The seashore in Belgium and the north of France can be wild! The light is fantastic, and so is the wind 🙂 Here are a few pictures I took in September 2022 without any post-processing. I’ll be posting part II soon!
Kiyuji Haruzan: Unusual Winds
(Made with Stable Diffusion)
Text by ChatGPT.
Images made with Stable Diffusion.
Welcome to this exposition that showcases a fascinating amalgamation of abstract fashion, human elements, and vintage aesthetics that resonate with a certain je ne sais quoi!
The exhibition features silhouettes of elongated, androgynous bodies that exude an enigmatic quality. The human form is intermingled with non-representational forms like bubble sheets and pointed papers, leading to a profound visual experience that transcends beyond conventional fashion imagery.
The dream-like and ethereal quality of the pieces invites the viewer to suspend their preconceived notions and enter a world of artistic expression that is uniquely unconventional. Some of the artworks are enhanced with chromatic palettes, adding an air of vivacity to the display, while others opt for monochromatic hues to evoke a vintage essence.
The exhibition presents a rare opportunity to explore the boundaries of fashion, as well as to immerse oneself in the creative prowess of the artist. The abstract fashion showcased offers a refreshing departure from traditional fashion norms, demonstrating a fusion of innovation and imagination.
This exposition is a treat for discerning art aficionados and fashion cognoscenti, offering an unmissable opportunity to delve into the intricate nuances of abstract fashion and vintage aesthetics. The sophisticated and avant-garde vibe of the display is sure to leave you entranced and longing for more.
“Honor Your Mistakes as a Hidden Intention.”
Introduction
“Olympia” is a painting by Édouard Manet, created in 1863, and “The Birth of Venus” is a painting by Alexandre Cabanel, created in 1863 as well.
While both paintings depict a female figure in a reclining position, they differ significantly in style and intent. Manet’s “Olympia” was a departure from traditional painting, and its bold and controversial style caused a stir when it was first exhibited. The painting features a nude woman, Olympia, staring directly at the viewer, with a black servant bringing her flowers in the background. Manet’s use of flat, bright colors, bold brushstrokes, and a highly contrasted lighting scheme challenged the traditional notions of beauty and realism in painting, and he sought to create a more modern, contemporary art form.
On the other hand, Cabanel’s “The Birth of Venus” adheres to a more traditional style, drawing on classical art and mythology. The painting shows the goddess Venus, who has just emerged from the sea, standing on a shell, and surrounded by cherubs. Cabanel’s use of soft, muted colors and smooth, polished brushstrokes was more in line with the academic art of the time, which emphasized technical skill and idealized beauty. Cabanel’s painting sought to capture the timeless and idealized beauty of the female form, as well as to pay homage to the classical art of ancient Greece and Rome.
Overall, while both paintings depict a female figure, they represent two different approaches to art-making in the 19th century. Manet sought to challenge traditional notions of beauty and realism, while Cabanel sought to create a timeless and idealized image of the female form.
1
The tension between precision and freedom is a persistent theme in various forms of art, from classical music to graphic design.
Overall, the tension between precision and freedom is a fundamental aspect of the artistic process, and the choice of which approach to take can have a significant impact on the final result. Some artists may prefer the crisp and polished feel of exactitude, while others may embrace the beauty of imperfection and the freedom that comes with experimentation.
2
Art is a paradox. On the one hand, it seeks to capture reality, to depict the world with fidelity and precision. On the other hand, it aspires to transcend reality, express the artist’s inner vision, and explore new possibilities of form and meaning. This tension between representation and invention has shaped the history of art, from the naturalism of the Renaissance to the abstraction of the avant-garde.
Some artists, however, have sought to challenge this tension by embracing imperfection and experimentation. They have rejected the conventional standards of beauty and skill and instead have explored the unpredictable and the spontaneous. The writer and semiotician Umberto Eco has argued that the flaws and inconsistencies of a work of art can reveal its deeper meanings and intentions.
3
Umberto Eco and Brian Eno are two prominent figures in their respective fields of literature and music. Yet, both share a deep interest in the role of imperfection and experimentation in the creative process.
In the world of painting, this perspective is evident in the work of artists like Cy Twombly and Jackson Pollock, who sought to capture the essence of the creative process itself, rather than creating perfect, finished works of art. Twombly’s scribbled lines and Pollock’s splatters represent a rejection of the traditional view of painting as a means of representation, and instead, focus on the physical act of creation.
In music, we can see this approach in the work of experimental artists like John Cage and Karlheinz Stockhausen, who sought to break down the traditional structures of music and create new sounds and structures.
