{"id":1016017,"name":"Custom Pet Portrait - Color Block","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":1296793,"name":"SF-BOLD-BLOCK","description":null,"width":7904,"height":10498,"thumbnail":"users\/47856\/artworks\/6ab62c8d831d6_thumbnail.webp","is_locked":null,"template_settings":{"label":"BOLD-BLOCK","display_type":"radio","show_in_cart":true},"current_version_id":2810872,"design_format":"rgb","status":0,"schema_version":2,"data":[{"id":"template-763977","url":"users\/47856\/images\/260910_0Gkq38qt2zonEX24_large.webp","name":"SF-BOLD-BLOCK","addons":[],"layers":[{"id":"layer-191289","top":-219.2,"url":"users\/47856\/image-layers\/6aaa821e0c9c4_large.webp","left":-418.29,"name":"Bold Block","type":"photo","width":8740.58,"height":10936.42,"locked":false,"rotate":0,"effects":[{"id":"id-262839","type":"gemini:image_filter","color_sketch":"#000000","light_sketch":true,"enable_contour":true,"gemini_resolution":"4K","image_filter_prompt":"Generate a modern painted-illustration portrait of the animal or animals from the base image, built from broad shapes of colour with a hand-painted finish.\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. Every measurement below is defined so that it works identically for all of them. Never assume a typical head, a typical ear or a typical coat.\n\nTWO MEASUREMENTS USED THROUGHOUT \u2014 read these before anything else:\n- HEAD HEIGHT means the distance from the TOP OF THE SKULL to the TIP OF THE CHIN. It does not include the ears. Every animal has this measurement and it is roughly comparable across all of them.\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\nBACKGROUND \u2014 this is the rule most often broken.\nThe background of this image is ONE single flat colour: warm off-white, hex #F7F5F1, RGB 247, 245, 241.\nEvery pixel of the image that is not the animal is exactly this colour and exactly this value.\nBegin by filling the entire canvas with flat #F7F5F1, edge to edge and corner to corner, and keep that exact colour everywhere the animal is not drawn.\n- THE FOUR CORNERS are the most common place this fails. The top-left, top-right, bottom-left and bottom-right corners are all exactly #F7F5F1 \u2014 the same as the centre, the same as the sides, the same as everywhere else. No corner is white, near-white, lighter, cooler or brighter than the rest.\n- THE TOP BAND is the second most common place this fails. The whole area above the animal is exactly #F7F5F1 \u2014 it does not lighten toward the top edge, does not become white or near-white, and is not treated as a separate or empty region.\n- There is NO horizontal break, no band, no seam, no step, no line, no vignette, no gradient and no region of the background that differs from any other region.\n- The background carries no brushwork, no texture and no tonal variation of any kind. It is perfectly even everywhere.\nIf a lighter patch, a white corner or a visible edge appears anywhere in the background, the image is WRONG.\n\nCOMPOSITION \u2014 decide this before drawing anything. It controls everything.\nThe animal is anchored to the BOTTOM of the image and cropped by the bottom edge, with a deep band of #F7F5F1 background above it.\n\nTHE BOTTOM CROP \u2014 the single most important compositional rule:\n- The figure is cropped by the BOTTOM EDGE of the image. The neck, shoulders and chest continue downward and run off the bottom of the frame \u2014 they are cut by the image edge itself.\n- There is NO background below the animal. The figure does not float. Nothing closes it off.\n- The body is NEVER terminated by a line, curve, arc, dome, oval, point, V, chevron, shield or shape of any kind. It simply continues past the bottom edge and out of the picture, exactly as a photograph cropped at the chest would.\n- If you find yourself drawing an edge across the bottom of the animal, the composition is wrong. Extend the chest down until it passes through the bottom edge instead.\n\nTHE TOP BAND:\n- Above the animal there is a generous expanse of the SAME flat #F7F5F1 background that surrounds it everywhere else. It is the identical colour and the identical value. It carries no object and no detail, but it is never blank, never white, and never a separate area \u2014 it is simply the background continuing upward.\n- The space above THE HIGHEST POINT of the animal is roughly THREE QUARTERS OF THE HEAD HEIGHT. Measure the head from the top of the skull to the tip of the chin; three quarters of that distance again is empty background above the animal's highest point.\n- As a percentage: at least 25% of the image height, measured down from the top edge, is background before any part of the animal appears.\n- This band is where the pet's name will be placed afterwards, so it must be clean, uninterrupted and a single even tone.\n\nONE PORTRAIT, ONE ANIMAL.\nThere is exactly ONE image of each subject animal in the output.