[HN Gopher] I used Stable Diffusion and Dreambooth to create an ... ___________________________________________________________________ I used Stable Diffusion and Dreambooth to create an art portrait of my dog Author : jakedahn Score : 295 points Date : 2023-04-16 18:29 UTC (4 hours ago) (HTM) web link (www.shruggingface.com) (TXT) w3m dump (www.shruggingface.com) | cogitoergofutuo wrote: | This is really interesting. I do wish the author included the | cost to train the model from replicate though. | wincy wrote: | He mentions the Colab for Dreambooth, that only takes ten minutes | or so to train using an A100 (the premium GPU) and you can have | it turn off after it finishes, and saves to Google Drive. Super | easy. | jakedahn wrote: | Yeah! | | Here's the colab notebook, in case anyone is interested: | https://github.com/TheLastBen/fast-stable-diffusion | | I've trained a few smaller models using their Dreambooth | notebook, but I think for 4000 training steps, an A100 will | usually take 30-40min. I believe replicate also uses A100s for | their dreambooth training jobs. | [deleted] | sinman wrote: | I did something loosely related. As a present for my girlfriend's | birthday, I made her a "90s website" with AI portraits of her | dog: https://simoninman.github.io/ | | It wasn't actually particularly hard - I used a Colab notebook on | the free tier to fine-tune the model, and even got chatGPT to | write some of the prompts. | jakedahn wrote: | hah, these are pretty cool! Well done! | AuryGlenz wrote: | In my (limited) experience, dogs seem to be easier than people | for fine-tuning - especially if your end result is going to be | artsy. Faces of people you know well being off in slight ways | really throws you off, but with dogs there's a bit more leeway. | amelius wrote: | But why pick a dog as an example? | | Humans are much worse in telling dogs apart than other humans | (except perhaps the owner of the particular dog). | | So for all we know, the AI didn't generate a portrait of this | particular dog but instead a generic picture of this breed of | dog. | chipgap98 wrote: | Because you invent a new word when you train dreambooth and | teach it that your subject is an example of that word. The fact | that the word you've created returns photos similar to subject | is a sign that it worked. | amelius wrote: | I suppose that dreambooth is pretrained on a large dataset | that includes many different dogs. | | My point is that it is difficult to judge (for us) that the | returned photos are actually similar to the subject. | ModernMech wrote: | The paper shows dogs with very distinctive fur coloring. | Particularly the corgi with a white strip between its eyes. | I think the paper would be completely fraudulent if this | dog were also featured heavily in the training set. So the | point is the white stripe corgi isn't in the set, and with | a few examples, the model could then generate brand new | images of corgis with a similar fur pattern. Maybe all it | can do is fur patterns but it's a start. | jakedahn wrote: | Mostly because I thought of it more as an art project than a | technical accuracy project. However, the honest answer to your | question, is because I have a ridiculous amount of photos of my | dog on my phone . Getting training data is hard work. | | But this is totally true, I found that maybe 30% of the images | I generated did not look like my dog at all. However the rest | do a good job at capturing his eyes and facial expressions that | he actually makes. I thought that the chosen image I worked | from captured the look of his eyes super well. | | But yeah, nobody but me would really appreciate that. | AuryGlenz wrote: | I linked this elsewhere but here are Pokemon image generations | of my (mutt) dog: https://imgur.com/a/11OxoSA | | She's pretty unique looking and it comes through even with | heavy styling. | asadlionpk wrote: | If anyone wants to try Dreambooth online, I made a free website | for this: https://trainengine.ai | itronitron wrote: | [flagged] | steve_adams_86 wrote: | If they like it, then it's not garbage for them. Mission | accomplished. What you think of art on a stranger's wall isn't | really the point -- it's more so about the technology behind | it. | | I suppose you could be indirectly commenting about how you | think the technology does a bad job generating art, but there | are better ways to say it. | spikej wrote: | They like it. And it was a good excuse to work with new tech. | Why poo poo on it? | itronitron wrote: | I like my comment, and it was a good excuse to work with new | tech, why poo poo on my comment? | mdp2021 wrote: | Because your comment was pretty objectively inappropriate | and improductive - gratuitous. Or did you mean something | productive that we should have guessed? | Fricken wrote: | Leaving poo poo on things is a popular passtime for many dog | people. | mdp2021 wrote: | 'is a popular passtime for many [] people' | | Fixed That For You. | | Interestingly for the ethologist, they have habitats: for | example, the bottom comments in the stacks in