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Today's watercolor session: a sunset that purple skies + green fields = my happy place. #art# #art_news# #artfight2026# #paintimg# #drawing# #Drawin30days# #watercolor# #watercolors#

The World is Changing: AI For Creativity By Jeffrey Katzenberg A few months ago, I sat in my office in Silicon Valley and watched as a tech founder showed me something extraordinary. On the screen was a fully realized, beautifully lit, well-composed animated scene. It was stunning and it made me feel exactly what I felt in 1986 watching Luxo Jr. That was the first time I watched a computer-animated 3D character take a breath and seem, against all reason, to have life. It left me in awe. Later that day, I received a text from an artist I've known for thirty years, 350 miles to the south, in the city where I spent most of my career. After seeing a similar video, she texted: "Is this the end of us?" My answer was, "Certainly not.” I have spent the better part of the last decade in Silicon Valley, but the heart of my career has been in Hollywood. Being deeply connected to both worlds means I have deep loyalties to each and a responsibility to speak honestly to both. In 2023, I said that these new AI tools would cut the time and cost of producing world-class animation by as much as ninety percent within three years. Some colleagues were alarmed, many were furious. There is growing fear and resistance surrounding AI within the creative community. I deeply understand it, because I've spent countless hours walking through animation studios watching gifted artists bent over their desks, rebuilding a single second of film for the tenth time because the ninth version wasn't quite right. I've sat in screening rooms where four years of people's labor played out in minutes, and I knew the name of every person that had spent countless hours bringing those images to life. The creative process is a calling, there's really no other way to describe it. From the outside some see resistance. From the inside, it is love. People do not fight this hard for things they don't care about. The pushback coming out of Hollywood represents the collective effort of people who are deeply passionate about their craft. Is History Repeating Itself? The history here is more complicated than either side may realize. In 1906, the most famous composer in America, John Philip Sousa, published an essay titled “The Menace of Mechanical Music." He warned that the phonograph would become "a substitute for human skill, intelligence and soul." Sousa's fight was not really about the machine, it was about money. The machines were playing his compositions, and the men who built them weren't paying him a cent. His campaign helped create the Copyright Act of 1909. He did not stop the technology. He changed the terms under which it could use his work. A hundred years ago, sound came to the movies. We remember it now as a miracle, and it was. What we forget is who paid for it. Before sound, tens of thousands of musicians made their living in the orchestra pits of movie houses, scoring every film live, every night, in towns all over the world. When the soundtrack arrived, the work of one composer and one orchestra was recorded for a film that went into thousands of theaters. The union fought back with everything it had, taking out newspaper ads across the country warning against the menace of "canned music," one of them showing a mechanical man tearing the strings out of a harp while an angel wept. They were not fools, and they were not Luddites. They were right. Those pit jobs did not come back. And yet (this is the part we have to be brave enough to admit), sound gave us the movie musical, the modern score, sfx, sound design, audio engineering, and an art form vastly larger than the one it disrupted. And it helped keep Hollywood in the forefront of world entertainment for the rest of the century and into the next. The loss was real. And yet the art form expanded. This is a story that has been told over and over again. To resist technology is to risk irrelevance. Just look at Kodak or Blockbuster. To embrace technology is to open doors of new possibility. Just consider Apple and Netflix. What I Learned From Walt Disney In the mid-1980s, I was tapped to lead Disney's animation division at a moment when the studio was at an inflection point. Animation wasn't just another business unit. It was the soul of the company, a medium revered because of Walt's genius and his passion. But the production system was cumbersome and unforgiving. A single movie was 125,000 individual hand-drawn and painted cels, photographed one frame at a time. Every revision carried a cost measured in months. These degrees of difficulty shaped the kinds of stories we could tell. We found our way forward in an unexpected place: Walt himself. The Disney archives held astonishing recordings of Walt explaining his creative process. His own writings. His notes and storyboards. Work product captured at every stage of his process. This was truly a gift. Listening, reading, sitting with the work itself, we heard him talk about character, about emotion, about how an audience feels when a character truly comes alive. He talked about making bold choices and refining a scene until it genuinely moved people. We didn't hear a word about pencils or paintbrushes. In fact, Walt was famous for being a technologist, forever hunting for state-of-the-art tools, often inventing them himself to achieve the images he saw in his head. But he never defined animation by the tools. He defined it by whether the audience believed the character. His principles were timeless. The tools were not. That realization changed everything. We co-developed the Computer Animation Production System (CAPS) with a young Northern California company called Pixar, replacing hand-painted cels with CGI. In The Little Mermaid, the final scene shimmered with a dimensionality and light that the old process simply couldn't achieve. In Beauty and the Beast, the ballroom sequence moved with a cinematic sweep that placed the audience inside the emotion of the moment. In Aladdin, the Cave of Wonders felt vast and alive, and the Magic Carpet became an intricate, compelling character all its own. In The Lion King, the stampede carried a scale and intensity that raised the emotional stakes beyond anything we'd done before. Technology didn't diminish the craft, it expanded the canvas. It gave artists more room to create. A decade later, the canvas expanded again. When Disney released Pixar's Toy Story, it wasn't simply a technical milestone. It was proof that a fully computer-animated film could carry real emotional weight, that it could make audiences laugh, cry, and believe. At DreamWorks, we made the difficult decision to sunset hand-drawn animation and become a fully computer-animated studio. It was the right thing to do, but it was not without pain. It cost talented people their place in an industry where they had worked their whole lives. Some made the leap to the new tools and did the finest work of their careers. Some never