#is ai art art again if i paint over it?

[allcirclesvanish]

artists curating the details of ai assisted rendering are definitely still making conscious choices about their own art...? like how is that even an argument lol. do people who think like this have any such arguments about blending brushes? or photographs? every day i see people making the same arguments about what constitutes "real" art and every day i swear they are inching closer to outright saying that real art can't be created using computers at all. it's silly.

[shummthechumm]

NICKELODEON/BACKYARDIGANS OFFICIAL HIRE ME I CAN HELP YOU!!!!

[cozylittleartblog]

Please come back to Deviantart and upload all your art!!!!!!!!!

deviantart can suck my whole entire dick and can keep sucking it until they decide to get rid of their AI bullshit

anyway reminder that y'all should join sheezyart

my username there is cozy

[maked-artyshenanigans]

So, I saw this image on Facebook, and it was supposedly showing what Queen Nefertiti would have looked like in real life:

Now, I thought this AI generated garbage was just truly terrible on a number of levels; first off, she looks wayyyyyy too modern - her makeup is very “Hollywood glamour”, she looks airbrushed and de-aged, and as far as I’m aware, Ancient Egyptians didn’t have mascara, glitter-based eyeshadows and lip gloss. Secondly, her features are exceptionally whitewashed in every sense - this is pretty standard for AI as racial bias is prevalent in feeding AI algorithms, but I genuinely thought a depiction of such a known individual would not exhibit such euro-centric features. Thirdly, the outfit was massively desaturated and didn’t take pigment loss into consideration, and while I *do* like the look of the neck attire, it's not at all accurate (plus, again, AI confusion on the detailing is evident).

So, this inspired me to alter the image on the left to be more accurate based off the sculpture’s features. I looked into Ancient Egyptian makeup and looked at references for kohl eyeliner and clay-based facial pigment (rouge was used on cheeks, charcoal-based powder/paste was used to darken and elongate eyebrows), and I looked at pre-existing images of Nefertiti, both her mummy and other reconstructions. While doing this, I found photos of a 3D scanned sculpture made by scientists at the University of Bristol and chose to collage the neck jewellery over the painting (and edited the lighting and shadows as best as I could).

Something I see a lot of in facial recreations of mummies is maintaining the elongated and skinny facial features as seen on preserved bodies - however, fat, muscle and cartilage shrink/disappear post mortem, regardless of preservation quality; Queen Nefertiti had art created of her in life, and these pieces are invaluable to developing an accurate portrayal of her, whether stylistic or realistic in nature.

And hey, while I don't think my adjustments are perfect (especially the neck area), I *do* believe it is a huge improvement to the original image I chose to work on top of.

I really liked working on this project for the last few days, and I think I may continue to work on it further to perfect it. But, until then, I hope you enjoy!

Remember, likes don't help artists but reblogs do!

[amalasdraws]

https://www.tumblr.com/bigmammallama5/732632789726478336?source=share do you have any tips on how to detect ai and deepfakes?

Good question and I'm gonna be honest, it's not always easy and it will only get harder and harder. I'm just an artist who has spent their personal time to dive into this topic and study images. I'm still learning and there is a lot I don't know. But let me show what I know. This will be long, but I will make a summary at the end! So far, even with ai having become better and better there are still almost always some things wrong with an image, and they all have a very specific look to them. So let me try to show you some and point out some of them.

As we all know, a biggest struggle ai had were hands. And even though here and there we still see messed up hands, I say "had", because the hands is actual a good example on how ai is improving and will only get better. Still, looking at pictures that show more hands is always worth it, because somewhere in the back there will be most likely at least one messed up hand.

Another issue a lot of ai still has is hair though!

It's very obvious still in many ai "drawings" and in those otherwise well rendered portraits. Hair starts to blend with the ears a lot, or with the clothes.

There is also often this very odd look between something too sharp and way too blurry

There is often a very specific texture to the hair. I actually do not know the artistic or specific name for it. I can only describe it as this weird sharp feeling that makes it look oddly pixely, and then you have areas where it's very blurry. And the kind of loops and almost flame like looking hair we see in the last pic out of the three here is also something very common with ai.

As an artist I know we make mistakes too! The way I draw hair is flawed too! But it's not only that it's flawed here, but it's following always the same pattern and falls into the same issues over and over again, no matter who is "creating" the image. Those flame like loops are a common one, next to the odd blends and weird sharp and blurry textures.

But ai is getting better, and we not only have "art" and something that tries to be a drawing/painting, but photos too.

A lot of those "photos" have a very specific texture and look to them! Again, it's not always the mistakes, but the very specific optic too. A lot of the images are oddly smooth, too rendered, with always blurry backgrounds. And when you look closer at the background you will see the mistakes! The crowd behind Jesus is a hot mess once you look closer. Bob Marley's hair has the same issue than I described before. Lincoln is surrounded by people with messed up hands and don't even get me started on the faces behind Caesar.

So a lot of ai images look alright on a first and quick glance, but as more time you spend with them, as more mistakes you will notice. The wehre is Waldo of ai horror.

And those "photos" shared here are still very obvious. Not just the mistakes and messed up details but the very specific aesthetic too.

Those images get better and better and as less details you have, as less mistakes you have!

With photos like this it becomes harder and harder. There are not many details and no hands. Not many mistakes can be made. Also the very obvious plastic looking smoothness isn't so much here anymore. It kinda still is...but differently. And always the blurry background!! Sometimes the hair is still a giveaway. Collars and clothe straps are also often still a giveaway upon close look. As is jewelry. Earrings will be different and necklaces often don't go all the way around, just end, or blend with the hair or clothes.

Often details on jewelry is also blurry and not shown properly. This is a trick with many details. With jewelry, batches, hair, ears, text. So it's often blurred out and not shown properly because ai doesn't know what to really show here.

It's often really just the small details and when we scroll down quickly we will miss them. Like the wedding ring on the middle finger, the pens on top of a closed pocket, the batches that are always blurry, messed up faces that blend with a blurry background.

And sometimes it's so subtle that I could only really tell that right is the ai image in comparison to the real photo on the left. The real photo shows hands clearly and even when things are blurred out it doesn't feel that it's done to hide things. The ai image on the right hides the hands. There is also a very dead look in the eyes :D

And here I could only tell because the text in the back doesn't make sense. Even blurred out we should be able to make out something here

And after seeing a lot of ai images I recognize the kind of blurred out bg in combination with a very smooth and well rendered foreground/characters.

And here the only giveaway is a closer look at the backgrounds as well

To summarize it:

Ai and fake news rely on a fast living world. We are being bombarded with tons of information and messages daily and we scroll past quickly. But the best tool, for now, in detecting ai is taking our time! Those images get better and better but so far there are still always some things off!! Especially in the background!

Hair. Often weirdly smoothed out and oddly sharp at the same time

Hair often blends with the ears or the clothes

Details are blurred out.

Jewelry doesn't match (example earrings). Details on metal often blurred out and never shown. Necklaces blend with hair or the clothes, and don't go around the neck.

Background is always blurred out.

In this blurred mess there are often hidden very messed up faces and/or hands.

A very specific smooth and yet too sharp/too rendered aesthetic combines with an always blurry bg.

Text, especialyl in the background, is not legible and doesn't make sense.

Backgrounds are often (so far) the dead giveaway. Somewhere in the back things become muddled and messed up. This shows also very well in ai decor/architecture. There will be odd lines that don't align or align too well. Curtain poles that end in the furniture, a plant that is behind a lamp suddenly having leaves in front of the lamp. As longer you look as more you will notice.

