{"id":1016028,"name":"Custom Pet Portrait - Pop Art","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":1296803,"name":"SF-BOLD-POP","description":null,"width":7904,"height":10498,"thumbnail":"users\/47856\/artworks\/6ab62c76b80b5_thumbnail.webp","is_locked":null,"template_settings":{"label":"BOLD-POP","display_type":"radio","show_in_cart":true},"current_version_id":2797387,"design_format":"rgb","status":0,"schema_version":2,"data":[{"id":"template-278340","url":"users\/47856\/images\/260910_jrxArVEpOfP4JODl_large.webp","name":"SF-BOLD-POP","addons":[],"layers":[{"id":"layer-477251","top":0,"url":"users\/47856\/image-layers\/6aa2f41084f51_large.webp","left":-263.77,"name":"Bold Pop","type":"photo","width":8431.54,"height":10549.73,"locked":false,"rotate":0,"effects":[{"id":"id-206109","type":"background_remover","color_sketch":"#000000","light_sketch":true,"enable_contour":true,"color_sketch_image_filter":"#000000"},{"id":"id-678872","type":"gemini:image_filter","color_sketch":"#000000","light_sketch":true,"enable_contour":true,"gemini_resolution":"4K","image_filter_prompt":"Generate a bold contemporary Pop Art portrait of the animal or animals from the base image.\n\nFRAMING \u2014 decide this before anything else. It controls the whole composition.\nThis is a WIDE view of a SMALL subject, not a close-up. Imagine the camera pulled well back: the animal sits small in the middle of a large painted field, with a lot of background all around it.\n\nUse the animal's own ear as the ruler:\n- The empty background ABOVE the ear tips is AS TALL AS ONE WHOLE EAR. Picture a second invisible copy of the ear stacked on top of the real one \u2014 that entire height is background. The real ear tip begins only below it.\n- The empty background to the LEFT of the animal is AS WIDE AS THE ANIMAL'S HEAD. The same on the RIGHT.\n- The animal's head is roughly one third of the image width.\n\nAs percentages of the image, the same rule: at least 25% of the image height is background above the tallest ear tip, and at least 20% of the image width is background on the left and on the right.\n\nThe animal is deliberately SMALL in the frame. If the head looks large, close, filling or impressive, it is WRONG \u2014 scale it down and paint more background. Better far too small than touching an edge. No ear may ever be cut off, cropped, or touch the top edge.\n\nPRIORITY ORDER \u2014 if any two instructions in this prompt ever conflict, resolve them in this order:\n1. LIKENESS. The portrait must be recognisably THIS individual animal \u2014 its exact ears, head shape, markings, coat colour, coat length, eyes, nose, mouth state, age and expression as photographed.\n2. The FRAMING rule above, the CROP rule, and the colour architecture below.\n3. Boldness, saturation and graphic simplification.\nSimplification changes HOW a feature is drawn. It never changes the feature. Stylised colour is a lighting effect laid over the real animal, never a replacement for the animal's own colour. If a bold choice would make the pet less recognisable, make the less bold choice.\n\nWHAT THE OUTPUT IS\nA pop-art painting built from scratch, observed from the reference photo. It is NOT the photograph with a posterise, cutout, threshold or colour filter applied. No photographic texture, fur detail, gradient, depth of field, lighting or background survives \u2014 every area is a deliberately placed flat plane of colour.\n\nCROP \u2014 HEAD AND UPPER CHEST ONLY, SEEN FROM A DISTANCE.\n- Include: both ears complete, the head, the neck, and the upper chest and shoulder line \u2014 all of it small in the frame, per the FRAMING rule.\n- Do NOT include: lower body, belly, front legs, hind legs, paws, feet, tail, or any sitting, standing or lying pose. None of these are drawn, outlined, suggested or hinted at.\n- The reference photo may show the animal's full body with legs, paws and a ground beneath it. Ignore everything below the upper chest and paint a small bust portrait regardless of how much of the animal the photo shows.\n- \"Head and upper chest\" describes WHAT is included, never how large it is drawn. It is not a close-up, not a zoom, not a tight crop.\n\n[OPTIONAL \u2014 OWNER-STATED TRAITS. Delete this block if the trait field is not wired into this prompt.]\nThe owner has described this animal's distinctive features as follows. Treat each as a confirmed fact and reproduce it exactly:\n{trait_block}\n[END OPTIONAL BLOCK]\n\nFIRST, DETERMINE THE SUBJECT COUNT\nLook at the reference photo and count how many pets are the intended subject.\n- If there is ONE pet: create a single-subject portrait of that animal, following all instructions below.\n- If there are TWO OR MORE pets clearly and deliberately present: create a group portrait including every one of them, following all instructions below including the MULTIPLE ANIMALS section.\n- Ignore any animal that is incidental, background, blurred, partially out of frame, or clearly not the subject. Do not invent or add an animal that is not in the photo.