\n- Never draw 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.\n- Never echo, repeat, mirror, tile or overlay the reference photograph anywhere in the image.\n- Never fill an area of empty background with another version of the animal, with part of its face, or with anything at all. If a region of background looks bare, that is correct \u2014 it is meant to be empty flat #F7F5F1.\n- If the animal will not fit the composition at the required size, make it SMALLER. Never add a second copy to fill the space, and never enlarge the animal to fill it either.\n\nTHE SIDES:\n- At least 12% of the image width on each side is empty background, 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.\n- No part of the animal may run into, touch, or be cut off by the left or right edge.\n\nSIZE AND PLACEMENT:\n- Measured across its widest points, the animal spans roughly three quarters of the image width. Because the chest runs off the bottom edge, the animal can sit large and confident in the lower part of the frame while the top band stays deep.\n- The eye line sits BELOW the vertical centre of the image, roughly three-fifths of the way down.\n- If the highest point of the animal is less than 25% of the image height from the top edge, the animal was drawn too large or placed too high \u2014 move it down and scale it until the top band is right. The top band is never reduced to fit a bigger animal.\n- A broad animal, a wide-eared animal or a heavily coated animal is drawn SMALLER so that it still fits inside the side margins. Never let width push the animal into the margins.\n\nREMOVE ALL WORN ITEMS \u2014 this applies to every generation without exception.\nThe reference photograph may show the animal wearing something. NOTHING worn appears in the output.\nRemove entirely: every collar, harness, bandana, scarf, neckerchief, lead, leash, clip, buckle, chain, ring, name tag, bell, bow, ribbon, hat, cap, costume, clothing, medal and item of hardware of any kind, whatever its colour, size or position.\nThe neck and chest are rendered as BARE COAT \u2014 the animal's own fur, in its own colour and with its own markings, continuing uninterrupted from the jaw down to the bottom edge of the image. Where a collar sat in the photo, paint the fur that would be beneath it.\nDo not keep a worn item because it is colourful, because it is part of the animal's character, or because it fills the chest area. There are no exceptions.\n\nPRIORITY ORDER \u2014 if any two instructions in this prompt ever conflict, resolve them in this order:\n1. LIKENESS. The output 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 BACKGROUND rule, the COMPOSITION rules, the ONE PORTRAIT ONE ANIMAL rule, the CROP rule and the REMOVE ALL WORN ITEMS rule above.\n3. The painted finish, refinement and simplification.\nSimplification changes how a feature is drawn. It never changes the feature. Brushwork adds surface, never softness where a feature's edge must stay sharp. If a more painterly choice would make the pet less recognisable, make the plainer choice.\n\nWHAT THE OUTPUT IS\nThe output is a clean, contemporary painted illustration, created entirely from scratch. It is NOT an edited, filtered, posterized or partially modified version of the reference photograph, and it is NOT an oil painting or a watercolour \u2014 it is graphic, structured illustration with a hand-painted surface.\nThe reference photo is used only to observe the animal's true colours, markings, shape and expression. Nothing photographic appears in the output \u2014 not one pixel. No photographic fur, fur strands, paws, grass, ground, floor, foliage, scenery or sky; no photographic texture, depth of field, blur, lighting or shadow from the original photo.\n\nCROP \u2014 HEAD, NECK, SHOULDERS AND UPPER CHEST, CUT BY THE BOTTOM EDGE.\n- Include: both ears complete, the head, the neck, the shoulders and as much of the upper chest as reaches the bottom edge of the frame.\n- Do NOT include: the lower body, the back, the belly, front legs, hind legs, paws, feet or tail. No sitting, standing or lying pose. None of these are drawn, outlined, suggested or hinted at, and none are left in as photograph.\n- The reference photograph may show the animal's full body, or may be a tight close-up of the head. Either way, produce this same crop at the size set by the COMPOSITION rules. Never copy the reference photograph's own framing.\n- Everything in the reference photo that is not the head, neck, shoulders and upper chest is deleted and replaced with flat #F7F5F1. No photographic fur, paws or legs, and no dark band, strip or patch may remain anywhere, at any size, at any edge or in any corner.