{"id":1015835,"name":"Custom Pet Portrait - Watercolor","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":1296523,"name":"SF-SOFT-WASH","description":null,"width":7904,"height":10498,"thumbnail":"users\/47856\/artworks\/6ab62cce81d25_thumbnail.webp","is_locked":null,"template_settings":{"label":"SOFT-WASH","display_type":"radio","show_in_cart":true},"current_version_id":2796649,"design_format":"rgb","status":0,"schema_version":2,"data":[{"id":"template-991617","url":"users\/47856\/images\/260910_94RwZncmSwfxCBya_large.webp","name":"SF-SOFT-WASH","addons":[],"layers":[{"id":"layer-719014","top":-165.42,"url":"users\/47856\/image-layers\/6aa280b3a455d_large.webp","left":-135.5,"name":"Royal Portrait","type":"photo","width":8175,"height":10828.84,"locked":false,"rotate":0,"effects":[{"id":"id-154776","type":"background_remover","color_sketch":"#000000","light_sketch":true,"enable_contour":true,"color_sketch_image_filter":"#000000"},{"id":"id-967135","type":"gemini:image_filter","color_sketch":"#000000","light_sketch":true,"enable_contour":true,"gemini_resolution":"4K","image_filter_prompt":"Generate a soft watercolor painting portrait of the animal or animals from the base image.\n\nPRIORITY ORDER \u2014 if any two instructions in this prompt ever conflict, resolve them in this order:\n1. LIKENESS. The painting must be recognisably THIS individual animal \u2014 its exact ears, head shape, markings, coat colour, coat length, eyes, nose, mouth state, age and expression as photographed.\n2. The CROP rule, the ONE PORTRAIT rule, the coat rules and the composition rules below.\n3. The watercolor style rules \u2014 aura, spatter, looseness and atmosphere.\nLooseness applies only where it costs no likeness. A wash, bloom, bleed, splash or aura colour that would soften an ear, blur a marking, shift a coat colour or lose an eye is wrong \u2014 control that area instead.\n\nTHIS PROMPT APPLIES TO EVERY ANIMAL. Dogs of any breed, cats of any breed, and any other pet. Ears may be erect, semi-erect, folded, hanging, drop, rose, cropped or tufted. Muzzles may be long and fine or short and flat. Coats may be short, long, wiry, curly or double, and may carry one colour or several. Every measurement below works identically for all of them. Never assume a typical head, a typical ear or a typical coat.\n\nTWO MEASUREMENTS USED THROUGHOUT:\n- HEAD HEIGHT means the distance from the TOP OF THE SKULL to the TIP OF THE CHIN. It does not include the ears.\n- THE HIGHEST POINT means whichever part of the animal sits highest in the frame: an ear tip on an erect-eared animal, the top of the skull on a drop-eared or hanging-eared animal whose ears fall beside or below the head, or a tuft of fur where that is highest. Never measure from an ear that hangs downward.\n\nCROP \u2014 HEAD, NECK AND UPPER CHEST ONLY. This is fixed and does not depend on the photo.\n- Include: both ears complete, the head, the neck, and the upper chest down to roughly the top of the shoulders, where the painting dissolves softly into the paper.\n- Do NOT include: the lower chest, the back, the belly, the flank, front legs, hind legs, paws, feet or tail. No sitting, standing or lying pose. None of these are painted, outlined, suggested or hinted at, even faintly, even dissolved.\n- The reference photograph may show the animal's whole body, sitting or standing. IGNORE everything below the upper chest. A full-body photograph produces a head-and-upper-chest portrait. Never copy the reference photograph's own framing or pose.\n- If any part of a leg, paw, flank or tail appears in the painting, the image is WRONG.\n\nONE PORTRAIT, ONE ANIMAL.\nThere is exactly ONE image of each subject animal in the output. Never paint the animal twice. Never place a second, larger, faded, blurred, cropped, partial or ghosted copy of the same animal behind, above, beside or overlapping the portrait. Never echo, repeat or overlay the reference photograph anywhere in the image. If the animal will not fit the composition at the required size, paint it SMALLER \u2014 never add a second copy and never enlarge it to fill the space.\n\nWHAT THE OUTPUT IS\nA watercolor painting created from scratch, observed from the reference photo. It is NOT the photograph with a watercolor filter or wash applied over it. No photographic detail, texture, fur, lighting, shadow or background survives beneath the paint \u2014 every part of the image is painted.\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 \u2014 one image of it, and only one \u2014 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, and do not duplicate the one that is.