Well, I’m still not interested in arguing, so I’m not really “disagreeing,” as I think that we’re probably not really talking about the same thing, but I feel that I do have a fairly valid perspective.

When airbrushing became a thing, “real” artists were aghast. They screeched about how it was too “technical,” and removed the “creativity” from the process. Amateurs would be churning out garbage, dogs and cats would be living together, etc.

In fact, airbrushes sucked (I did quite a bit of it, myself), but they ushered in a new way of visualizing creative thinking. Artists like Roger Dean used them to great effect.

So people wanted what airbrushes gave you, but the tool was so limited, that it frustrated, more than enabled. Some real suckass “artists” definitely churned out a bunch of dross.

Airbrushing became a fairly “mercenary” medium; used primarily by commercial artists. That said, commercial artists have always used the same medium as fine artists. This was a medium that actually started as a commercial one.

Airbrushing is really frustrating and difficult. I feel that, given time, the tools could have evolved, but they were never given the chance.

When CG arrived, it basically knocked airbrushes into a cocked hat. It allowed pretty much the same visual effect, and was just as awkward, but not a whole lot more difficult. It also had serious commercial appeal. People could make money, because it allowed easy rendering, copying, and storage. There was no longer an “original,” but that really only bothered fine artists.

This medium was allowed to mature, and developed UI and refined techniques.

The exact same thing happened with electric guitars, digital recording and engineering, synthesizers, and digital photography. Every one of these tools, were decried as “the devil’s right hand,” but became fundamental, once true creatives mastered them, and the tools matured.

“AI” (and we all know that it’s not really “intelligence,” but that’s what everyone calls it, so I will, too. No one likes a pedant) is still in the “larval” stage. The people using it, are still pretty ham-handed and noncreative. That’s going to change.

If you look at Roger Dean’s work, it’s pretty “haphazard.” He mixes mediums, sometimes using their antipathy to each other to produce effects (like mixing water and oil). He cuts out photos, and glues them onto airbrushed backgrounds, etc. He is very much a “modern” creative. Kai Krause is another example. Jimi Hendrix made electric guitars into magical instruments. Ray Kurzweil advanced electronic keyboards, but people like Klaus Schultze, made them into musical instruments. These are folks that are masters of the new tools.

I guarantee that these types of creatives will learn to master the new tools, and will collaborate with engineers, to advance them. I developed digital imaging software, and worked with many talented photographers and retouchers, to refine tools. I know the process.

Of course, commercial applications will have outsized influence, but that’s always the case. Most of the masters were sponsored by patrons, and didn’t have the luxury to “play.” They needed to keep food on the table. That doesn’t make their work any less wonderful.

We’re just at the start of a new revolution. This will reach into almost every creative discipline. New techniques and new tribal knowledge will need to be developed. New artists will become specialists.

Personally, I’m looking forward to what happens, once true creatives start to master the new medium.

Suno Studio, a Generative AI DAW