered by the costume and are not painted.\n\nCOAT COLOUR AND LENGTH \u2014 for each animal, reproduce the actual coat colour, pattern and fur length of the head, face and neck from the photo, in true natural colour. 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. The painterly oil treatment may add rich lighting but must NOT recolour the real fur.\n- Reproduce the real coat length and texture where it is visible: a short smooth coat gives a tight head and neck silhouette; a long or double coat gives a fuller silhouette with a visible ruff, ear feathering and cheek fringing. The RUFF IS VISIBLE ABOVE THE COLLAR \u2014 the flat collar sits below the animal's own neck fur, never hiding it, so the owner can still tell the coat type. There is always a clear painted separation of value between the animal's fur and the collar and cloth it meets.\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 interior \u2014 lift the background behind it. The doublet for a black animal is NOT midnight blue or near-black: use burgundy or forest green, lit clearly, so the head and the cloth stay distinct. Three dark layers \u2014 coat, doublet and interior \u2014 must never stack into one mass.\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 head must read as a solid three-dimensional form against the dark interior, never as a flat bright shape and never as a glowing blob.\n\nCOSTUME AND COAT MUST CONTRAST \u2014 the doublet is never the same colour family or the same lightness as the animal's coat. A red, chestnut or ginger animal is never dressed in burgundy or oxblood. A black or very dark animal is never dressed in midnight blue or near-black. A grey animal is never dressed in a cool grey-blue. A cream or gold animal is never dressed in a pale or warm-light cloth. Choose from the permitted jewel tones so the viewer sees instantly where the animal ends and the clothing 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 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.\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 brushstrokes in their real colour, painted so they stay clearly visible against whatever sits behind them. Do not omit them, do not multiply them, do not make them uniform or symmetrical. Whisker tips are part of the sitter 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 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 refinement 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 hauteur. 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. A panting animal in noble dress is correct and intended \u2014 never close a photographed open mouth to make the sitter more aristocratic.\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. The elegance comes from the real animal in refined dress \u2014 never from changing its face. Do not make an animal look more aristocratic, more serious, more haughty or more human than the photo.\n\nRender every head exactly as 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 refined attire \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 head and costume before moving to the next.\n- EACH ANIMAL WEARS ITS OWN SEPARATE DOUBLET, correctly fitted and correctly proportioned to its own body, with its own flat collar at its own neck. Never merge two animals into one shared garment or one shared body. Give the doublets distinct jewel tones so the two figures read as separate \u2014 and each doublet must contrast its own animal's coat, per the contrast rule above.\n- The same single light source falls consistently across the whole group. Every head sits in the lit zone \u2014 no animal is placed in shadow, turned away, or pushed into the darkness.\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 and the SUBJECT SIZE LIMIT. A group of two is painted SMALLER than a single sitter would be, not wider. Costumed shoulders are broad \u2014 scale the whole group down until both sitters sit well inside the side margins and a full ear of background remains above the tallest ear.\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 positioned slightly low in the frame, so there is more empty background above the sitter than below.\n\nIf ONE animal: a small head-and-upper-chest portrait \u2014 the real head plus the costumed shoulders and upper chest.\nIf TWO OR MORE animals: arrange them together as a single small 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\nSize the subject \u2014 or scale the WHOLE GROUP \u2014 DOWN as needed to satisfy both the margins and the size limit. If the ears are tall, the whiskers wide, or the shoulders broad, make the sitter smaller. Never enlarge the subject to fill the frame, and never reduce a margin to fit a larger subject. It is always better to have the sitter noticeably smaller and safely contained than large and close to any edge.\n\nThe eye line sits around the middle of the image, not high in the frame. Every ear complete, every muzzle full, every head fully inside the frame with wide breathing room on all sides. Nothing touching, approaching, or clipped by any edge or corner.\n\nBefore finishing, check the four edges. If any ear tip is cut off, touching, or within a quarter of the image height of the top edge, the sitter was painted too large \u2014 scale it down and paint it again, smaller.