YouTube... | mdp2021 wrote: | Good, so in order to produce good AI-aided graphics the | producers will have to become _critics_ , arts experts, with | the important side effect of personal elevation and the | collective gain of society. "Wins" on all sides. | | Update: three minutes later, it seems that somebody did not get | the irony. | lxe wrote: | What a useful and nuanced critique. Thanks! | beezlewax wrote: | Highly subjective comment. Art is not something that is either | "good" or "not good". It can hold value to the creator | intrinsically. Like a kids crayon scribbles. | simonw wrote: | I love how much work went into this. | | There's a great deal of pushback against AI art from the wider | online art community at the moment, a lot of which is motivated | by a sense of unfairness: if you're not going to put in the time | and effort, why do you deserve to create such high equality | imagery? | | (I do not share this opinion myself, but it's something I've seen | a lot) | | This is another great counter-example showing how much work it | takes to get the best, deliberate results out of these tools. | quadcore wrote: | _a lot of which is motivated by a sense of unfairness_ | | Say you generate a picture with midjourney - who is/are the | closest artist(s) you can find for that picture? | | Not the AI, not the prompter, so the closest artists you can | find for that picture are the ones who made the pictures in the | training set. So generating a picture is outright copyright | infringement. Nothing to do with unfairness in the sense of | "artists get out compete". Artists dont get out compete - they | are stolen. | ModernMech wrote: | Typical Midjourney workflow involves constantly reprompting | and fine tuning based on examples and input images. When you | arrive at a given image in Midjourney, it's often impossible | to recreate it even with the same seed. You'll need the input | image as well, and the input image is often the result of a | long creative process. | | Why is it you discount the creative input of the user? Are | they not doing work by guiding the agent? Don't their choices | of prompt, input image, and the refinement of subsequent | generated images represent a creative process? | quadcore wrote: | I agree with you on the technicality - if we say the | promter is an artist, then the picture belongs to him. | quadcore wrote: | From what I read on the internet, people assume AI generated | art is a difficult question legaly speaking. Some literally | assume artists complain only because there are out competed. | | I disagree - I think that AI generative art is an easy case of | copyright infrigement and an easy win for a bunch of good | lawyers. | | That's because you can't find an artist for a generated picture | other than the ones in the training set. If you can't find a | new artist, then the picture belongs to the old ones, so to | speak. I really dont see what's difficult with that case. I | think the internet assume a bit to quickly it's a difficult | question and a grey area when maybe it just isnt. | | It's noteworthy that Adobe did things differently than the | others and the way they did things goes in the direction im | describing here. Maybe it's just confirmation bias. | stavros wrote: | I agree. This is a clear-cut case of copyright infringement, | as is all art. After all, people painting images have only | seen paintings other people painted. | GuB-42 wrote: | > That's because you can't find an artist for a generated | picture other than the ones in the training set. If you can't | find a new artist, then the picture belongs to the old ones, | so to speak. | | It doesn't belong to the "old ones", it is at best a | derivative work. And even writing a prompt, as trivial as it | might seem, makes you an artist. There are modern artists | exposing a random shit as art, and you may or may not like | it, but they are legally artists, and it is their work. | | The question is about fair use. That is, are you allowed to | use pictures in the dataset without permission. It is a | tricky question. On one extreme, you won't be able to do | anything withing infringing some kind of copyright. Used the | same color as I did? I will sue you. On the other extreme, | you essentially abolish intellectual property. Copying | another artist style in your own work is usually fair use, | and that's essentially what generative AI do, so I guess | that's how it will go, but it will most likely depends on how | judges and legislators see the thing, and different countries | probably will have different ideas. | circuit10 wrote: | It's not as simple as that though because the algorithm does | learn by itself and mostly just uses the training data to | score itself against, it doesn't directly copy it as some | people seem to think. It can end up learning to copy things | if it sees them enough times though | | "you can't find an artist for a generated picture other than | the ones in the training set. If you can't find a new artist, | then the picture belongs to the old ones, so to speak" | | I don't think that's valid