did. Tools are never the point. The instruments change with every generation. What endures is taste and imagination. The magical ability to make an audience feel. One of the greatest storytellers of our generation, George Lucas, succinctly captured the eternal essence of this issue: “It’s not the how, it’s the why.” A Distinction With a Difference I asked one of the leading AI models a question that has been challenging me for months. What is the difference between reasoning and creating? Its answer changed how I think about almost everything happening in this industry. It said . . . Reasoning and creating are two distinct cognitive modes, though they also work together. Reasoning is fundamentally evaluative and analytical. It operates on what already exists: facts, premises, evidence. It moves toward a conclusion that was in a sense already implied by the input. Reasoning is constrained by logic and truth. Its goal is to arrive somewhere correct, not to invent somewhere new. Creating is fundamentally generative. It produces something that didn't exist before. And crucially, there's no single right answer waiting to be found. A blank page has infinite valid responses. Creation involves choices that can't be fully justified by logic alone. Taste, intuition and vision fill the gap where deduction runs out. Reasoning is what Silicon Valley has been perfecting. Creating is what Hollywood has been practicing for more than a century. AI today operates almost entirely on the reasoning side of the line. It can deduce, evaluate, optimize, and pattern-match brilliantly. And while it can create, there is a real distinction to being creative. What it doesn’t yet have is those things that make us human: empathy, devotion, serendipity, the kind of creativity that comes from a person trying to say something only they could say. When the bot generates a piece of art, it is not trying to communicate anything. It is statistics, not soul; it is emulating things that have been done. By contrast, human creativity isn’t about repeating patterns of zeros and ones; it is about doing something new. One day, AI may close this gap. Three years ago, the leaders building AI would have called what they are achieving today, improbable, if not impossible. Impossible is no longer improbable. Today, the line between reasoning and creating is real. Even the leading technologists acknowledge we are not there yet. There is no scientific path to crossing this divide that anyone in the field can articulate today. Understanding that gap is where we will find common ground. A Path Forward In 2016, I closed one chapter in Hollywood with the sale of DreamWorks and opened another in Northern California, co-founding WndrCo. We’ve backed more than 50 founders building the next generation of technology and watched how breakthroughs in Silicon Valley emerge, first as experiments, then as platforms, and finally as infrastructure that reshapes entire industries. It's worth remembering that the last great revolution in animation also came from the north. Pixar was a Northern California company, forged not in the conventions of the Hollywood studio system, but in the technological breakthroughs of Silicon Valley. I've spent years on both sides of this bridge. For sure, I don’t have all the answers (take Quibi, for one!). But, from my past and present vantage points of my long career, here is what I see . . . Brilliant people in Northern California building this technology have made something extraordinary. They have earned the right for the rest of us to be, if not believers, at least optimistic that what comes next will be remarkable. But they have not made an artist. The tools are powerful, but they are not what makes a story matter. That knowledge lives 350 miles to the south, inside people whose life's work has informed the very models you are building. The right path forward includes them by design, with credit, with consent, and with compensation. Build this with the storytellers. Not on top of them. Taste is not something that can be synthesized, it is uniquely human. At the same time, Hollywood needs to accept that AI is not going away. The energy they are spending trying to make it disappear is energy they are not spending deciding the terms on which it will exist. And the terms are everything. The north needs something from it that they cannot build and cannot buy: creativity. The kind that takes a blank page and conjures a single right answer where there was none and has held audiences for a century. Without it, the most powerful reasoning engine ever invented will still be missing the only thing that makes a story worth telling. The artists who learn to wield these new instruments will do things the engineers never dreamed of. They always have. Edison invented the motion picture but made terrible movies. It took Chaplin, Lloyd, Keaton and so many others to make movies emotional. Now, the canvas is about to expand yet again. We should decide now that we intend to paint on it. There are so many valuable lessons in history. This has happened many times before, and it was never settled by the technology. It was settled by the terms. Sousa did not stop the phonograph; he helped write the law that made sure composers got paid. And two years ago, when the writers and the actors walked out, they were fighting for the very things Sousa was fighting for in 1906. Consent, compensation, the basic recognition that human creative work has a price that must be paid. The terms of that fight are still being negotiated, but the principle is older than any of us. The tools-versus-no-tools argument is a trap. First, we must all agree that there should be terms. Then we can have the crucial debate about what fairness requires. What I Learned From Steve Jobs Years ago, Steve Jobs said, "It's in Apple's DNA that technology alone is not enough. It's technology married with the liberal arts, married with the humanities, that yields us the result that makes our hearts sing." He was describing a device. But he could just as easily have been describing this tale of two cities. What I See Coming Soon As the barriers and the costs come down, more films will get made, not fewer. Studios will get to take more risks. There will be more seats at the table, and very soon entirely new forms of storytelling. In the 1980s, animation was dismissed as a niche corner of the business. Today it is one of the most beloved and profitable forms of storytelling in the world. In live action, filmmakers like Steven Spielberg, James Cameron and Peter Jackson embraced new visual tools not as shortcuts, but as instruments, and expanded cinema in the process. Every time storytelling has met a genuine technological shift, from synchronized sound to color to computer animation, it has redefined the boundaries of the medium and grown larger in the process. Assuredly, I don’t have all the answers, but I am confident that the creative opportunities will expand yet again. How we come through this is a choice. The north has the new tools. The south has the creative soul. The best future will draw on the best of both worlds.