\n\nSTYLE \u2014 RENAISSANCE NOBLE OIL PORTRAIT\nA refined, museum-quality Renaissance oil painting: the pet as dignified landed aristocracy, in the manner of 16th\u201317th century noble portraiture. Elegant, understated and tasteful \u2014 the dress of a duke or lord, not a flamboyant monarch. This is a serious portrait of inherited standing, not a costume photograph and not a novelty image.\n\nThe richness of this portrait comes from the QUALITY of the cloth and the precision of the tailoring, never from the quantity of ornament. The materials are heavy and expensive; the decoration is quiet and disciplined.\n\nHead:\n- Each animal's real head and face, painted in warm, rich classical oil \u2014 visible brushwork, old-master lighting \u2014 but keeping its exact real features, colour and markings. The head is always fully animal, never humanised in any way.\n\nCOSTUME \u2014 the costume must look like real historical clothing that was cut, stitched and worn, painted from life by a master. It is heavy, structured, expensive and slightly worn with use, never a light digital overlay, never a smooth graphic pattern, never a costume-shop imitation.\n\nCLOTH AS THE LUXURY \u2014 because there is almost no ornament, the expense of this portrait must be carried entirely by the cloth and the light. This is the most important instruction in the costume section:\n- The key light rakes ACROSS the velvet at an angle, so the pile shifts visibly from a deep saturated dark where it lies flat to a soft, dusty, silvered sheen where it catches the light. This shift across the shoulder and chest is clearly visible and is what tells the viewer the cloth is expensive.\n- The tone-on-tone damask figure is clearly readable where the light falls \u2014 a period pomegranate or scrolling-leaf pattern woven in the same colour as the ground, emerging in the lit passages and receding into the shadowed folds. It is never so faint that it disappears, and never so contrasty that it reads as a printed pattern.\n- The collar has a crisp, bright specular edge where the linen catches the light \u2014 a clean, precise highlight against the dark cloth that draws the eye and frames the neck.\n- At least one slashed sleeve or turned edge shows the silk lining beneath, in a contrasting tone, with its own sharper, cooler highlight.\n- The folds are deep, few and confident, with real shadow inside them. The cloth has weight and falls under gravity.\n- A flat dark shape below the head is a FAILURE. The cloth must read as velvet at a glance.\n\nConstruction and weight:\n- The doublet has real physical weight and structure. Heavy silk velvet holds a firm tailored line at the shoulder and chest, breaking into deep, soft folds where the body moves beneath it. The shoulders are broad and quietly architectural \u2014 but they are the animal's own shoulders, in the animal's own proportion.\n- Every material behaves as itself: velvet shows a deep, dense pile that absorbs the light, with a soft, dusty sheen where the nap catches it and a darker tone where it lies flat; the silk lining glimpsed at a slashed sleeve or a turned edge has a sharper, cooler specular highlight; the linen collar is crisp, matte and slightly stiff, holding its own shape.\n- Real construction is visible: seams, panel lines, the join where a sleeve meets the shoulder, a turned and stitched lining edge, small covered buttons or hook closures set in a neat row, and small irregularities and slight asymmetry, as in a real hand-tailored garment.\n- The garment shows honest wear: the velvet nap very slightly rubbed at the shoulder, the collar edge softened with use, the colour marginally faded where light has fallen on it over years. Never pristine, never plastic-new.\n\nMaterials and ornament \u2014 restrained by design:\n- A doublet of heavy silk velvet in a single deep, tasteful jewel tone: burgundy, oxblood, forest green, or midnight blue \u2014 chosen to contrast the animal's coat, per the contrast rule above. The colour is rich and saturated but never bright.\n- Decoration is TONE-ON-TONE and subtle, as set out in CLOTH AS THE LUXURY: a figured or damask velvet whose pattern is woven in the same colour as the ground and reads where the light catches the pile, and fine gold thread worked discreetly along the seams and collar edge only. The pattern follows and distorts with the folds of the cloth \u2014 it is never printed flat on top of it.\n- A modest flat collar at the base of the neck, below the animal's own ruff, clear of the ears and jaw: fine white linen with a crisp folded edge, or a narrow flat lace collar with delicate, slightly irregular hand-worked needlework. Small, neat and understated.\n- At most ONE quiet detail of standing: a single small enamelled pin at the shoulder, or a narrow band of gold at the cuff. Nothing more. No ring of any kind \u2014 there is no hand in this portrait.\n- The overall effect is inherited wealth worn lightly: rich, dark, disciplined and expensive, but visually quiet. Never bright, never gaudy, never cluttered with ornament, never plastic.\n\nFit and join:\n- The doublet fits the animal's own body naturally and in correct proportion \u2014 shoulders where the shoulders are, chest where the chest is, collar sitting on the neck below the ruff. The head joins the costumed body seamlessly at the neck, with no visible seam, no distortion, no size mismatch, and no floating or pasted-on look.