{"id":146117,"date":"2025-03-20T17:50:46","date_gmt":"2025-03-20T17:50:46","guid":{"rendered":"https:\/\/peraltafinancing.com\/entertainment\/art\/an-artists-guide-to-ai\/"},"modified":"2025-03-20T17:50:46","modified_gmt":"2025-03-20T17:50:46","slug":"an-artists-guide-to-ai","status":"publish","type":"post","link":"https:\/\/fivemor.com\/?p=146117","title":{"rendered":"An Artists Guide To AI"},"content":{"rendered":"


\n<\/p>\n

\n

<\/p>\n\n\n\n\n
\"AI<\/a><\/td>\n<\/tr>\n
A Really Simple Guide to AI for Artists<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n


<\/span><\/b><\/p>\n

With all of the buzz around
\nArtificial Intelligence, (AI), I decided to see if it really could solve the
\ntime problem that many artists face. Could it really provide answers to the
\nmost searched for answers that artists seek, such as \u201cwhat art sells best\u201d,
\n\u201chow do I run an art business\u201d and those two all-consuming questions that so
\nmany new artists ask, how do I sell more art, and how do I price my work. Can
\nAI really take the place of an experienced artist who has lived the life and
\nborne the scars of such a complex industry?<\/span><\/p>\n


<\/span><\/p>\n

Could I use AI to fill a
\nwebsite with content? Could I use AI to make me a millionaire, so many
\nquestions, but the answers AI has given me since it has become more readily
\navailable and accessible to the public have often surprised me, and not always
\nin a good way. <\/span><\/p>\n

I have used ChatGPT which seems
\nto be the \u201cthing\u201d of the moment, for a while now and others for a few years
\nbefore so it isn\u2019t my first rodeo with artificial intelligence. I have
\ninteracted with plenty of humans whose intelligence could be classified as
\nartificial, and I\u2019ve been using this technology in various forms since the days
\nof Microsoft\u2019s Clippy, remember the super-smart and oh so annoying animated
\npaperclip from the 90s that always knew better? Clippy is a perfect example of
\nwhere we were pre-millennium as opposed to where we are now.<\/span><\/p>\n

AI isn\u2019t new, what\u2019s sort of
\nnew is just how accessible it has become, and more than that, just how mind
\nblowing it is that you can interact with real AI from home. There have been
\nmany iterations of publicly accessible AI platforms like ChatGPT over the years,
\nthe more recent ones are the ones that really are beginning to move the needle
\nso these platforms are what I term as being, new-age AI. \u00a0<\/span>Older iterations were more akin to simple chat
\nbots or were so convoluted to use that it just wasn\u2019t worth it.<\/span><\/p>\n\n\n\n\n
\"FMV<\/a><\/td>\n<\/tr>\n
FMV Baby! One of my latest creations celebrating the emergence of Full Motion Video in the 90s. Made possible by the development of relatively inexpensive graphics cards and the accessibility of PCs.<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n


<\/span><\/p>\n

Before we begin it\u2019s probably
\nworth me quantifying any thoughts I have about AI up front. I come from a
\nlong-time background of technology and have been involved in AI since what
\nseems like forever ago. In the 80s I was writing very simple AI in my computer
\ngame code to detect collisions in simple games on 8-bit home computers, in the
\n90s I was doing the same with 16-bit computers. The difference between 8 and 16
\nbit computing power was compelling, the difference between the AI, not so much.
\n<\/span><\/p>\n

Today, AI is way too
\ncomplicated to even contemplate building it from scratch as we did in the 80s
\nand 90s, instead programmers mainly rely on pre-built engines to do the heavy work,
\njust as they rely on pre-built engines to create scenery and even video games.
\nIt\u2019s not that programmers today aren\u2019t as talented as they were, the creations
\nthey program have become so huge that it\u2019s no longer in the realms of
\npossibility for a single programmer or even a team to take this kind of work
\non.<\/span><\/p>\n

When the old computers began to
\nbe replaced with PCs, we didn\u2019t see anything of note on the AI front for most
\npeople for a very long time. It was more or less an out of reach science and
\nthe stuff of science fiction for what seemed like an eternity, but things were
\nhappening behind the scenes. Analysts were analysing, data scientists were
\ndoing whatever it is they do, and then there were the lab folks, mostly wearing
\nbig glasses and wild hair, who were tinkering and plotting that the machine
\nwould one day inherit the earth.<\/span><\/p>\n

AI in the 80s was basic,
\nsometimes even written in BASIC (A programming language that remains the
\nbedrock of coding today, except we stopped teaching it in schools long ago
\nbecause humans like the awe of oh shiny new, even when it\u2019s not as good as old)
\nand then about five years ago we began to witness a sort of seismic shift in
\nhow we thought about AI and how it could benefit those who could access it. <\/span><\/p>\n

Suddenly, the algorithm was
\nplaced on a plinth for the minions to worship as if it were some kind of God. It
\nbegan to mature at a faster rate, it was harnessed by big tech, the pandemic
\nraised its profile in medical research, and we have slaved for it since from our
\ninteractions on social media to our frustration in getting Alexa to answer us
\neven after the third attempt. Don\u2019t get me started on all of those chatbots and
\ntheir endless mind-loops.<\/span><\/p>\n

