![]() ![]() ![]() Now, as well as an illustrator I’m also a branding guy and an art director who often selects and guides other illustrators for clients, so I’ll try my best to wear that hat (not my scared illustrator beret) as I give the Dall-e 2 AI “an exciting opportunity for exposure” by completing some old briefs of mine. Trying a different AI is also becoming a viable option. If the AI’s results are not right the client could either change their written inputs to re-direct the AI or ask for variations on an artwork that’s the closest to what they want, hoping that serendipity will take the work closer to the desired goal. It’s worth noting that while the AIs themselves are often built in a way that restricts them from creating obviously objectional artworks (some hot-button terms can’t be used in a prompt etc), they also can’t push back on, or redirect, bad ideas – which, let’s be honest, clients do sometimes give. The AI, in literal seconds, spits back some visual hot takes. However, for a non-human illustrator, the client takes the brief and condenses the core subject matter into short, visually descriptive sentences and feeds that to the AI. Good things take time, but the process might take two to four weeks. Within a day or three the client might get some rough artwork back, and depending on how close to the client’s needs and wants the artwork is, things might go back and forth a few times to narrow down to a final, polished piece of work that reasonably satisfies everyone involved. If the illustrator is broad-minded they might “yes, and” the client’s ideas, spin ideas in new (better?) wild card directions or carefully and collaboratively improve the brief before they even pick up their pencils. After some negotiation around budget and overuse of the term “excitement”, you’d get a contract signed and set them loose. If you’re using a human artist you’d first try and pick the right person with a good artistic alignment for the style and energy needed. ![]() Then they might gather a few smart broad thinkers, throw some ideas around internally, decide what the artwork needs to achieve, who it should appeal to, some specific content ideas and maybe an idea of art style (impressionist painting vs 1950s comic book etc). In both instances, someone at a company decides they need illustration to express their ideas. #THE STYLE COUNCIL ALBUM COVERS GENERATOR#I’m giving the Dall-e 2 AI art generator illustration briefs I’ve already completed, and then we’ll semi-objectively gauge the results vs the real-world artwork.įirst, it’s probably helpful to compare and contrast the traditional way of sourcing artwork for your beer label/gig poster/marketing campaign vs this new AI “prompt” system. In an attempt to gauge the current sophistication of these systems, and get a sense of their competitiveness versus a human counterpart I’ve run a few totally biased and unscientific tests of my own. But illustration’s life expectancy has been shaken up by the invasive disrupter that is AI art generators. Just a few years ago illustration and design were listed alongside nursing and social work as industries least likely to be impacted by AI-related job losses. Is the risk real? If so, are artists just the first creative foot soldiers to get mown down in the front line? Or are AI Art Generators just a new tool in the creative’s toolset? Now, Artificial Intelligence (AI) art programs like Dall-E 2 and Midjourney are storming my little ivory-illustrator tower. We knew they were coming after the truck drivers, check-out people and call-centre staff, but I thought as a creative I would have longer to prepare. The bots are coming and they’re after our jobs. Does an AI art generator respond as effectively to a client’s brief as a human illustrator? Tim Gibson took some of his own creative commercial work and went up against the bots. ![]()
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