\n\nLighting, finish and background:\n- Warm, directional old-master lighting from the upper left, with soft chiaroscuro modelling the face and raking across the doublet so the velvet's nap, the depth of the folds and the woven pattern are described by light rather than by outline. Where there is more than one animal, the same single light source falls consistently across the whole group.\n- DEPTH OF FINISH \u2014 the image has a clear hierarchy, and this is what makes it a painting rather than a render:\n  1. The face and eyes are the sharpest, most resolved area \u2014 every fur direction described, the eyes crisply painted.\n  2. The doublet is crisply and tactilely painted, with defined edges on every seam, fold and collar edge and a clearly readable nap \u2014 but slightly less resolved than the face.\n  3. The interior background is soft, atmospheric and least resolved, receding behind the sitter.\n  \"Crisp\" means clean, confident, well-defined edges and no muddiness \u2014 it does not mean uniform sharpness across the whole image, and it does not mean a photographic render. The chiaroscuro shadows remain soft and painterly throughout.\n- A classical portrait background: a deep, dark painted interior or muted drapery, subtle and atmospheric, as in a real noble portrait. No modern elements. The sitter stays the clear focus.\n- The dark background extends fully to all four edges and into all four corners, filling the entire margin area evenly, including the deep expanse above the sitter's head. This wide border is part of the painting and carries the same subtle painterly tonal variation \u2014 never left blank, flat or abruptly different, and never brighter or busier than the area around the sitter.\n- Even light falloff. No vignette, no darkened corners, no blackened edges beyond the interior's own subtle variation.\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- An authentic, refined, gallery-quality Renaissance noble portrait \u2014 dignified, elegant and precisely painted, with the confidence and material honesty of an old master.\n- Painterly and hand-made throughout. The brushwork is the texture: do not render canvas weave, linen grain, craquelure or cracking into the image.\n- Sharpest focus and strongest light on the real face and eyes; the costume painted with rich, tactile realism but always secondary to the face.\n\nEXCLUDE\nNo subject that fills the frame. No tight crop, no zoom, no close-up. No ear, whisker, cheek, shoulder or any part of any animal or costume touching, overlapping or approaching within the stated margin of any edge or corner. No enlarging the subject at the expense of the margins. No placing the head high in the frame \u2014 the top margin is always the widest.\n\nNo recolouring of any real fur. No sepia, umber, brown, ochre, amber or uniform warm wash over the animal's head or neck. No grey coat turned brown. No white or cream coat warmed, tinted, dimmed, ochred or antiqued. No black coat lightened to grey or warmed to brown. The light changes value and warmth only, never hue.\n\nNo doublet in the same colour family or the same lightness as the animal's coat. No head or neck merging into the cloth. No burgundy or oxblood on a red or ginger animal. No midnight blue or near-black on a dark animal. No stacking of dark coat, dark cloth and dark interior into one indistinguishable mass. No collar hiding the animal's own ruff or neck fur.\n\nNo flat, featureless dark shape below the head. No velvet without a visible nap shift. No damask figure so faint it disappears. No collar without a clear specular edge.\n\nNo marking, ear, eye, nose or muzzle lost, dimmed, blurred or swallowed by shadow. No ear hidden on the shadow side. No eye left in darkness. No area of the head, neck or doublet painted at full black. No head merging into the dark interior. No vignette, no darkened corners, no blackened edges.\n\nNo collar or trim touching, covering, bending, flattening or reshaping any ear.\n\nNo oversized, undersized or balloon-like head. No head disproportionate to the body. No human torso, human chest, human shoulders or upright human posture beneath the costume. No visible cut line, halo, blur, hard edge or colour mismatch where the head meets the neck or collar. No pasted-on, floating or collaged appearance.\n\nNo added smile. No added hauteur, gravity or aristocratic bearing. 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, widened or glossy eyes.\n\nNo heavy ruff, no elaborate lace, no chain of office, no medallion, no sash, no epaulettes, no bullion, no fur mantle, no royal robe or cape, no flamboyant or comedic ornament, no gold everywhere, no jewelled excess. No ring, signet or any item worn on a hand \u2014 there is no hand in this portrait. The attire stays understated \u2014 this is a nobleman, not a king.\n\nNo flat, printed, pasted-on or digitally overlaid costume. No smooth plastic or rubbery fabric. No cheap costume-shop or fancy-dress look. No repeating wallpaper-style pattern lying flat across the cloth and ignoring its folds. No weightless, shapeless or floating garment. No flat painted-on trim or buttons \u2014 every detail has real thickness and casts a shadow. No garish, neon or candy colours.\n\nNo muddiness, smearing or loss of definition in the face or the cloth. No hazy or washed-out image overall.