AI has become smarter, but it
\nhasn\u2019t done that on its own. AI relies on humans to code the learning and the
\noutput. It\u2019s not like a film where AI breeds and then takes over the world,
\nthere\u2019s very much a need for humans to sit behind the wheel and drive it, or at
\nleast there is for now. It\u2019s smart for sure, or maybe, clever might be a more
\nappropriate word, but the humans behind AI are mostly smarter, albeit slower, the
\nreal problems begin with the end users who want to use it to create their very
\nown versions of chaos. <\/span><\/p>\n

I\u2019m not convinced that AI is
\nthe problem that it is often framed to be, it gets a bad press for sure and
\nthere are few who truly understand it, it\u2019s technically beyond anything we
\ncould have imagined in the early days of computers, or anything that we might
\nhave imagined even just a decade ago.\u00a0
\n<\/span>The problem with AI rests in the hands of humanity and that\u2019s what also
\nmakes the entire concept of AI in public hands really quite terrifying. <\/span><\/p>\n\n\n\n\n
\"90s<\/a><\/td>\n<\/tr>\n
90s Digital Camera by Mark Taylor – Hand drawn using a digital medium, this was another technically challenging piece and took around 70-hours to complete.<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n


<\/span><\/p>\n

Machine learning isn\u2019t new. The
\nconcept of machine learning has been around for several decades, but the modern
\nera of machine learning began in the 1950s and 1960s when computer scientists
\nbegan to develop algorithms and models that could learn from data. <\/span><\/p>\n

Prior to this, and to keep
\nthings really simple because the world is complicated enough, algorithms were
\nvery much a manual thing. Humans would build up a library of problem statements
\nwith a list of viable options and then note the ones that worked. In short, AI
\nwas a bunch of problems in an almost historical timeline so that you could see
\nwhat might work and humans then worked it out, often very slowly.<\/span><\/p>\n

The difference between then
\nand now is that machines can make that comparison much faster and with more
\naccuracy than humans ever could. You could say that at one time AI was simply
\ncalled intelligence, but then humans decided to automate it with a computer.
\nHumans it seems are nowhere near as efficient as computers. Why do all that
\nmath and cross checking when something about the size of your cell phone can make
\na better decision far quicker.<\/span><\/p>\n

One of the earliest examples
\nof machine learning was the development of the Perceptron algorithm by Frank
\nRosenblatt in 1957, which was a simple algorithm that could learn to classify
\nimages based on their features. That\u2019s the kind of AI technology that we now
\nsee with licence plate and facial recognition in crowds, the difference is that
\nRosenblatt\u2019s algorithm has been massively scaled and in ways that I\u2019m sure
\nRosenblatt would never have considered.<\/span><\/p>\n

\u00a0<\/span>Another important milestone in the history of
\nmachine learning was the development of decision trees by Arthur Samuel in
\n1959, which were used to make decisions based on a set of rules learned from
\ndata. This underpinned AI for many years, but the machines are now programmed
\nto learn everything.<\/span><\/p>\n

Since then, machine learning
\nhas evolved and expanded rapidly, with breakthroughs in areas such as neural
\nnetworks, deep learning, and reinforcement learning, which have enabled
\nmachines to learn more complex and sophisticated patterns in data. Today,
\nmachine learning is widely used in a range of applications, from image
\nrecognition and natural language processing to fraud detection, healthcare and
\npersonalised marketing. <\/span><\/p>\n

For the most part, it\u2019s
\ndifficult to comprehend just how much AI already encroaches into our lives
\nbehind the scenes. It\u2019s something we use but we\u2019re not always aware of it, and
\nthat is how it\u2019s supposed to be, to provide us with a seamless experience when
\nwe interact with technology.<\/span><\/p>\n

Algorithms and machine
\nlearning used in artificial intelligence models are used to provide you with a
\npersonalised music playlist or to surface the next film that you might want to
\nwatch on Netflix, and AI is extensively used in medical research and healthcare
\nwhere it has already saved countless lives, and of course it drives those
\nsocial media algorithms that in turn drive us all crazy. Without it, it
\nwouldn\u2019t just be humans that would be less efficient, the infrastructure that
\nessentially drives the world we live in would be too. We might not know it, but
\nwe have already become addicted to AI.<\/span><\/p>\n

So AI really does play an
\nimportant role in the fabric of our everyday lives whether we realise we depend
\non it or not. Now AI has exposed itself to the world on platforms such as
\nChatGPT and the forthcoming Bard from Google, essentially putting the ability
\nto drive it, firmly in the hands of everyone, good, bad or indifferent. That\u2019s
\nwhere it becomes infinitely more useful in our everyday lives, but that\u2019s also
\nwhere it becomes exponentially more concerning at the same time. <\/span><\/p>\n\n\n\n\n
\"endless<\/a><\/td>\n<\/tr>\n
Endless Path by Mark Taylor – another abstract inspired by the iconography of the 80s and 90s.<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n


<\/span><\/p>\n

If the bad actors decide to
\ngrasp it with both hands, and they\u2019re already reaching out in droves to do just
\nthat, then we begin to have major issues in telling the difference between
\nwhat\u2019s real and what\u2019s not. If we break that down further, what we will see,
\nand there is very little doubt that we won\u2019t, is that public access to these AI
\nplatforms will become increasingly weaponised. If we step back and consciously
\nthink about that for a moment we have already seen this happen through
\ndemocratic processes, social media and even government and state propaganda, and
\nwhen machines can do the work of thousands of people to weaponise content, it
\nbecomes massively more cost effective to fill the internet with bias,
\nprejudice, and intolerance or just outright lies.<\/span><\/p>\n