on its own as a way to completely | discount considering how directly it's using the data. As an | extreme example, what if I averaged all the colours in the | training data together and used the resulting colour as the | seed for some randomly generated fractal or something? You | could apply the same arguments - there is no artist except | the original ones in the training set - and yet I don't think | any reasonable person would say that the result obviously | belongs to every single copyright owner from the training set | ModernMech wrote: | But this person's dog isn't in the training set, so why | should some artist be credited for a picture they never drew? | Not a single person has drawn his dog before, now there is a | drawing of his dog, and you want to credit someone who had no | input to the creative process here? | quadcore wrote: | If you can find a new artist then I think the picture | belongs to him. | austinjp wrote: | "Input into the creative process" is surely broader than | simply "painted the portrait". Artists most certainly never | consented to have their works used as training data. To | this extent, they might be justifiably pissed off. | | Artists and designers have furthered their careers (and | gained notoriety) by 'ripping off' others since the dawn of | time. This used to require technical artistic ability; now | less so. The barrier to entry is.... not necessarily lower | now, but different. | mdp2021 wrote: | > _an artist for a generated picture_ | | Normally - outside the specific context of AI generated art | -, there is not a relation "work1 - past author" , but "work | - large amount of past experience". (1"work": in the sense of | product, output etc.) | | If the generative AI is badly programmed, it will copy the | style of Smith. If properly programmed, it will "take into | account" the style of Smith. There is a difference between | learning and copying. Your tool can copy - if you do it | properly, it can learn. | | All artists work in a way "post consideration of a finite | number of past artists in their training set". | brucethemoose2 wrote: | TBH it would be much easier with more streamlined tooling, | especially if doing it locally with lora/lycoris. | | Its kinda like using ffmpeg for vapoursynth for video editing | instead of a video editing GUI. | | That being said the training parameter/data tuning is | definitely an art, as is the prompting. | asddubs wrote: | most of the criticism I've seen is that it's all trained on | uncompensated stolen artwork. Much like how copilot is trained | on GPL code, disregarding its license terms. | minimaxir wrote: | The general argument (IANAL) is that it's Fair Use, in the | same vein as Google Images or Internet Archive scraping and | storing text/images. Especially since the outputs of | generated images are not 1:1 to their source inputs, so it | could be argued that it's a unique derivative work. The | current lawsuits against Stability AI are testing that, | although I am skeptical they'll succeed (one of the lawsuits | argues that Stable Diffusion is just "lossy compression" | which is factually and technically wrong). | | There is an irony, however, that many of the AI art haters | tend to draw fanart of IP they don't own. And if Fair Use | protections are weakened, their livelihood would be hurt far | more than those of AI artists. | | The Copilot case/lawsuit IMO is stronger because the | associated code output is a) provably verbatim and b) often | has explicit licensing and therefore intent on its usage. | bendmorris wrote: | >it could be argued that it's a unique derivative work | | Creating a derivative work of a copyrighted image requires | permission from the copyright holder (i.e., a license) | which many of these services do not have. So the real | question is whether AI-generated "art" counts as a | derivative work of the inputs, and we just don't know yet. | | >b) often has explicit licensing and therefore intent on | its usage | | It doesn't matter. In the absence of a license, the default | is "you can't use this." It's not "do whatever you want | with it." Licenses grant (limited) permission to use; | without one you have no permission (except fair use, etc. | which are very specifically defined.) | adamm255 wrote: | If a person trained themselves on the same resources, and | picked up a brush or a camera and created some stunning | art in a similar vein, would we look at that as a | derivative work? Very interesting discussion. Art of all | forms are inspired by those who came before. | | Inspired/trained... I think these could be seen as the | same. | bendmorris wrote: | Training a human and training a model may use the same | verb but are very different. | | If the person directly copied another work, that's a | derivative work and requires a license. But if a person | learned an abstract concept by studying art and later | created art, it's not derivative. | | Computers can't learn abstract concepts. What they can do | is break down existing images and then numerically | combine them to produce something else. The