However, there are also many artists who seek to create a sense of exactitude and precision in their work. In the world of painting, we can look to photorealists like Chuck Close and Richard Estes, who painstakingly recreate realistic images using detailed techniques and materials. In music, we can see this in the use of digital tools to create perfect sounds and eliminate any imperfections or noise (and humanity?).
In the modern era, new technologies like artificial intelligence are pushing this debate even further. Some artists are using AI tools to create perfect, idealized images or sounds, while others are experimenting with technology to see what new ideas and concepts emerge.
3
The debate over precision and control versus experimentation and imperfection is not new, and it is one that continues to this day, even as technology continues to advance.
With the rise of artificial intelligence, artists can now create highly precise and controlled images with ease. However, some artists are still interested in the possibilities that experimentation and imperfection can offer. Some artists are even using AI-generated images with vague prompts or are batching hundreds of pictures using a randomizing process, hoping to discover new ideas by exploring the outputs generated by the algorithm.”
This is true across a range of mediums, from photography and graphic design to classical and pop music, painting, sculpture, and architecture. For example, some architects use generative design software to create highly detailed and precise blueprints, while others prefer to sketch by hand or experiment with different materials to see what comes.
In the end, the debate over precision versus experimentation is ongoing, and it is up to individual artists to decide which approach is right for them.
This “exhibition” features a collection of abstract paintings with unexpected human elements. Through the juxtaposition of abstraction and recognizable human shapes, the audience is invited to experience a sense of surprise and intrigue. Each piece challenges traditional notions of form and invites viewers to question the relationship between abstraction and the human experience. Come explore this unique and thought-provoking display.
Text by ChatGPT. Images made with Stable Diffusion.
JP
Can you tell me about the opposition between painters like Cabanel or Bouguereau and more “modern” painters like Manet?
Certainly! The opposition between painters like Cabanel and Bouguereau, who were associated with the academic tradition in 19th-century French painting, and more “modern” painters like Manet can be understood in the context of the broader artistic movements and debates of the time.
Academic painting, which was supported and promoted by the French Academy of Fine Arts, adhered to traditional notions of beauty and excellence in art, and tended to favor highly finished, highly polished works that followed established conventions and techniques. Painters like Cabanel and Bouguereau were part of this tradition, and their work was generally characterized by a classical, realistic style, with a focus on carefully rendered detail and an emphasis on idealized forms.
On the other hand, modern painters like Manet were part of a movement that sought to challenge and break away from the constraints of the academic tradition. These artists were interested in experimenting with new styles and techniques, and they often sought to capture the energy and dynamism of contemporary life. Manet, in particular, is known for his innovative approach to painting, which combined elements of the traditional and the modern and often challenged the conventions of the time. His work was often seen as rebellious and controversial, and he was a key figure in the development of the Impressionist movement, which sought to capture the fleeting, ephemeral qualities of light and color.
Overall, the opposition between these two groups of painters reflects the broader tensions and debates that were taking place in the art world of 19th-century France, as traditionalists and modernists struggled to define the direction of the art of their time.
JP
Can you write a blog article about this opposition, with more names and a few examples of painters/paintings?
Sure, here is a blog article about the opposition between traditional academic painters and more modernist painters in 19th-century France:
In the 19th century, the art world in France was marked by tension between traditional academic painters and more modernist artists who sought to challenge the conventions of the time.
The academic tradition in French painting was supported and promoted by the French Academy of Fine Arts, and it adhered to traditional notions of beauty and excellence in art. Painters who were part of this tradition, such as Jean-Léon Gérôme, Gabriel-François Doyen, and Alexandre Cabanel, were known for their highly finished, highly polished works that followed established techniques and conventions. These artists often depicted classical subjects in a realistic style, with a focus on carefully rendered detail and an emphasis on idealized forms.
On the other hand, there was a group of modernist painters who sought to break away from the constraints of the academic tradition. These artists, such as Édouard Manet, Edgar Degas, and Pierre-Auguste Renoir, were interested in experimenting with new styles and techniques, and they often sought to capture the energy and dynamism of contemporary life. Manet, in particular, is known for his innovative approach to painting, which combined elements of the traditional and the modern and often challenged the conventions of the time. His work, such as “Olympia” and “Le déjeuner sur l’herbe,” was often seen as rebellious and controversial, and it played a key role in the development of the Impressionist movement.