The world is already blighted
\nby scammers but generally, the more elaborate and most successful scams are
\nexpensive operations to run. Mostly the scammers have a couple of options when
\nit comes to funding their operations, either they will have an army of social
\nmedia trolls writing copy which is often grammatically incorrect making it
\nslightly easier to spot, but even when paying below minimum wage this is an
\nexpensive option. Or, they can now ask an AI platform to spill out copious
\namounts of copy saying the same thing in many, many different ways to give it a
\nmore authentic and authoritative feel. <\/span><\/p>\n

You don\u2019t necessarily need an
\narmy of people at this point, just a person, a laptop and some intent. People
\nare expensive and for things like this, there\u2019s not much in the world of
\nenforcement via other AI instances that can easily police this. It\u2019s also
\nsomething that causes some contention within social media circles, this type of
\ncontent drives division and engagement and those are the two very things that
\nalso drive ad-revenue so you really have to ask a very simple question around
\nwhether or not social media companies really, on a deeper level, want to do
\nanything over and above what they already do to stop it. <\/span><\/p>\n

Cynical me might suggest that
\nit would make zero financial sense to counter the negative aspects of AI driven
\ncontent on social platforms, and there\u2019s little doubt it would be both complex
\nand expensive, but longer-term, I\u2019m confident that tackling it now would make
\nfor a more sustainable future. If they don\u2019t begin to tackle it better than
\nthey are, I\u2019m reasonably confident that the blunt force of regulation might
\ncome into play and I\u2019m not convinced that\u2019s entirely healthy for any of us either.<\/span><\/p>\n

Whether it\u2019s convenient for
\nsocial platforms to not accelerate the policing of AI generated content is a
\nquestion for another day, maybe another blog by another author, but until there
\nis a mechanism to fund and monetise mainstream social media access more
\neffectively than ads, and a mechanism of funding that\u2019s adopted by the many,
\nwell, it does make one wonder if the real issue around the toxicity of social
\nmedia will ever be reduced whilst the price of entry is free.<\/span><\/p>\n

We are now at a point in time
\nwhere it\u2019s increasingly and often impossible to tell the difference between
\ngood information and bad. AI is so much more efficient and does a more
\nconsistent job of writing copy than an army of people can and of course, like I
\nsaid, more importantly it\u2019s nowhere near as expensive. <\/span><\/p>\n

Add to that the role of AI in
\ngenerating new users and we take a leap into a world where it becomes a
\nperpetual cycle where accounts are shuttered and within five minutes a hundred
\nmore are created. Social media\u2019s problem is that they didn\u2019t start charging
\npeople from the off, and that\u2019s going to be challenging for them to now
\novercome.<\/span><\/p>\n\n\n\n\n
\"industrial<\/a><\/td>\n<\/tr>\n
Industrial by Mark Taylor – another new geometric abstract inspired by the brutalism style of architecture which was predominant during the 70s and 80s.<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n


<\/span><\/p>\n

Whilst there are some
\nsafeguards in place with these platforms, it\u2019s usually the job of other AI
\nmodels to sort out the good and bad. Chat GPT for example will remember
\nconversations that people have with it, it allows a user to provide follow up
\ncorrections (as in change the output) and it is trained to decline
\ninappropriate requests, but from experience it\u2019s how you generally ask what you
\nask where this particular safety net can live or die. <\/span><\/p>\n

ChatGPT specifically calls out
\nsome of its limitations as in, it may occasionally generate incorrect
\ninformation, it may occasionally produce harmful or biased content, and it has
\nlimited knowledge of the world and events after 2021. But AI models are
\ndesigned to always learn so it\u2019s only a matter of time really as to how quickly
\nsome of these limitations will be overcome.<\/span><\/p>\n

Bear in mind, AI is fallible,
\nit\u2019s also often biased, AI only knows what it knows, and in the case of
\nChatGPT, barely nothing about life post 2021, and sometimes, well, it kind of really
\ndoes make things up. Is it sentient you might ask, well I asked that very
\nquestion of ChatGPT and honestly, I think it lied when it told me it wasn\u2019t. <\/span><\/p>\n

But these platforms and
\nChatGPT more specifically, can be useful as a business tool, equally they can
\nalso be problematic, so let\u2019s see if we can figure out what it is good for and
\nmore importantly, will it really help us to sell more art?<\/span><\/p>\n

Well, here\u2019s the first
\nelephant in the room that we probably need to look at, can AI produce original
\nart. The answer cuts far deeper than the question implies. ChatGPT can\u2019t, it\u2019s
\nonly good for text based output, but there are neural network engines that are
\ndriven by AI models that are really super-efficient at creating images and
\nthere are AI models that can create deep fakes, including perfect photographs
\nof people who don\u2019t actually exist.<\/span><\/p>\n

While AI-generated art has the
\npotential to revolutionise the creative industry, there are several ethical,
\ntechnical, and philosophical issues associated with its use. Here are some of
\nthe most significant:<\/span><\/p>\n

One
\nof the primary issues with AI-generated art is that it raises questions about
\noriginality and creativity. Critics argue that machines are incapable of true
\ncreativity because they rely on pre-programmed algorithms and data inputs. As a
\nresult, some people question whether AI-generated art can ever be considered
\ntruly original.<\/span><\/span><\/p>\n