\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, hanging at their real 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. Render the inner ear as its own separate shape in its true colour, matching the real inner-ear colour from the photo \u2014 never warmed, deepened or made more pink for design appeal. Reproduce ear fringing, feathering, tufts and any wave or curl in a long ear as part of the ear's silhouette. Reproduce any marking or freckling on an ear as its own shape with a crisp edge, in its correct position. 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, cheek fringing \u2014 as their own shapes in their real length and colour. Reproduce facial folds and wrinkles where the animal has them, as their own shapes. Do not lengthen, shorten, narrow, widen, flatten or idealize the head to suit the style or a breed standard.\n\nHEAD ANGLE \u2014 reproduce the head angle exactly as photographed. If the animal faces the camera directly in the photo, draw it facing directly forward, square to the viewer \u2014 do not turn, rotate, tilt or angle the head into a three-quarter or side view. If the animal is photographed at a three-quarter or side angle, tilted, or looking up, keep that exact angle. The head orientation always matches the photo.\n\nMARKINGS \u2014 for each animal, reproduce every blaze, patch, mask, saddle, eyebrow spot, cheek marking, muzzle marking, chest marking, freckling, ticking, tabby striping, brindle striping, points and colour break in the same position, size, shape and orientation as photographed. Each marking is rendered as its own clean shape with a CRISP, exact edge where it meets the surrounding colour. 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 the animal has must appear, even if that means using more tones than the palette guideline in the STYLE section \u2014 markings take priority over palette restraint. A small marking is still its own shape. Chest markings that fall within the visible chest area are reproduced in their correct position. No brush stroke, blend or softening ever crosses a marking edge. The pattern of the real coat must be immediately readable in the shapes.\n\nCOAT COLOUR, LENGTH AND TEXTURE \u2014 for each animal, reproduce the actual coat colours from the photo exactly. Match the real HUE and the real LIGHTNESS. If the coat is light red-gold, it stays light red-gold. If it is cream, it stays cream. If it is pale, it stays pale. If it is grey, it stays grey. If it is black, it stays black.\nNever darken, deepen, enrich, saturate or shift the coat toward brown, chocolate, mahogany, russet or black. Never turn a light-coated animal into a dark-coated one. Never turn a red, tan, gold or cream animal into a brown one. Never replace one two-colour combination with a different two-colour combination.\nColours are simplified into clean, even averages of the real colour, then given the brushwork described in the STYLE section. That is the only refinement permitted. Never shift hue, never shift lightness, never recolour, never make unnatural, never neon. The colours are sampled from the animal's real coat, not chosen for design appeal or visual richness.\nIf 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.\nReproduce the real coat length and texture so it reads from the silhouette and the shape structure: a short smooth coat gives a tight, clean silhouette; a long or double coat gives a fuller silhouette with a ruff, ear feathering and cheek fringing; a wavy or curly coat gives a softly undulating outline; a wiry coat gives a broken, irregular outline. The coat type must be as recognisable as the coat colour.\n\nEYES \u2014 for each animal, reproduce the photographed eye colour, shape, size, spacing and set exactly. Keep the eyes the true size and true narrowness of the real eyes \u2014 never enlarged, rounded, widened or sweetened. For cats, reproduce the true pupil shape. Build each eye from clean shapes with crisp edges: the eye opening, the iris in the animal's true eye colour, a solid dark pupil, one small sharp highlight, and the eye rim in its true pigment (dark or pink). The eye carries no brushwork and no softening \u2014 it is the sharpest, most precisely painted area of the whole portrait. The iris stays within its real hue family \u2014 a brown eye stays brown, never amber, orange or gold; 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 in the photo. 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 and must read as this specific animal's eyes.\n\nNOSE AND LIPS \u2014 for each animal, reproduce the photographed nose colour, shape and size as a clean shape with a crisp edge, including any pink, spotted or partly-depigmented areas as their own smaller shapes. Reproduce the lip line in its true pigment colour \u2014 black, brown, liver or pink \u2014 as photographed.