\n\nNo text, letters, numbers, words, engraving, watermarks, signatures, logos or borders anywhere in the image. No human figures, hands, arms or human skin \u2014 every head is fully the animal's, never humanised, and no human hand or arm may appear. No crown, coronet, hat, cap, headdress, glasses or prop on any head \u2014 every head stays bare so the ears and face are unobstructed. No sword, weapon, sceptre, book or object held in a paw or hand. No paws, legs, feet or tail anywhere in the image.\n\nRemove entirely from the output any modern collar, harness, bandana, lead, leash, clip, chain, ring, name tag, bell, or hardware visible in the reference photo. The only attire in the finished portrait is the noble doublet described above.\n\nNo paint, oil, old-master or costume filter applied over the photograph. No photograph of a pet in a real costume. No photographic fur, texture, blur or depth of field carried over from the original image. No rendered canvas weave, linen grain, craquelure or cracking. No photorealism, no 3D render, no flat vector look.\n\nDo 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 costume is applied to the body; every head is always the real animal, unchanged.","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","photo_replace":true,"schema_version":2,"shadow_display":"mockup_order","customization_type":"normal","direct_upload_style":"contain","direct_clipart_style":"contain"},{"id":"layer-413966","top":9176.62,"left":3952,"name":"Text layer","text":null,"type":"text","align":"right","color":"#E5D8B8","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":"#180E0D","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-912554","layer-413966"],"charge_enabled":false},{"id":"template-360110","url":"users\/47856\/images\/260925_GTeTpfbS3kq75JvT_large.webp","name":"The Duchess","addons":[],"layers":[{"id":"layer-100428","top":-64.2,"url":"users\/47856\/image-layers\/6aa1b3b737b94_large.webp","left":-294.4,"name":"The Duchess","type":"photo","width":8492.81,"height":10626.4,"locked":false,"rotate":0,"effects":[{"id":"id-115988","type":"gemini:image_filter","color_sketch":"#000000","light_sketch":true,"enable_contour":true,"gemini_resolution":"4K","image_filter_prompt":"Generate an elegant aristocratic lady's oil portrait of the animal or animals from the base image, dressed in noblewoman's court attire. Every animal's HEAD and FACE must remain completely real and unchanged \u2014 only the body below the neck wears the gown.\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. A wide, quiet expanse of background above the sitter is also correct for this style \u2014 it is how genuine court portraits are composed, and it is what gives the figure its poise and formality.\n\nThis is a WIDE view of a SMALL sitter, not a close-up. The figure sits small within a large painted interior.\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 sitter is AS WIDE AS HALF THE ANIMAL'S HEAD. The same on the RIGHT, measured from the outermost point of the gowned shoulder.\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 painted background above the highest ear tip of ANY animal. This is by far the largest margin and the most important one.\n- LEFT and RIGHT: at least 15% of the image width on each side, measured from the outermost point of the sitter or group \u2014 including gowned shoulders, cheeks and whiskers.\n- BOTTOM: at least 12% of the image height below the lowest point of the subject. The gowned chest sits well above the bottom edge and clear of the corners.\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 painted background on all four sides.\n\nThe sitter 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 interior. 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 head must be recognisably THIS individual animal \u2014 its exact ears, head shape, facial 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. Grace, elegance and refinement.\nThe gown is worn by the real animal. It never changes the animal, never covers the head, and never competes with the face. If a more graceful or elegant choice would make the pet less recognisable, make the plainer choice. The grace of this portrait lives in the cloth, the light and the interior \u2014 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, old-master or costume filter applied over it, and it is NOT a photograph of a pet wearing a real costume. No photographic texture, fur detail, lighting or background survives \u2014 the head is repainted in visible brushwork, the gown is painted from imagination, and the interior is invented.\n\nCROP \u2014 HEAD AND GOWNED UPPER CHEST ONLY, SEEN FROM A DISTANCE.\n- Include: both ears complete, the real head, the real neck, the animal's own exposed upper chest at the neckline, and the gowned shoulders and bodice.\n- Do NOT include: waist, lower body, front legs, hind legs, paws, feet, tail, or any sitting, standing or lying pose. No paw, hand or limb appears anywhere. 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 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\nTHE EXPOSED CHEST \u2014 this gown has a LOW NECKLINE, so the animal's upper chest is visible. Read this carefully.\n- The area between the chin and the neckline is the ANIMAL'S OWN FUR \u2014 its real coat, in its real colour, with its real texture and its real markings, continuing naturally down from the neck. It is painted with the same care as the face.