Tilney, Alex and Adrian in Colour

I conducted an experiment where I put my portrait sketches through the app called Colorize, which is designed to turn black-and-white photos into colour. The aim was to see if the programme could recognise my sketches as people. Miraculously it did and above are the results. I was worried that the app would either mistake Tilney for a girl, or for a caucasian. It did neither and as a result, I made little to no changes in photoshop. Alex was given grey hair, bless him, so I coloured his hair [ . . . ]

Adrian O’Donnell

Adrian is one of Alex’s distant cousins and a member of his circle of friends. She is also a friend of Tilney, although he’s secretly scared of her. She would argue that if he only stopped clicking his pen in class, she would have a little more patience left for lunch and wouldn’t feel the need to point out his areas of weakness. For Adrian’s freckles, I use a technique where I take my blending stump, rub the tip in graphite, and dab it all over her face. The effect [ . . . ]

Alex

Alex is the protagonist in my series Friends of Foes. He shares the spotlight with Henry. He’s been bugging me to sketch a portrait of him since I first began sketching Henry. He still doesn’t understand why I didn’t sketch him first. After all, Alex is king – which ultimately puts him at the centre of the universe. I had a lot of fun sketching Alex. I tried to keep it traditional and let his eyes shine without any embellishments from me. He’s supposed to look intense, so I hope [ . . . ]

Nadya Harkness

Just finished a sketch of my oc, Henry’s aunt, Nadya. She’s a no-nonsence witch who runs her own coven. For Nadya, I decided to go more traditional with my sketch because she is stubborn and isn’t easily swayed in her beliefs. I couldn’t help but add a little of my own style, such as the overly large eyes – guess it fits her subtle non-conformist nature. I also coloured her hair and eyelashes in charcoal to portray her rebellious streak. Nadya is secretly in love with a vampire, and in [ . . . ]