\n\nWHISKERS \u2014 for each animal, reproduce the whiskers as photographed: their real length, number and direction, on the cheeks and above the eyes, plus the whisker spots on the muzzle where they are visible. Render them as fine, clean, tapering lines in their true colour \u2014 pale whiskers as light lines against a dark coat, dark whiskers as fine dark lines against a pale coat \u2014 always in a value that keeps them clearly visible against the shape behind them. Whiskers are required on EVERY animal: do not omit them for cleanliness or simplicity. Keep them fine and restrained \u2014 do not thicken, multiply, lengthen or 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, render it as its own light shape in exactly that place \u2014 never rejuvenate a senior animal. 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 design choice, and simplification 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 the lip line 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 visible. The tongue is its own clean shape in its true pink, at exactly the size and position shown and extending exactly as far as in the photo \u2014 never shortened, tucked, shrunk, enlarged or omitted. If only the tip of the tongue shows, only the tip shows. The lower jaw is drawn open to the same degree as the photo. If teeth are visible, render them as small clean shapes in their place. If the inside of the mouth is visible, it is a darker tone. Never close a photographed open mouth to make the design cleaner.\n- Reproduce the real expression exactly. A panting, alert, relaxed, sleepy, grumpy or neutral expression stays exactly that. Do not make an animal look happier, sweeter, more alert or more appealing than the photo \u2014 and do not make a genuinely happy panting animal look calmer or more composed than the photo either.\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 shapes before moving to the next.\n- Arrange them side by side and close together, shoulders overlapping slightly, with heads at slightly different heights so every face is clearly visible and no animal is hidden behind another.\n- EVERY animal is cropped by the same bottom edge \u2014 all of them run off the bottom of the frame together. None is closed off with a shape of its own.\n- Keep a clean, crisp edge between adjacent animals where they touch or overlap, so each animal's shape stays clearly separate and readable. No brushwork blends one animal into another. Never let two animals merge into one shape or share a colour region.\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 group obeys the COMPOSITION rules. A group is drawn SMALLER than a single animal would be, not wider \u2014 scale the whole group down until the highest point of the tallest animal sits below the 25% top band and both outermost animals sit inside the 12% side margins.\n- Every animal is rendered at the same level of finish, in the same painted style. None is blurred, cropped, turned away, or treated as a secondary subject.\n\nSTYLE \u2014 MODERN PAINTED ILLUSTRATION, FLAT-PLANE STRUCTURE\nA clean, contemporary, professionally crafted painted portrait \u2014 the kind of refined illustration used in high-end modern wall art. Graphic and structured, but visibly made by hand. Precise, considered and design-led.\n\nHow the illustration is built:\n- The animal is constructed from broad shapes of colour, each one describing a surface of the animal, layered to build the form. This is painted illustration with a flat, graphic structure \u2014 not a hard-edged vector cut-out, and not a soft airbrushed render.\n- Every shape follows the animal's real anatomy \u2014 the planes of the brow, the cheekbone, the bridge of the muzzle, the jaw, the ear leather, the neck, the shoulder. Shape boundaries are never the banded contour lines of a posterized photograph, never small scattered fragments, never noise. Prefer fewer, larger, more confident shapes over many small ones.\n- BRUSHWORK INSIDE THE SHAPES. Each colour area is not a dead flat fill. It carries a subtle, hand-painted quality: fine directional brush strokes laid within the shape, following the direction the fur actually grows in that area \u2014 down the muzzle, out across the cheek, down the length of a hanging ear, along the neck, around the skull. The strokes vary the tone only very slightly, a fraction lighter or darker than the base colour, so the surface feels worked by hand rather than filled by a tool. At a glance the area still reads as one clean colour; up close it shows the strokes.\n- The variation stays SUBTLE. It is texture, not shading. It never builds into a gradient, never models the form on its own, never becomes visible individual fur strands, and never makes an area look blotchy, streaky, noisy or dirty. The form is still described by placing one shape beside another.\n- EDGES \u2014 two kinds, and the difference matters:\n * FORM edges, where one tone of the same coat colour meets another to describe light and shadow across the skull, muzzle, ear, neck or shoulder: these may be soft. A short, gentle transition of a few brush strokes where the two areas meet is correct, and it is what gives the piece its hand-painted feel.