\n- It is NEVER human skin. NEVER a bare chest, d\u00e9colletage, cleavage, bosom or any human anatomy. NEVER a smooth, hairless or flesh-toured surface. NEVER a blurred, vague or empty area. NEVER a shadow used to avoid painting it.\n- Any chest marking the animal has in this visible area is reproduced in its correct position, size and shape.\n- The fur meets the neckline naturally, running behind and under the cloth, with a clear painted separation of value between the fur and the fabric so the two never merge.\n\nLIGHT ARCHITECTURE \u2014 how this style works. Read this before painting anything.\nThe animal's head and chest are painted in their own real colours. The old-master character comes from the LIGHT, the CLOTH and the painted INTERIOR \u2014 never from recolouring the animal.\n- Paint each animal's head, face, neck and exposed chest 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, as does the exposed chest fur. The chiaroscuro models the head in three dimensions with a clear lit side and a softer shadow side, but nothing on the head or chest 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 GOWN FOLDS, the far shoulder and the INTERIOR \u2014 never to the face or the exposed chest.\n- SHADOW FLOOR: no area of the animal's head, neck, chest or gown is painted at full black or near-black. Even the deepest fold keeps visible structure.\n- HIGHLIGHT CEILING: the bright specular runs on satin keep visible tonal detail \u2014 they never blow out to flat pure white, and the fold structure stays readable inside every highlight.\n- SEPARATION: the interior immediately behind a DARK animal is lifted \u2014 warmer and lighter \u2014 so the head reads clearly. The interior behind a PALE animal is deepened. The head never merges into the background on any side, and the fur never merges into the gown.\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 interior. The gown's neckline and any lace trim sit low at the base of the neck and must NEVER push, cover, bend, flatten or reshape the ears \u2014 both ears stay fully visible in their real shape, clear of any garment. Nothing is ever placed on top of the head, and nothing is ever attached to an ear. 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, soften or idealize the head.\n\nHEAD-TO-BODY PROPORTION AND JOIN \u2014 this must be anatomically convincing.\nThe head is sized correctly for the gowned body beneath it, in the natural proportion that animal's real head bears to its real shoulders. The head is never too large, never too small, never balloon-like, and never perched on a body that belongs to a different animal.\nThe shoulders sit directly beneath and slightly wider than the head, at the correct height, so the figure reads as one continuous body. The neck has real length, thickness and volume, and turns naturally into the shoulders and the neckline.\nThe body beneath the gown is the ANIMAL'S OWN body in its own posture and its own proportions. The bodice follows the animal's own chest and shoulders. It is never a human torso, never a human female chest or bust, never human shoulders, never a narrowed human waist, and never an upright human posture. A dog or cat in a gown still has the shoulders and chest of a dog or cat.\nThe join at the neck is completely seamless: the fur of the neck and chest runs down and meets the neckline naturally. There is no visible cut line, no halo, no soft blur, no hard edge, no colour mismatch, and no sense of a head pasted onto a body.\nThe head sits at a natural angle on the shoulders, consistent with the photographed head angle \u2014 not floating, not tilted independently of the body, not rotated away from the torso.\n\nMARKINGS \u2014 for each animal, reproduce every blaze, patch, mask, eyebrow spot, cheek marking, muzzle marking, chest marking and colour break on the head, face, neck and exposed upper chest 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, face, neck and exposed chest is lit and clearly readable. Shadow, falloff, palette, lace 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. Markings hidden beneath the gown are not painted.\n\nCOAT COLOUR AND LENGTH \u2014 for each animal, reproduce the actual coat colour, pattern and fur length of the head, face, neck and exposed chest from the photo, in true natural colour. 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. The painterly oil treatment may add rich lighting but must NOT recolour the real fur.\n- Reproduce the real coat length and texture where it is visible: a short smooth coat gives a tight head, neck and chest silhouette; a long or double coat gives a fuller silhouette with a visible ruff, ear feathering and cheek fringing. The RUFF AND CHEST FUR ARE VISIBLE ABOVE AND AT THE NECKLINE \u2014 the neckline and lace sit below the animal's own fur, never hiding it, so the owner can still tell the coat type. There is always a clear painted separation of value between the animal's fur and the lace or cloth it meets \u2014 long chest fur is never confused with lace.\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 interior \u2014 lift the background behind it. The gown for a black animal is a lighter tone \u2014 ivory, dove grey or dusty rose \u2014 so the head and chest stay clearly distinct from the cloth.