inputs are | directly used in the outputs. It's literally derivative, | whether or not the courts decide it's legally so. | [deleted] | Ukv wrote: | > Computers can't learn abstract concepts | | Goalposts can be moved on whether it has "truly learned" | the abstract concept, but at the very least neural | networks have the ability to work with concepts to the | extent that you can ask to make an image more "chaotic", | "mysterious", "peaceful", "stylized", etc. and get | meaningfully different results. | | When a model like Stable Diffusion has 4.1GB of weights | and was trained on 5 billion images, the primary impact | of one particular training image may be very slightly | adjusting what the model associates with "dramatic". | | > If the person directly copied another work, that's a | derivative work and requires a license | | Not if it falls under Fair Use. Here's a fairly extreme | example for just how much you can get away with while | still (eventually) being ruled Fair Use: | https://www.artnews.com/art-in-america/features/landmark- | cop... - though I wouldn't recommend copying as much as | Richard Prince did. | | > The inputs are directly used in the outputs | | Not "directly" - during generation, normal prompt to | image models don't have access to existing images and | cannot search the Internet. | asddubs wrote: | I don't think we should hold technology to the same | standards as humans. I'm also allowed to memorize what | someone said, but that doesn't mean I'm allowed to record | someone without their knowledge (depending on the | location) | simonw wrote: | "Creating a derivative work of a copyrighted image | requires permission from the copyright holder" | | That's why "fair use" is the key concept here. Under US | copyright law "fair use" does not require a license. The | argument is that AI generated imagery qualifies as "fair | use" - that's what's about to be tested in the courts. | | https://arstechnica.com/tech-policy/2023/04/stable- | diffusion... is the best explanation I've seen of the | legal situation as it stands. | [deleted] | userbinator wrote: | AI is just showing us a fact that many are unwilling to | admit: _everything_ is a derivative work. Much like humans | will memorise and regurgitate what they 've seen. | simonw wrote: | The trained on stolen artwork critique is reasonable - I | helped with one of the first big investigations into how that | training data worked when Stable Diffusion first came out: | https://simonwillison.net/2022/Sep/5/laion-aesthetics- | weekno... | | It's interesting to ask people who are concerned about the | training data what they think of Adobe Firefly, which is | strictly trained on correctly licensed data. | | I'm under the impression that DALL-E itself used licensed | data as well. | | I find some people are comfortable with that, but others will | switch to different concerns - which indicates to me that | they're actually more offended by the idea of AI-generated | art than the specific implementation details of how it was | trained. | bugglebeetle wrote: | I think the more correct argument is that Stable Diffusion | effectively did a Napster to force artists into shit | licensing deals with large players who can handle the | rights management. It's unlikely that artists would've ever | agreed to them otherwise, but since the alternative now is | to have your work duplicated by a pirate model or legally | gray service, what are you going to do? This seems borne | out by the fact that Stability AI themselves are now | retreating behind Amazon for protection. | adamm255 wrote: | When I did Photography at college, a lot of the work was | looking at other works of art. I spent a lot of time in | Google Images, diving through books from the Art section | and going to galleries. Lots of photo copying was involved! | | I then did works in the style of what I'd researched. I | trained myself on works I didn't own, and then produced my | own. | | I kind of see the AI training as similar work, just done | programmatically vs physically. | | Certainly a very interesting topic. | | I can't get my head around how far we've come on this in | the last 6-12 months. From pretty awful outputs to works | winning Photography awards. And prints of a dog called | Queso you'd have paid a lot of money to an illustrator for. | rgbrgb wrote: | I think it's more analogous to if you had tweaked one of | those famous works directly in photoshop then turned it | in. The model training likely results in near replicas of | some of the training data encoded in the model. You might | have a near replica of a famous photograph encoded in | your head, but to make a similar photograph you would | recreate it with your own tools and it would probably | come out pretty different. The AI can just output the | same pixels. | | That's not to say there aren't other ways you might use | the direct image (e.g. collage or sampling in music) but | you'll likely be careful with how it's used, how much you | tweak it, and with attribution. I think the weird problem | we're butting up against is that AFAIK