Conclusion:

Take your time with images! Sit with them! Especially when it's framed as important and political news. Is it ai and propaganda, or did it really happen? Don't fall for the quick buzz and outrage! Some things are obvious right away but with others you have to take your time. And it's time you have! If you are still unsure if a pic is real or not, do some research on top. Image reverse search. Can you find it anywhere else? Are other news outlets sharing it? Does the image/message make sense? For example there is now a deepfake of Bella Hadid voicing support for Israel. Ask yourself, does this make sense? If it feels out of line compared to previous behavior, do some research! Media literacy is not just as being able to recognize a fake or real right away, but being able to do research. To question things! Don't just take every post online for face value. Even when shared by a mutual you trust. They might have been tricked!

There are so many information online and it's great to have access to so information, but it's also difficult to wade through all of it. Media and truth are a weapon and it's being twisted and bend used to manipulate. Always has! But ai and so many people being able to post and share things, it becomes bigger and bigger and more dangerous. So don't just take everything that is handed to you and share it further no questions asked. Media literacy and being able to think for ourselves and do the research is important!! And as research becomes harder and harder, as sources are being messed up with ai and other fake news, it's even more important to sit with the images and study them. See the flaws, the mistakes. Compare it to other news and images.

This got long, and I started to ramble at the end. Sorry But I hope this helped

[prael]

A Bargain To Remember

Kinktember Day 13: Car sex

(G)I-DLE Miyeon x male reader smut

words: 4,950 Kinktember Masterlist

"Finally, a face to the name."

You know all about Miyeon, of course. She's the type of girl whose face is plastered on every screen and every street in every corner of the galaxy, a darling of the interplanetary conglomerates. From the spaceports to even the most downtrodden of back-alleys, you can probably find her face on some poster or flyer or some massive digital billboard high above you—those corporate powers that be sure want to squeeze as much out of her as possible.

The surprise is that she knows you.

Of course, it's on those screens, or the ones at home, or the ones in their pockets, that most people become acquainted with a girl like Miyeon. Those glossy eyes, her effervescent smile, her delicate but fierce features, of course, they leave an impression. They sell you dreams, products and promises. That's why you can find her all over the place—but the versions of her you can interact with— ones to purchase and enjoy—are another beast altogether.

"Can I help you, miss?" you feign ignorance of her identity as she takes the chair at the other end of your desk.

"I would like to make a purchase."

"A purchase? From me? What could I possibly offer to someone like you? I sell scrap electronics to junkies and fix the broken implants of low-life thugs. How could that possibly interest you?"

She crosses her legs, and says, "Don't play with me. I have seen your work, quite the artist you are, though I wouldn't say you exactly have my mannerisms down. The curve of my mouth, the cadence of my voice—not exactly up to par with the real deal. But as fakes go, you do well with what you have."

You scratch at the back of your head and then catch a bead of sweat forming at your temple, "Think you have the wrong guy, miss. You're talking AI and Virts here. Not my thing, definitely not my forte."

She's quiet as you look around at anything but her face. The grey concrete walls and steel beam of the roof are awfully fascinating suddenly, and then the holos playing on loop above the screens of your makeshift booth—really anything than to have to admit that your life's work consists of making and selling forgeries of people like her. She knows why she's here—the least you could do is be brave and admit to your craft.

"I tried your work myself. Quite the experience. Can't say I ever planned on fucking myself—but well, there's a first time for everything I guess."

There's enough power across your desk to not only shut you down and make it so the only tech you would ever touch again is a pair of electrified cuffs at best, and at worst she could have you put down and silently disposed.

Miyeon continues, "As I say, it wasn't entirely accurate, I'm not actually that loud or aggressive, for the record. But it was fun, so if you're thinking I'm about to expose you, not the case—I'm actually here to invest in your skill. Your art is fun, and I dare say your tastes in women, are spot on."

You let out a small nervous laugh and then say, "I don't usually take requests."

Her pink-painted lips, the gloss shimmering slightly from the bright fluorescent overhead light, form into a delicate, mischievous grin. "I'm willing to make you an offer, one you won't refuse. You get me what I want, and I'll license your work. Think about it. An official Miyeon VirtueX™, think of how lucrative an asset that could be. The whole galaxy's lining up to get a taste—and you would be the only real supply."

You lean forward in your chair to peer at her and ask, "Let's say I was who you think I am, what is it that you want from me?"

"What I want from you," she pauses and tilts her head, her eyes glance across your features briefly and her tongue traces the edges of her teeth. "Is to show me the past." She places a drive on the desk—old-tech, the kind that would never run on any kind of systems that are sold today. "You can get this working, right?"

"Is that a government stamp?" You point to the symbol on the drive. "I plug that in and I'll have execution squads here in under a minute."

"It's all above board. Officially disposed and untracked. I just need to live it, once." Her voice is quiet and pensive.

"Alright. Deal. But those two lumps of metal you call bodyguards have to stay out there, and you're coming through to my studio. If I'm gonna help, you have to play by my rules."

She flashes you a winning smile. You thought you had her pegged down but all this has proved you wrong—there was more to Miyeon than the flashy clothes and the blinding lights, a lot more. And your curiosity is getting the better of you now.

"You know, you're only the third person to ever step in here," you open up the secret passage into the back room, and gesture for Miyeon to step in.

You close the door behind you both and feel the heavy metal slide lock with a hiss.

"The first was me, naturally, and the second left it in a body bag a few years ago."

She doesn't flinch, just brushes past you and sits on the edge of your desk, running a finger along the steel as if surveying the conditions of your equipment. "Hard to imagine you make the stuff you do from a place like this," she says.

"The drive," you say as you hold out a hand.

She passes it over and you examine the shape and material. Most drives these days are designed to interface with neural implant ports or organic docks directly—this is true vintage work. It might have been what some would have called groundbreaking tech a hundred or so years ago. You hook the little device up to your primary work machine and start running tests.

She slides off the table, her hands resting on your shoulders. She bends down, her body pressed into yours as she murmurs near your ear. "How is it?"

"A mess. But a fixable mess. Should have something you can use soon enough."

Miyeon breathes gently in your ear before placing a hand on your arm, "Please, whatever you do, do not look at the contents. It's personal, just let me view it, and live it, one last time. Then you can lock it away again for all eternity and erase the copy from your server. And then you get exactly what you want from me."

You breathe in deeply, a mixture of her perfume and the thick oily scent of hot electronics flooding your brain. "Whatever, it's none of my business anyway. Now take a seat will you." You nod to the chair on the other side of the room.

The drive whirrs softly and a data scan runs to gather all the fragmented encryptions left behind on the device. Miyeon lies flat back on your chair and waits for you to connect her—she holds out her forearm expectantly.

"Come on then," she smiles sweetly and pulls a loose curl behind her ear.

You clamp your eyes tight and inhale. "Here goes nothing." You run the system at the push of a button and all the data you scraped compiles in a memory, one for Miyeon and Miyeon alone to relive. You walk over, drawing the connection from the chair and readying to insert it into her arm. "Connections like these, they can hurt, okay? Are you ready?"

"Do it." She's insistent.

A quick stab of your fingers later and the tiny prongs slide into the barely visible organic slot on her skin. Her head tosses violently and for the first time, there's fear on her face. But as soon as you have her connected, her eyelids begin to flutter. You sit a while, watching her as a million synapses all spark to life behind rolling eyes—whatever the moment is, she is in it. You leave her in peace and sit back at your workstation, waiting.

There's an artificial sensation of the atmosphere becoming slightly humid all around, the lights are a soft pastel blue, and the world is swathed in cotton wool. Silent. You find yourself completely frozen in time. It drags and yet somehow comes to a finish just as you're still adjusting to the quietude.