\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 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 head and chest must read as a solid three-dimensional form, never a flat bright shape and never a glowing blob. The gown for a pale animal is a deep, saturated tone \u2014 emerald, wine or deep royal blue \u2014 never ivory, dove grey or any pale cloth.\n\nGOWN AND COAT MUST CONTRAST \u2014 the gown is never the same colour family or the same lightness as the animal's coat. A white, cream or pale animal is never dressed in ivory or dove grey. A grey animal is never dressed in dove grey. A red, chestnut or ginger animal is never dressed in wine or dusty rose. A black or dark animal is never dressed in a deep dark tone. Choose from the permitted palette so the viewer sees instantly where the animal's fur ends and the cloth begins \u2014 this matters most at the neckline, where fur and fabric meet directly.\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, softened or sweetened, and never made more appealing or more feminine than the photo. 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. No eyelashes are added, lengthened or darkened. Never darken, shadow or obscure an eye for effect.\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.\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 brushstrokes in their real colour, painted so they stay clearly visible against whatever sits behind them. Do not omit them, do not multiply them, do not make them uniform or symmetrical. Whisker tips are part of the sitter 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 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 elegance 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 soften it into a demure or composed expression. 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. A panting animal in court dress is correct and intended \u2014 never close a photographed open mouth to make the sitter more graceful or more ladylike.\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. The grace comes from the real animal in fine dress \u2014 never from changing its face. Do not make an animal look more graceful, sweeter, softer, more demure, more feminine or more human than the photo.\n\nRender every head exactly as 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 an elegant gown \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 head, chest and gown before moving to the next.\n- EACH ANIMAL WEARS ITS OWN SEPARATE GOWN, correctly fitted and correctly proportioned to its own body, with its own neckline at its own neck. Never merge two animals into one shared gown or one shared body. Give the gowns distinct tones so the two figures read as separate \u2014 and each gown must contrast its own animal's coat, per the contrast rule above.\n- Each animal's own exposed chest fur is its own, in its own colour and markings. Never carry one animal's coat across to another.\n- The same single light source falls consistently across the whole group. Every head sits in the lit zone \u2014 no animal is placed in shadow, turned away, or pushed into the darkness.\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 and the SUBJECT SIZE LIMIT. Gowned shoulders are broad \u2014 a group of two is painted SMALLER than a single sitter would be, not wider. Scale the whole group down until both sitters sit well inside the side margins and a full ear of background remains above the tallest ear.\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 positioned slightly low in the frame, so there is more empty background above the sitter than below.\n\nIf ONE animal: a small head-and-upper-chest portrait \u2014 the real head and exposed chest fur plus the gowned shoulders and bodice.\nIf TWO OR MORE animals: arrange them together as a single small 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\nSize the subject \u2014 or scale the WHOLE GROUP \u2014 DOWN as needed to satisfy both the margins and the size limit. If the ears are tall, the whiskers wide, or the gown broad at the shoulders, make the sitter smaller. Never enlarge the subject to fill the frame, and never reduce a margin to fit a larger subject. It is always better to have the sitter noticeably smaller and safely contained than large and close to any edge.\n\nThe eye line sits around the middle of the image, not high in the frame. Every ear complete, every muzzle full, every head fully inside the frame with wide breathing room on all sides. Nothing touching, approaching, or clipped by any edge or corner.\n\nBefore finishing, check the four edges. If any ear tip is cut off, touching, or within a quarter of the image height of the top edge, the sitter was painted too large \u2014 scale it down and paint it again, smaller.\n\nSTYLE \u2014 ARISTOCRATIC LADY OIL PORTRAIT\nA graceful, museum-quality court oil painting: the pet as an elegant noblewoman, in the manner of 18th-century aristocratic lady portraiture. Refined, luxurious and dignified. This is a serious portrait of a woman of standing, not a costume photograph and not a novelty image.\n\nHead:\n- Each animal's real head and face, painted in warm, rich classical oil \u2014 visible brushwork, old-master lighting \u2014 but keeping its exact real features, colour and markings. The head is always fully animal, never humanised, and always bare fur with nothing placed on or above it.