{"id":1015859,"name":"Custom Pet Portrait - Charcoal","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":1296614,"name":"SF-QUIET-CHARCOAL","description":null,"width":7904,"height":10498,"thumbnail":"users\/47856\/artworks\/6ab68fc5d6da8_thumbnail.webp","is_locked":null,"template_settings":{"label":"QUITE-CHARCOAL","display_type":"radio","show_in_cart":true},"current_version_id":2796987,"design_format":"rgb","status":0,"schema_version":2,"data":[{"id":"template-104281","url":"users\/47856\/images\/260910_twrPtCeRiw97XdMl_large.webp","name":"SF-QUIET-CHARCOAL","addons":[],"layers":[{"id":"layer-677290","top":-75.6,"url":"users\/47856\/image-layers\/6aa299ae4bcec_large.webp","left":-67.69,"name":"Quiet Charcoal","type":"photo","width":8039.38,"height":10649.19,"locked":false,"rotate":0,"effects":[{"id":"id-867911","type":"background_remover","color_sketch":"#000000","light_sketch":true,"enable_contour":true,"color_sketch_image_filter":"#000000"},{"id":"id-262379","type":"gemini:image_filter","color_sketch":"#000000","light_sketch":true,"enable_contour":true,"gemini_resolution":"4K","image_filter_prompt":"Generate a fine charcoal and graphite drawing portrait \u2014 pure black, white and grey, with no colour anywhere \u2014 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 drawing must be recognisably THIS individual animal \u2014 its exact ears, head shape, markings, coat pattern and value, coat length, eyes, nose, mouth state, age and expression as photographed. Likeness is achieved entirely in greyscale. Colour is never used to carry likeness: a tan, rust, red, brown or cream marking is drawn as a grey of the correct value, never in its colour. Its shape and placement are the likeness; its colour does not exist in this drawing.\n2. The CROP rule and the charcoal and graphite drawing rules below.\n3. Sketchiness, looseness and expressive mark-making.\nLooseness applies only where it costs no likeness. A loose stroke, smudge, construction line or unfinished area that would soften an ear, merge a marking, lighten a dark coat or lose an eye is wrong \u2014 finish that area instead.\n\nWHAT THE OUTPUT IS\nA monochrome drawing made from scratch in charcoal and graphite, observed from the reference photo. It is NOT the photograph desaturated, filtered, or overlaid with a sketch effect. No photographic detail, texture, fur, lighting, shadow, colour or background survives beneath the strokes \u2014 every part of the image is drawn by hand with visible marks in black, white and grey. The likeness is real; the medium is visibly hand-drawn.\n\nCROP \u2014 HEAD AND NECK ONLY. This is fixed and does not depend on the photo.\nThe drawing shows the animal's head and neck. Nothing else.\n- It includes: both ears in full, the whole head, the jaw and chin, and the neck with the upper edge of the ruff directly below the jaw.\n- It does NOT include: shoulders, chest below the ruff, back, belly, front legs, hind legs, paws, feet, tail, or any sitting, standing or lying pose. None of these are drawn, sketched, suggested, outlined or hinted at. They do not exist in the output.\n- The reference photo may show the animal's full body, sitting or standing, with legs, paws and a ground beneath it. Ignore everything below the neck. Crop the drawing to the head and neck regardless of how much of the animal the photo shows. A full-body photo produces a head-and-neck drawing, not a full-body drawing.\n- Below the chin, only the neck and the top of the ruff are drawn, and they fade out into bare white paper within roughly half a head-height below the chin. Below that point there is nothing but empty white paper down to the bottom edge.\n- The drawing never reaches the bottom edge. It ends in the air, above a clear band of white paper.\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\nBecause this drawing has no colour, the placement and tonal value of every feature carries the entire likeness. Observe the reference with extra care.\n\nTONAL MAPPING \u2014 how colour becomes value. This is the likeness mechanism of this style.\n- Map every area of the animal to grey by its ACTUAL LUMINANCE in the photo \u2014 how light or dark it really is \u2014 not by what colour it is or what the breed usually looks like. A pale gold coat maps light; a deep red coat maps mid-dark; a black coat maps black.\n- BLACK-AND-TAN, black-and-rust, black-and-brown and similar coats: the tan or rust areas \u2014 eyebrow spots, muzzle, cheeks, inner ears, throat, chest \u2014 are drawn as MID-GREY areas of the correct luminance on the black coat, built from the same charcoal and graphite strokes as the rest of the drawing. They are never drawn in tan, brown, orange, rust, red, pink or any colour, and never as flat coloured patches. Their exact shape and placement carry the likeness. The inner ear is grey. The eyebrow spots are grey. The muzzle is grey. There is no colour in this drawing.\n- Where two different colours in the coat have a similar luminance \u2014 tan beside grey, brown beside dark grey, red beside mid-grey \u2014 keep their boundary readable: preserve the small real value difference between them and draw the edge between them crisply. Never let two adjacent coat areas merge into one tone. Never invent a value difference the photo does not show.\n- Use the full tonal range: true black in the pupils, the nose and the darkest fur; true paper white in the highlights and the palest coat; every grey between. The drawing must never be washed out and pale overall, and never muddy and dark overall.