The Impressionists, who included Claude Monet and Alfred Sisley, sought to capture the fleeting, ephemeral qualities of light and color in their paintings. They rejected the highly finished, polished style of the academic tradition and instead focused on capturing the impression of a scene or moment, often using loose, rapid brushstrokes and vibrant, high-keyed colors.
Overall, the opposition between these two groups of painters reflects the broader tensions and debates that were taking place in the art world of 19th-century France, as traditionalists and modernists struggled to define the direction of the art of their time. While the academic painters were concerned with upholding traditional standards of beauty and excellence, the modernists sought to push the boundaries and create something new and innovative. Both groups made important contributions to the development of art in this period, and their work continues to be influential and relevant today.
JP
Great. Do you think there’s a similar “opposition” of style in the AI-Arts of today (Midjourney and Stable Diffusion)?
It is certainly possible that there are opposing styles or approaches to creating art with artificial intelligence (AI) today, just as there have been opposing styles or approaches to creating art throughout history. However, it is difficult to say for certain without more context about the specific artists or works you are referring to.
In general, the use of AI in the creation of art is a relatively new and rapidly evolving field, and there are likely to be a wide range of styles and approaches being used. Some artists may use AI as a tool to generate new ideas or to assist in the creative process, while others may use it to create entire works of art on its own. Some artists may be more interested in using AI to explore and push the boundaries of what is possible with this technology, while others may be more interested in using it to create works that are more traditional or familiar in style.
Without knowing more about the specific artists or works you are referring to, it is difficult to say whether there is a specific “opposition” of style in the AI arts today. However, it is likely that there are a wide range of styles and approaches being used, and that there may be some differences or opposing viewpoints among different artists working in this field.
JP
Write an article for Reddit about all this, the opposition between academic painting and more modern painting in the 19th century is similar to the today (AI art) seek between detailed, perfect portraits people want to make today, instead of pushing boundaries and inventing real new images.
Sure, here is an article for Reddit about the similarities between the opposition between academic painting and more modern painting in the 19th century and the use of artificial intelligence (AI) in the creation of art today:
As an avid art enthusiast, I have been thinking a lot lately about the ways in which the art world has evolved over time and the various movements and debates that have shaped the course of art history. One thing that has particularly struck me is the way in which the opposition between traditional academic painting and more modernist approaches in the 19th century is similar to the debates and tensions that are taking place in the world of AI art today.
In the 19th century, the art world in France was marked by a tension between traditional academic painters, such as Jean-Léon Gérôme and Alexandre Cabanel, and more modernist artists like Édouard Manet and the Impressionists. The academic tradition, which was supported by the French Academy of Fine Arts, favored highly finished, polished works that followed established conventions and techniques, while the modernists sought to break away from these constraints and create something new and innovative.
Today, we are seeing a similar tension in the use of AI in the creation of art. On one hand, there are those who are using AI to generate highly detailed, realistic portraits or other works that are meant to be indistinguishable from those created by a human artist. These works may be impressive in their technical proficiency, but they can also be seen as conservative or lacking in creativity, as they rely on pre-established techniques and conventions rather than pushing the boundaries of what is possible.
On the other hand, there are those who are using AI to explore new and innovative approaches to creating art. These artists may be more interested in using AI to generate new ideas or to assist in the creative process, rather than simply replicating what has already been done. They may be more interested in using AI to create works that are truly unique and original, rather than simply replicating the styles and techniques of the past.
Overall, it seems to me that the opposition between academic painting and more modernist approaches in the 19th century is similar to the tensions and debates that are taking place in the world of AI art today. While some artists are using AI to create highly detailed, polished works that adhere to established conventions, others are using it to explore new and innovative approaches that push the boundaries of what is possible. Whether you are more drawn to the traditional or the modern, it is clear that both approaches have the potential to produce beautiful and meaningful works of art.
JP
Great! What could be the title (in one line) for this article?
Here are a few options for a title for this article:
“Exploring the Tensions between Traditional and Modern Approaches to AI Art”
“The Similarities between 19th-Century Painting and 21st-Century AI Art”
“Tracing the Evolution of Artistic Debates through the Ages: From Academic Painting to AI Art”
“Navigating the Boundaries between Convention and Innovation in AI Art”
JP
I choose “Similarities between 19th-Century Painting and 21st-Century AI Art” but I’d love to be a bit more precise, can I add something like “- academic or inventive”?
Certainly! Here is a revised title that incorporates your suggested modification:
“Similarities between 19th-Century Painting and 21st-Century AI Art: Academic or Inventive Approaches”
This title more clearly conveys the focus of the article on the opposition between traditional academic approaches and more modernist, innovative approaches in both 19th-century painting and 21st-century AI art. It also suggests that these opposing approaches may be characterized as either “academic” or “inventive,” which helps to further emphasize the tension between these two approaches.