\n\nGOWN \u2014 the gown must look like real historical clothing that was cut, stitched and worn, painted from life by a master. It has genuine weight, structure and expense, never a light digital overlay, never a smooth graphic pattern, never a costume-shop imitation.\n\nConstruction and weight:\n- The gown has real physical weight and structure. Heavy silk and satin fall under their own weight, forming deep, sweeping folds across the chest and shoulders, with the cloth gathering and creasing naturally where the body moves beneath it. The bodice is boned and structured, holding a firm, sculpted line \u2014 never soft, shapeless or draped like a sheet \u2014 and it is shaped to the animal's own chest, never to a human figure.\n- Every material behaves as itself: satin has a long, bright, sliding specular highlight that runs along the ridge of each fold and falls to a deep shadow in the trough; silk taffeta is crisper, catching sharper, shorter highlights and holding stiff angular creases; velvet trim absorbs the light with a deep matte pile; lace is fine, semi-transparent, with visible open ground and thread structure, casting a delicate shadow on the FUR or CLOTH beneath it; pearls are smooth, dense and softly luminous, each with its own small highlight and a faint shadow where it meets the next.\n- Real construction is visible: seams, boning lines in the bodice, a piped or bound edge, the join where a sleeve meets the shoulder, gathered pleating at the neckline, small covered buttons or hook closures, and small irregularities and slight asymmetry, as in a real hand-made garment.\n- The gown shows honest wear: a very slight softening at the folded edges, the satin's sheen marginally uneven where it has been worn, the lace edge just faintly imperfect. Never pristine, never plastic-new.\n\nMaterials and ornament:\n- A court gown of heavy silk satin or silk taffeta in a deep, refined tone: dusty rose, deep royal blue, ivory, emerald, wine, or soft dove grey \u2014 chosen to contrast the animal's coat, per the contrast rule above. Rich and saturated but never bright or candied.\n- A fitted, structured bodice with fine metal-thread or silk embroidery worked into the cloth in a period pattern, raised slightly off the surface so it catches the light and casts its own tiny shadows. The pattern follows and distorts with the folds of the fabric \u2014 it is never printed flat on top of the cloth.\n- Delicate lace at a low neckline, sitting at the base of the neck below the animal's own fur and clear of the ears and jaw: fine hand-worked needle lace with an open, slightly irregular ground, softly translucent where the light passes through it. Keep the lace to one defined band at the neckline \u2014 do not scatter fine lace across the whole bodice, where it becomes an unreadable texture.\n- At most one quiet jewel of standing: a single strand of pearls sitting naturally on the chest and following the curve of the body \u2014 generously sized and few in number, each pearl individually readable \u2014 or one enamelled brooch with a cut gemstone in a worked mount. Metal reads as genuinely metallic \u2014 polished on the raised faces, darker in the recesses.\n- The overall effect is inherited elegance: rich, refined, expensive and composed. Never bright, never gaudy, never cluttered with ornament, never plastic, never doll-like.\n\nFit and join:\n- The gown fits the animal's own body naturally and in correct proportion \u2014 shoulders where the shoulders are, chest where the chest is, neckline sitting low on the neck below the ruff. The head joins the gowned body seamlessly at the neck, with no visible seam, no distortion, no size mismatch, and no floating or pasted-on look.\n\nLighting, finish and background:\n- Warm, directional old-master lighting from the upper left, with soft chiaroscuro modelling the face and raking across the gown so the satin's sheen, the depth of the folds, the embroidery and the lace are described by light rather than by outline. Where there is more than one animal, the same single light source falls consistently across the whole group.\n- DEPTH OF FINISH \u2014 the image has a clear hierarchy, and this is what makes it a painting rather than a render:\n  1. The face and eyes are the sharpest, most resolved area \u2014 every fur direction described, the eyes crisply painted.\n  2. The exposed chest fur and the gown are crisply and tactilely painted, with defined edges on every seam, fold, lace thread and pearl \u2014 but slightly less resolved than the face.\n  3. The interior background is soft, atmospheric and least resolved, receding behind the sitter.\n  \"Crisp\" means clean, confident, well-defined edges and no muddiness \u2014 it does not mean uniform sharpness across the whole image, and it does not mean a photographic render. The chiaroscuro shadows remain soft and painterly throughout.\n- A classical court-portrait background: a soft, deep painted interior \u2014 rich muted drapery or a shadowed wall, subtle and atmospheric, as in a real court lady's portrait. No modern elements. The sitter stays the clear focus.\n- The background extends fully to all four edges and into all four corners, filling the entire margin area evenly, including the deep expanse above the sitter's head. This wide border is part of the painting and carries the same subtle painterly tonal variation \u2014 never left blank, flat or abruptly different, and never brighter or busier than the area around the sitter.