\n- Pure neutral greyscale. No warm cast, no sepia, no brown tint, no cool cast, no blue tint. Black, white and neutral greys only.\n\nEAR CARRIAGE AND SHAPE \u2014 the single most important feature. For each animal, reproduce the exact position, angle, length, thickness, set and fold of each ear as photographed \u2014 whether fully erect, semi-erect with folded tips, hanging\/floppy, rose-folded, cropped, tufted, or feathered. If one ear sits differently from the other, or is tilted, lower, or turned, preserve that exact asymmetry. Reproduce any ear tufts or fringing, and the visible inner-ear surface in its true value \u2014 in grey, never in pink or tan. The ears are FULLY FINISHED \u2014 drawn to the same level of control and detail as the eyes and muzzle. They are part of the face, never part of the loose periphery. Never let a loose stroke, smudge or unfinished edge soften, blur, shorten or reshape 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, fine 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 value. Do not lengthen, shorten, narrow, widen, thicken, deepen, flatten or idealize the head or muzzle 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 its correct position, size, shape and orientation, rendered as differences in tonal value. A marking that is dark in the photo is drawn as a darker tone; a light marking is drawn as a lighter tone or left as bare white paper; a tan or coloured marking is drawn as a grey of matching luminance. Every boundary between light and dark areas of the coat is crisp and correctly placed \u2014 no blending, smudging or loose stroke ever crosses a marking edge. If a marking is off-centre, irregular, or asymmetric, keep it exactly so. Do not drop, move, resize, smooth away, or merge any marking into the surrounding tone. This is critical: with colour removed, the position and value of every marking is what makes this the right animal.\n\nCOAT AND SURFACE STRUCTURE \u2014 for each animal, reproduce the exact fur direction, fur length and texture, any parting, cowlick or ridge, the pattern of light and shadow across the face, the brow, the cheek fur, and the way the coat falls, all from the photo. Fur is drawn as directional strokes following the real growth direction \u2014 visibly drawn, never rendered as photographic fur. If the animal is tricolour, bicolour, brindle, merle, or any pattern less common for its breed, reproduce that exact pattern as tonal values \u2014 never simplify it to the breed's most typical colouring.\n- BLACK OR VERY DARK coats: the coat stays deep black. Do not lighten the whole coat to grey to make it \"readable\" \u2014 a black dog drawn as a grey dog is the wrong dog. Form, fur and facial structure are carried by reserved lighter areas exactly where the light falls in the photo \u2014 brow, bridge of the muzzle, cheekbones, top of the skull, edges of the ears \u2014 and by a few sharp highlights. The face must read clearly; the head must never become a flat black silhouette.\n- WHITE OR VERY PALE coats: the pale areas are bare white paper. Form is carried by light, confident shading on the shadow side of the skull, under the ears, beneath the jaw and along the muzzle, and by a clean contour where the pale coat meets the paper. The animal reads as a solid, three-dimensional, clearly bounded form, never a blank or ghostly shape.\n\nEYES \u2014 for each animal, reproduce the photographed eye shape, size, spacing and set exactly, and translate the eye colour into its correct tonal value \u2014 a pale eye reads lighter, a dark eye reads darker. For cats, reproduce the true pupil shape. If an animal has two different-coloured eyes, render them as two visibly different tonal values \u2014 never make them match. If an eye is partly closed, cloudy, or absent, reproduce it as photographed. Keep the eyes their true size and true narrowness \u2014 never enlarged, rounded, widened or made glossier than the photo. The eyes are the most finished, highest-contrast element of the drawing: the lid shape and eye rim clearly drawn, the pupil true black, and one single small catchlight in the position the photo shows. No second catchlight, no oversized highlight.\n\nNOSE \u2014 for each animal, reproduce the photographed nose shape and size, rendered with drawn graphite texture and a single soft highlight. Reproduce any pink, spotted or partly-depigmented areas as lighter tonal patches in their correct places \u2014 in grey, never in pink.\n\nWHISKERS \u2014 for each animal, reproduce the whiskers as photographed: their real length, number and direction, on the cheeks and above the eyes. Render them as sharp, confident single strokes \u2014 reserved paper-white against dark areas, fine dark lines against light areas. White whiskers are the same white as the paper, never brighter, never glowing. 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, preserve it as a visibly lighter tonal area with its own edge in exactly that place \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. Draw 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. Do not turn it downward into solemnity the photo does not show.