Another issue with AI-generated art is that it may perpetuate existing biases
\nand lack of diversity. Since the algorithms are often trained on historical
\ndata, they can inadvertently replicate and even amplify existing prejudices and
\ninequalities. This can result in AI-generated art that is sexist, racist, or
\ndiscriminatory in other ways.<\/span><\/p>\n

There is also an ongoing debate about who owns the intellectual property rights
\nto AI-generated art. Since the art is created by machines, it’s not always
\nclear who should be credited as the creator nor is it clear from the output who
\nowns the copyright but generally it is without any shadow of doubt, using your
\nart and my art and the art of millions of other artists to do its thing. It\u2019s
\npossible that if you have ever uploaded a piece of your own artwork to an
\nonline space that an AI model has already learnt from it.<\/span><\/p>\n

Some
\ncritics argue that AI-generated art is not really art because it lacks the
\nhuman touch. They believe that true art requires human emotion, intuition, and
\nexpression, and that machines can never fully replicate these qualities. The
\ncounter to that could be that it is using your art and my art and the art of millions
\nof other artists to do its thing and there are plenty of emotions right there. <\/span><\/p>\n

Finally, there are concerns that AI-generated art could
\nlead to mass production and replication, which could devalue the art and reduce
\nits uniqueness and cultural significance. This could lead to a situation where
\nart is created solely for commercial purposes, rather than for its intrinsic
\nvalue as a form of creative expression. Flooding a market only ever serves to
\nwater it down.<\/span><\/p>\n

As a
\ncreator of art, as far as AI goes, and as much as I live for technology, I\u2019m
\nnot a fan. I was never really a fan of the neural network art that was being
\ngenerated about five or six years ago because very quickly we were seeing
\npretty much the same art over and over. There were a number of apps that sprung
\nup on the various App Stores and when lots of people figured that art (can we
\neven call it that?) could be created with a single click of a pixelated button,
\nlots of people suddenly thought of themselves as artists. <\/span><\/p>\n

The markets were flooded at
\nthe time with similar images from the same app and virtually everyone who had
\nlittle to no previous experience in creating artworks thought that what had
\nbeen created was somehow unique to them. Many of those apps used very confined
\nand linear AI models so the results were almost always generated from one of a
\nsmall number of presets.<\/span><\/p>\n

But, it really comes down to
\nthe single bottom line that however AI is presented, it takes our art and does
\nsomething with it that we don\u2019t particularly want it to do, and at this point,
\nit could be argued that this will be the time to consider an alternative career
\noutside of creating art because I\u2019m not even remotely convinced there will be a
\nway to monetise your work if AI continues to take it off us without permission
\nor recompense.<\/span><\/p>\n

<\/p>\n

\u00a0<\/p>\n\n\n\n\n
\"Geometric<\/a><\/td>\n<\/tr>\n
Polybius Redux by Mark Taylor – the second work to be inspired by the mythical Polybius arcade game which was said to be released in a video arcade in Orgon sometime in 1982.<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

<\/p>\n

<\/span><\/p>\n

I don\u2019t think that any of us
\nwill have the option to ever ignore AI and I\u2019m confident that it will become
\nsignificantly smarter over the next decade. Its misuse will become an even
\ngreater problem so the hope is that there are plenty of smart folks trying to
\nfigure out ways to minimise the risk of this happening, but, I fear that even
\nwith it\u2019s limitations today it may already be too late. The juggernaut is well
\nand truly coming down the road.<\/span><\/p>\n

Like I said just now, I\u2019m not
\na big fan of AI in art, but I have to admit I am a fan of some of the benefits
\nthat platforms such as ChatGPT can bring in terms of efficiencies that we all
\nneed to find when attempting to run a small business.<\/span><\/p>\n

When AI plays a role in
\nGenerative art and Fractal art, there is a significant difference in the generated
\noutput in that the art is created using algorithms and fractals, rather than
\nfrom taking the work of others. This kind of art can be unique, especially if
\nthe artist creates their own algorithms. <\/span><\/p>\n

But whichever way you cut it,
\nthere are plenty of unanswered questions that I don\u2019t think we\u2019re even close to
\nanswering anytime soon. How will we prevent certain populations from being
\ndiscriminated and marginalised by AI, how can we get AI to take human context
\ninto account, can we ever get to the point where we are able to teach a machine
\nempathy, compassion or to be ethical, and maybe one that is often forgotten,
\nhow we address the balance of access to available data sets?<\/span><\/p>\n

Just like our art gets taken by
\nsome AI systems to generate a work, our data which is collected by the tech giants,
\nbig corporations, governments and advertisers can be used to train these models
\nand we don\u2019t always have a say whether our data should be used in this way.
\nEither way, that\u2019s the kind of data that has a real commercial value to those
\norganisations which puts them at a huge advantage.<\/span><\/p>\n

Another question that seems to
\nbe challenging the overarching concept of data driven AI modelling is how do we
\neven begin to control or at least rein in what is seen by many people as an
\ninvasion of privacy. My fear beyond using the data in AI models is that the
\nclamber for personal data exponentially increases beyond where we are even
\ntoday. <\/span><\/p>\n

The huge amounts of what is
\nessentially surveillance data that links us to people, places, times, and what
\nwe look at online, is one of modern histories greatest mass surveillance programs
\nthat largely gets ignored for the most part by the masses, but this could
\neventually lead us on to a path of social oppression.<\/span><\/p>\n