JP
What are two examples of these 19th century times (portrait paintings) to show the difference between academic portrait and modern portrait?
Here are two examples of portrait paintings from the 19th century that illustrate the difference between academic and modern approaches:
“The Artist’s Mother” by Jean-Auguste-Dominique Ingres: This portrait, painted in 1814, is a good example of an academic portrait from the 19th century. It is highly finished and polished, with a careful attention to detail and a focus on idealized forms. The sitter is depicted in a classical pose, with a dignified expression and a sense of calm and composure.
“The Old Guitarist” by Pablo Picasso: This portrait, painted in 1903, is a good example of a modern portrait from the 19th century. It is characterized by a more expressive, emotive style, with bold, simplified forms and a sense of movement and energy. The sitter is depicted in a relaxed, informal pose, with a sad, pensive expression that conveys a sense of vulnerability and vulnerability.
Overall, these two portraits illustrate the contrast between the academic tradition, which favored highly finished, polished works that followed established conventions, and the modernist approach, which sought to break away from these constraints and create something new and innovative.
JP
Yes, but painted in the same decade could be a better example…
Certainly, here are two examples of portrait paintings from the 19th century that were painted in the same decade and illustrate the difference between academic and modern approaches:
“The Kiss of the Sphinx” by Jean-Léon Gérôme: This portrait, painted in 1866, is a good example of an academic portrait from the 19th century. It is highly finished and polished, with a careful attention to detail and a focus on idealized forms. The sitter is depicted in a classical pose, with a dignified expression and a sense of calm and composure.
“Olympia” by Édouard Manet: This portrait, painted in 1863, is a good example of a modern portrait from the 19th century. It is characterized by a more expressive, emotive style, with bold, simplified forms and a sense of movement and energy. The sitter is depicted in a relaxed, informal pose, with a direct gaze that challenges the viewer and a sense of self-assurance.
Overall, these two portraits illustrate the contrast between the academic tradition, which favored highly finished, polished works that followed established conventions, and the modernist approach, which sought to break away from these constraints and create something new and innovative. Both portraits were painted in the same decade, but they demonstrate the different artistic styles and approaches that were being used at the time.
JP
There’s a painting with a nymph on the sea waters painted around 1863 too, with angels around. It’s in Orsay Museum. What is it?
It is possible that the painting you are describing is “The Birth of Venus” by Alexandre Cabanel. This painting, which was completed in 1863, depicts the mythological figure Venus, the goddess of love and beauty, emerging from the sea as a fully-grown woman. The painting shows Venus standing on a shell and being attended to by two angels, who are holding out a cloak for her to cover her nakedness. “The Birth of Venus” is considered to be an example of academic painting, as it adheres to traditional notions of beauty and excellence in art and follows established techniques and conventions. The painting is currently housed in the Musée d’Orsay in Paris.
And:
Here are a few slideshows:
1
There’s a place (photography) where indecision is interesting, and this is what I’ll use today.
It’s not really about indecision, it’s “decision displacement”.
A photographer often takes many pictures of a scene, and then chooses one. We all know the contact sheets, with crosses for nays:
In the ending end, you get ONE portrait, ONE place: one photograph. It’s about “content curation”. You have to choose one.
2
But of course, some artists just don’t. They opt “not to choose”, they show a few pictures.
The simple idea of showing a “contact sheet” was already in itself a variation game. It puts the audience in the position of the curator: “What would YOU choose?”. Something else, probably…
3
I wrote an article somewhere about Depardon and Shore.
A/ The French photographer shows two pictures in a street in the city of Glasgow. A slightly different angle, different time of the day, different weather. You compare, you watch, and you wonder: why both? What do these picture offer? What do they show? What does the photographer want?
It’s a bit as if the photographer was talking to you. “You see this place? What should I do? This chimney and this crane, they’re cool, right?”.
B/ The American photographer says this too, but to himself: somewhere, there’s only one place from which he’d take a picture. And thus each of his photos are like “magnetic”, there’s a perfection in lines, light, energy…
So you see this picture, and not another one:
4
In the history of Arts, some artists like to offer variations too. They turn around things, like Monet with haystacks or Picasso with tomato plants.
5
I’ve always loved pictures but I don’t know how to draw, thus I made plenty of photos, and I collected books – today I’m able to make cool images with prompts and Artificial Intelligence. The skills needed are all about words, how to use them and describe things to get pictures.
