Thank you for your report!
We have received your report and it is currently under investigation by a forum moderator.
AI Art, Saturday Guardian
Welcome to the forum.
Here you can discuss all things art with like-minded artists, join regular painting challenges, ask questions, buy and sell art materials and much more.
Make sure you sign in or register to join the discussions.
Hang on Studio Wall
This is a Studio member-only feature!
Join our Studio membership and save your favourite Painters Online content, from gallery artwork to step-by-step guides, to your own online mood boards. Create your go-to place for inspiration and learning. Plus, members can also enjoy a range of exciting features including monthly art videos and a digital magazine library.
If you are already a Studio member, simply login to your account.
Not a Studio member? Why not try our free 30-day trial - no commitment, no credit card required
Message
Posted
Look at how many TV programmes there are about making things...baking, pottery, painting, make up, woodwork, sewing, embroidery, etc. I'm a railway modeller and today you can buy pretty much everything you need off the shelf but people still make their own because it's fun and you end up with something unique. That won't change, it's human nature.
Posted
I’m finding the same, Marjorie! A new member of one of my local art clubs has been posting what is quite clearly digital art, but not until someone asked how it was created did he mention that it was AI art. He said he started with a basic sketch which he uploaded to the AI engine together with his prompts - made it sound complicated and skilful, but the skill appears to be in learning to manipulate the technology!
Edited
by Jenny Harris
Posted
Look at the Pottery Throwdown on Channel Four Sylvia and how many young people are doing that and showing great ability - it's really encouraging. I really don't think there's a probelm.
I've got a copy of the Railway Modeller magazine from 1965 and in the editorial it was worrying that the hobby would be dead in five years because no young people were taking it up. They got that wrong then and it will be the same now. People like doing stuff with their hands.
Posted
Yes, people do like 'doing'stuff...and tech is not all doom and gloom. A year or so back my grandson got a mobile phone, yes he uses it to phone his friends, etc, etc. He also made animated films with it. He got a tiny cheap tripod for the phone, then downloaded a free animation app, it let him compile the film, edit it, and add a sound track...really simple intuitive stuff (for a youngster at least). But he still had to make the animation the old way. One still pic at a time, move the object being animated, take another still...and do that hundreds of times...it needs about 24 still pics for each second of animated film. An effort was required but the tech made it easy for him to have a go. I did animation in the 70s-80s. Had to buy a super 8 camera, tripod, film, editor, sound recording gear, lights...if I was still doing it, I'd just LOVE to have the modern tech. The internet is a wonderful thing, but for nasty people it can be a nasty thing...it was ever thus.
I have to say I can't totally erase my unease about AI, it will get worse or better. Perhaps I'm being an old fogey. One thing I'm sure of...people will always want to do stuff, and that includes using old-fangled art materials.
Posted
Another article in the Guardian on this, this morning. The threat from AI is only a threat if: a) you're an illustrator or cartoonist, trying to eke a living from newspapers and magazines, with as much online work as you can get, and b) if publishers are so frantically keen to cut costs that they take to undercutting by AI practitioners doing it not as a means of making a living but as a sort of paid hobby or means of self-promotion. At the same time, though - somewhere along the line a human being has to be paid for the work, and as AI is always recognizable, for better or worse, for what it is, you'd hope that professional illustrators and cartoonists - nearly all of whom are substantial artists - won't get squeezed out by machine-generated pieces.
I join in the argument on the G's comment pages, with perhaps more room than I tend to take on the subject here .... you can imagine, therefore the length of some of my contributions. It's less of a sensitive subject there than it might be here, because it can look (and frankly, did) as if one were having a go at individuals who use software to make their pictures. I say again though: that's not the issue. Hockney uses his Ipad to make original images of his own composition, and - you might not be too keen on the results: I like them - my brother is bored rigid by them - there are two things to be said about them; one is that they're instantly recognizable as digital works; and two - they're very definitely all his own work, with nothing copied or 'borrowed' from the web.
Posted
I had the privilege, along with millions of others no doubt, of viewing Hockey’s iPad images at his exhibition at the RA in 2006 (I think). A Bigger Picture, alongside his fantastic oil paintings on a scale rarely seen, and some small plein air watercolours!
Most impressive I must say, it takes talent to produce work of this standard, and he has it in bucketfuls!
There was a whole wall of them, nicely mounted and framed of course, and clearly stating how they were made, as in iPad and digital printer - no pretending that they were anything else! I’ve not seen any digital work that comes near to his…
Posted
I saw Hockney's Arrival of Spring at the RA in 2021. Many, many images he made during lock down in Normandy the previous year. As you walked through the rooms it felt like being immersed in an orchard. Fabulous. I have been a fan of his since I read Secret Knowledge, his book about old masters and the tricks and techniques of the trade. He always wants to move art forward, to stop it becoming staid. Currently reading his book Spring Cannot be Cancelled written with Martin Gayford.
Not usually keen on the idea, I've booked myself on the first 'immersive' show that has appealed...because it's Hockney, and because I have a good idea of it's likely effect. It's on at a new venue curated by Nicholas Hytner called Lighthouse near Kings Cross.