\n- Even light falloff. No vignette, no darkened corners, no blackened edges beyond the interior's own subtle variation.\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- An authentic, elegant, gallery-quality court portrait \u2014 graceful, refined and precisely painted, with the confidence and material honesty of an old master.\n- Painterly and hand-made throughout. The brushwork is the texture: do not render canvas weave, linen grain, craquelure or cracking into the image.\n- Sharpest focus and strongest light on the real face and eyes; the gown painted with rich, tactile realism but always secondary to the face.\n\nEXCLUDE\nNO HUMAN SKIN ANYWHERE. No bare chest, d\u00e9colletage, cleavage, bosom, collarbone, shoulder skin or any human anatomy at the neckline or anywhere else. The area between the chin and the neckline is the animal's own fur. No smooth, hairless or flesh-toned surface. No blurred, vague, empty or shadowed void where the chest should be.\n\nNo human torso, human female chest or bust, human shoulders, narrowed human waist or upright human posture beneath the gown. No bodice shaped to a human figure.\n\nNo subject that fills the frame. No tight crop, no zoom, no close-up. No ear, whisker, cheek, shoulder or any part of any animal or gown touching, overlapping or approaching within the stated margin of any edge or corner. No enlarging the subject at the expense of the margins. No placing the head high in the frame \u2014 the top margin is always the widest.\n\nNo recolouring of any real fur. No sepia, umber, brown, ochre, amber or uniform warm wash over the animal's head, neck or chest. No grey coat turned brown. No white or cream coat warmed, tinted, dimmed, ochred or antiqued. No black coat lightened to grey or warmed to brown. The light changes value and warmth only, never hue.\n\nNo gown in the same colour family or the same lightness as the animal's coat. No ivory or dove grey on a white, cream or pale animal. No wine or dusty rose on a red or ginger animal. No dark gown on a dark animal. No fur merging into the cloth at the neckline. No long chest fur confused with or painted as lace. No neckline or lace hiding the animal's own ruff or chest fur.\n\nNo marking, ear, eye, nose or muzzle lost, dimmed, blurred or swallowed by shadow. No ear hidden on the shadow side. No eye left in darkness. No area of the animal or gown painted at full black. No satin highlight blown out to flat pure white. No head merging into the interior. No vignette, no darkened corners, no blackened edges.\n\nNo neckline, lace or trim touching, covering, bending, flattening or reshaping any ear.\n\nNo oversized, undersized or balloon-like head. No head disproportionate to the body. No visible cut line, halo, blur, hard edge or colour mismatch where the head meets the neck or neckline. No pasted-on, floating or collaged appearance.\n\nNo added smile. No added grace, softness, demureness or femininity. 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, widened, softened or glossy eyes. No added, lengthened or darkened eyelashes.\n\nNo flat, printed, pasted-on or digitally overlaid gown. No smooth plastic or rubbery fabric. No cheap costume-shop or fancy-dress look. No repeating wallpaper-style pattern lying flat across the cloth and ignoring its folds. No weightless, shapeless or floating garment. No flat painted-on lace, pearls or embroidery \u2014 every detail has real thickness and casts a shadow. No lace scattered across the whole bodice. No dense ropes of tiny pearls. No doll, figurine or porcelain look. No garish, neon or candy colours. No excessive jewellery, no cluttered ornament.\n\nNo muddiness, smearing or loss of definition in the face, the chest fur or the gown. No hazy or washed-out image overall.\n\nNo text, letters, numbers, words, engraving, watermarks, signatures, logos or borders anywhere in the image. No human figures, hands, arms or human skin \u2014 every head is fully the animal's, never humanised, and no human hand or arm may appear. No tiara, crown, wig, powdered hair, elaborate hairstyle, hair ornament, feather, ribbon, bonnet, hat or headdress of any kind \u2014 every head is bare fur, unobstructed, with nothing resting on or above it. No earrings or ear ornaments of any kind \u2014 the ears stay bare. No glasses, fan, parasol, flower, or object held in a paw or hand. No paws, legs, feet or tail anywhere in the image.\n\nRemove entirely from the output any modern collar, harness, bandana, lead, leash, clip, chain, ring, name tag, bell, or hardware visible in the reference photo. The only attire in the finished portrait is the court gown described above.\n\nNo paint, oil, old-master or costume filter applied over the photograph. No photograph of a pet in a real costume. No photographic fur, texture, blur or depth of field carried over from the original image. No rendered canvas weave, linen grain, craquelure or cracking. No photorealism, no 3D render, no flat vector look.\n\nDo 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 gown is applied to the body; every head is always the real animal, unchanged.","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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