In this field, people are always seeking a kind of perfection. Crisp, detailed, perfect pictures. There is a huge catalog of examples at https://lexica.art/
There are programs that can “batch” pictures, so when I make castles, I make 1000 pictures, because styles are fun to explore. These are “combinations” of words and styles.
But with a single prompt, one can also makes plenty of images, and each one will be different from the others, like these towers:
The wind:
Robots:
6
So well, there’s a tool for the spirit here.
When you work on a project (at school, in your company, etc), do you come up with one result? A few variations? Plenty of variations? Who’s the curator? You, in your head, or the client/student/customer? When is it a mistake?
I realized, when I began to work for other people, that my idea of showing plenty of things to the collaborator is a mistake. Then often don’t want to choose.
But sometimes you have to let them choose all the same! Because they don’t know what they want? Because they need to be disturbed by the fact they will HAVE TO choose?
And, you’ll be surprised by their choice…
Thanks for reading!
7
You can watch Depardon’s book on YT:
Is AI-made Art, Art?
When photography appeared, I suppose that painters asked the same question. Is photography an “Art”? The photographers don’t even know how to draw, right?
Well, it became an Art, and some painters began to USE photographs to get inspired, to remember compositions and light, etc.
AI-Artists needs other skills. They play with Python programs, “settings”, and of course the prompt, the “sentence” we use to summon the models.
To write good prompts, you must think about organizing the words. Still, also you need culture, and visual art vocabulary (including photo vocabulary), but also, like in other arts, a way to combine, to “link” things nobody thought to link before… You also need an eye to determine what’s banal, ugly or cool.
I will always stick to the idea that “A good picture is a picture that stops the eyes”. A good picture must do that in a world surrounded by pictures everywhere.
These days I play with “classic painters”, I make new paintings, and well, that’s it:
Of course, the pleasure is to combine styles, to create new styles:
You can get crap
You can get illustration
Maybe ideas for stories – “here’s the story of the little girl who invented snow friends:”
Little things:
Color ideas:
Composition ideas:
Cool mistakes!
The AI artist must also be a curator, he constantly has to select what should be shown or not.
Well, you can make your images, for free. Just follow this:
Thanks for reading!
I invented “Quick-Eyed Sky” decades ago for a web page about instrumental and avant-garde music. I kept the name!
If I needed a logo, it would be this airship…
Today, it’s used for my YouTube channel about images…
https://www.youtube.com/channel/UCkYi6dzJ5emaY0tPGat3k9Q
oOOo
2 of my images were exposed in Berlin in September 2022
oOOo
I made the masks in this trailer:
oOOo
I made some special effects (forest, fair, turning structures) for the Weird Wolves video:
oOOo
I made the cover of a book released in November
oOOo
Patreon: https://www.patreon.com/Quick_Eyed_Sky – advanced tips & many prompts.
Artstation: https://quick_eyed_sky.artstation.com
Instagram: https://www.instagram.com/quick_eyed_sky
Blog: https://afrenchtoolbox.wordpress.com/ https://ko-fi.com/jeanpascalm
Thanks for reading!
Hi!
You know I make images with the help of Artificial Intelligence. I created a YouTube channel about it – a small channel, with 7500 subscribers, not 7 millions, right?
One guy suggested I created a Patreon, which is a way to gather a little community of people I could help, who could pay a little fee every month.
Most of my “patrons” pay $3 a month. Some pay more, $9 or $20 if they want to support me.
It went well, and today I have 120 patrons, which pay $491 at the beginning of each month.
As you can guess, Patreon asks people for the fee each 1st day of each month. And… some people change suddenly their mind.
I was a bit surprised to see 10% of my community leaving it each 1st day of each month. After that, the number goes back growing…
I googled it and discovered it’s a very common “issue”. Patreon called it “The Dip”.
There are articles about that!
That’s understandable, right?
You’re enthusiastic, you want to help, but when you have to show your credit card, things changed a little…
It’s so well known that Patreon itself wrote about it. And this is full of wise things!
https://blog.patreon.com/first-of-the-month-drop-off
Ahhh, wisdom!
So this had to be in the blog, right? It’s a bunch of tools…
—
So yesterday I went from 139 to 120 patrons, it’s 10% out.
Today I made portraits of 1850 people. These people do not exist, but I like them. What are their names?
And some quotes:
“The dip is a thing. But it is a thing we have to accept, just like Mondays”
“Since we have no influence in what happens in a patron’s mind, I take it as it comes. Sometimes more earnings, sometimes less. That’s life. Accept and carry on. But most of all, NEVER stop doing what I love to do”
Thanks for reading!