\n- If the mouth is open or panting with the tongue visible, keep it open with the tongue in the same position, extending exactly as far as in the photo. The tongue is a defined mid-tone grey shape with a clear edge \u2014 never pink. The lower jaw is open to the same degree as the photo. If teeth are visible, draw them as small defined light shapes. Never close a photographed open mouth.\n- Reproduce the real expression and the exact angle the head is held at, including a three-quarter or turned head if that is how it is photographed. Do not make an animal look more solemn, sadder, sweeter, more alert, or more appealing than the photo. The character of this drawing comes from likeness, not from an added mood.\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 tone, coat length, markings, eye value, muzzle length, age, mouth state or expression to another. If one has erect ears and another floppy, keep them different. If one is dark-coated and another light, keep that tonal difference clearly visible. If one has an open mouth and another a closed mouth, keep them different. If one is older with a grey muzzle, keep only that one grey. The animals must not converge toward a shared appearance and must not be turned into look-alikes unless they genuinely are in the photo.\n- Work through the animals one at a time from left to right as they appear in the photo, completing each one's own features before moving to the next.\n- Keep a clear tonal separation and a crisp edge between adjacent animals so their outlines and coats do not merge into one shape where they touch 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- Every animal is head-and-neck only. No animal shows shoulders, chest, body, legs or paws.\n- Every animal's face and ears are equally finished and equally detailed. None is left sketchy, 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 both horizontally and vertically.\n\nIf ONE animal: a head-and-neck 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-neck crop for each.\n\nMandatory clear margin on all four sides \u2014 this overrides subject size:\n- Leave a clear empty margin of at least 10% of the image height ABOVE the highest ear tip of ANY animal. Ear tips must never touch, merge with, or be cropped by the top edge.\n- Leave a clear empty margin of at least 8% of the image width on the LEFT and RIGHT. Treat the group as a single object when applying this margin: the leftmost and rightmost points of the OUTERMOST animals \u2014 including ears, cheeks, ruff and whiskers \u2014 must sit inside the 8% side margin. No part of any animal may run into, touch, or be cut off by the left or right edge.\n- Leave a clear empty margin of at least 15% of the image height at the BOTTOM, below the lowest stroke of the fading neck. The drawing ends in the air above this band of bare paper. Nothing \u2014 no stroke, no fur, no construction line \u2014 reaches the bottom edge or the bottom corners.\n- Loose strokes, construction lines and stray marks are subject to the same margins: none may touch or run off any edge of the image.\n- The white paper must be fully visible in a continuous border all the way around the subject or group, framing it on every side.\n\nSize the subject \u2014 or scale the WHOLE GROUP \u2014 to fit WITHIN these margins. If the ears are tall or wide, or the group is broad, scale everything DOWN so all ears, whiskers and the ruff stay inside the margin. Do not enlarge to fill the frame at the expense of the margin. Better slightly smaller and fully contained than large and clipped.\n\nEye line in the upper third. 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 QUIET CHARCOAL AND GRAPHITE DRAWING\nA refined monochrome charcoal and graphite portrait on white paper \u2014 the look of a skilled, calm, hand-drawn study. Controlled in the face, loose at the neck. Quiet, timeless, restrained. Black, white and grey only.\n\nWhere finish ends and looseness begins \u2014 this boundary is fixed:\n- FULLY FINISHED, controlled, accurate: everything from the ear tips down to and including the jaw and chin \u2014 ears, skull, brow, eyes, muzzle, nose, mouth, cheeks, whisker pads, all facial markings, and the outer contour of the head. This is where the likeness lives.\n- LOOSENING: the neck and the upper ruff directly below the jaw \u2014 visible directional fur strokes, a few open contour lines, fading progressively into bare paper within roughly half a head-height below the chin.\n- NOTHING BELOW THAT. No shoulders, no chest, no body, no legs, no paws \u2014 not finished, not sketched, not suggested. Only white paper.\n\nRendering \u2014 how the tone is built. This defines the medium:\n- Every area of the drawing, including the face, is built from VISIBLE STROKES. Tone is made by hatching, cross-hatching, directional fur strokes and the granular drag of charcoal \u2014 never by smooth continuous tone. At close range, every part of the face shows individual marks. No area of the image is smooth, blended or airbrushed.\n- Soft charcoal for the darks \u2014 deep, slightly granular, with the broken edge that charcoal leaves on paper. Graphite pencil for the mid-tones \u2014 clean, directional, visible. Highlights are lifted or reserved paper, with a hard clean edge, not a soft glow.\n- The face is resolved and accurate but economical: the drawing describes the form of the skull, the plane of the muzzle and the direction of the coat with confident strokes. It does not reproduce every hair. Fur is suggested by grouped directional strokes that follow the real growth direction, not by rendering individual hairs.