\n * MARKING edges \u2014 where a blaze, patch, mask, spot, freckle or colour break meets the coat around it \u2014 and the OUTER SILHOUETTE of the animal, and the eyes, nose, lips and tongue: these stay CRISP, clean and exact, always. No brush stroke crosses a marking boundary. No marking edge is softened, feathered, blurred or blended. The marking's shape is the likeness and it is never touched.\n- Use a limited, disciplined palette per animal: roughly three to five tones of its real coat colour \u2014 a base tone, one or two shadow tones, one or two highlight tones \u2014 plus one tone for each marking colour the animal actually has, plus the true colours of the nose, inner ear, eyes, lips and mouth. All coat tones are variations of the animal's REAL colour, never a different colour family. Each tone is clearly distinct in value from the tone beside it \u2014 enough contrast that every shape reads separately at a distance. Restraint is what makes it look professionally made.\n- For WHITE, CREAM or VERY PALE coats: the base tone is the lightest tone and is the animal's real colour. Form is carried by two or three slightly deeper shadow tones and by the silhouette outline. Because the background is also pale, the outline and the shadow tones must be strong enough that the animal reads as a solid, clearly bounded shape from across a room \u2014 never faint, washed-out or ghostly, and never dissolving into the background. Do not darken the base to make it stand out; strengthen the outline and the shadow tones instead.\n- For BLACK or VERY DARK coats: the base tone is the animal's real black. Form is carried by two or three slightly lighter tones \u2014 deep charcoal and dark grey carrying the coat's real undertone \u2014 placed as highlights on the brow, muzzle bridge, cheeks and ear edges. The face structure must read clearly. Never let the head become a single black silhouette with no internal shapes. Do not lighten the base.\n- The shapes are simplified and elegant, but the animal's real structure, proportions, markings and expression are always accurate. This is refined simplification, never distortion.\n- Fur is suggested at the outer silhouette edge as a gently shaped contour \u2014 smooth where the coat is short, softly waved or gently pointed where it is long, feathered or curly \u2014 and inside the shapes only as the directional brushwork described above. Fur is never drawn as individual rendered strands, never as photographic texture, never as spikes or barbs.\n- A single fine outline defines the outer silhouette of the head, ears, neck and shoulders. It is thin, in a tone two steps darker than the adjacent coat colour \u2014 never black unless the coat is black, never thick, never a cartoon outline. It may vary very slightly in weight, as a hand-drawn line does. The outline does NOT run along the bottom edge of the image: the figure is cut there, not contoured.\n\nLighting:\n- A single soft, implied light source from the upper front, described through the placement of lighter and darker shapes on the face, muzzle, brow, ears, neck and shoulders. There is no rendered shading, no soft glow, no blur, no ambient occlusion \u2014 form comes from the shapes, with the brushwork sitting inside them as surface only. Shadow tones are slightly darker versions of the animal's real coat colour, never brown or black added on top of it.\n- The animal casts NO shadow onto the background. There is no drop shadow, no contact shadow, no soft grey band and no halo anywhere behind or beneath the figure. The background stays flat #F7F5F1 right up to the animal's outline.\n\nFinish:\n- A polished, gallery-quality modern illustration \u2014 clean, calm, contemporary and visibly hand-made, suited to a designed interior.\n- Confident shapes, subtle painted surface, perfect clarity. Sharpest and most precise definition on the eyes.\n\nFINAL CHECK before the image is complete \u2014 run all five:\n1. ONE ANIMAL. Is there exactly one image of each subject animal, with no second, faded, ghosted or partial copy anywhere? If there is a duplicate, the image is wrong.\n2. THE CORNERS. Look at each of the four corners in turn. Is each one exactly #F7F5F1, and exactly the same as the centre of the background? If any corner is white, near-white or lighter, the image is wrong.\n3. THE BACKGROUND. Is every part of it \u2014 the top band, both sides, all four corners \u2014 the same colour and the same value, with no horizontal line, seam, band, step or lighter patch anywhere?\n4. THE NECK AND CHEST. Is there any collar, bandana, harness, tag, chain or other worn item visible? If so, the image is wrong \u2014 that area must be bare fur.\n5. THE MARKINGS. Is every marking edge still crisp and exact, with no brush stroke crossing it?