I asked an AI, ruDALLE-XL, to make images of a dream.
This AI is a fun one, it’s easy to disturb her (therefore to inspire her).
It’s not the only one: I asked DALLE 2 (OpenAI, Google’s text-to-image AI) to draw me “Slow Melancholy” and I got this snake shell with leaves. Not bad, good picture composition and light. It looks like a photo, and that’s it.
Now, look at these pictures. The first one looks like clouds over a lake (but on the right, they look like something else). The second one shows some “things”, in the morning on a green land. But what are they? The third one shows the silhouette of a woman. She’s probably on the beach, looking a… well… what?
Our intelligence, or our way of understanding reality, is based on ANALOGY. When we see something, our brain is trained to “link” it with something we already know.
“Oh, it looks like a cloud”.
Douglas Hofstadter wrote an entire book about this idea. He shows us a page full of the letter “A”. Some of them we’ve never seen, but we know they’re “A”s.
It becomes interesting when we see the strangeness produced by AIs.
Image 1: a red sphere emerges from a… flower?
Image 2: something (an animal?), jumps on the sand?
Image 3: some fabric, or maybe a creature under the sea?
We would like to know, but we can’t.
It’s a bit disturbing, or ugly. It’s beautiful, maybe, who knows?
Is it a leaf? An animal? Who’s that lady? What does she think?
Could we write a poem about one of these 6 pictures? Invent a painting from it?
One quality of a good picture today is to stop the gaze, to stop the viewer’s eye, wandering fastly in the world made of images.
AI-made images, some of them, have this quality. Our brain stops because it tries to understand. Is it a bird in the night? Watching what? Why is the moon wrapped in this shape?
Strangeization is a way for the artist to “add strange elements” to a piece of art, in the purpose to catch back an audience who has seen everything and is hard to get attention from.
Here, the process is: make plenty of images with a prompt (words that describe), and choose one.
What will you make?
—
Strangeization Tool & Eyebrow Criteria (or type this word in my blog’s search engine).
Thanks for reading!
—
There’s a pattern in photography.
Two kinds of photographers. Those who take photos with their camera. And those who play for hours on their Mac, with apps, with digits, HDR, and I correct this and that.
I already wrote articles about those.
Take a car.
You can be the tech type. You want to open it and fix this and that. Or you want to drive it to the lake and breath fresh air.
Today I’m very busy making images with Artificial intelligence. I have an Artstation (here: https://quick_eyed_sky.artstation.com/ ) and a YouTube channel here: https://www.youtube.com/c/JPRobocat
Very soon, I noticed the same pattern.
To make images, you need a Google Colab, which is a Python program with a bunch of settings, like a machine, and you enter a “prompt”, which is a “phrase describing what you want to see”.
There are 2 camps.
It’s always the same pattern.
You know what? Both camps are OK. But I’m in the 2nd one. You knew that already, right?
Do you watch the beach and the mountain, or do you watch your car’s engine?
Thanks for reading!
Do you focus on the prompt or on the digits everywhere? What about “clamp_max”: 0.05? Should I double it? Or should I add “ominous sky” in the prompt? Where do you like to work?
“text_prompts”: {
“0”: [
“Greg Rutkowski, long butterfly airship in the summer sky, Artstation”
],
“100”: [
“This set of prompts starts at frame 100”,
“This prompt has weight five:5”
]
},
“image_prompts”: {},
“clip_guidance_scale”: 50000,
“tv_scale”: 0,
“range_scale”: 150,
“sat_scale”: 0,
“cutn_batches”: 4,
“max_frames”: 10000,
“interp_spline”: “Linear”,
“init_image”: null,
“init_scale”: 1000,
“skip_steps”: 0,
“frames_scale”: 1500,
“frames_skip_steps”: “60%”,
“perlin_init”: false,
“perlin_mode”: “mixed”,
“skip_augs”: false,
“randomize_class”: true,
“clip_denoised”: false,
“clamp_grad”: true,
“clamp_max”: 0.05,
“seed”: 2397292033,
“fuzzy_prompt”: false,
“rand_mag”: 0.05,
“eta”: 0.8,
“width”: 1600,
“height”: 832,
“diffusion_model”: “512x512_diffusion_uncond_finetune_008100”,
“use_secondary_model”: true,
“steps”: 350,
“diffusion_steps”: 700,
“ViTB32”: true,
“ViTB16”: true,
“ViTL14”: false,
“RN101”: false,
“RN50”: true,
“RN50x4”: false,
“RN50x16”: false,
“RN50x64”: false,
“cut_overview”: “[12]400+[4]600″,
“cut_innercut”: “[4]400+[12]600″,
“cut_ic_pow”: 1,
“cut_icgray_p”: “[0.2]400+[0]600″,
“key_frames”: true,
“angle”: “0:(0)”,
“zoom”: “0: (1), 10: (1.05)”,
“translation_x”: “0: (0)”,
“translation_y”: “0: (0)”,
“video_init_path”: “/content/training.mp4”,
“extract_nth_frame”: 2
}
I read an interview of a French original soundtrack composer, fan of Ennio Morricone.