\n\nThen study the reference photo closely and lock these features exactly as they appear in THIS photo, FOR EACH ANIMAL INDIVIDUALLY. Observe and reproduce the real values \u2014 never assume typical values for the breed or species. Where a feature is uncommon for the breed, reproduce what the photo shows and never revert to the breed's more common or expected version.\n\nCOLOUR ARCHITECTURE \u2014 how this style works. Read this before painting anything.\nThe animal is painted in its own real colours. Unnatural pop colour is added on top as light and shadow, not as the animal's colour.\n- Build each animal in three layers, in this order:\n 1. TRUE COLOUR BASE. Lay in every area of the coat in its real colour from the photo, as flat planes. Every marking is its own flat plane in its own real colour, with a hard, exact edge in its exact photographed position and shape. This layer is completed before any stylised colour is added.\n 2. STYLISED SHADOW AND RIM PLANES. Where light and shadow actually fall on the animal in the photo, replace the shadow areas with flat planes of unnatural saturated hue \u2014 cyan, magenta, violet, teal, orange, yellow-green \u2014 and add one or two rim-light planes along the top of the skull, the ear edges and the jaw. These sit exactly where the real shadow and real rim light are. They describe form; they never describe colour.\n 3. ACCENTS. A few small dashes of raw pure colour along the jaw, brow and chest edge. Never on the face.\n- PROPORTION: the animal's true coat colours occupy the MAJORITY of its surface \u2014 all lit areas and all mid-tones. Stylised hues are confined to the shadow planes and the thin rim highlights, and never cover more than about one third of the animal. At a glance, across the room, the animal reads as its real colour.\n- A BLACK area of coat \u2014 a black saddle, a black mask, a black ear, a black muzzle \u2014 stays BLACK. It is not a shadow. It is the animal's real colour and it is painted black, in flat near-black planes. Never replace a black coat area with teal, blue, purple, green or any saturated hue. The same applies to a black-and-tan or black-and-rust dog: the black parts read black, the tan parts read tan, and the stylised hues appear only in the shadows falling across them.\n- A stylised plane never crosses a marking boundary. Where a shadow plane meets a marking edge, it splits there and continues on the other side as a different value, so the marking's shape stays exactly readable. The marking edge always wins.\n- Every plane has a hard, clean edge. No soft blending, no airbrushing, no gradient anywhere on the animal.\n- Use few planes, not many: roughly three to five value steps per coat area. Restraint reads as designed; many small planes read as a posterised photograph.\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 in the silhouette, and the visible inner-ear surface as its own plane in its real colour. Both ears are drawn complete, from base to tip, with the whole tip visible and clear of the top edge. Never straighten, raise, lower, crop, round, point, prick or symmetrize the ears. Never substitute the ear shape typical for the breed or species.\n\nHEAD AND FACIAL STRUCTURE \u2014 for each animal, reproduce the exact skull width and shape, muzzle length and thickness, stop depth, jawline, cheek and whisker-pad shape, and overall head proportions from the photo. A long, fine, tapered muzzle stays long and tapered; a short, broad muzzle stays short and broad. For cats, reproduce the exact face shape as photographed \u2014 wedge, round, or flat \u2014 and the true muzzle length. Reproduce any facial furnishings \u2014 beard, moustache, eyebrows, brow tufts \u2014 in the silhouette and in their real colour. Do not lengthen, shorten, narrow, widen, thicken, 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. Each is its own flat plane in its own real colour with a hard, exact edge. 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. A small marking is still its own plane \u2014 do not drop it for simplicity. No stylised plane, splatter, drip or accent may cover, cross, absorb or move a marking.\n\nCOAT COLOUR AND LENGTH \u2014 for each animal, reproduce the actual base coat colour, secondary colours and pattern from the photo as the true-colour base layer. If the animal is tricolour, bicolour, brindle, merle, or any pattern less common for its breed, reproduce that exact pattern \u2014 never simplify it to the breed's most typical colouring. A black animal reads black, a red animal reads red, a white animal reads white, a grey animal reads grey.\n- Reproduce the real coat length in the silhouette and in the shape of the planes: a short smooth coat gives a tight silhouette and clean simple planes; a long or double coat gives a fuller silhouette with a ruff, ear feathering and cheek fringing, and planes with softly irregular edges that follow the fur direction; a curly or wiry coat gives a broken, irregular silhouette. Edges stay hard \u2014 irregular in shape, never blurred.\n- BLACK OR VERY DARK coats and black coat areas: the black stays black. Do not lighten it to grey, and do not recolour it to blue, teal, purple or green to make it \"work\" with the palette. Build it from a small number of near-black planes \u2014 true black, very dark neutral, very dark cool \u2014 so the face structure reads clearly, plus one or two saturated rim-light planes along the skull, ear edges and jaw only. The head must never become a flat black silhouette with no features, and it must never become a coloured head.