Miyeon's connection beeps and you turn around, removing the port from your system. She pulls the connection from her arm.

"So, tell me, was it worth the trip down memory lane? You get everything you wanted?" You unplug the old-school hardware and await the confirmation that all the corrupted data's safely expunged from your hard drives.

"Almost everything. But most things, in the end, never get a happy ending, do they?"

"Sounds heavy. The stuff that happened on there, pretty rough, huh."

Her pupils are dilated, the whites of her eyes flooded red. "Like you wouldn't believe." Miyeon climbs from the chair, finding her feet back in the real world after living in another for a precious few minutes. She blinks twice and there's a distinct film over her corneas.

"So that's it? My end of the bargain was fulfilled. And I get my licensed content?"

Miyeon turns and you wonder if that's a tear that's been cast down her cheek. "Sealed and guaranteed. Now let's give you some real data to work with. The right anatomical model, an authentic Miyeon behavioural pattern, every single unique vocal calibration, every erogenous spot, every subtle expression in real-time—have it all. One more condition. I have another memory, a real one in my head, if you make me relive that, you can record it and scrub every detail you need. Are we agreed?"

You nod. "Done. Sit there and we'll connect."

"You're going to manually record?"

"How do you think I get it all so accurate?" you tell her with a smug smile.

She sits and gives a nod. "If it's got to be done." You take a seat behind her, and you both reach over your shoulder to pull the neural connector into your napes and slot them in.

A brief flash of many realities as you slip into her consciousness and she welcomes you to her memory.

A calm setting, sitting in a car, you were driving and she's in the passenger seat. You're parked beside a winding hillside road and looking out over a city. A city you don't recognise. Miyeon's fingers dancing across your thigh with a suggestive gentleness, a sly smile.

"Where are we?" you ask.

"Seoul." Miyeon smiles.

"When are we?"

"2024."

"2024? That's over seventy years ago!"

She laughs. "Yeah? You wanted the real authentic Miyeon, didn't you?"

"Sure, but in 2024? That's just unbelievable. You look the same. How are you so—"

She leans close and traces a finger across the line of your jaw. She stares directly into your eyes and says, "We'll worry about the details later. Right now, you want what I've promised, and you've come this far, so you know what has to be done. We're already where we need to be."

Your senses are engulfed in an emotion and memories that are not your own. All a simulation and all a vivid and overwhelming experience. You're in love with her, that's the overriding feeling—the feeling of whoever she was really with at this time.

"This is the memory of the best sex of my life." She leans close to whisper to you. "So do try your best."

"This is just..." You don't get to finish, she's grabbed your shirt and pulled you close. She kisses you deeply. There is nothing of the daintiness or composure that you're used to, you've lost all your will and she is dragging you out of control. You find yourself consumed with an overwhelming and perplexing ecstasy and the idea of restraint or of reason seems unimportant now. You're driven purely by passion and by instinct—she has to have you and you have to have her, it's almost a compulsion. She's yanking off her seatbelt and reaching for your trousers, clawing at them desperately.

And just like that, you're scrambling at each other's clothes, almost frantic. You have the sensation of her breath across your face, the heat of her lips against your skin. Hands, everywhere. Exploring the curves of her body. A hungry desperation to peel back every layer of fabric to feel more, and more of her. She bites your bottom lip and looks at you with pleading eyes.

"I want you and I want you now." Her lips move like liquid lust and her hand like electricity, the energy tingles when she wraps her fingers around your cock and pulls it free from your pants.

She gasps and then giggles as if pleasantly surprised, a cute and kittenish squeal, she hums with her own approval of her actions.

"I'll be gentle," she whispers, her eyes shining with mischief. She rubs you from tip to base, taking the full length, slowly and teasingly over and again until the blood's pumping and you're at full salute. She's on her knees in the passenger seat and leaning over you. A smirk on her lips, she goes lower and lower still, her tongue warm and wet. Taking your crown into her mouth and enveloping you, her pace slow but sure.

Your hand in her hair, not to control or pressure, just to feel her in the moment. Encourage her, caress the back of her neck and appreciate every moment of pleasure. She takes you deep, deeper into her throat, the heat of her lungs, the power in her movements as she comes off and plunges again and again. It's effortless and instinct, and not for anything other than her own desire to please, and that itself is thrilling, you have to admit.

It's a strange new world for you to have sex without the enhancements of technology. It's so raw.

You sigh and whimper at every suckling pull, your nerve endings raw and singing. Her palms firmly pressing down onto the tops of your thighs, her movements grow slower, more sensual but she sucks harder, the vibrations from the moans of her enjoyment humming through the root of your shaft—fuck, it feels so fucking good, too good. She releases you with a slight gasp for air and a drooling line of spit.

She wipes her lips with a knowing glint in her eyes. "Outside, now." Miyeon doesn't hesitate. Her shirt pulled off and tossed into your face and she's leapt over to the rear passenger door, flinging it open wide, the warm night air rushes in to greet you, along with the sound of crickets. She slams the door shut and you open yours.

You climb out and head to meet her at the front of the car, she's already leaning against the metal hood. The car is one of those muscle cars from back at the time, a real classic ride that suits a woman like her. "Hey you," she rubs her hands against the metal as she leans forward and sprawls herself over it. "Get behind me already," her tongue dancing across her red-stained lips, her chest heaving in excitement, you're as hot and as hard as you'll ever be.

Miyeon tilts her head, watching you closely with half-opened eyes, her pretty pink tongue sticks out between her perfect teeth, and a teasing wink follows. She wiggles her hips, an inviting gesture, her skirt raised to reveal the gentle wobble of her cheeks—she doesn't have underwear, what a perfect minx she is—all bare for you.

She runs a hand down over the hem of her skirt and then raises it fully up over the top of her ass. As glorious as the very stars overhead. You have an overwhelming urge to run your hands across her bare flesh and as you take the first steps towards her, you find your arms reaching and touching and tracing every inch of skin that's exposed.

You run your hands over her cheeks, spreading them, kneading them, Miyeon's letting out soft little noises, encouraging you, inciting you—but fuck, this view... it's exquisite. It's so clear now, that all those fakes, the painstaking hours of recreation, simply did not live up to the real deal, and not just the view, everything is magnitudes superior.

You smooth your palm between her thighs and you part them, pulling her ass to the edge, sliding her legs open, watching as her wetness shines. "Just how badly do you want me?" you ask her.

"Look at me, how can you say something like that? Of course, I fucking want you. I hate having to wait. Come and fuck me."

You guide your cock to sit between her cheeks and rock into it gently, enjoying how those perky cheeks cradle your length and the way her whole body rocks with every movement. "Is it wrong that I love watching you squirm?" you ask, running the palm of your hand over the bare skin, digging your fingers in, grasping a handful and appreciating how it yields under your fingertips.

"Only wrong if I mind, and I don't," Miyeon groans, lifting her hips against you and smothering your dick in her deliciously juicy flesh. She is irresistible. "So what are you waiting for," her voice soft and suggestive. "Go on, you know you want to. You know how much I need it."

You grit your teeth and trace her lips with the tip of your cock, and it's like lightning flashing between you both. Fuck. Her lips are so wet and hot—they're so tantalisingly puffy. She wiggles and gyrates against you as you rest inside her opening. She groans and you're shuddering.

You slide the first few inches and gasp. You both moan softly together as you glide in, she's so much tighter than you had imagined she might feel—every inch that slides inside makes her clench you more.

"Yes," Miyeon is urgent and breathy, her muscles are contracting as though attempting to swallow your entire length. And she's hungry for it. "That's it baby, nice and deep," her words as electrifying as the sensation of her snug walls quivering as she clings on with greed.