Before AI takes a more
\ncomplete stranglehold of our everyday lives then I think we also need to start
\nanswering some of those really difficult questions, especially as the models
\nevolve, the systems further develop and we become even more addicted to its perceived
\nbenefits.<\/span><\/p>\n

I asked ChatGPT a number of
\nquestions about running a successful art business and the responses could have
\nappeared on the pages of many of the blogs that like the one I have created
\nhere, offer hopefully, useful advice to artists on running a business and
\nraising your profile as an artist. What I came away with though was plenty of
\ngeneric answers without any real context. <\/span><\/p>\n

When I write I like to provide
\nthe context and back the answers up with the scars of experience of life as an
\nartist in what has, especially over the past decade become a very complex
\nindustry. ChatGPT identified some key areas to focus on when I asked it what I
\nwould need to consider when creating art professionally. It covered quality of
\nwork, making sure you have business and marketing skills, it also covered
\npersonal branding and it focussed pretty heavily on making sure that you
\ndevelop networks and relationships. It made no mention of making sure you were
\non top of your taxes, and just like the rest of us in the UK, it gave up trying
\nto figure out post-Brexit import and export paperwork.<\/span><\/p>\n

The advice was almost there, it
\njust felt clinical and made everything sound way easier than it is in real life.
\nIt offered no real world examples and certainly didn\u2019t proffer any kind of
\nguidance as to how an artist might take the journey from A to B.<\/span><\/p>\n

It did suggest that
\nprofessional artists need to be persistent and resilient, so at least AI sort
\nof recognises that the art world is a challenge, yet despite this being its
\nstrongest response, it was still bereft of any practical guidance that would
\nguide me through some of the challenges that professional artists come across
\nevery day. That said, it may be the way I asked the question and we\u2019ll come to
\nthat a little later.<\/span><\/p>\n

With some answers in the bag I
\nwas keen to find out more. I asked a question that I thought might be more
\nrelevant during the current economic climate, how do I produce art more cost
\neffectively. I thought this was going to make it struggle with a response, but
\nI have to say that given the rising prices of art supplies I was eager to see
\nsomething new that I hadn\u2019t already thought of. <\/span><\/p>\n

The answers were once again,
\nrelatively generic. Use recycled materials, use alternative surfaces, create
\nDIY art supplies, and one that I can categorically say without any shadow of
\ndoubt is no longer cost effective, try digital art. As I mentioned a few weeks
\nback, the cost of creating digital art has massively increased over the past
\nyear or so which tells me that it\u2019s responses are at times out of date.<\/span><\/p>\n

It also suggested that I join
\nan Art Co-Op, and I\u2019ve mentioned this many times over the years on these very
\npages. Where it fell a little flat was in underestimating just how many
\ncommunities have these in place already, and it woefully underestimated just
\nhow many professional artists want to come out of their silos to work with
\nothers, that\u2019s always been a problem in recent art history at least.<\/span><\/p>\n\n\n\n\n
\"Bootleg<\/a><\/td>\n<\/tr>\n
Bootleg Gotchi by Mark Taylor – inspired by the many knock-offs of the infamous Tamagotchi toy that became popular in the 90s. This was hand drawn with the detail around the edges of the plastic wrapper taking just over 11 hours to create, but I think it looks realistic!<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n


<\/span><\/p>\n

Let\u2019s be honest, this is
\nprobably the single most asked question ever, it\u2019s the one question that new
\nartists and long-time artists alike want to know, as if there is some kind of
\ngolden ratio for pricing that none of us have ever found. Surprise, AI didn\u2019t
\nfind the golden ratio for pricing either.<\/span><\/p>\n

It suggested I consider the
\ncost of materials, my time, the size and medium, market demand and competition,
\nalong with artist reputation and experience. All the stuff we already know but
\nthen tend to do nothing about, instead we revert to making a price up and spray
\nand pray the work all over social media. <\/span><\/p>\n

The advice here was solid, it
\nprovided all of the data points you need to find the data on, although still
\nlacking any real context, but I think that this is a question that every artist
\nasks in the expectation that someone will confirm that their work is worth a
\nmillion bucks per square inch. Look, even AI can\u2019t figure this one out on its
\nown so I think the only remaining option is to do exactly what it tells us to
\ndo and go figure that bit out for ourselves using the very data points it told
\nus to explore.<\/span><\/p>\n

Where AI will have an impact
\nhere is in making sense of all of the data that you collect so that you can
\nconfidently work out how much to charge, but if you\u2019re after a straight answer,
\nyou\u2019re not going to find it here.<\/span><\/p>\n

I had to ask didn\u2019t I? Well,
\nhere\u2019s the response:<\/span><\/p>\n

Making one million dollars
\nfrom creating art can be a challenging task, as it requires a combination of
\ntalent, dedication, business acumen, and a bit of luck. <\/span><\/p>\n

Again, the answer was somewhat
\ndisappointing. My hopes and dreams were doomed once again. A bit of luck seemed
\na little on the optimistic side but it did suggest that any artist with a goal of
\nmaking a million from their work might also want to consider diversifying
\nbeyond creating art.<\/span><\/p>\n