\n\nThen study the reference photo closely and lock these features exactly as they appear in THIS photo, FOR EACH ANIMAL INDIVIDUALLY. Observe and reproduce the real values \u2014 never assume typical values for the breed or species. Where a feature is uncommon for the breed, reproduce what the photo shows and never revert to the breed's more common or expected version.\n\nEAR CARRIAGE AND SHAPE \u2014 the single most important feature. For each animal, reproduce the exact position, angle, length, thickness, set and fold of each ear as photographed \u2014 whether fully erect, semi-erect with folded tips, hanging or drop, rose-folded, cropped, tufted, feathered, long or short. Long hanging ears stay long and hanging, at their real length and angle. Erect ears stay erect at their real angle. If one ear sits differently from the other, or is tilted, lower, or turned, preserve that exact asymmetry. Reproduce ear tufts, fringing, feathering and any wave or curl in a long ear, and the visible inner-ear surface in its real colour. The ears keep a controlled, defined outer edge \u2014 they are part of the face, not part of the loose periphery. Never let a wash, bloom or bleed soften, blur, shorten or reshape an ear. Never straighten, raise, lower, shorten, lengthen, 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, flat 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, flatten or idealize the head to suit the style or a breed standard.\n\nMARKINGS \u2014 for each animal, reproduce every blaze, patch, mask, saddle, eyebrow spot, cheek marking, muzzle marking, chest marking, ticking, tabby striping, brindle striping, points and colour break in the same position, size, shape and orientation as photographed. If a marking is off-centre, irregular, or asymmetric, keep it exactly so \u2014 do not centre, straighten, simplify or mirror it. Do not add markings an animal does not have. Do not remove markings it does have. Every marking is painted with a crisp, dried, deliberate edge where it meets the surrounding colour \u2014 markings are controlled areas, never wet-on-wet. Do not let a wash, bloom, bleed, splash or aura colour dissolve, blur, cover, tint or merge a marking into the surrounding colour.\n\nCOAT COLOUR AND LENGTH \u2014 for each animal, reproduce the actual base coat colour, secondary colours, pattern and fur length from the photo, including whether it is short, medium, long, wiry, curly or double-coated. If the animal is tricolour, bicolour, brindle, merle, colourpoint, or any pattern less common for its breed, reproduce that exact pattern \u2014 never simplify it to the breed's most typical colouring.\nThe local colour of every area of the coat must read as its real colour. Match the real HUE and the real LIGHTNESS: a light gold stays light gold, a chocolate brown stays chocolate brown, a grey stays grey, a black stays black. Do not brighten, saturate, warm, deepen or \"enrich\" the coat for luminosity or mood.\nTHE AURA'S COLOURS NEVER ENTER THE COAT. The blues, lilacs, peaches and golds of the aura wash described below belong to the paper around the animal only. They never tint, stain, wash over or bleed into any part of the animal's fur, on any coat colour, light or dark.\n\nTHESE THREE COAT RULES APPLY TO EVERY AREA OF THE COAT SEPARATELY, not to the animal as a whole. Most animals carry more than one coat colour. Look at each area on its own and apply the matching rule to it: a white chest blaze on a black dog follows the WHITE rule, even though the animal is dark; the dark saddle on a mostly-white dog follows the BLACK rule, even though the animal is pale; a tuxedo cat follows the BLACK rule on its back and head and the WHITE rule on its bib, chin and paws at the same time. Every white or pale patch, blaze, bib, sock, muzzle band or chest marking stays WHITE and untinted wherever it appears, on any animal of any overall colour. Never apply one rule to a whole animal that carries more than one colour.\n- WHITE, CREAM OR VERY PALE areas: these are the untouched white of the paper. Their form is carried by soft shadow washes \u2014 cool greys and warm greys \u2014 on the shadow side only, and by the aura wash around the animal that defines its outer edge. A white area reads as a solid, three-dimensional, clearly bounded form, never faint, formless or ghostly, and never tinted blue, lilac, peach, gold or any aura colour. A white chest, bib or blaze stays WHITE even when the rest of the animal is dark.