AI Art

AI-generated artwork has come a long way in a very short space of time. It certainly exceeds what I can do as an artist, and many others – needless to say it has caused endless debate. The results now being spewed out by the likes of Midjourney are absolutely outstanding. While it is technologically amazing, it is also quite unsettling that a computer can generate in seconds something a human would slave over for days or weeks. It’s mind-blowing stuff.

Is it a valid art form? I don’t believe so – not yet, anyway. I dare say it won’t be long until we’re seeing endless book covers created on the cheap using AI art rather than actual artists and designers. We’re also going to see “prompt wars” with people claiming ownership of the text prompts they used for the image generation, since they cannot claim copyright of the image itself. Yet such is AI at present that if two people input the same prompt in the same software, the results are always going to be very different.

At the moment, the results are often a gamble. It may produce exacty what you want, or it does its own thing and the results are not what you expected. Nothing can ever replace the touch of an artist’s hand or the workings of their mind – plus if we’re talking artwork commissions, any client would want to establish a good rapport with their artist. You can’t do that with a machine.

Of course, the obvious way forward is for digital artists to take their AI-generated images into Photoshop and work over it – no different to “photo bashing”, a method widely used by concept artists of working over photographic elements. The question of whether it is truly their work is a debate for another day. Even so, fraudsters will be inevitable, passing off AI-generated imagery as their own creation, since they came up with the text prompt. We’re likely to see a rise in “AI artists” who can’t actually draw by hand for toffee. There’s another interesting debate for another day!

I do see value in AI artwork, but I see it with more potential as a creative tool for inspiration or ideas, rather than finished work. Why let a machine suck the life, artistry and enjoyment out of something you love doing and make a living from?

In some respects it reminds me a little of David Bowie’s “cut-up” lyrical technique, which in later years he used software for. He’d feed a magazine article into the software and it would spit it back out in a new order, which he would then re-arrange into a song. This is part of the conceptual and creative process, perhaps if you’re stuck for an idea, an AI-generated image could help give you the direction for a project whether is is composition or colours.

Perhaps the biggest cause for concern is the fact most, if not all AI art pulls its styles from human artists, both living and dead. Quite simply, artwork generated in the style of say, Syd Meade for example, is still plagarism and will in some cases be in breach of copyright. We’re yet to hear of legal cases concerning copyright and AI art, but it’s likely to be a long and messy can of worms when we do.

I do not regard AI art as ‘digital’ artwork. Digital is a medium – replacing paper and paint with pixels. Digital art is still created by hand, using a stylus or finger-painted and still comes from the human mind. AI art is exactly that, and its own category which I believe will be more widely recognised as such in time.

I do accept that AI art is here to stay, and it will find its place – and it’s only going to get better. However, despite its brilliance, I’m already growing tired of it – the majority pieces have a certain look to them whereby you can just tell it’s AI – even moreso on closer inspection.

Interestingly, some conventions are now banning the display of AI-generated artwork, and I totally understand why. You want to see an artist’s work at an event like that, and in many cases, also meet the artist. Meeting somebody who came up with a text prompt isn’t quite the same.

However especially concerning science fiction artwork, this is a medium of advanced technology – science fiction in action – so it has a place. However it needs to be clearly, honestly labelled as AI-generated artwork regardless of whether the image has had any post-production.

Honesty will be key to the success of AI art.

Aspects – release round-up

Aspects has been out in the world for just over two weeks now, and it has been streamed, downloaded and playlisted. As an independent musician working outside of the usual spheres, it is always so gratifying and rewarding to know that somebody in another part of the world has taken a moment to listen to my work.

Aspects was composed during 2020–2021; strange years for all of us. 2021 began with the tightening of pandemic restrictions, slowly followed by the (short-lived) hope that we would be returning to some kind of normality. A somewhat premature optimism, given the unprecedented circumstances. I had been working on new music at various points, for different projects – my vocal collaborations with Ren Faye, other potential collaborations and several tracks just for the simple love of making music.

I’ve often felt the best material often creates itself. Those moments when an idea for a piece of music seems to fall from the sky and comes seamlessly together, are the most satisfying – not because it doesn’t mean hours of toil, but because it is a fine example of creativity in action. It’s almost like some kind of magic. My normal process for recording an album is to begin with a title and concept, and work backwards from there. The process for Aspects was the complete opposite. Towards the end of last summer, I reviewed the music I had made over the course of the past year and discovered they all fitted perfectly together. I realised I had a solid album in the making.