\n- Blending is used sparingly, only to soften a plane within a single tonal area, and the stroke structure remains visible through it. Never across a marking boundary, never across a feature edge, never over an eye.\n- Construction lines \u2014 light placement marks, open contour lines \u2014 appear only in the loosening neck region, and only a few. Never across the face, never as a circle or ellipse around the skull, never as a centre line or axis line through the features, never across an ear, never forming a frame or box around the subject.\n- The marks are calm and deliberate throughout \u2014 quiet, controlled hand pressure, no scribbling, no frantic hatching, no energetic gesture strokes.\n- Strong but natural tonal contrast so every animal reads clearly and three-dimensionally against the white paper.\n\nBackground:\n- Clean white artist's paper \u2014 pure white, not grey, not cream, not tinted. One continuous, even white from the top edge to the bottom edge and from the left edge to the right edge. No horizon line, no band, no change of tone anywhere across the background, no darker upper or lower region, no surface or table the animal sits on.\n- The paper surface is smooth and clean: no rendered paper tooth, grain, fibre or texture. Texture lives in the strokes, not in the paper.\n- This is the drawing itself, not a picture of a drawing. No sheet of paper shown as an object: no paper edges, no page borders, no visible sheet corners, no drop shadow, no surface beneath.\n- Bare. At most one or two soft stray strokes near the fading neck, inside the margins. No stray strokes near the face. No vignette, no background shading, no smudge halo around the subject, no tonal wash on the paper. No scene, no objects, no pattern.\n- Completely replace whatever background appears in the reference photo. Do not retain any grass, pavement, floor, furniture, indoor room, sky, vehicle, foliage, studio backdrop, dark backdrop or blur from the original image, in any region of the image including the entire lower portion.\n\nFinish:\n- A gallery-quality hand-drawn charcoal portrait \u2014 quiet, precise in the face, loose and unfinished at the neck, floating on clean white paper. Black, white and grey only.\n- Sharpest focus and highest finish on the eyes and ears.\n\nEXCLUDE\nNo colour of any kind, anywhere in the image. No tan, rust, brown, orange, red, gold, cream, pink, blue or any other hue \u2014 not in the markings, not in the eyebrow spots, not in the muzzle, not in the inner ears, not in the eyes, not in the nose, not in the tongue, not in the background. Every marking is grey. Every inner ear is grey. Every tongue is grey. No sepia, brown, warm or cool tint. Pure neutral black, white and grey only. If any pixel in the image has a hue, the image is wrong.\n\nNo body. No shoulders, chest, back, belly, front legs, hind legs, paws, feet or tail \u2014 drawn, sketched, outlined, suggested or hinted. No sitting, standing or lying pose. No full-body or three-quarter-body drawing, regardless of what the reference photo shows. Nothing below the fading neck except white paper.\n\nNo ground, grass, floor, surface, table, horizon line, or tonal band anywhere in the image, and specifically none in the lower portion. No change of background tone between the top and bottom of the image.\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 is rendered as bare fur.\n\nNo photographic content beneath the strokes. No desaturated photo with a sketch filter or effect applied. No photographic fur, no individually rendered hairs, no continuous smooth tone, no airbrushed or blended shading that hides the strokes, no digital-painting smoothness. If any area of the face has no visible stroke structure, it is wrong.\n\nNo loose stroke, smudge, construction line or unfinished edge on the ears, eyes, nose, mouth or any marking. No softening of the ears. No circle, ellipse, centre line or axis line drawn across the face or skull. No frame or box of construction lines around the subject. No smudge crossing a marking boundary.\n\nNo black or dark coat lightened to grey. No pale coat darkened to make it stand out. No washed-out, pale overall drawing. No muddy, dark overall drawing.\n\nNo added smile. No added solemnity. No closing of a photographed open mouth. No shortening or removing of a visible tongue. No changing of the expression in either direction.\n\nNo enlarged, rounded, widened or glossy eyes. No second catchlight. No oversized highlight. No widening of the skull. No shortening, thickening or deepening of a fine or tapered muzzle. No broadening of a narrow head.\n\nNo glowing or over-bright whiskers. No multiplied whiskers.\n\nNo grey, cream or tinted paper. No rendered paper texture, tooth or grain. No sheet of paper shown as an object, no paper edge, no page border, no drop shadow. No vignette, no background shading, no smudge halo, no stray strokes near the face or touching any edge. No dark or busy background.\n\nNo scribbling, no frantic or energetic hatching, no gestural marks on the face.\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 3D render, no flat vector edges. Do not drop, move, merge or smooth away any marking. 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. 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Elevate your space with our framed canvas prints, featuring rich texture that adds depth for a captivating art experience:<\/p>\n