"Like this?" you whisper in her ear as you lean over and pin her petite frame against the metal, letting her feel you, all of you. Every inch. And as she moans and shivers under the weight of your body. Your hands reach her shoulders and your fingertips find her neck, circling and caressing and massaging in all the right places—she turns her head as far round as she's able to gaze at you as she hums and gasps with each rolling movement of your hips.

Her teeth biting her bottom lip, her cheeks flushed pink, a complete dream in motion. Her body arches as she urges and wills herself back on you. You groan in return. Everything about her feels unreal in its perfection. She's squeezing against your cock, and her most hidden recesses begin to melt for you.

Miyeon cums like this, and it's without warning. She tenses, her eyes go wide and her mouth hangs open—her silky tunnel clamps tight as a vice grip. And the way she gushes all over you, covering you, she can barely breathe, she can barely let out a cry or a single noise, only ragged breathing as you hold her firmly in place and fuck her through it.

You fuck her without shame or inhibition. She whimpers, a feeble cry, every thrust powerful and deliberate. Miyeon moans what feels like your name and you give another forceful snap of your hips, both hands firmly on her slim and shaking waist. There are no words that can possibly encapsulate her.

"That's it," her breath erratic and shaky. She grinds her ass into you with every forward push, working into a perfect rhythm and going balls-deep with each pump. "Hard." You slam against her ass, the clapping sound of skin against skin—it fills the warm and humid air.

Miyeon cums again. So fucking easy to make her cum. Her beautiful brown eyes are desperate with desire. She shakes, she is panting, "Just like that, keep doing exactly that and I'll lose my damn mind. God, you feel so fucking big."

She's limp now, just taking rough, powerful and blissful strokes—her cries a series of hoarse grunts and weak moans.

You grab her by the waist, hard, she lets out a yelp, and then you're manhandling her, throwing her delicate figure over onto her back. There they are, those perfect little tits, grown red being forced against the metal of the car. Her soppy mess drips out from her thoroughly fucked hole.

"This, is all you wanted right?" You gather her legs and thrust them roughly up and over your shoulders, sliding easily back inside. Her pussy gushing and absolutely soaking. "A good rough fucking. You just love to be used don't you, baby. This is the side of you I've been missing, seeing how you have always been so prim and proper in front of everyone."

"That was your problem, all those homemade VirtueXs made me all commanding when I really just love to be taken." Her breaths are ragged.

"Maybe that's just how I'll be selling you in future then," you say.

She gives a throaty chuckle. "Do whatever the fuck you want, but for now," Miyeon takes a tight hold of her knees, and draws them against her chest. "Make me cum again, please."

You have her absolutely filled with every inch of cock and stretched tight with every savage drive of your hips, again, and again, and again. Sweat forms a light film over every curve and groove of her form. She's gorgeous, she's taking it, and she's loving it. "Let me feel you cum," she breathes between pumps and thrusts, her fingers kneading the flesh of her thighs as she spreads herself as open as is physically possible.

A combination of pressure and adrenaline, you're hammering deep. Miyeon is groaning and pleading. A loud moan, a series of short sharp exhales and whimpers. Those narrow hips are trembling, her slim thighs shake, toes are curled. Her orgasm and invitation for you to join her come as a surge.

You explode. Locked, sheathed so deep and full, you fill her. "Cum so much..." Miyeon sighs in awe. Your climax is euphoria.

Both a sweating, quaking mass of interlocked limbs, you pull away and your drenched cock slips out. "How are you real," you exhale. "Never felt anything like you."

"I am one of a kind." Miyeon laughs gently to herself. "Now let's get back in there and you can fuck me some more."

You're in the backseat now, Miyeon's slender body climbing all over you. She leans in and takes your lips, her sticky lip gloss and the sweet taste of her mouth as she invades with her tongue and leads yours into a frenzy. Her fingertips drag down across your chest. She's positioning herself over your cock.

The beauty of simulation is there's no recovery, only the chasing of the next orgasm, and she's keen to provide the means. She takes you with her eyes closed, a small, grateful moan and she slides herself slowly up and down. Your head arches back with a cry as she holds onto your shoulders and glides her lips down over your shaft.

"Gonna ride you," she whispers as she rocks herself in time with the rise and fall of your breaths. "Ride you until you explode again." Your fingertips squeeze into the supple curves and muscles of her torso.

It is a euphoric ecstasy. Miyeon looks perfect riding a dick. She sinks down low, grinding back and forth. She moves like waves, her hair stuck against her cheek. You take hold and move the strands out of the way, before trailing down the bare skin of her neck and to her tits, groping them firmly.

"Been so long since I last got to do this. Missed how big you are." She grasps the headrest as the speed and intensity of her motions increase. "Yeah, that's it, baby."

Her eyes flutter and her head starts to fall further and further back. Erratic, out of control, wild—she starts slamming her ass down hard. Fucked-slack and oozing, her juices dripping down. She's growing quiet and you watch her expression transform, her eyes turn glassy. You watch her face strain in her pleasure, it's a wonderful sight—pure bliss. Then she erupts into moans as her body convulses and spasms, and all you can do is hold her steady, her hole throbbing tight around you. She gasps, desperate for oxygen, every fibre and nerve singing in harmony.

From one, right into chasing the next, Miyeon lifts herself, turns, presents her ass to you and sits back on your cock. You watch it slip up between her cheeks and disappear inside her cunt once more, she hums a content sigh and leans forward. Miyeon braces herself against the window of the car, looking over her shoulder as she moves.

Her groin rocks and grinds on your shaft in a rolling motion and it's heaven itself. That cute, perky ass smacks on your groin in a sensual motion. Her hand snakes between her legs. Her moans grow in strength and volume. Wet, slippery, soft, Miyeon's fucking you and riding herself to her own orgasm. She starts to tremble. You start to tremble. She's squirming wildly, desperate for her climax, that gorgeous cunt squeezing every inch and driving you crazy.

And you lose it. Another intense explosion that makes you clasp onto her ass and hold it steady. A groan rips through your entire body, and you empty everything you have. She cums the instant she feels the heat spread through her. A unified orgasm. Pure heavenly relief. The energy seems to drift into the air and the car rattles beneath you both. It is incredible. The euphoria is otherworldly.

"Tell me that was good," she asks softly.

"Like you wouldn't believe."

"Again. Again. Please, one more time?"

"It's your head, sweetie. Have at it."

"Hmm, I suppose it is. Then I want to sit on you, and I want it in my ass." Miyeon giggles and slips herself off you, a mixture of your cum and hers falling down her thighs.

"Whatever the fuck you want," you groan, delirious as Miyeon pulls you up to the seat and then takes her place on your lap, she spread her legs out over yours and you take her hips, guiding her ass onto your cum-soaked cock. Everything is a fucking blur but the sensations are turned up to eleven, and there is nothing else that is comparable.

You plant kisses on her hot, sweaty back as you slide her down onto your length. She's twitching, and squirming. You hear her let out a soft gasp of delight at the invasion. The tightness, the constricting squeeze is just...

"Oh yes..." Miyeon breathes softly. "Let me... let me do the work now, let me fuck this big hard dick with my tight ass." She circles her hips, drawing on your cock with a slow, tight, merciless motion. Your world starts spinning all over again. She's slick with sweat, her cheeks grinding on your thighs, the scent and the sex drives you fucking wild. "What a perfect dick. I could do this all day."

You lean your head forward, and sink your teeth into the muscle of her shoulder—a flurry of loud moans from Miyeon as she bounces on your shaft. The sloppy sounds, the music of her pleasures, the clapping slap, it's insane and exhilarating. You lick her sweat from her flesh, tasting her.