As I worked on the tracks, I found various consistencies between them; common themes, moods and atmospheres. I had the music in mind when I took the cover photograph, on the west coast of Scotland in September 2021. I knew as I framed the shot, it was going to be the cover art.

Aspects is an album I am very proud of, both musically and from a production perspective, which is always the most taxing part of the process. It is an album for reflection and meditation; to allow one to travel in the mind and temporary escape the worries and uncertainties of the world around us. I had already set a release date when the dreadful, devastating situation in Ukraine unfolded. Although it felt insensitive to be releasing and promoting this project when a country is being destroyed – homes, families and livelihoods wrecked – but releasing the work or not wasn’t going to change what is going on. If anything, I might hope that anybody listening to the album enjoys a moment of escape and distraction.

Aspects is available to download via Bandcamp, and also comes with a digital booklet. You will also find it on Spotify, Apple Music, Amazon, Deezer and Tidal for streaming.

Below are videos for Aspects and Breaking Surface

The Art of A Changed World – revised edition

My free digital publication chronicling the creation of Alice Sabo’s cover art has been updated.

The newly revised edition of The Art of A Changed World, and now includes the artwork for Alice’s recent books, Shattered Landing, Willow’s Run and Entangled, alongside the creative process behind each cover.

Click the cover image below to download The Art of A Changed World (revised edition) in PDF format.

Cover art: Gardens of Earth

Gardens of Earth by Mark Iles is the first book of The Sundering Chronicles, coming soon from Elsewhen Press. 

Elsewhen contacted me to illustrate the cover, as they knew it would be a good match for my style, having worked together on several previous occasions. Gardens of Earth literally spans several genres – the story tackles alien war, a future that may be considered either dystopian or utopian, a protagonist dealing with personal demons, the remnants of Earth’s inhabitants now living in a sparse society under the watchful eye of the strange plant-like Spooks, and returning human colonists intent on reclaiming the Earth.

While you might primarily consider Gardens of Earth to be a science fiction novel, elements of myth and magic fantasy are also present. So how do you represent all this in a single cover image?

You don’t even try! A cluttered book cover with too many elements fighting for attention never looks good. We knew this of course, so the challenge for this cover was to come up with an image that would set an overall tone for the book and draw the reader in via a single snapshot.

An email conversation between myself, Mark and Elsewhen resulted in a couple of concepts being discussed. The first was the view of a greener Earth with some of the Spooks closing in. We also looked at the idea of our protagonist and female humanoid companion staring out over a vista of forestry and simple human settlements, again with the Spooks looming on the horizon.

Initial concept sketches for Gardens of Earth

I worked up rough sketches for both, and we agreed the version showing the two figures was the right approach – however Mark wanted to see a city backdrop rather than forestry. Cityscapes have long been a recurring theme in my artwork, so it was a concept I was immediately comfortable with. 

Mark had also gone over some specific, minor details – such as the insigia we see on the female’s left shoulder or the pilot’s commando knife at thigh level. Their coveralls were also to be dark green, which for me, set the colour palette for the overall scene. I wanted some atmospheric, hazy light that could be either sunset or sunrise, and chose a palette of turquoise through to yellow – the green tones in between also linked back to the greener world featured in parts of the story.

The team at Elsewhen had already chosen a typeface for the series, so we worked together to agree on the most effective layout. I suggested having the title in a dark blue to contrast the illustration but also match the darkest colours present – this little touch glued it all together. My original illustration extended beyond the cover format, so we were able to extend it around the spine and on to the back of the book.

Gardens of Earth is available to pre-order as an eBook on 6th August, and will be out in paperback in October. Keep an eye on the Elsewhen Press website or social media pages for further details!

Talking cover design

I’m pleased to have a guest blog interview over on the Just Write Right website, about cover art and design, my creative process and working with self-publishing authors.

https://justwriteright.co.uk/2021/07/26/talking-cover-design/

Chiaroscuro: track by track

It is now over a month since the release of Chiaroscuro, and in that time, Here and Now and Berlin Stratum have had radio airplay, and Comfort Zone is included on the recent free compilation album, A Journey to a Time or Place.

However back to the album itself, here is a brief insight into my thoughts and inspirations behind each track.