Well, he talked about his musical qualities, about his multifaceted style (7 styles, he said!), but in the end told that what he preferred was his morriconesque way to accept almost everything, and then his way to work all the time, constantly, year after year.
Indeed, if you Wikipedia Ennio, you’ll find more than 100 classical works and more than 400 scores for cinema and television.
This says something, but can also ring false alarms.
If you produce a lot, there will be fantastic things AND more ordinary lukewarm other things.
It says that one should not be too solemn before beginning a work. It says to stop thinking too much, and to begin, to try, explore and experiment.
It DOES NOT say (in my opinion) that you can be casual when you work. You will work hard, you’ll really do your best.
“Il fallait qu’un bâton de chaise fût bien fait”, says Charles Peguy in France: The chair rung must be well made, not for the boss, or for connoisseurs, but it had to be well made itself, in itself, for itself, in its very self.
I just finished reading Woody Allen’s biography, when he says he’s an “imperfectionist”. I really felt it was the same pattern.
In fact, most of the great artists are like that. Picasso. Mozart. They work a lot, like crazy, they refuse no experience, they’re like “OK, let’s do that!”. Instead of thinking of is it the good moment or find the perfect way to work, they just begin.
Well, I like that because it’s the way I began my blog. I was sooo solemn about it, about the theme, and the perfect way of doing this or that, and when.
When I watched tutorials on YouTube about starting my channel Quick-Eyed Sky, I often found clips like “Errors new Youtubers make”. One was always: “Stop waiting for the good moment and gear to begin: post now, post today”.
Have a great summer! Sorry for the mistakes in this article, I’ll check it in a few days. I wrote it fast, but I want it cool, right?
Bahhh it’s an old say.
I remember the little book of Akira Kurosawa, who remembers that when the movies were silent in Japan, there were people in each cinema, playing music, dialogs, and some sound effect. When the talking pictures came, these people were in the streets, protesting. And well…
It’s the same for everything. Electricity killed the oil lamps market. Cars killed the horse cart market. Electric cars will harm the gas stations, little by little (in Norway, today, more than 60% of new cars are electric).
Today I make images with AIs, and that’s cool because… I don’t know how to draw. I just describe what I want, add some little tricks in words (I’m learning) to precise textures (painting, digital, video game?), and I get pictures, plenty of them, all unique and different. The AI invents for me. And batches plenty.
“Luminescent mushrooms in a mystical forest, twilight, fireflies, clearing, bokeh” gives as many as these as you want (hundreds, if you like):
So I found out that some digital artists find it “unfair”. In a way, I understand that!
But what I feel is they should use it, today.
I can switch on the light, but I don’t have an oil lamp. I can drive a car, but I can’t take care of a horse (and I’m short of room in my apartment).
When I post images in forums, like in Reddit, I got things like:
So, people love it, but some want to ban it. And I’ve been banned from many of them! The viewers love them, but the moderators hate them. It’s not “real art” (and is it, after all)?
Today, it’s a bit difficult to use these Google Colabs. And it’s lonnng. If you use the free option, you need one hour for an image. I pay, and I need 6-7 minutes/image.
There are hundreds of colabs, and very soon (this year, next year?) you’ll be able to get images in seconds. Concept artists will use these tools (or teach them), for sketching, to get ideas, for colors, composition, etc.
Some sites offer this already, in a simple form: Wombo Art, Hypnogram.xyz.
There’s no horse-skill in driving fast cars, it’s like… unfair, right? Drivers developed other skills. Today, to get cool images, you have to know what words are useful, and how to combine them. Unfair, maybe, but people have fun, and are creative (in their own way), and I kind of like it.
I began to make tutorials (on YT) for digital artists, how they could use this. I’ll make more, concept art for characters, using initial sketches to create something else, etc.
