Fien De Waele Tongeren, Belgium 1H AGO

AI can make a child’s drawing look more polished, but it can also erase exactly what made it interesting. A yellow tree, a rabbit larger than a person, a horse with impossible legs, or a tiny floating object may look like mistakes to a model—but they may be the whole point. I use the child’s drawing as art direction: preserve its visual logic, then build outward. The child supplies the invention; AI helps develop the surroundings. Step-by-step: 1. I read the drawing before transforming it by making a neutral description of what is visible: placement, relative sizes, colours, expressions, unusual shapes, and small details. For example: “A large yellow tree stands on the left. Two tiny figures sit near its trunk. A blue shape fills the lower right.” 2. I avoid deciding what an unclear shape represents. “An oval object with three legs” is more faithful than “a rocket” unless the child confirms it. If possible, I ask the child what is happening, since a strange proportion or colour may have a specific story behind it. 3. I separate essentials from flexible details in two short lists. Essentials might include the yellow tree, oversized rabbit, horse’s pose, characters’ arrangement, and red object in the corner. Flexible details might include lighting, textures, materials, environmental detail, and depth. 4. I make clear that the original is the structural source, not just a mood reference. This gives the model room to work while defining the boundaries. 5. I choose a target style, such as a storybook illustration, watercolour, digital painting, comic panel, or 3D scene. 6. I explicitly ask the model to preserve unusual proportions, unexpected colours, expressions, and relationships between characters. I identify details that must remain, even if they appear anatomically impossible or visually awkward. I avoid vague instructions such as “make it better,” because they leave the model to decide what counts as improvement. 7. I use a starting prompt such as: “Use this drawing as the structural blueprint for a storybook illustration. Preserve the composition, relative sizes, poses, expressions and original colour choices. Keep the yellow tree and the rabbit larger than the person. Do not normalize unusual anatomy or remove unexplained objects. Add texture, lighting and environmental depth around the existing scene.” 8. I treat comparison as part of the workflow because specific instructions do not guarantee a faithful result. I expand the world around the invention: a blank background can become a forest, a blue patch can become a pond if that interpretation fits, and two skiing figures can gain a mountain landscape. 9. I keep the original spatial relationships: who stands beside whom, what dominates the scene, which way characters face, and where empty space matters. I give colour the same care, so a yellow tree does not quietly become green because the model expects green trees. 10. I place the source and result side by side and check whether a character disappeared, the rabbit shrank, the palette changed, or the model invented a focal point, “fixed” an unusual shape, or altered the story. I also watch for generic cuteness—big eyes, pastel colours, and perfect symmetry—which can make very different drawings converge into the same image. I ask whether the result still feels like an expansion of this exact drawing. 11. If most of the result works, I request a targeted edit, such as: “Keep this version, but restore the original hair shape.” “Make the rabbit larger again.” “Return the tree to yellow.” 12. I check the whole image after each local edit because changes can affect other areas. I keep useful versions instead of repeatedly starting over. 13. I treat handwritten text separately. I do not guess unclear wording, correct spelling, or invent labels. If the tool cannot reproduce the text faithfully, I retain the original lettering through a separate editing step. 14. I save the original photo or scan alongside the result, instructions, and useful intermediate versions. I also keep a brief note about protected details to make future transformations easier. 15. Once I have a faithful version, I explore alternatives such as a space setting, surreal painting, or cinematic scene, keeping them as branches from the original. Across several drawings, I preserve recurring colours, shapes, and characters without forcing every image into one rigid style. The child has already decided who exists, what matters, how large things are, and what belongs together. Those decisions are creative direction. A drawing does not need to become less itself to become more finished. The impossible colour may be the atmosphere, and the awkward shape may be the character. The question I return to is: “How can I help this drawing become more fully what it already is?”