She's slick and stretched, clamping around your cock as her pace quickens and turns ragged and urgent. It's a whole other level, it's unparalleled and all-consuming. You're just about ready to blow inside her ass.

"Hold onto me," She pants, grasping your left wrist and bringing it over to her mouth, placing your fingertips upon her tongue and sucking. It is lewd and erotic and exciting and your insides begin to churn and ache.

There's no stopping you now, you erupt again, gripping her waist as your hips buck up on instinct, jamming yourself deep and blowing. Miyeon moans around your fingertips—taking your load while still rubbing her swollen little clit.

"Yes, I love it when I make you cum like that," she murmurs, sliding herself slowly off your half-mast cock and crawling off your lap. She throws herself down on the seat in a heap, peering down at the thick mess of cum dripping out of her freshly fucked orifices, a dazed smile, satiated.

You blink and try to get her into focus but it's to no use—she blurs and vanishes before your eyes. And soon, you're back. Your workshop, in your chair, and still hooked into Miyeon. Still sitting back-to-back, your foreheads damp, breathing hard and ragged. The lights flickering a bright electric blue.

"Incredible," you breathe.

Miyeon sighs. "Yeah..." She detaches the link from behind her ear. Miyeon climbs to her feet, shakily making her way around your workspace. "I'm such a mess," She says, touching under her dress.

"Fuck, yeah me too," you sit there trying to process what just happened.

"I want a copy. The whole thing." Miyeon places a card down on the desk.

"I'll get started."

[askshivanulegacy]

If you're a beginning artist, and you want to remake a picture someone else did because you love everything about it (pose, composition, lighting, etc.), you can. If you're going to post it, just give credit to the original. And then you're done. You're covered, you get to show off your version, AND you get to give a bit of recognition to the original artist. Maybe they'll even come look at it and leave a nice comment. It's a win-win!

Nobody owns poses or angles or compositions or lighting schemes. So it can be sometimes hard to tell if someone stole an idea/concept or particular arrangement, especially since you can't put hard claims on those things. People naturally can have similar ideas or be inspired by the same original stuff. Claims of real theft should be obvious. You shouldn't have to work hard to prove it. I've seen theft claims before that people are SO convinced about, but you can compare the pieces side by side and the evidence just isn't there. You have to be willing to give the benefit of the doubt, especially if nothing of consequence is being "stolen" (i.e., no one is making money off the art).

And in the privacy of your own home or for personal practice, you can copy everything you like, all day long. That's a valid technique for learning art.

The two simple rules are that anything goes for personal use. And credit as needed when you post.

What is the difference between art theft and inspiration and references?

-Beginning Artist

To put it really simply, the way I see it, art theft is when someone takes something unique to another person’s work and claims it as their own, erasing the original author. Basically a copy, or a tracing, that is obvious when you know the original and is infringing on the original author’s rights. Sometimes it can be a theft of concept/idea, sometimes it’s the specific execution, sometimes it’s both.

When someone is using another’s work as inspiration or reference, they usually create a brand new transformative work, unique to the author and made relying on their own imagination and skills. They can copy a pose from another piece of art or a photo, for example, but if everything else is different and you can tell the artist applied themselves to create the end result, that’s just using a reference, it’s not theft in my eyes.

There is no way to set hard guidelines to neatly draw the line between these things, that’s something that comes with experience when engaging with art and creative process, I think, as well as knowledge of art history and traditions.

But my rule of thumb is to look at what makes the piece in question unique, and whether it is a result of the author’s own skill and/or imagination.

(Obviously this doesn’t cover all cases, there are things such as homages and classical art copies etc, there is always nuance to be found. This post is about basics based on my personal experience and understanding).

[meo-eiru]

Hello!

Do you have any tips on making art for games?

I've tried my hand in making VNs before and i want to try again but i always get overwhelmed when it's time to make the sprites, backgrounds, and other artwork :(

Mostly because the sheer amount of art needed is intimidating.

The best way to overcome that overwhelming feeling is so start out small.

Remember that you are not a big company, work based on the workload you can handle. For a first vn usually focusing on 2-3 characters at most is more ideal, you don't have to make your job harder.

For the backgrounds there's an app called FotoSketcher (not sure if it's available on mobile), it basically places a filter over your art and makes it look painting like, and you can choose from various different styles. It's free and has nothing to do with AI so you can use it without worry.

While I drew the backgrounds in the cg, since we were running short on time FotoSketcher did help me a lot with the in game backgrounds. Though you might need to draw over some stuff to make them blend in better.

For the sprites, or well the character designs, don't go too overboard with details. More details doesn't mean better character design, in fact it can usually feel hard on the eyes. Try to keep it simple.

Be aware of your character's charm points and focus on those.

For the expressions, you don't have to draw each expression one by one. Something that really fastened the process for me was drawing different eyes, mouths and eyebrows, then combining those like puzzle pieces to form the expressions.

For example these two Starling expressions have the same eyes and eyebrow combination but I used different mouths.

And for the cgs, again keep your workload to a minimum. You don't have to illustrate every fun scene, remember that the players can imagine those themselves too. Focus on the scenes you think should absolutely get illustrated to support the story better. If after finishing those you still have time you can always add in more, but what is important is to make a presentable game, not going above and beyond with every single small detail.

[erika-xero]

Thoughts on ai and Art

What has Ai really changed for me is the perception of my own art. Years back, I was extremely concerned of my work being imperfect: everything had to look "right", the anatomy had to be flawless, the lines - clean and refined. The pipe-line had to be flawless too: minimal amount of layers, one - for lines, one - for colors, and a few for lighting/shading.

Meanwhile I was yearning for chaos and the standard pipe-line felt too strict, too limiting. I finished the drawing and cried over the imperfections, but I could not let myself create a new layer and just paint it all over as I wanted to - that would "mess up my perfect psd". This was even harder because I started as a traditional artist and traditional art is basically the same as drawing on one layer or stacking the layers on top of each other whenever you wish to change anything. I was so obsessed with the anatomy/perspective looking right that my works started looking boring and stiff. If I was not sure that I would be able to draw a certain body part at a certain angle ANATOMICALLY PERFECT - I just refused to draw it at all. Drawing back then was HARD. I forced too much limitations upon myself, I was so scared of making any mistakes and thus did everything I could to avoid the risk to fail. It felts like an entire world would see me failing and everyone - literally everyone - will disapprove. And don't get me wrong - the art community in my country has always been astonishingly toxic. We had, like, a group of 20 THOUSANDS individuals hunting down children online and bullying them into oblivion for drawing anime and furry characters in their school textbooks. And pretty much everyone except a small group of people (which I was a part of) thought that it's absolutely fine and this is how the things should be. Even the industry professionals were absolutely sure that young artists have to suffer and be ashamed of everything they do unless it is absolutely flawless at an any aspect. I was ashamed of everything I did back then. I was ashamed of drawing and posting sketches because I felt like they are not good enough to be shown to anyone. And then the Ai-boom started. And I had mixed feelings because I was not THAT scared, but I was somewhat disappointed of people? General public praised the generated slop ignoring the mistakes far worse than what real artists got bullied for for DECADES. The synthetic artworks are shiny. They are overrendered. They are liveless, boring, they lack fundamentals and yet somehow people viewed them as some kind of a miracle. I decided to learn how does those little machines generated their slop out of morbid curiosity, just to make sure that I got it right and it is spitting out cadavers created from mutilated, dismembered works of real artists. Used by people who did not care enough to pick up a bloody pencils. And I thought: why would I care enough to look at something that no one bothered to create? And then I started seeing everything I do completely different. I suddenly stopped caring of being perfect. Every piece I have ever done, every work I was crying over for it being ugly, every messy sketch and unfinished doodle suddenly started to matter a lot. Not that I stopped caring of doing my best, no. I stopped wishing to disown my own mistakes. They are my own. I cared enough to try and fail and to try again, and fail so badly that I wanted to cry, scream and throw up. And I repeated the cycle for long enough that I started to enjoy my silly doodles and started loving every tiny imperfection because this is what made my art so human. I still suck at drawing hands and feet. My line-art is messy and I started doing it right on top of my colored sketch. My pipe-line is in chaos and my PSDs look like a total mess of three hundreds of layers. I draw sketches with huge-ass round brush only adding the details that really matters. My works are better than they could ever be because they feel alive and chaotic as we human had always been. This is a love letter to my art and write it while flipping off my middle finger to the cadavers generated by the machine. I will not be stopped by glorified autocomplete and I refuse to be outdone by people who confuse googling an image with the act of creation.