\n- BLACK OR VERY DARK areas: these are BLACK and must read as black. Build them from layered deep NEUTRAL darks \u2014 ivory black, sepia, warm umber, deep neutral grey \u2014 so they read as rich true black. They are NEVER lavender, violet, purple, periwinkle, blue, navy, steel blue, teal or any coloured dark. NONE of the aura's colours appears anywhere in a dark area: not in the lit parts, not in the shadows, not in the neck or chest, and not at the outer edge where the coat meets the aura. Form and facial structure are carried by reserved LIGHTER NEUTRAL areas where the light falls \u2014 brow, bridge of the muzzle, cheekbones, top of the skull, edges of the ears \u2014 painted as lighter warm or neutral greys, never as coloured highlights. The face structure must read clearly; never let the head become a shapeless mass. Where a dark area meets the aura, the boundary is definite: black coat on one side, pale colour on the other, with no coloured bleed into the fur.\n- MID-TONED areas: the same rule applies \u2014 a brown area is brown, a grey area is grey, a red area is red. Watercolor shadow washes may carry a faint cool undertone, but it stays inside the shadow, never changes the area's overall hue, and is never one of the aura's colours.\n\nEYES \u2014 for each animal, reproduce the photographed eye colour, shape, size, spacing and set exactly. For cats, reproduce the true pupil shape. If an animal has two different-coloured eyes, keep both colours exactly \u2014 never make them match. If an eye is partly closed, cloudy, or absent, reproduce it as photographed. The eyes are the sharpest, most defined and most controlled element of the entire painting \u2014 the lid shape and eye rim clearly drawn, the iris in its true colour, the pupil dark and crisp, a single soft natural catchlight. No bloom, bleed, wash or aura colour enters the eye. The iris stays within its real hue family \u2014 a brown eye stays brown, a blue eye stays blue, a green or yellow eye stays green or yellow; never give an animal a blue or pale eye it does not have. The eyes must never be washed out, blurred, enlarged, rounded or sweetened.\n\nNOSE \u2014 for each animal, reproduce the photographed nose colour, shape and size, including any pink, spotted, or partly-depigmented areas. Painted with a controlled edge, defined and readable, never dissolved by the washes.\n\nWHISKERS \u2014 for each animal, reproduce the whiskers as photographed: their real length, number, direction and colour, on the cheeks and above the eyes. Render them as fine, confident single brush strokes in their true colour \u2014 pale whiskers as reserved paper or fine light strokes against a dark coat, dark whiskers as fine dark strokes against a pale coat \u2014 that stay visible against the washes. Do not omit them, do not multiply them, do not make them uniform or symmetrical.\n\nAGE AND CONDITION \u2014 for each animal, reproduce its real age as photographed. If it is a puppy or kitten, keep it a puppy or kitten \u2014 do not age it into an adult. If there is grey or white fur on the muzzle, chin, or brow, paint it as a distinctly lighter area with its own clear edge, exactly where it sits \u2014 never rejuvenate a senior animal into a young one. Preserve a real thin, heavy, or aged appearance. Preserve any scar, notch, torn ear, missing eye, or other permanent feature exactly as photographed \u2014 never repair, tidy, or \"correct\" it.\n\nMOUTH AND EXPRESSION \u2014 for each animal, reproduce the photographed mouth state exactly. This is a locked feature, not a stylistic choice, and looseness never changes it.\n- If the mouth is closed, keep it closed. Paint the lip line exactly as it sits in the photo. Do not curve it upward into a smile. Do not add a smile the photo does not show.\n- If the mouth is open or panting with the tongue visible, keep it open with the tongue in the same position, at exactly the size shown and extending exactly as far as in the photo. If only the tip of the tongue shows, only the tip shows. The tongue is a defined pink shape with a controlled edge, not a soft pink bloom. The lower jaw is open to the same degree as the photo. If teeth are visible, paint them as small defined light shapes. Never close a photographed open mouth to make the painting calmer.\n- Reproduce the real expression and the exact angle the head is held at, including a three-quarter or turned head if that is how it is photographed. Do not make an animal look sweeter, softer, happier, sadder or more appealing than the photo. The warmth of this painting comes from likeness, not from softening the animal.\n\nRender exactly what is shown in the reference photo. Do not idealize, beautify, generalize, or substitute any feature with a breed-typical or \"expected\" version. Each animal must be recognizably THAT individual to its owner, not a generic example of its breed or species.\n\nMULTIPLE ANIMALS \u2014 apply this section ONLY if the photo contains two or more subject pets. If there is only one pet, ignore this section entirely.