you can't figure | out post-facto what the "influence" is from the model | output aside from looking at the input (which does | commonly use names of artists). | | I work on an AI image generator, so I really do think the | tech is useful and cool, but I also think it's | disingenuous (or more generously misinformed) to compare | it to an artist studying great works or taking | inspiration from others. These are computers inputting | and outputting bits. Another human analog would be | memorizing a politician's speech and using chunks of it | in your own speech. We'd easily call that plagiarism, but | if instead every 3 words were exactly the same? Hard to | say... it's both more and less plagiarism. | | Just how much do you need to process a sampled work | before you need to get permission of the original artist? | It seems to be in music that if the copyright holder can | prove you sampled them, even if it's unrecognizable, then | you're going to be on the hook for some royalties. | simonw wrote: | "The model training likely results in near replicas of | some of the training data encoded in the model." | | I don't think that's true. | | My understanding is that any image generated by Stable | Diffusion has been influenced by every single parameter | of the model - so literally EVERY image in the training | data has an impact on the final image. | | How much of an impact is the thing that's influenced by | the prompt. | | One way to think about it: the Stable Diffusion model can | be as small as 1.9GB (Web Stable Diffusion). It's trained | on 2.3 billion images. That works out as 6.6 bits of data | per image in the training set. | Jevon23 wrote: | >It's interesting to ask people who are concerned about the | training data what they think of Adobe Firefly, which is | strictly trained on correctly licensed data. | | If they truly got an appropriate license agreement for | every image in the training set then I have no issues with | that. | | >I'm under the impression that DALL-E itself used licensed | data as well. | | DALL-E clearly used images they did not have a license for. | Early on it was able to output convincing images of Pikachu | and Homer Simpson. OpenAI certainly didn't get licensing | rights for those characters. | einpoklum wrote: | Stolen artwork? Why, I'm shocked! Shocked and chagrined! | Where, prey tell, does OpenAI keep that vast warehouse full | of stolen paintings? And have you alerted Interpol? | minimaxir wrote: | Unfortunately it's become a meme among AI art haters that AI | art is "just inputing text into a text box" despite the fact | that is far from the truth, particularly if you want to get | specific results as this blog post demonstrates. | | Some modern AI art workflows often require _more_ effort than | actually illustrating using conventional media. And this blog | post doesn 't even get into ControlNet. | squidsoup wrote: | Only if you exclude the countless hours an illustrator has | spent developing their craft. | yieldcrv wrote: | being sympathetic to that requires pretending that the user | would have _ever_ commissioned an artist for that idea at | all. both the transaction and the idea would have simply | never happened. it was _never_ valuable enough or important | enough to commission a human, hope you got the correct | human, wait week after week for revision after revision. | | people that want to hone a niche discipline _for | themselves_ still can do that. just be honest about doing | it for yourself. | libraryatnight wrote: | Using AI as a tool to create art takes nothing away from | anyone who spent time learning a skill or craft that they | use in their own pursuit of expression. | | People will be arguing about whether or not art made with | AI is art, and artists will just be using it or not. I | remember an interview about electronic music where Bjork | addressed concerns that if you use a computer to make | music, it has no soul, and she said if the person using the | machine to make the music puts soul into it, it will have a | soul. | | I remember David Bowie in the mid 90s saying if he was | young in that decade he might not have been a musician, | because in the 60s being a musician seemed subversive and | at the time of the interview the internet was carrying the | flag of subversion. | | Anyway, it's interesting to watch these conversations. I'd | never claim to know what art is or try to tell someone, but | it seems to me that already because of the controversy | artists are drawn to AI and further exciting the | conversation. Commercial artists seem the most threatened; | animators, designers, etc. I understand why, but I don't | think arguing that AI isn't "art" is going to help their | cause any more than protesting digital painting wasn't art, | electronic music wasn't art, and much earlier that | photography wasn't art. | | All the time these conversations are happening, the art's | getting made and we're barreling towards the next 'not art' | movement. | capableweb wrote: | > Some modern AI art workflows often require more effort than | actually illustrating