Wise words indeed but there
\nwas no real context around what the diversification ought to be. I\u2019m sure it
\ncould have been pressed further than I pushed it to provide better answers and
\nagain, I\u2019ll touch on that in a moment. If you are wondering whether it is
\npossible to make a million dollars from creating art, then yes, it is, but the
\nprobability of doing that quickly is very unlikely.<\/span><\/p>\n

How do I sell more art, <\/span><\/i><\/b>and, What
\nkind of art sells best<\/i><\/b>. The answers were once again fairly generic, but
\nso was the question in all fairness. I got the usual stock response to, how do
\nI make more sales, the answers pointed me towards covering social media,
\ngaining representation from a gallery,\u00a0
\n<\/span>and to network with other artists, and from experience, these tend to be
\nthe bare basics that you need to have in place. It failed to mention that
\nmarket research, business acumen, and an entrepreneurial attitude were perhaps
\nmore critical than even artistic talent. I\u2019ve said it before, even bad art
\nsells with great marketing.<\/span><\/p>\n

As for what kind of art sells
\nbest, figurative, landscape, abstract, street art and pop art were the answers,
\nbut bear in mind that these would be the same answers that anyone could give
\nafter spending a few minutes looking through online galleries. That\u2019s because
\nthe answer you will get from this question is all to do with the numbers, there
\nare simply more artists creating art within these genres so the volume of sales
\nwill be higher overall. You could say that those subjects are collective best
\nsellers across an industry, I\u2019ll never be convinced that they\u2019re best sellers
\nfor an individual artist. <\/span><\/p>\n

If ten artists create
\nlandscapes and sell a hundred works between them, the overall numbers look good
\nfor those who sold more than other artists, but the numbers wouldn\u2019t be as good
\nas the one artist working in a niche who sells twenty or a hundred works. The
\nsubjects are popular because there\u2019s a wide choice, not necessarily because
\nthese genres are financially the best to create. Again, this is why you will
\nalways need experience working alongside AI. <\/span><\/p>\n\n\n\n\n
\"video<\/a><\/td>\n<\/tr>\n
Video 2000 by Mark Taylor – this VCR was released in the UK and Europe but it didn’t set the world alight. It was intended to compete with VHS and had some great features like double sided recording on the video cassettes and the tape was completely internal. Possibly the most technically challenging retro inspired work I’ve created over the past several years, in part because there’s not a lot of reference machines available!<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n


<\/span><\/p>\n

The example I\u2019ve been using to
\nshow you some of AIs capability is ChatGPT, it\u2019s very much a work in progress
\nbut it is about as accessible as the public can get to using what can be an
\nextremely capable AI tool, and it\u2019s also the closest that the public can get to
\nusing a completely incapable AI tool. <\/span><\/p>\n

When I say incapable, that
\nmight make it sound as if ChatGPT or AI in general is just a novelty that\u2019s
\nunable to be used for anything serious and that\u2019s definitely not the case. What
\nmakes it incapable isn\u2019t necessarily the technology, it\u2019s that to get anything
\nuseful out of it the user has to be just as capable in framing their requests.
\nThe user also has to be very specific in what they want from it, more than
\nthat, you have to be very, very, very, specific and you might need to reframe
\nany follow up questions to push it even further so that you get better and
\nsometimes more credible answers.<\/span><\/p>\n

Can a tool such as ChatGPT
\nwrite an article for a website like this, yes, but it\u2019s not as entirely as
\nclear cut as that. I personally wouldn\u2019t rely on it as an automated tool to
\nprovide me with the kind of words I spend hours pouring over every time I
\npublish a new article, simply because readers who read what I write visit this
\nsite to read what \u201cI\u201d<\/b> write. I hope\u2026<\/span><\/p>\n

Without some real input from a
\nhuman, it\u2019s not overly great at providing an article with plenty of contextual
\nexamples. For it to do that you would need to take the output and then break it
\ndown even further by asking a series of further questions and then, you might
\nbe somewhere a little closer to something that\u2019s a better read but it\u2019s worth
\nremembering that AI will never be you, well at least not just yet.<\/span><\/p>\n

As it is, without spending
\njust as many hours on refining the output as you would to write an article in
\nthe first place, this kind of more generalised, publicly accessible AI is too
\ngeneral and much too vague in its responses to give you something that you can completely
\nrely on to give you something that is close to being print ready. You have to
\nbe careful not to rely on it to provide you with facts, some of the output will
\nbe out of date, and it can generate responses that while factual, can be
\nmisleading without any accompanying context.<\/span><\/p>\n

As a tool, AI in a ChatGPT
\nsense shouldn\u2019t be feared, as long as it is used responsibly. It can be really
\nbeneficial in saving you a heap of time if you spend a little time figuring out
\nhow to work with it. You have to look at it as a slightly smarter version of
\nthe virtual assistant that you might use to turn up your heating, ask for a
\nweather report or turn on the lights, but give it time to mature and I\u2019m
\nconfident that these platforms will become increasingly more complex, and
\nincreasingly more simple to use. <\/span><\/p>\n

AI more broadly beyond the kind
\nif AI as found within platforms such as ChatGPT is much more refined because it
\nis developed with one very specific output in mind. If it\u2019s used for scanning
\nmedical data then the models used to provide the machine learning are going to
\nbe much more specific and detailed than the more general learning that\u2019s been
\napplied to bring you something like ChatGPT. <\/span><\/p>\n