My worst drawing is better than any of the generative imagery out there, because I cared drawing it.

[chumbyy]

i love your art so much, what does your process look like? how do you edit images to be saturated/glitchy & also cohesive w your art?

awww thanks so much!!

its a lot of playing around with layer settings (shine&shade and burn&dodge are favorites but screen, multiply, overlay, exclude, those are fun too) and turning up saturation & contrast (in whichever program im using at the time). most saturation sliders have an upper limit. you must. go beyond 😈😈

to get a glitchy look i'll either literally look up "free use glitch overlay" on google images (i have all AI sites filtered out on my browser), or a LOT of the time i'll take pictures of trees or clouds around me, and i'll mess with the saturation of those images until its SUPER crunchy and low quality. zooming in on a random part of the image also helps make it crunchier and lower the quality (you'd be surprised how cool and ""glitchy"" a SUUUUPER oversaturated and zoomed in img of a cloud can look. i <3 cumulonimbus and nimbostratus but it doesnt rain much here 🥺)

i'll add a random layer effect, duplicate the layer, add a different effect, overlay a color gradient or random assortment of scribbled colors, etc... just til it looks sufficiently microwaved and cluttered. i also have quite a few glitch brushes on SAI 2 for some additional clutter

then for the main focus of the art i'll usually draw a little critter on MS paint, zoom in so u can see the pixels, copy the image&cut out the whites around it with magic wand, then put it on the image. its fun to do this with a lot of tiny little colorful cats just to add more color to the bg XD

sorry if thats all over the place. i dont have much of a cohesive process since i just goof around until i like how it looks or i recreate whatever my brain wants. sometimes i'll just do everything on a 200x200 canvas and size it up after editing and it looks crunchy on its own (i do this a lot for gifs, like my most recent piece). integrating photography is very fun. mixed media is fun

i might make some speedpaints sometime if i can get over my anxiety of ppl watching me draw XD

but ty again for the very nice msg. sorry if my response is a tad bit incoherent lol

[thechekhov]

I'm gonna delete that reblog because I don't want to start any witch-hunt type activities, nor do I want to harass others online.

However, I'm not gonna lie - I am still of the belief that the artist in question is implementing AI images in their art, and IF they are, I think it would be better to be forthright about it.

I'd love to be wrong, but there are things that seem fishy to me.

To reply to realistic concerns from @crustaceousfaggot

I have also glanced through their blog and here is my takeaway:

I have no doubts that this individual DOES actually draw, but their style has evolved from mainly paintings of faces and portraits into machinery and landscapes in a very short amount of time.

I don't believe that this individual ONLY uses AI. It's possible they don't use text based AI software. My best guess is that they're popping an image into AI and asking it to complete/modify it.

There are images where it seems to me that the face or the hands of something has been painted over in a style that doesn't quite match the rest of the image.

Again - I don't personally care about how another artist gets their kicks but I want people to be honest about labeling it.

Even if it's augmented with actual art. People deserve to know, in general, if something is drawn or computer generated, just like they deserve to know if an image has been altered and photo-shopped!

And I'd love to be wrong, but there are way too many AI-tells in the art in general for me to not be suspicious.

[reachartwork]

Let me tell you something about art, and being an artist: I went to art college and I dropped out. Over the years, I stopped doing art, and I no longer consider myself to be an artist, but I know I could pick it up again in an instant if I so chose because I remember the most important lesson I learned from my studies: art is communication. The medium doesn't matter, the method doesn't matter, the results don't matter. A generated piece has just as much place as artwork as a lithograph, or a sculpture, or a photo, or a painting, or a sketch, or anything else that conveys a vision or an idea. And just like all of the methods I've just mentioned, generated art will not and cannot replace its forebears. For example, one of the most-viewed images in the entire world is this:

Despite it being viewed by exponentially more people than the most famous of paintings, it hasn't replaced them. In the same way 3D rendering didn't replace photography, in the same way photography didn't replace portraits, in the same way portraits didn't replace sculpture, in the same way sculpture didn't replace carving, in the same way a new technique will not replace anything - it will simply exist beside the other genres and mediums, with its own rules, and its own boundaries, just as everything else that came before it has.

And don't get me started on how many times we've had this conversation about what art is the best or what gets to be considered art. Hell, Wikipedia's article on the hierarchy of genres has one of my most favorite examples:

Against the sculptors, Leonardo argued that the intellectual effort necessary to create an illusion of three-dimensionality made the painters' art superior to that of the sculptor, who could do so merely by recording appearances.

Leonardo Fucking Da Vinci out here being a messy bitch about sculpting because it's not his preferred method. The exact same argument was used against photography in antiquity because it was simply capturing an image of what existed, and then it was used again against renders because "computer graphics aren't real" and "you're just posing models with fake lighting".

AI Art and the generation of images is just the new photography: a mechanically-assisted art form with a radical method of producing a piece that is rarely judged by its own merits because it has yet to be commonly understood. It IS art, and it's in the best interests of anyone who believes otherwise to study Art History and see how many times the same exact backlash has popped up against what we now consider to be traditional and respectable forms. I know change is scary, but it is possible to be better than your instincts and accept or embrace something new - even if it's not something that you, personally, would like to use.

posting without comment

[qsycomplainsalot]

AI isn't Art it's just Illegal Predatory Randomized CGI

Reposting this because OP blocked me, can't begin to guess why.

Photography, collage, readymade and various of the more abstract styles of painting and drawing are all art, and AI isn't. Why is that ? Simply, there are skills required to make technically interesting artpieces using these media, let alone meaningful ones. A skilled photographer might not be skilled with a pen, but their knowledge of composition and observation will always be transferrable to a new medium, in a way that they'll never start their art journey from scratch again. Because they're already an artist, because they've already done art and are skilled at it. Speaking for myself it took me a decade to get to a level where I was able to get paid for my work drawing traditionally, and once there it took me less than a year to reach a somewhat similar level switching over to digital. The skills are more comparable than with say collage or sculpture but the core principle still stands: I had gone and learned traditional art in art school, and while there I learned a slew of skills that were not at all limited to one tool, and when it came to switching I did not have to learn these skills again. Because by that point I was already a trained artist. I could just switch to sculpting with clay tomorrow and the biggest challenge would be to find a new market more than any skill issue.

Meanwhile fucking about with a computer to generate new pictures randomly has NO transferrable skills whatsoever. So much of the work has been taken out of your hands by a pattern seeking piece of software that it is impossible to learn anything from the experience. It's just plain to see when before you click the doodad to generate a new picture, you have NO IDEA what it will look like, none whatsoever unless you've been iterating on it before. You're not having an idea, formulating it in your mind and applying your skills to getting it out into the world, you just sort of have an idea and then a machine does the actual art work for you.