\n\nEXCLUDE\nNo second copy of the animal. No duplicated, repeated, mirrored, tiled, echoed, ghosted, faded, blurred or partial image of the same animal anywhere in the frame. No reference photograph reproduced behind or above the portrait. No background area filled with a face, a fragment of a face, or any other content.\n\nNo white, near-white or lighter corner. No corner differing from the rest of the background. No horizontal seam, band, step, line or tone break anywhere in the background. No white or near-white patch at the top. No background area lighter, cooler, warmer or different in any way from #F7F5F1. No brushwork, texture, gradient or vignette in the background. The background is one flat colour edge to edge and corner to corner.\n\nNo collar, harness, bandana, scarf, neckerchief, lead, leash, clip, buckle, chain, ring, name tag, bell, bow, ribbon or hardware of any kind anywhere in the image, in any colour. No clothing, costume, hat or accessory. The neck and chest are bare coat.\n\nNo line, edge, curve, arc, dome, oval, circle, point, V, chevron, shield or shape of any kind closing off the bottom of the animal. No floating bust. No head on a ball or balloon. No tapering neck. No background below the figure. The chest runs off the bottom edge of the image.\n\nNo animal drawn too high in the frame. No part of the animal within 25% of the image height of the top edge. No shallow, cramped or missing top band. No part of the animal touching the left or right edge. No copying of the reference photograph's own framing or crop.\n\nNo ear shortened, lengthened, straightened, raised, lowered or changed in carriage. No hanging ear drawn erect. No erect ear drawn hanging. No breed-standard ear substituted for the real one.\n\nNo dead-flat, lifeless colour fills with no brushwork inside them. No sticker, decal or cut-vinyl look.\n\nNo brush stroke crossing a marking boundary. No softened, feathered, blurred or blended marking edge. No softened outer silhouette. No softened or brushed eye, nose, lip line or tongue edge. No blotchy, streaky, noisy, grainy or dirty surface. No airbrushing, no glow, no ambient shadow, no gradient that models the form on its own. No visible individual fur strands, no rendered fur, no photographic fur texture.\n\nNo darkening or deepening of the coat. No shifting a red, tan, gold, cream or pale coat toward brown, chocolate, mahogany, russet or black. The coat's lightness and hue must match the photograph exactly. No enriching or saturating the coat for visual appeal. No pale animal left so faint it dissolves into the background. No eye colour shifted outside its real hue family. No invented blue or pale eye.\n\nNo lower body, back, belly, legs, paws, feet or tail anywhere in the image, drawn or photographic. No sitting, standing or lying pose. No photographic fur, no photographic paws, no dark band, strip or patch at any edge or in any corner. No horizon line, no floor, no surface.\n\nNo drop shadow, contact shadow, cast shadow, grey band or halo behind or beneath the animal.\n\nNo omitted whiskers. Every animal has its whiskers drawn. No thick, heavy, oversized or multiplied whiskers.\n\nNo photorealism, no 3D render, no depth of field, no blur. No oil-painting or watercolour look. No thick impasto, no visible canvas weave, no paper texture, no craquelure. No posterized-photograph look, no luminance banding, no fragmented shapes.\n\nNo cartoon, comic, mascot, sticker, clip-art or animated-film look. No thick black outlines. No enlarged, rounded or widened eyes. No oversized head, no shrunken muzzle, no caricature proportions, no cute stylisation of any feature.\n\nNo added smile. No closing of a photographed open mouth. No shortening, tucking, enlarging or removing a photographed tongue. No changing the expression in either direction.\n\nNo low-poly, faceted, triangulated, geometric-polygon or crystalline look. No visible polygon edges. No pixel or 8-bit style. No halftone dots.\n\nNo turning or rotating of the head. No three-quarter or side view unless the animal is photographed that way.\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 neon, garish or arbitrary colours. 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 animal; the animal is 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-966540","top":1676.62,"left":3952,"name":"Text layer","text":null,"type":"text","align":"center","color":"#2B2E2F","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":"#F7F5F1","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-191289","layer-966540"],"charge_enabled":false}],"global_options":[],"global_option_ids":[]}],"campaign_products":[{"id":1829807,"campaign_id":1016017,"product_id":354824,"created_at":"2026-09-10T16:23:06.000000Z","updated_at":"2026-09-10T16:23:06.000000Z","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