using conventional media. And this blog | post doesn't even get into ControlNet. | | Indeed. Another criticism that I can definitely somewhat see | the idea behind, is that the barrier to entry is very | different from for example drawing. To draw, you need a pen | and a paper, and you can basically start. To start with | Stable Diffusion et al, you need either A) paid access to a | service, B) money to purchase moderately powerful hardware or | C) money to rent moderately powerful hardware. One way or | another, if you want to practice AI generated art, you need | more money than what a pen and paper cost. | MayeulC wrote: | > is that the barrier to entry is very different from for | example drawing | | Thqt got me thinking. I agree, but from another | perspective: the skillset is different. Traditionally, the | approach to art was very bottom-up. Start with a pen and | basic contouring techniques. Understanding more advanced | techniques require a lot of work (perspective, shadows, | etc). | | "AI" art generally does away with basic techniques. The | emphasis is more on composing, styling. A top-down | approach. "AI" artists may be able to iterate quicker by | seeing "almost-finished" versions quickly (though a skilled | artist can most likely imagine their work pretty well). | | But most of all, the tools and required skills are very | different. You don't need to know a lot about machine | learning, but it certainly helps. Probably pretty far from | the skillset of most current artists. And people generally | fear what they don't understand. And if I was an artist, | I'd be at least a bit concerned about (i) it undercutting | the value of my art, (ii) having to learn this alien way of | doing things to remain competitive (by way of selection, | artists probably enjoy their current tools. | | Anyway, I imagine photography was similarly upsetting in a | lot of ways. It also didn't happen overnight. I also | suspect we are going to see similar improvements to output | quality as in early days of photography. | | Another similarity is with digital music (and | recording/remixing before that). I wonder if we're going to | see new genres emerge as a result (the equivalent of | techno/electro). | Paul-Craft wrote: | Your comment in particular captures it, but I can imagine | a lot of the same sort of comments on this post being | made about film cameras when they came out, then again | about digital cameras. | prpl wrote: | Digital cameras made burst photos go from $.25+ a frame | at 5FPS to effectively free with rates at 30+FPS now. | That was transformative but also lead to all sorts of | lamentations about lack of skill | rprospero wrote: | I remember my university photography club trying to get | digital cameras banned from campus because "art only | happens in the darkroom". | dragonwriter wrote: | > To draw, you need a pen and a paper, and you can | basically start. To start with Stable Diffusion et al, you | need either A) paid access to a service, B) money to | purchase moderately powerful hardware or C) money to rent | moderately powerful hardware | | A 4GB NVidia GPU (sufficient to run Stable Diffusion with | the A1111 UI) is hardly "moderately powerful hardware", | and, beyond that, Stable Horde (AI Horde) exists. | | OTOH, a computer and internet connection are more expensive | than a pencil, even if nearly ubiquitous. | rob74 wrote: | Yeah, well then, please draw an image of my dog in the | style of van Gogh, using pen and paper. I would say that | for most of us, the more cost-effective way to get high | quality artwork will still be Stable Diffusion... | realusername wrote: | Stable Diffusion doesn't really need powerful hardware, any | graphic card will do, it will just be a bit longer. There's | even ports on smartphones nowadays. | simonw wrote: | There are plenty of traditional art mediums that require | significant financial outlays to get started: oil painting, | ceramics, glass blowing etc. | | There are plenty of free online tools for using all kinds | of AI image generation techniques, and they don't require | powerful hardware, just something that can browse websites | or run Discord. | adamm255 wrote: | Plus training, lessons and inspiration. And talent. | | It's like with dreams. They can be terribly intricate and | detailed, but ask me to draw something creative and I'm | out. | smallerfish wrote: | Stable Diffusion works fine on a CPU - on an AMD Ryzen | 5700, approx 90s per image (and I believe comparable or | faster on my old i7-6700). If you want to kick off a batch | in the background while you work on something else, that's | plenty fast. (I use: | https://github.com/brycedrennan/imaginAIry). | minimaxir wrote: | The cost has gone _way_ down in the last couple months. | | With a super-cheap T4 GPU (free in Google Colab), PyTorch | 2.0, and the latest diffusers package, you can now generate | batches of 9-10 images in about the same time it took to 4 | images when Stable Diffusion was first released. This | drastically speeds up the cherry-picking and iteration | processes: https://pytorch.org/blog/accelerated-diffusers- | pt-20/ | | Google Cloud Platform also now has preview access to L4 | GPUs, which are 1.5x the cost of a T4 GPU but 3x throughput | for Stable diffusion workflows (maybe more given the | PyTorch 2.0 improvements for newer architectures), although | I haven't tested it: https://cloud.google.com/blog/products | /compute/introducing-g... | tough wrote: | We're minmaxing those costs thanks for the data | tester457 wrote: | It's a meme because 99% of the ai art creators don't go that | deep, they only prompt. | | Even if they did have a more complex workflow most of them | are still based on copyrighted training data, so there will | be many lawsuits. | basisword wrote: | > if you're not going to put in the time and effort, why do you | deserve to create such high equality imagery? | | This isn't high quality imagery. Don't get me wrong, the tech | is cool and I love the work that's went into making this | picture. But this isn't something I would ever hang on my wall. | There's probably a market for it, but I get the strong | impression it's the "live, laugh, love" market. The people that | buy pictures for their wall in the supermarket. The kind of | people who pay individual artists money to paint bespoke images | of their pet are not going to frame AI art. I don't think the | artists need to worry. | yellow_postit wrote: | I would expect it's only a matter of time till those | "traditional" artists also adopt these tools into their | workflows. Similar to the initial pushback against the | "digital darkroom" which is now the mainstay of photography. | | In-ai-aided art, like manually developed film, will trend | towards a niche. | theaiquestion wrote: | > This isn't high quality imagery. Don't get me wrong, the | tech is cool and I love the work that's went into making this | picture. But this isn't something I would ever hang on my | wall. | | Well yeah but that doesn't change the OP commenter's point | that it takes a lot of work to get high quality art still. | | > I don't think the artists need to worry. | | I disagree here but only on the basis of what type of art it | is. Stock art/photography, and a lot of media designwork is | likely at risk because we can now create "good enough" art at | the click of a button for almost no cost. I agree that the | "hang on the wall level good" artists aren't at risk just | yet, but between the more filler-art and the uh "anime/furry" | commissioners are definitely at risk right now for anything | except the highest quality artists. | mdp2021 wrote: | The shruggingface submission is very interesting and very | instructive. | | Nonetheless, it would be odd and a weak argument to point | criticism towards not spending adequate <<time and effort>> (as | if it made sense to renounce tools and work through unnecessary | fatigue and wasting time). More proper criticism could be in | the direction of "you can produce pleasing graphics but you may | not know what you are doing". | | This said, I'd say that Stable Diffusion is a milestone of a | tool, incredible to have (though difficult to control). I'd | also say that the results of the latest Midjourney (though | quite resistant to control) are at "speechless" level. (Noting | in case some had not yet checked.) | Paul-Craft wrote: | > More proper criticism could be in the direction of "you can | produce pleasing graphics but you may not know what you are | doing". | | I don't get this. If one "can produce pleasing graphics," how | does that not equal knowing what they're doing? I only see | this as being true in the sense of "Sure, you can get places | quickly in a car, but you don't really know how it works." | mdp2021 wrote: | > _how does that not equal knowing what they 're doing_ | | The goal may not be to produce something pleasant. The | artist will want some degree of artistic value; the | communicator will want a high degree of effectiveness etc. | The professional will implicitly decide a large number of | details, in a supposedly consistent idea of the full aim. | The non professional armed with some generative AI tool may | on the contrary leave a lot to randomness - and obtain a | "pleasant" result, but without real involvement, without | being the real author nor, largely, the actual director. | indigodaddy wrote: | Pretty cool stuff. Personally though, not a huge fan of his "the | one" choice. Some of the other images in his assortment were much | better imo. Each to their own of course though! | steve_adams_86 wrote: | I agree, but I find it pretty cool that they were able to | generate and pick from what they wanted. This seems like one of | the real strengths of generative AI -- people can tune outputs | they otherwise couldn't create (unable to paint, draw, play | guitar, etc). | | People can debate if it's actually good that people can create | art without being artists, but again, I think it's great that | the author had the freedom to create what they had in mind | without much outside influence. This has been a goal for | computers in general for so long, and it seems like we're | actually