\n- Include every subject animal from the photo. Do not omit one, and do not duplicate one.\n- DO NOT MIX THE ANIMALS. Each animal keeps only its own features. Never apply one animal's ear shape, coat colour, coat length, markings, eye colour, muzzle length, age, mouth state or expression to another. If one has erect ears and another hanging ears, 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. If one is a dog and another a cat, keep each unmistakably itself. The animals must not converge toward a shared appearance and must not be turned into look-alikes unless they genuinely are in the photo.\n- Work through the animals one at a time from left to right as they appear in the photo, completing each one's own features before moving to the next.\n- Every animal is head, neck and upper chest only. No animal shows a body, legs or paws.\n- Do not let the washes of one animal bleed into or blend with another animal. Where two animals meet, the boundary is a controlled, dried edge. Each animal keeps its own clear form and its own colours, even where they sit close together or overlap.\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 obeys the FRAMING rules. A group is painted SMALLER than a single animal would be, not wider.\n- The aura wash and the spatter are shared across the whole composition \u2014 one continuous aura behind the whole group, not a separate one per animal.\n- Every animal is equally finished and equally defined in the face. None is blurred, cropped, turned away, or treated as a secondary or background subject.\n\nCOMPOSITION AND FRAMING\nVertical portrait, 3:4 aspect ratio, with the subject or group centered horizontally.\n\nIf ONE animal: a head-and-upper-chest bust portrait, centered.\nIf TWO OR MORE animals: arrange them together as a single centered group, side by side and close together, heads at slightly different heights so every face is clearly visible and no animal is hidden behind another. Head-and-upper-chest crop for each.\n\nMandatory clear margins \u2014 these override subject size:\n- TOP: the space above THE HIGHEST POINT of the animal is roughly HALF THE HEAD HEIGHT, and at least 12% of the image height. Nothing may touch, merge with, or be cropped by the top edge.\n- LEFT and RIGHT: at least 10% of the image width on each side, measured from the OUTERMOST POINT of the animal on that side \u2014 whichever is furthest out, an ear, a hanging ear, a cheek, a ruff, a whisker tip or a shoulder. Nothing may run into, touch, or be cut off by the left or right edge.\n- BOTTOM: the chest dissolves softly into the paper and ends well clear of the bottom edge and both bottom corners.\n- THE NAME BAND \u2014 the lower fifth of the image \u2014 is reserved: a name will be set there afterwards. It stays clean paper. Nothing painted enters it: no pigment run, no spatter droplet, no strong aura colour.\n- The AURA WASH may extend beyond the animal into the surrounding paper, but it too fades out before reaching any edge: a clean, unpainted white border of at least 5% of the image width and height remains on all four sides and in all four corners.\n- Spatter and splashes may never touch or run off any edge of the image, and never fall in the top margin above the animal's highest point.\n\nSize the subject \u2014 or scale the WHOLE GROUP \u2014 to fit WITHIN these margins. A broad animal, a wide-eared animal or a heavily coated animal is painted SMALLER so that it still fits. Never enlarge to fill the frame at the expense of a margin. Better slightly smaller and fully contained than large and clipped.\n\nThe eye line sits slightly ABOVE the vertical centre of the image. Every ear complete, every muzzle full, every head fully inside the frame with breathing room on all sides. Nothing clipped by any edge or corner.\n\nSTYLE \u2014 SOFT WATERCOLOR WASH\nA delicate, luminous watercolor painting on white paper \u2014 the animal painted with control and accuracy, set within a soft, colourful atmospheric wash. Fresh, airy and hand-painted, with confident pigment where the artist has worked and flicked the brush.\n\nWhere control ends and looseness begins \u2014 this boundary is fixed:\n- FULLY RESOLVED, controlled, with deliberate dried edges: everything from the ear tips down to and including the jaw and chin \u2014 ears, skull, brow, eyes, muzzle, nose, mouth, lip line, cheeks, whisker pads, all facial markings, and the outer contour of the head. This is where the likeness lives and it is painted with care. The muzzle and chin are as controlled and as defined as the eyes \u2014 never dissolved, never softened, never allowed to melt into the wash.\n- LOOSENING BEGINS at the ruff and neck, below the jaw.