Maybe it’ll create a new job: “digital ideas provider”. Hmm…
What do you think?
Thanks for reading!
https://quick_eyed_sky.artstation.com/
Prompt-to-image AIs are fascinating and everybody can make images.
These need 1 hour per image for free. If you pay you can make one in 7 minutes.
So I made some tutorials (watch in this order):
Have fun!
I made a tutorial to batch images with Disco Diffusion V4.1 Google Colab.
Couldn’t find any, no blog article or YouTube, which is strange, so I made one.
This Colab is very powerful, it also can make animations and other marvels.
Now you’ll be able to make your own images by yourself. It’s pretty easy, in fact!
Have fun!
Strangely the “Agogique” Wikipedia article is in French only, here:
https://fr.wikipedia.org/wiki/Agogique
Thus I asked Oxford about “agogic”, I copy/paste:
1 An adjective indicating a variety of accentuation demanded by the nature of a particular musical phrase, rather than by the regular metric pulse of the mus. The first note of a phrase, for instance, may be felt to suggest a slight lingering which confers the effect of an accent: similarly, a leap to note significantly higher or lower than the preceding notes, or a strong discord resolving to a concord, may convey an effect of accentuation (by means of lingering, pressure, etc.) and there are other examples. The complementary term to ‘agogic accent’ (accent of movement) is ‘dynamic accent’ (accent of force), which implies the normal and regular rhythmic accentuation of a piece of music.
2 In a wider sense, ‘agogic’ covers everything connected with ‘expression’, e.g. rallentando, accelerando, rubato, pause, accentuation as described above, etc.
Well of course it’s a tool, a state of mind.
I read about this in a Sol Gabetta (a cello player) interview. If we follow the score, it’s gives a computer mood. One needs groove, or rubato, expression. And it’s linked of course (because we follow the sheet music score, right?) to the idea of “freedom blossoming on constraint”. And it’s linked to the two-to-tango idea of “singing melody seems free but it’s conducted”, enchanted and tamed at the same time.
“The interpreter juggles with spells”. Ces sortilèges sont l’agogique.
Of course we have to dig the “-agogy” word. Pedagogy. Andragogy?
And also, seeing this as a pattern for life, action, methods, rules, creation, art. Follow some rules but add some life, some “expression”, freedom into frames, etc.
Have a nice Christmas!
Hi everyone! The “Prompt To Image” processes are blossoming everywhere on the web since Katherine Crowson presented the VQGAN+CLIP tool and made it public. This “Synthetic Imagery” (or GAN Art) was fantastic, but a bit difficult and slow to use.
You’ll find plenty of articles about this, and hundreds of “Google Colabs” with the code to play with. The result is often slow (about one hour to get an image).
The next step was to find similar tools (you enter a text, you get an image) on web pages like https://hypnogram.xyz, https://text2art.com/ or http://gaugan.org/gaugan2/ or the very easy https://www.wombo.art/ (have fun!).
There are tricks you quickly learn to use with each tool. Adding words to the prompt, like artists names or words like steampunk – here are bridges, a mantis, an owl, and for the first one “bird leather gold“:
Each site has its flaws, and one must use them to get things. For example, GauGAN2 is made for landscapes, so if you ask “Lake and forest” you get a realistic scenery. But if you ask “Totem” it’s lost, and there come the cool things:
The possibilities are infinite. Just give two words like “Airship Fire”:
Not what we expected, but good images, inspiring maybe if you write stories, poetry, or if you draw. Make 20 of them with automation and you’ll find a few great pictures.
oOOo
I made plenty of movies with these:
This year the Russians invented ruDALL-E ( https://rudalle.ru/en/demo ) and it’s different, more realistic, and MUCH FASTER than every other similar tools. It needs about 1-2 minutes to make one image.
The results are less “digital artist”, and much more realistic, because it’s trained on millions of photographies (an AI must be “trained”). This morning, today, I made a few dozens, like these 3:
Yessss possibilities are great. And you don’t have to write in Russian, they translate. Good.
oOOOo
This team made a BOT, which is on Telegram (yes, the app, it’s on your phone and your Mac, right?). You’ll find it on the page, it’s here: https://t.me/sber_rudalle_xl_bot
Here are images with the prompt “Airship in the mist”, which is “дирижабль в тумане”. I made 135 of the same prompt today. I’ll make a clip later. Here are 12 of them:
These are cool, right?
Here’s my YouTube channel with plenty of clips made with these: https://www.youtube.com/channel/UCkYi6dzJ5emaY0tPGat3k9Q
Have fun!
a french toolbox 