The only way you could possibly get better as an artist from doing this is if somehow you were deluded enough to think the process of scalping every artists' work in history was ethical, while also being observant and caring about art history enough that you'd learn critical skills from looking at the result of your quotation mark work end quote. Which is something you can do by going on a museum, or the internet. And if being an art historian isn't good enough for you, I invite you to actually join the elite exclusive vip club you're funding the death and automatisation of, by simply picking up a pen and piece of paper and starting to draw. It's that fucking simple.

PS: People trying to compare writing prompts with poetry: poetry does not include a stage in its process where all your artistic intent is surrendered to a machine to churn out a mash up of unethically sourced content. Nobody is going to buy a small book of computer generated picture prompts to keep on their night stand. You guys are delusional.

[reds-references]

Welcome to my corner of chaotic whimsy!

I'm Red or formally known as, Justine...

I am a multi-media artist. I am my own photographer, editor and model, I am an illustrator (HUMAN ARTIST, NOT AI) and seamstress. I am a crafty/fitness YouTuber, an OnlyFans model and a boxing instructor/fitness coach. I do hope you enjoy your stay in my wee corner of chaos and please feel free to use any and ALL of my reference photos for your artistic needs! Also do say hi!! I try my best to answer every message and comment! I just appreciate you being here so gosh darned much.

FAQ

ONLYFANS: I know, when you hear "OnlyFans" your mind goes to some pretty wild places. I am a non-spicy model, which means I censor everything as tastefully as possible! You can think of me as a whimsical lingerie model! I started my OF as a way to raise funds for my FREE boxing gym for underprivileged children and to provide artists with cheap art packs.

YOUTUBE: I started my YouTube channel as a way for me to express myself even further with my art. My OF photoshoots aren't always the artistic sets I would like them to be and I stopped drawing years ago (attached are a few of my illustrations, including the cover to my web comic "The Nun's Mistake" and the cover for Colm McGuinness' album "The Colm Before The Storm" on Spotify) so I figured I would try and make photography my new medium for "paintings". Even with that in mind, I still wanted to be crafty and what with my day job in concrete/construction, I don't get a lot of free time to myself. Hence, YOUTUBE! YouTube has given me the chance to make content that I can be free to have fun with and Patreon is helping me to continue pursuing that dream!

MY ART: I spent 10+ years working as a freelance artist between my other jobs. My art never sold, I barely got a single commission and people always tried getting things for free. Safe to say my art failed miserably and I gave up on it for a few years. My OF and ESPECIALLY YouTube are helping me find that spark again! (P.S art commissions are not open, I see where your sweet little brain was going!)

BOXING: I have been a trainer/professional boxer for over 8 years now. I trained with world champions and fought on a professional level and found a love for teaching along the way. I got tired of how expensive boxing classes are, seeing as there are so few "trainers" who actually know what they're doing and aren't just MMA people pretending to know what Boxing is. SO, I and the other trainers decided to dedicate our lives to opening a completely FREE boxing gym for underprivileged children. We have put every penny we earn into this gym. Everything I make in my day jobs and OF helps to fund the gym, while the Patreon helps me to fund my dream of quitting my back breaking job in concrete and work full-time as a YouTuber/Creator.

WHAT ARE YOU: I am a cisgendered woman. I got my dad's tits and his jaw, I know, I appear more masculine than femme. I also work out a lot, hence the muscles.

WHAT ARE YOU ON: Bro, if I was on roids, THERE WOULD BE SIGNS. I am a SMOL, natty Muscle Mommy!

Thank you for taking the energy and time out of your own life to show me kindness, love and support. Thank you for being here.

TAGS to use: #DrawRedInYourStyle #RedsReferences

[genericpuff]

On this week's episode of "Webtoon Controversies That Could Have Been Avoided If Only They Had Some Damn Quality Control"-

Oh boy, prepare yourselves, there's some TEA on this one.

Quantum Entanglement, a new Webtoon Originals series from creator Arts Angel (aka Sarah Ellerton) is uh... a teeny weeny painfully obvious that it was made with AI.

AI is getting better, but when it comes to comics, there are still a lot of "tells" you can pick up on once you know where to look. Hands are certainly one of them.

Not knowing how to draw hands efficiently and consistently is definitely an Artist Problem(tm) but it becomes a lot more obvious it was made by AI when you get weird little off-putting mistakes like a fingernail being just a little too long or missing joints (hot dog fingers, eyo) or the distinction between fingers not being clear.

But there's also hair and other detailed parts that are often lost in the translation process between prompt to final piece. Jewelry, text on a screen, phones, that sort of thing. The insinuation of a 'thing' is there, but it's like looking at it through a fishbowl.

And ultimately, a lot of AI art tends to just be a little too 'perfect'. Everything is just a little too smooth for it to look like it was naturally made by a person. Faces end up veering into the uncanny valley territory and there are inconsistencies between the eyes and the rest of the body. Backgrounds become lost in what I like to call "AI goop", becoming nothing more than weird blurred/filtered out insinuations of what's supposed to be behind the character.

Basically, at this point, it's undeniably clear that AI is being used to create this comic. While there are also plenty of signs in the handiwork that show a human was involved in some parts, there are other places that are undeniably filled in with the use of AI. So it's not necessarily a 100% made-by-AI comic, but it's absolutely AI assisted.

But what's REALLY absurd about this whole situation? The creator denies it. To the point of including a disclaimer in the first episode trying to "get ahead" of people who are assuming it's AI by saying, "No, it's not made with AI, here's the proof! Don't look at the blood on my hands or the body in the trunk of my car!"

Now, first off, the absolute absurdity of making yourself look guiltier by trying to prove your innocence before people have even started to suspect you... I'd like to think that this was edited into the first episode after the initial accusations started rolling in but considering it's an Originals series, it's hard to know if it was, as creators typically don't get as much control over just editing their episodes on the fly like Canvas creators do. Typically it's their editors who do that sort of thing for them. And even if it was edited in afterwards, it's still there for people who have no idea going into the comic blind and might not automatically assume it was made with AI, so it just looks like you're bringing up the potential of AI being used completely unprovoked. By planting the idea in your audience's brain that AI is even a question, you're making them suspect everything.

It's kind of like when Dream was suspected of cheating in a way-too-lucky-to-be-real speedrun of Minecraft a couple years back, so he went to all these painstaking efforts of hiring a quantum physicist to "prove" his innocence with a straight up THESIS documenting all of the reasons he couldn't have cheated through math and figures and jargon. Ironically, this just made Dream look guiltier, and sure enough, he eventually admitted he had cheated.

That said, did you notice something in that "art process" pic?

That finished panel isn't even what showed up in the final comic.

So the absurdity of this all, again, just makes Arts Angel look a lot more guilty of actually using AI, especially when it's basically undeniable in so many of those panels above. People don't paint like that.

But that brings us to talking about Sarah Ellerton, aka "Arts Angel", the creator. Many long-time readers of her work are defending this, claiming that she has, in fact, "always drawn like this".

What's insane? She actually is who she says she is. This isn't like some kid who came out of the woodwork with AI and claiming that they had 20 years of experience, Sarah Ellerton's main site, The Seraph-Inn, has been live and crawled by Wayback Machine as far back as 2005.

And you can see the art evolution over the years, starting with Inverloch-

-into Phoenix-

-and all the way to Immaterial-

But here's the thing about that last comic. The main protagonist is, apparently, the same girl from Quantum Entanglement, the newest installment in this series where it becomes abundantly clear the creator has started using AI.