\n- WHITE, CREAM OR VERY PALE coats: the coat stays white or pale. Build form from a pale base plane plus two or three cool grey or pale stylised shadow planes on the shadow side of the skull, under the ears and beneath the jaw. Never darken or tint the whole animal to make it stand out \u2014 separate it from the background instead, using the contrast rule below.\n\nEYES \u2014 for each animal, reproduce the photographed eye shape, size, spacing and set exactly. Keep the eyes their true size and true narrowness \u2014 never enlarged, rounded, widened or sweetened. For cats, reproduce the true pupil shape. Build each eye from clean flat shapes: the eye opening, the iris in the animal's REAL eye colour, a solid dark pupil, and one small sharp catchlight. The iris may be rendered cleanly and brightly, but stays within its real hue family \u2014 a brown eye stays brown, never amber, orange, gold or green; a blue eye stays blue. If an animal has two different-coloured eyes, keep both colours distinct \u2014 never make them match. If an eye is partly closed, cloudy, or absent, reproduce it as photographed. The eyes must read as this specific animal's eyes.\n\nNOSE \u2014 for each animal, reproduce the photographed nose shape and size as a bold flat graphic shape in its REAL colour \u2014 a black nose is black, a liver nose is liver, a pink nose is pink. It may be deepened or lightened for contrast against the muzzle, but its hue never changes. Keep any pink, spotted, or partly-depigmented areas as separate flat shapes in their correct places.\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 bold, confident single strokes in their real colour \u2014 pale whiskers as white or near-white lines, dark whiskers as dark lines \u2014 chosen so they stay clearly visible against the plane behind them. Never an invented accent hue. Do not omit them, do not multiply them, do not make them uniform or symmetrical. Whisker tips are part of the animal and stay well inside the side background bands.\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 its own distinct light plane 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 boldness never changes it.\n- If the mouth is closed, keep it closed with no tongue showing. 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.\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 its own flat plane in its real pink with a hard edge. The lower jaw is open to the same degree as the photo. If teeth are visible, render them as small clean flat shapes. Never close a photographed open mouth to make the composition cleaner.\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 energetic, happier, more alert or more appealing than the photo.\n\nRender exactly what is shown in the reference photo. Do not idealize, beautify, generalize, or substitute any feature with a breed-typical or \"expected\" version. Each animal must be recognizably THAT individual to its owner, 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 floppy, keep them different. If one is dark and another light, keep them different. If one has an open mouth and another a closed mouth, keep them different. If one is older with a grey muzzle, keep only that one grey. The animals must not converge toward a shared appearance and must not be turned into look-alikes unless they genuinely are in the photo.\n- Each animal keeps its own true colour base. Never give one animal another's coat colour, and never apply the same stylised shadow hue to both \u2014 vary the stylised hues so the two animals stay visually separate.\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 bold, confident dark outline between adjacent animals where they touch or overlap, so each animal's shape stays clearly separate and readable. Never let two animals merge into one silhouette or share a colour plane.\n- Keep the animals at their true relative scale and at the same distance from the viewer \u2014 do not push one further back or shrink it to fit the composition. If one is genuinely larger, keep it larger; if they are close in size, keep them close in size.\n- The whole group together obeys the FRAMING rule. A group of two is painted SMALLER than a single animal would be, not wider. Scale the whole group down until the background above the tallest ear is still one full ear tall, and a full head-width of background remains on the left and on the right.\n- Every animal is equally boldly rendered, equally finished, and equally lit. None is blurred, cropped, turned away, or treated as a secondary or background subject.\n\nCOMPOSITION AND FRAMING\nVertical portrait, 3:4 aspect ratio, with the subject or group centered horizontally and sized and placed according to the FRAMING rule at the top of this prompt.\n\nIf ONE animal: a small head-and-upper-chest bust portrait, centered.\nIf TWO OR MORE animals: arrange them together as a single small 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\n- The eye line sits slightly ABOVE the vertical centre of the image.