Your pet,
in soft watercolour.

The wash is genuinely loose at the edges — the body, the chest, the lower face all bleed into white paper rather than terminating in a hard line. The face itself, particularly the eyes, sits a step tighter. The effect is something closer to a contemporary watercolour from a small studio than a botanical-illustration register.

Yes. The model is deliberately constrained to render the eyes with tighter detail than the rest of the painting, because that's where the likeness lives. Owners consistently tell us that the eyes are the first thing they notice in the finished portrait, even when the rest of the painting is deliberately loose.

Muted earth tones — warm umbers, soft greys, cream, with one accent drawn directly from the pet's eye colour (a green tone if their eyes are green, amber if amber, blue if blue). The palette never goes loud; this is the quietest of the six styles.

Yes, but the rendering shifts. For black or near-black pets, the wash uses layered greys and warm shadow tones rather than a flat black, which holds the watercolour register without losing the pet's depth. If you have a black labrador or a black cat and want to see it before committing, upload the photo and review the preview first; we don't charge until you've seen it.

Watercolours print particularly well on matte and uncoated paper at A2 or A3 — the paper texture reads back as part of the painting. Avoid glossy paper for this style; the wash edges lose their character on a glossy finish.