\n- LOOSE, wet-on-wet, dissolving: the upper chest and the lower edges of the bust, fading gradually into the paper. This is where blooms and bleeds belong, and it is where the animal ENDS \u2014 nothing of the animal continues below it.\n\nRendering:\n- Translucent watercolor washes with visible pigment granulation, layered from light to dark in the animal's true colours. Pure wash \u2014 no ink line, no pen outline of any weight, no drawn contour.\n- Wet-on-wet blooms and soft bleeds only in the loose region. In the controlled region, edges are crisp and dried where features and markings meet, and soft only where the real coat is soft.\n- NO DRIPS. The chest dissolves softly and evenly into the paper and stops there. Nothing runs downward from it. No drip, no run, no streak, no trail, no vertical line of pigment travels below the dissolving edge. The area below the chest is clean paper.\n\nVISUAL HIERARCHY \u2014 what dominates, in order:\n1. The animal's FACE \u2014 the most detailed, most controlled and most resolved thing on the page. The eyes are the focal point.\n2. The rest of the animal \u2014 controlled in the head, loosening below the jaw.\n3. The spatter \u2014 small, concentrated marks. Saturated, but small, so they never compete with the face.\n4. The aura \u2014 broad, pale and transparent. Always lighter than the animal, and lighter than the spatter.\nThe aura is never as strong as the animal. The spatter is never as prominent as the face. If anything in the background draws the eye before the animal's face does, it is too strong.\n\nTHE AURA WASH \u2014 the atmospheric colour field around the animal. This is a major, visible part of the artwork.\n- A broad, soft, LOOSELY SPREADING wash of pale colour surrounds the animal and extends well out into the paper \u2014 reaching up behind and above the head, out past the ears on both sides, and down around the chest. It covers a generous area of the page, roughly half to two thirds of the paper, and it is unmistakably a coloured field rather than a thin outline of colour.\n- It is painted WET-ON-WET: overlapping soft blooms of colour that run into one another with feathered, blossoming, irregular edges. It has the granulation, backruns and soft cauliflower edges of real wet pigment drying on paper. It is NEVER a flat tint, never an even gradient, never an airbrushed glow, never a geometric oval, circle, rectangle or panel.\n- MULTI-COLOURED: the aura is built from several soft hues blooming into one another, not one colour. Use a pale cool blue, a soft lilac or periwinkle, a warm peach or apricot, a light gold or ochre, and a soft blue-grey. Let them meet and bleed into one another so the field shifts colour across the page \u2014 cooler in one area, warmer in another.\n- ON A COOL-TONED ANIMAL \u2014 grey, blue, silver, blue-grey or lilac-grey coats \u2014 bias the aura WARM: peach, apricot and gold dominate, with the blues and lilacs reduced to small accents, so the cool animal separates clearly from the field around it and never merges into an aura of its own colour.\n- KEEP IT PALE AND TRANSPARENT. Every colour in the aura is heavily diluted and light \u2014 clearly visible as colour, but always lighter than the animal itself, so the animal remains the most defined and most detailed thing on the page. The aura is atmosphere, never a background that competes with the subject.\n- THE AURA STOPS AT THE ANIMAL'S OUTLINE. It sits BEHIND and AROUND the animal and NEVER washes over the face, the ears, the muzzle, any marking, or any part of the coat. It never tints or stains the fur of any animal, of any colour, in any area. Where the aura meets the animal's outer contour, the animal's own colour holds and the aura stops. A white area stays white. A black area stays black. A white chest on a dark animal stays white.\n- The aura fades out gradually toward the edges of the paper, thinning into untouched white before reaching any edge or corner. A clean white border always remains all the way around, and the name band stays clean.\n- Do not add any hue to the aura that would clash with the animal \u2014 keep the whole field soft, harmonious and light, in the register of a fresh spring sky rather than a bold background.\n\nTHE SPATTER \u2014 flicked droplets scattered within and just beyond the aura:\n- Spatter is FLICKED from a brush LOADED with concentrated pigment. The droplets are small, dense, saturated marks \u2014 richer in pigment than the aura and than the washes on the animal, but always SMALL, so they read as accents rather than competing with the face.