You can see the effects of this being parsed through AI, because she's gone from being a unique character with two-toned hair and darker skin, to being turned into a generic Instagram anime girl. And lemme tell you, AI used in comics has NOT gotten better at depicting darker-skinned characters (I actually tested an AI-coloring tool WT was planning on putting out a year or two ago, it was uh... not great.)

But the most damning thing about Sarah?

She works in IT.

That on its own wouldn't be so telling if it weren't for the 20 years she clearly spent actually honing her craft, only to suddenly switch to using AI as a crutch.

Quantum Entanglement was picked up for Originals in July 2023. It launched two days ago, with four free to read episodes and 6 more under the FastPass paywall. Three months after it got picked up. That turnaround speed is insane for an Originals series. Now, I'm more inclined to believe that maybe she's using the exact same pages she used in the Canvas version (there's unfortunately no way of checking through Wayback, it never crawled the Canvas version, so unless someone has backups of the Canvas pages they're willing to share, we'll never know) but that short turnaround time is insane for a comic that's this insanely detailed. It likely means they didn't need much pre-production time to get a strong buffer going, and that it doesn't take them as long to produce these episodes on a weekly basis so they could be under way less crunch than creators who do this by hand.

By comparison, the winners of the Call to Action contest from last year are STILL working on their pre-production. Many other greenlit Canvas series are known for getting picked up and stuck in pre-production for several months and even a year or more simply due to how the company operates with when it chooses to launch these series and how much pre-production is necessary. Some creators have literally said that their pre-production was done, but WT still kept them waiting to launch. So three months for a freshly greenlit Canvas series to launch is NOT the norm.

All that said, I feel for the people who are trying to defend her. But it's so undeniably AI with the creator herself providing fake proof that it makes it really sad to think that this person was honing their craft for 20 years just to wind up utilizing AI. Being a good artist does not make you immune to the temptation of using cheap methods or developing bad habits. Going through "the struggle" does not make you immune to taking shortcuts that wind up cheapening your work or taking advantage of the work of others.

Now, maybe Sarah trained AI around her art. If this didn't play out the way it did, I'd be willing to give her benefit of the doubt and assume that. Training AI off your own work, while still up for debate as to how ethical that is, at least doesn't hurt other artists, because it's your own work the AI is "stealing". There are definitely ways AI could be used to make life easier for artists without replacing the art process entirely, the same way artists have learned to use 3D assets and digital art filters to make their process more efficient and boost the quality of their art up to the next level.

But the fact that she's being so cagey over it, claiming she's not using AI period when she very clearly is, providing "proof" that actually proves she definitely used AI, while operating under a penname that's strangely similar to a name Grimes - former tech wife of Elon Musk and staunch supporter of AI - used for one of her studio albums-

- that's what makes it a lot more clear she's using it maliciously.

The AI is very likely trained off another artist's work. Maybe someone whose art style is similar enough to hers that she could integrate it into her own and pass it off as legitimate. Someone whose art style is cartoonish but still modern, like if Disney made anime. Someone who's so prolific and consistent in their stylization that training an AI off it would seem like a no brainer to those who want to replicate that style quickly and easily.

Damn. What a disappointment. Do better, Sarah.

And for god's sakes, Webtoons, pay more fucking attention. I've been steadily picking away at moving the entirety of my comics over to other platforms on a weekly schedule, but at this point I kinda just wanna dump the last 30 or so chapters onto ComicFury all at once so I can ditch this platform for good, especially if it turns out AI comics getting greenlit is a feature, not a bug. The ratings for Quantum Entanglement have dropped significantly overnight, now sitting around 5.09 and still dropping, but is Webtoons going to do anything about it? That remains to be seen.

[teaboot]

Your post about art vs content got me thinking about the differences between the two. To me there is no difference besides the mindsets. One is of creator and the enjoyer, the other is content and consumer it removes the personhood, the joy/emotion, from the equation. Like a writer or video creator may not see their work as art so content creator maybe a way to refer to themselves comfortably but it sounds so machine, emotionless and lifeless, like a cookie cutter recipe mass producing something verses people lovingly crafting something...then again Disney uses a cookie cutter recipe for the most part and it brings out bangers cause people lovingly make it their own so maybe I'm thinking too hard on this

Does my long-winded rant make sense?

see, I get what you mean, but I still feel like the willingness to entertain calling art of any kind "content" reduces it to the facet of consumption where in reality, the experience of consuming art is not the sole defining trait of it.

Reducing arts like music, writing, painting, dance, voice acting, theater, etc. to the role of "content"- a thing created to be consumed, measured and valued by how pleasant or easy it is to digest- I feel that it was our biggest red flag to herald the incoming tide of AI "art".

Because if art is "content", if arts are nothing but consumable matter, then obviously the key to success is to produce as much soft, tasty, edible paste as we possibly can at the lowest possible expense.

It's the same issue I have with "meal replacements", diet culture, nutrient slurries, twenty-step skincare routines, 24/7 body padding and shapewear and laxative teas and "grind culture". It's not a cause, but a symptom, of the disease that is late-stage capitalism.

Things must be produced at low cost and remain in high demand forever. Things must be perfect and palatable and the new hit trend forever. People must pay hand over fist to consume without asking anything in return, and if they start dropping like flies at the unending unrewarded thankless demand of it all, then that must be treated as a weakness. We should all take pride in how much we can spend, pay, give, produce, and think as little as possible about what we ask for ourselves.

So, who cares if, of two identical paintings, one was made by a person and one was made by a computer program? It's the same work, so what does it matter? What does it matter?

I am an artist. I make art. I ask a question, make a statement, declare something horrific or challenging or upsetting or wrong or grotesque, and when you respond, we are together experiencing a conversation. We are existing, two people living one life and reaching out and touching across time and space. No matter the work, you're at the barest minimum saying, "I'm alive, and you're alive, and at one time or another we shared this same world, and at the end of the day we aren't too terribly different. My heart is worth sharing, and your heart is worth the struggle of understanding."

An AI-generated piece, a computer-generated voice, a CGI puppet of someone long since dead and gone, they cannot speak. They have no voice. Ay best, they are the most chewable, consumable, landlord-beige common denominator possible that you can sit and listen to like the lone survivor of a shipwreck listening to the same three songs on a broken record, and at worst, they're the uncaring vomit of an empty, unloving, value-addled hack wearing the skin of someone I know over their own.

When you abandon art to say that you make content, that should not be a point of pride. That's an embarrassment. That's not sitting down for an intelligent discussion with an equal, that's kneeling at the feet of the crowd and saying, "what do you want to see me do? I can be anyone you've ever loved. I can be them, I can be anyone, as long as you love me."

I can make content. I can be consumed. What do you want to consume? I'll make myself consumable. I'll make myself just like anything you like. And I'll make so much of it that you'll never have to go anywhere else, because it'll all be right here, and under all the cut-and-paste schlock you've seen before I will sit alone in the dark and the silence and I will know that I am safe, because I am valued, because I am desired, and I need to be desired or else I am worthless like a factory that no longer churns out steel or a hen that no longer lays eggs or a cow that is too old to make milk.

Content, the most literal meaning, is something which is contained inside a container. What it is doesn't really matter, and the best it can hope to be is something worthy of being scooped out and used.

Art is an experience that transcends value. Art is something you can eat without paying for. You can make it out of anything and anyone can do it. It can be crude and vulgar and bad, and that's a strength because it means something. It always, always means something, and it doesn't matter if you like it or not. It's not content because it doesn't fill anything. It's a living, breathing thing, and whether you want to birth it or eat it, then you're going to have to be willing to put the fucking work in