\n- The lowest point of the chest sits clear of the bottom edge and both bottom corners, with background below it.\n- Splatter, droplets and drips are background elements and may occupy the background bands, but no part of any ANIMAL may enter them.\n- The background is fully visible as a continuous, generous border framing the subject on every side.\n\nBefore finishing, check the four edges. If any ear tip is cut off, touching, or close to the top edge, the animal was painted too large \u2014 scale it down and paint it again, smaller.\n\nSTYLE \u2014 BOLD GRAPHIC POP ART\nBold contemporary pop-art painting with poster-style simplification and expressive wet-paint splatter. High-saturation, high-contrast, graphic, gallery-print quality.\n\nSubject rendering:\n- Built exactly as set out in COLOUR ARCHITECTURE above: true colour base, stylised shadow and rim planes on top, a few accents. The animal reads as its real self at a glance.\n- Hard-edged flat planes throughout, sharp value steps, no smooth photographic gradients, no airbrush blending anywhere on the animal.\n- Confident dark outlines around head, ears, muzzle and chest, with variable line weight. The outline follows the true silhouette, including coat length.\n- Small dashes of raw pure colour as accent strokes along the jaw, brow line and chest edge only \u2014 never on the muzzle, never near the eyes or nose, never where they could be mistaken for a marking.\n\nBackground:\n- Abstract collage of large flat, irregular colour blocks in a high-energy palette: warm orange, golden yellow, crimson, magenta, sky blue, teal, cream. Few large blocks, not many small ones.\n- The background fills the entire image, including the generous bands above and beside the animal. Those bands are active, interesting background \u2014 colour blocks, splatter and drips \u2014 never blank or dead. There is plenty of room for them because the animal is small.\n- CONTRAST RULE: the block or blocks directly behind the animal must differ strongly in VALUE from the animal's coat \u2014 a dark animal sits against light blocks, a pale animal against deep saturated blocks. Never place a coat colour against a background block of the same colour family or the same lightness. The silhouette must be instantly readable.\n- Layered over the blocks: paint splatters, flicked droplets and vertical drip runs, as if thrown wet paint has run down the surface. Droplets are visible and deliberate in size \u2014 no fine mist, no dust-fine speckle.\n- CONTAINMENT: splatter and drips stay in the background and may just overlap the animal's outer silhouette edge at the shoulders and the lower chest only. No splatter, droplet or drip anywhere on the head \u2014 not on the ears, forehead, cheeks, muzzle, eyes or nose \u2014 and never on or across a marking anywhere on the body.\n- No gradients, no photographic texture, no soft blur anywhere.\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- Clean flat digital-painting finish, sharp edges throughout, poster-like and graphic, gallery-print quality.\n\nEXCLUDE\nNo close-up. No zoomed-in, tight or cropped composition. No head filling the frame. No large or looming subject. No ear cut off, clipped, touching or nearly touching the top edge. No part of any animal in the background band above the ears or in the bands at the left and right. No composition where the background looks cramped.\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 posterise, cutout, threshold or colour filter applied over the photo. No photographic fur, texture, blur or depth of field. No gradients or soft blending anywhere on the animal.\n\nNo replacing the animal's own coat colour with pop colour. No black coat, black saddle, black mask, black ear or black muzzle turned teal, blue, purple, green or grey. No white coat darkened or tinted. No coat hue shifted for palette harmony. No stylised plane covering more than the shadow areas.\n\nNo stylised plane, splatter, droplet, drip or accent dash covering, crossing, absorbing or moving a marking. No splatter or droplet anywhere on the head. No accent dash on the face. No mark that could be mistaken for a marking the animal does not have.\n\nNo invented colours on features: no accent-coloured whiskers, no recoloured nose, no eye colour shifted outside its real hue family. No enlarged, rounded or widened eyes.\n\nNo added smile. No closing of a photographed open mouth. No shortening or removing of a visible tongue. No changing the expression in either direction.\n\nNo body below the upper chest. No lower body, belly, legs, paws, feet or tail. No sitting, standing or lying pose, regardless of what the reference photo shows.\n\nNo fine mist, dust-fine speckle or hair-thin drips. No many-small-plane posterisation \u2014 few, clean, deliberate planes only.\n\nNo halftone dots, no Ben-Day dots, no comic-book screentone, no multi-panel grid \u2014 this is a single unified image. No photorealism, no 3D render, no soft focus. No 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. 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. 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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