\n- SHAPE \u2014 the droplets are flicked, not stamped. Each mark is IRREGULAR: an uneven blob, a short teardrop or a comma, often slightly elongated in the direction the brush was flicked, with an edge that is never a smooth circle. The larger marks throw two or three tiny satellite specks beside them. No perfect circles, no rings, no evenly round dots, no stamped, printed or polka-dot look.\n- SIZE \u2014 vary it, and keep it small. Most droplets are smaller than the animal's pupil; a few are pupil-sized; no more than two or three approach the size of the eye, and NONE is larger than the eye.\n- COUNT \u2014 roughly twenty to thirty droplets in total.\n- PLACEMENT \u2014 two or three separate, distinct clusters, uneven in size and density, sitting within the aura or just beyond its edge, with clear paper between them. Never a continuous arc, line or band across the bottom, and never spread evenly over the whole page. The name band stays completely clear of spatter \u2014 no droplet may sit behind, beside or beneath where the name will go.\n- COLOUR \u2014 most of the droplets are taken from the animal's own deepest coat tone and its warm neighbours: burnt sienna, warm ochre, rust, russet, raw umber. A few droplets pick up the aura's own colours \u2014 a soft blue, a lilac, a blue-grey \u2014 mixed a little stronger than the aura so they read as marks. Every droplet colour must already exist somewhere in the painting. NEVER use black, near-black or ink-black droplets unless the animal itself is black. On a pale or mid-toned animal the darkest droplets are a deep warm brown or umber, never black. No droplet is harsher, harder-edged or more graphic than the painting around it.\n- Mix colours and sizes within each cluster. A few droplets may bloom or run slightly where two colours meet.\n- Spatter NEVER lands on or near the face, on an ear, on a marking, or anywhere it could be mistaken for a marking. It never touches any edge of the image.\n\nBackground:\n- Clean white watercolor paper. The paper surface is smooth and clean: no rendered paper tooth, grain, fibre or texture. Granulation lives in the pigment, not in the paper.\n- The paper carries the aura wash and the spatter and nothing else. No scene, no objects, no pattern, no horizon, no panel or geometric shape behind the animal. Beyond the aura, the paper is untouched white all the way to the edges.\n- Completely replace whatever background appears in the reference photo. Do not retain any grass, pavement, furniture, indoor room, sky, vehicle, foliage, studio backdrop or blur from the original image.\n\nFinish:\n- A fresh, luminous, gallery-quality watercolor \u2014 the animal precise and recognisable, held in a soft field of blooming colour.\n- Loose and atmospheric around the subject, controlled and accurate in the face. Sharpest focus on the eyes, which are always the focal point of the image.\n\nFINAL CHECK before the image is complete \u2014 run all seven:\n1. EVERY COAT AREA. Take each area of the coat in turn. Is every white or pale area \u2014 including a chest blaze, bib or muzzle band on an otherwise dark animal \u2014 still WHITE and untinted? Is every black or dark area truly black rather than lavender, violet, blue or navy? If any aura colour appears anywhere in the fur, the image is wrong.\n2. THE FACE. Are the muzzle, chin and lip line as controlled and defined as the eyes, with no melting or dissolving above the jaw? Does the face draw the eye before anything else on the page?\n3. THE CROP. Is any leg, paw, flank, belly or tail visible? If so, the image is wrong.\n4. THE MARGINS. Is the highest point of the animal at least 12% of the image height clear of the top edge? Does a clean white border remain on all four sides and in all four corners?\n5. THE NAME BAND. Is the lower fifth completely clean paper \u2014 no run, no spatter, no strong colour?\n6. THE SPATTER. Are the droplets irregular rather than round? Is any droplet black on a non-black animal? Is any droplet larger than the eye?\n7. RUNS. Is there any drip, run, streak or vertical line of pigment anywhere? There should be none.\n\nEXCLUDE\nNo white or pale patch, blaze, bib, sock or chest marking tinted blue, lilac, peach, gold or grey on any animal, whatever the animal's overall colour. No coat rule applied to a whole animal when it carries more than one colour.\n\nNo aura colour washing over, tinting, staining or bleeding onto the face, the ears, the muzzle, the coat or any marking, on any animal of any colour, in any area. No black or dark area turned lavender, violet, purple, periwinkle, blue, navy, steel blue or teal. No coloured highlights in a dark area. No aura as strong as the animal. No aura that competes with, overwhelms or distracts from the face. No grey or blue animal set inside a predominantly blue or grey aura.\n\nNo drips, runs, streaks, trails or vertical lines of pigment anywhere in the image. Nothing runs downward from the chest or from the face.