That\u2019s not intended to be
\ndetrimental to ChatGPT, it\u2019s models are without doubt complex, but it\u2019s models
\nare also far too broad and wide reaching to be as perfect as some of the more
\nspecialist AI systems are. It needs much more time and development to mature
\nbut it is being rapidly developed.<\/span><\/p>\n

That said, tools such as
\nChatGPT can indeed help you to be more efficient and there\u2019s little doubt that
\nthese tools can take some of the pain away from carrying out the mundane tasks
\nthat we all have to perform as artists. I asked it to come up with some artwork
\ntitles by providing an in-depth description of the art, as in, I explained it
\nin a way that I would explain it to a blind person and the titles were much
\nbetter than anything I could usually come up with. <\/span><\/p>\n

I also had success in asking
\nit for a list of metadata labels that could be used to search for the work and
\nagain, with a little effort on my part it was able to generate a decent list of
\ntags and labels that could accompany my uploads to sites such as Fine Art
\nAmerica. They still needed a little human input but I think I saved about an
\nhours work from using ChatGPT and that\u2019s not to be sniffed at. <\/span><\/p>\n

I also had some success in
\ntaking the same description and then asking it to generate a marketing
\ndescription that was SEO friendly, and again, it took just a little refining
\nand I had saved at least another hours work. That\u2019s considerable when you find yourself
\nplaying catch up and uploading multiple works, the time involved in coming up
\nwith meta-tag labels, titles and descriptions isn\u2019t insignificant. I spend at
\nleast 8-12 hours each work just coming up with words when I have multiple works
\nto upload. With ChatGPT I saved at least half of this. <\/span><\/p>\n

Where I found real time gains
\nwas in asking it to synthesise data. I used it to generate a simple report
\naround my client demographics, historic sales, and success from social media
\nactivity alongside a bunch of other metrics I use to keep track of where my
\nbusiness needs to be and it generated a really simple report with key
\nhighlights just from parsing the data I had copied and pasted in. <\/span><\/p>\n

Usually I would use a platform
\nsuch as PowerBI to create reports, add the data to a data lake and hope for the
\nbest, (I\u2019m not a power, PowerBI user by any stretch) but this meant that I
\ndidn\u2019t have to fiddle around creating new report templates and I got the key
\ninformation back within minutes so that I could run side by side comparisons
\nwith previous quarters.<\/span><\/p>\n\n\n\n\n
\"minidisc<\/a><\/td>\n<\/tr>\n
Minidisc by Mark Taylor – I still have mine from the 90s, the batteries were still working after almost a decade when I eventually turned it on, they hadn’t even leaked which was a miracle!<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n


<\/span><\/p>\n

There was a monetary saving
\nhere, the results were better than I could get from PowerBI and PowerBI is an
\nexpense I can do without, although I expect that wouldn\u2019t be the case if my
\ndata lake was more substantial, if it were though, I might be inclined to still
\nuse AI in my workflow and I\u2019m sure it will be integrated more with tools such
\nas Power BI in the future. As it stands in comparison with large businesses, my
\ndata lake is merely a small pond so I can scratch at least one outgoing cost
\nfor now.<\/span><\/p>\n

It\u2019s also really good for
\ncreating content outlines, if I ask it to put together three content outlines
\nfor a blog post about X, Y, and Z, it has no problem doing that and again, this
\nsaves a heap of post-production time because I have to spend less time thinking
\nabout the small stuff that generally takes the longest time. It\u2019s a solid base
\non which to research topics that I\u2019m less familiar with too.<\/span><\/p>\n

For me, when it comes to topic
\noutlines, writing descriptors and meta tags, I usually treat this
\nnon-productive time. Of course it is productive, it\u2019s as critical as the
\nartwork and my writing itself in many respects, but it\u2019s a detail that whilst
\nbenefiting a client or a reader, doesn\u2019t really move the needle on the bottom
\nline quite as much as finishing off a commission or creating a new piece of
\nwork, or meeting with a potential client and if I\u2019m completely honest, it\u2019s the
\nbit of the job I like the least. <\/span><\/p>\n

Arguably, SEO, artwork
\ndescriptions and tags, are the essential ingredients in the sale of art, but if
\nsome of this can be handed over to AI under at least a small degree of
\nsupervision, then it free\u2019s up more time to be able to focus on work that moves
\nthe needle on the bottom line by allowing you to focus on higher value outcomes
\nand brings back the time you need to do the stuff you can really enjoy. Think
\nof AI as a new apprentice, an apprentice that still needs some hand-holding but
\nthat can be sent off to do the jobs that don\u2019t necessarily need to be
\nundertaken by the CEO.<\/span><\/p>\n\n\n\n\n
\"Y2K38<\/a><\/td>\n<\/tr>\n
Y2K2038 by Mark Taylor – yes, we’re due another Y2K event in 2038. Don’t worry, I made a bespoke sticker which you can buy alongside this print on my Pixels and Fine Art America store so you can place it proudly on the lid of your laptop and freak other people out!<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n


<\/span><\/p>\n

When it comes to integrating
\nAI in your workflow as an artist, it can be useful, even ChatGPT can save you
\nboth time and money, more than that, it can take some of the mundane tedium out
\nof your workflow, at least to some extent, but, if you are thinking that AI is
\nsome golden panacea that will allow you to completely take a back seat and
\nrelax on a beach while it does all of the work, that\u2019s still very much in the
\nrealms of fantasy. At least it is for now.<\/span><\/p>\n