Berlin Stratum 
Everywhere you look in Berlin, there are layers of history, and you can feel that in the atmosphere of the city. But there’s also a modernism and sense of progression. I wanted to capture these contrasting moods in the music. There’s also the city’s musical heritage – my particular interest being Bowie’s time there in the late 70s. This all came together in a nostalgic and melancholic, yet dynamic track. 

https://thelightdreams.bandcamp.com/track/berlin-stratum

Comfort Zone
After a reflective opening track, I wanted something more upbeat and optimistic. I entered a musical comfort zone… played my favourite chords, and fired up my favourite classic 80s/90s synth – the Korg M1. 

https://thelightdreams.bandcamp.com/track/comfort-zone

Silver Screen
More nostalgia from a time gone by… inspired by images of 1940s and 50s cinemas and the golden age of the big screen – monochromatic romanticism. The saxophone really brings the track to life and was a big departure from my usual style. This development would shape the rest of the album.

https://thelightdreams.bandcamp.com/track/silver-screen

Afterimage 
The first of three more abstract pieces. The title came first. I love the haunting description of “an image that continues to appear in the eyes after a period of exposure to the original image.”

https://thelightdreams.bandcamp.com/track/afterimage

Aberration 
“A departure from what is normal, usual, or expected…” This track was originally a much longer piece, based on multiple layers of gradually building loops. 

https://thelightdreams.bandcamp.com/track/aberration

There and Then
A more experimental piece; slow and evolving with more of a chill out feel, though reflective in mood. This track leads into the second part of the album. 

https://thelightdreams.bandcamp.com/track/there-and-then

Neon Twilight 
A change in pace. Evening descents and the city comes alive; its streets illuminated in a frenzy of colour. An upbeat track drenched in cool 1980s vibes. 

https://thelightdreams.bandcamp.com/track/neon-twilight

Evanescent
We move deeper into the night with a darker, heavier piece of electronica. Evanescent evolves mid-point, going from an atmospheric, pensive piece to a dynamic, driving conclusion. 

https://thelightdreams.bandcamp.com/track/evanescent

Here and Now
The rockiest track on the album was partly inspired by one of my favourite albums, Bryan Ferry’s, Mamouna (1994). I really wanted to channel a similar mood and sound of the instrumentation as a kind of homage to Ferry’s masterwork. You’ll hear more Korg M1 and late night atmosphere. 

https://thelightdreams.bandcamp.com/track/here-and-now

Nightowls
A track that transports you straight into one of Edward Hopper’s various night paintings, the album closes with a saxophone-led solitary piece. This was actually one of the first pieces I composed for the project, and I knew right away that it would be the final track. 

https://thelightdreams.bandcamp.com/track/nightowls

Cover art: The Call of the Aïdin Planet

I’m delighted to reveal my cover art for The Call of the Aïdin Planet, by L.Z.Dàin – book one of The Legacy Saga from Seattle-based publisher, Tales of the Horizon.

The_Call_of_The_Aïdin_Planet_cover.png

“Nine-hundred thousand years ago, seven Galactic Humans discover a mysterious Time singularity on planet Earth. But, obscure powers beyond the many worlds of the Galactic Union will not stop until they control it. Thus, the seven must make a choice, a choice that will not only affect their evolutionary future but the destiny of Earth itself.”

As much as I love the opportunity to come up with initial ideas for a cover, I really like it when the author or publisher have a clear vision of what they’d like on the cover. It is their book after all! Sometimes this process can be flexible, depending on what ideas I may have or that I feel could add impact, and on other occasions, simply my own interpretation of the initial brief does the job. It is important to me that the finished work is typical of my style and approach to a distinctive cover but more importantly, what I come up with has to match their vision – and good collaboration and communication is key to that. The cover for this book is a fine example of a project perfectly coming together, despite us being on opposite sides of the globe!

Even when there’s a clear brief, I’ll always work up a quick black & white sketch, to make sure the composition and my interpretation are correct.

The Call of The Aïdin Planet cover sketch

Finally, I took the various elements of the illustration and created an animated reveal for the cover art:

The Call of the Aïdin Planet is available in paperback and ebook via Amazon. Further details about Tales of the Horizon can be found on their website.

Shoreline of Infinity’s Soundwave Podcast – Episode Two

Edinburgh-based science fiction magazine Shoreline of Infinity‘s recently launched podcast, Soundwave (to which I lent my music!).

Last summer I recorded an extensive interview with the Soundwave host RJ Bayley, discussing all aspects of my work and interest in science fiction and beyond. A genuinely great fun hour of conversation! We conducted the interview via Skype, which accounts for my echoey room… but echoes aside, we discussed so many things, including synaesthesia, artistic influences and creative processes.

But it’s not all about me – you’ll also hear narrative from other Shoreline contributors. Episode two is available to stream and download now.

https://shorelineofinfinity.podbean.com