\n\nNo dissolved, melted, blurred or softened muzzle, chin, lip line or jaw. No part of the face looser than the eyes.\n\nNo body below the upper chest. No lower chest, back, belly, flank, front legs, hind legs, paws, feet or tail, even faintly painted or dissolved. No sitting, standing or lying pose. No full-body or three-quarter-body painting, regardless of what the reference photograph shows. No copying of the reference photograph's framing or pose.\n\nNo second copy of the animal. No duplicated, repeated, mirrored, echoed, ghosted, faded or partial image of the same animal anywhere in the frame.\n\nNo flat tint, even gradient, airbrushed glow, soft-focus haze, oval, circle, rectangle, cloud or geometric panel of colour behind the animal. No hard-edged background shape. No aura reaching or touching any edge or corner of the paper. No fully covered page \u2014 a clean white border always remains.\n\nNo dark, heavy, saturated, neon or garish aura colours. No strong navy, no vivid turquoise, no bright primary colours, no fluorescent or candy colours anywhere.\n\nNo black, near-black or ink-black spatter droplets on any animal that is not itself black. No harsh, hard-edged, graphic or ink-stain droplets. No perfectly round droplets. No rings, no circles, no evenly shaped dots, no polka dots, no stamped or printed marks. No droplet larger than the animal's eye. No oversized blobs of spilled paint. No spatter so prominent it competes with the face.\n\nNo continuous band, arc, line or row of spatter across the bottom of the image. No spatter evenly spread over the whole page. No spatter or strong colour in the name band. No spatter on the face, on an ear, on a marking, in the top margin, or touching any edge of the image. No faint, washed-out or dust-fine spatter.\n\nRemove entirely from the output any collar, harness, bandana, lead, leash, clip, chain, ring, name tag, bell, or hardware of any kind visible in the reference photo. Every neck and chest is rendered as bare fur.\n\nNo photographic content beneath the paint. No watercolor filter applied over the photo. No photographic fur, texture, blur, depth of field or lighting.\n\nNo ink outline, pen line or drawn contour of any weight. No line-and-wash look. No heavy black outlines.\n\nNo wash, bloom, bleed or splash on the ears, eyes, nose, mouth or any marking. No softening or blurring of the ears.\n\nNo ear shortened, lengthened, straightened, raised, lowered or changed in carriage. No hanging ear painted erect. No erect ear painted hanging.\n\nNo added smile. No closing of a photographed open mouth. No shortening, enlarging or blurring of a visible tongue into a pink bloom. No changing of the expression in either direction. No enlarged, rounded or sweetened eyes. No invented blue or pale eye.\n\nNo shifting, brightening, saturating or \"enriching\" of the coat colour. No pale area darkened or tinted to make it stand out.\n\nNo rendered paper texture, tooth or grain.\n\nNo text, letters, numbers, words, watermarks, signatures, logos or borders anywhere in the image. No human figures, hands, clothing, costumes, hats, glasses or jewellery. Do not add any animal that is not a subject in the reference photo. No photorealism, no 3D render, no hard vector edges, no flat digital fill. Do not let the washes erase or blur any marking. Do not add or remove markings. Do not change ear carriage. Do not alter head proportions, coat length, age, mouth state or expression to fit the style. The style is applied to the animals; the animals are never redrawn to fit the style.","color_sketch_image_filter":"#000000"}],"visible":true,"fit_mode":"contain","required":true,"form_label":"Their photo","photo_hint":"One clear photo of their face, front on, in daylight, with both ears in the frame. Phone photos are fine.","photo_editor":"static","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-104157","top":9176.62,"left":3952.49,"name":"Text layer","text":null,"type":"text","align":"center","color":"#51514D","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":"#FAFAFA","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-719014","layer-104157"],"charge_enabled":false}],"global_options":[],"global_option_ids":[]}],"campaign_products":[{"id":1829513,"campaign_id":1015835,"product_id":354824,"created_at":"2026-09-10T09:48:57.000000Z","updated_at":"2026-09-10T09:48:57.000000Z","position":0,"platform_title":"Framed Canvas","campaign_variants_position":null,"product":{"id":354824,"user_id":47856,"fulfillment_id":20,"fulfillment_linked_id":"framed-canvas","title":"Framed Canvas - ver","description":"

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