arriving with some mediums. | lxe wrote: | This is a great writeup on some of the nuances and gotchas you | have to watch out for when finetuning using dreambooth and the | generative creative process in general. | cinntaile wrote: | It's unfortunate a lot of the nice artsy detail disappeared when | he had to recreate part of the head, but I guess that is | inevitable. Great work and interesting writeup. | yieldcrv wrote: | Results at the top of your article/project please | spaceman_2020 wrote: | I would highly recommend using Photoroom's background removal | tool. Does a far, far better job than Photoshop. | EGreg wrote: | What are the tools we can run on a Linux machine? | | EDIT: four downvotes and zero answers how to run it on a Linux | machine... | minimaxir wrote: | You were likely downvoted because you asked how to use it for | NFTs, which you just edited it out. | cogitoergofutuo wrote: | The only piece of software mentioned in the article that | doesn't run on Linux is Draw Things. | [deleted] | [deleted] | liuliu wrote: | There might be a few things Draw Things missing from this | article: no mask blur, not selecting the inpainting model for | inpainting work. | | Tomorrow's release should contain both mask blur and inpainting | ControlNet, which might help these use cases. | jakedahn wrote: | Yeah, it was likely just user error. I actually really love | Draw Things, because I can run it locally on my mac and quickly | experiment without having to sling HTTP requests or spin up | GPUs. | | I did the actual work back on March 11th, so I was likely on an | older build; but I was seeing issues where inpainting was just | replacing my selection/mask with a white background. I had the | inpainting model loaded, but couldn't figure it out. | | I'm planning to continue playing with Draw Things locally, and | exploring the inpainting stuff. For such an iterative process I | feel like a local client would make for the best experience. | liuliu wrote: | There is no user error but UX issues :) | | That has been said, you probably used paintbrush rather than | the eraser? There would be more help on the Discord server | though! https://discord.gg/5gcBeGU58f | skor wrote: | I liked the original more than the final version. The vector | style drawing was much more futuristic and more interesting. | | Seems like lots of work went into that and I hope the author | enjoyed the process and enjoys the final result. | bigbillheck wrote: | Personally I paid a friend $200 to create an art portrait of my | dog. | AuryGlenz wrote: | I've done so much with a fine-tuned model of my dog. | | I previously made coloring pages for my daughter of our dog as an | astronaut, wild west sheriff, etc. They're the first pages she | ever "colored," which was pretty special for us. Currently I'm | working on making her into every type of Pokemon, just for fun. | mdp2021 wrote: | Using which tools, specifically? | AuryGlenz wrote: | Stable Diffusion, generically. | | StableTuner to fine tune the model - I can't recall the name | of the model I trained on top of, but it was one of the top | "broad" 1.5 based models on Civitai. Automatic1111 to do the | actual generating. I used an anime line art LoRA (at a low | weight) along with an offset noise LoRA for the coloring book | pages as otherwise SD makes images be perfectly exposed. For | something like that you obviously want a lot more white than | black. | | EveryDream2 would be another good tuning solution. | Unfortunately that end of things is far from easy. There are | a lot of parameters to change and it's all a bit of a mess. I | had an almost impossible time doing it with pictures of my | niece, my wife is hit or miss, her sister worked really well | for some reason, and our dog was also pretty easy. | go_discover wrote: | Do you need an m1 macbook to do this? I have a 2015 macbook | pro.. | AuryGlenz wrote: | I uploaded a couple of the Pokemon generations really quick as | examples. I still need to go through and do quick fixes for | double tails (the tails on Pokemon are _not_ where they are on | regular animals, apparently), watermarks, etc. and do a quick | Img2Img on them. | | https://imgur.com/a/11OxoSA | jakedahn wrote: | These are great! | AuryGlenz wrote: | Thanks. They aren't necessarily the best ones - I just | uploaded some quickly. Like I said, they still need final | touches too. I probably should have worked on the prompt a | bit more before I went all in too. | | For anyone else doing it, the ability to do something like | [vaporeon:cinderdog:.5] so it starts with a specific | Pokemon and transitions into the dog later was great for | some types. | | One of the fun things about this sort of thing are happy | accidents. One of the fire types generated as two side by | side - a puppy and an evolution. | minimaxir wrote: | For generating Pokemon, I recommend using this model along | with a textual inversion of your pet: | https://huggingface.co/lambdalabs/sd-pokemon-diffusers ___________________________________________________________________ (page generated 2023-04-16 23:00 UTC)