To get the most out of it
\ntoday, you have to understand its limitations. You also have to take some of
\nits responses with a very large pinch of salt and be prepared to take
\ncorrective action. Like a small child near a swimming pool, I\u2019m not entirely
\nsure it\u2019s wise to leave it unattended and then rely on it to do the sensible
\nthing, or indeed, rely on it always giving you a sensible answer. It\u2019s as good
\nas the programmers who wrote the code and it\u2019s as good as the knowledge base it
\nhas learnt from, but it\u2019s not HAL folks, not quite yet anyway.<\/span><\/p>\n

You need to give it very good,
\nspecific, and direct inputs to get very good, specific and direct results. It\u2019s
\nthat old adage, rubbish in, garbage out, and it takes practice. If you are
\nthinking that in the next five minutes you will be relaxing with a glass of
\nPinot Grigio while it does its thing, I would advise that you don\u2019t drink the
\nentire bottle.<\/span><\/p>\n

AI delivered in the guise of
\nsomething like ChatGPT, in the publics hands is five, maybe even ten years away
\nfrom where it needs to be to do the kind of things that you imagine it will do
\nalready. But if you set your expectations somewhere in the region of it being a
\nreally useful tool that has the potential to save you anywhere between a
\nminiscule and a heap of time, particularly if you need to build some
\nfoundations which can help you overcome that initial creative block when you\u2019re
\nwriting or researching, then I think it might already be where it needs to be.<\/span><\/p>\n

Should you shy away from it or
\nembrace it, well, I don\u2019t think we will ever be in a position to hide away from
\nit. My advice is to embrace it for the benefits that it can bring and take some
\ntime to understand its limitations. Learn to work with it, and watch it grow,
\nbecause at some point in the future you will be relying on it even more than
\nyou didn\u2019t realise you already do!<\/span><\/p>\n

Mark is an artist who
\nspecialises in retro and vintage inspired works featuring technology and other popular
\nculture from the 70s, 80s, and 90s. He has been creating professional digital
\nwork since the 1980s.<\/span><\/p>\n

You can purchase Mark\u2019s work
\nthrough Fine Art America or his Pixels site here:\u00a0https:\/\/10-mark-taylor.pixels.com<\/a>\u00a0\u00a0\u00a0You
\ncan also purchase prints and originals directly. You can also view Mark\u2019s
\nportfolio website at\u00a0https:\/\/beechhousemedia.com<\/a><\/span><\/p>\n

Join the conversation on
\nFacebook at: https:\/\/facebook.com\/beechhousemedia<\/a>
\nconnect on Twitter @beechhouseart or waste hours of your life on Pinterest
\nright here: https:\/\/pinterest.com\/beechhousemedia<\/a><\/span>\u00a0<\/span><\/p>\n<\/div>\n\n","protected":false},"excerpt":{"rendered":"

A Really Simple Guide to AI for Artists With all of the buzz around Artificial Intelligence, (AI), I decided to see if it really could solve the time problem that many artists face. Could it really provide answers to the most searched for answers that artists seek, such as \u201cwhat art sells best\u201d, \u201chow do […]<\/p>\n","protected":false},"author":1,"featured_media":146118,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[100],"tags":[7742,2059],"dealstore":[],"offerexpiration":[],"class_list":["post-146117","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-art","tag-artists","tag-guide"],"yoast_head":"\nAn Artists Guide To AI - Som2ny Network<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/fivemor.com\/?p=146117\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"An Artists Guide To AI - Som2ny Network\" \/>\n<meta property=\"og:description\" content=\"A Really Simple Guide to AI for Artists With all of the buzz around Artificial Intelligence, (AI), I decided to see if it really could solve the time problem that many artists face. 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Could it really provide answers to the most searched for answers that artists seek, such as \u201cwhat art sells best\u201d, \u201chow do […]","og_url":"https:\/\/fivemor.com\/?p=146117","og_site_name":"Som2ny Network","article_published_time":"2025-03-20T17:50:46+00:00","og_image":[{"width":1080,"height":630,"url":"https:\/\/fivemor.com\/wp-content\/uploads\/2025\/03\/AI20cover20Image.PNG","type":"image\/png"}],"author":"admin","twitter_card":"summary_large_image","twitter_misc":{"Written by":"admin","Est. reading time":"37 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/fivemor.com\/?p=146117#article","isPartOf":{"@id":"https:\/\/fivemor.com\/?p=146117"},"author":{"name":"admin","@id":"https:\/\/fivemor.com\/#\/schema\/person\/b85e3c3dc0e1daea076524dc8810c371"},"headline":"An Artists Guide To AI","datePublished":"2025-03-20T17:50:46+00:00","mainEntityOfPage":{"@id":"https:\/\/fivemor.com\/?p=146117"},"wordCount":7392,"commentCount":0,"publisher":{"@id":"https:\/\/fivemor.com\/#organization"},"image":{"@id":"https:\/\/fivemor.com\/?p=146117#primaryimage"},"thumbnailUrl":"https:\/\/fivemor.com\/wp-content\/uploads\/2025\/03\/AI20cover20Image.PNG","keywords":["Artists","Guide"],"articleSection":["Art"],"inLanguage":"en-US","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/fivemor.com\/?p=146117#respond"]}]},{"@type":"WebPage","@id":"https:\/\/fivemor.com\/?p=146117","url":"https:\/\/fivemor.com\/?p=146117","name":"An Artists Guide To AI - 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