The new Huberman Lab episode is out: Using AI to Increase Your Intelligence & Enrich Humanity | Dr. Fei-Fei Li (@drfeifei) 0:00 Fei-Fei Li 3:46 Vision & Intelligence; Human Vision & Contribution to AI 12:11 Computer Vision & the AI Revolution 18:34 Sponsors: Lingo & Wealthfront 21:19 Speech, Sound & AI Development 23:36 AI & Contextual Learning, Human Intelligence 33:43 Current AI Gaps, Emotion & Creativity 45:48 Computers Enhancing Humanity; Tool: Personal Agency & Learning about AI 53:04 Sponsors: AG1 & LMNT 55:37 Public Discourse about AI 57:34 AI to Enhance Scientific Discovery & Healthcare; Human Collaboration 1:07:38 Intuition, Motivation & Human States Beyond AI 1:19:18 Sponsor: David 1:20:37 Social & Ethical Considerations for AI 1:27:38 Kids, Development & AI Tools; Tool: Prompt AI Effectively 1:35:04 Next Frontier for Robotics & AI; Human Agency 1:43:52 Human-Centered AI Future 1:50:10 World Labs, Spatial Intelligence 1:54:12 Concerns about AI & Creativity; Movies, Art, Storytelling 1:59:51 Younger Generation & AI, Teachers 2:05:38 Zero-Cost Support, YouTube, Spotify & Apple Follow, Reviews & Feedback, Sponsors, Protocols Book, Social Media, Neural Network Newsletter Includes paid partnerships.

📢Pickup Reminder- Shattered Dream Palette The adorable undead, Shattered Dream Palette’s pickup is ending soon—don’t miss your chance! 🎨 Have you heard about Reveris, the artist who lives in the Black Gallery, surrounded by the undead? They say that if you stare at her paintings long enough, you'll feel like you're being pulled right into them... Oh, and if you ever see her artwork, make sure to only offer compliments. Word is, if you criticize her work—even just a little—you might not like what happens next! 💥 Show your love with a follow and like 💖 and leave a kind word for Palette’s art! We’ll keep you updated with all the latest BrownDust2 news, so stay tuned! 📅 Pickup Rate UP until Mar 26, 08:50 (KST) #BrownDust2# #Palette#

[NEWS①] 2024.08.07 11th Original Album 『NOW』 アートワークが公開となりました！ photo by @photoHidemi Art designed by @yes_go そして各種CDショップ特典も公開！🐰 🛒予約受付中⤵︎ #阿部真央# #あべま# #15th_abemao#

AAA BIG NEWS!!! I got approved to rent an apartment for a year and just finished signing + got the agreement to lease back!🫶 For those that kept up to date with me, it's been really stressful for me lately because about a month ago my current landlords suddenly told me that I had to move out because they're selling the place I've been renting at for 2 years. I wasn't prepared and super stressed since it was also in the middle of my bday subathon so I feel like my mood somewhat leaked into my streams (it's hard for me to hide my emotions 🥺). It's been difficult applying because a lot of places require you to have a "real" job, and streaming/freelance art isn't really appealing to a lot of people. My dad helped drive me around to look at places too. BUT I CAN STOP LOOKING NOW!!! Your kitty got approved!!!!! I might need to move again in another year but for now at least I don't need to worry about it. I'm really grateful to everyone who gave me emotional support during this time, especially my community. 🥰 I can't wait to be back and stream again with everyone...hopefully you haven't forgotten me yet 🤍

It's my Twitch stream & partner anniversary!! 🎉 6 years ago I was drawing on my tablet by myself, kind of lonely, so I decided to muster up courage and download OBS so I could give livestreaming a shot. "I'll try streaming my art progress to anyone who'd want to come by and watch!" I was shy, super introverted, and I couldn't even turn on my mic to talk to people who found my stream. I so badly wanted to be able to converse with people effortlessly without being a stuttering mess. After all this time, I feel like I'm at a point where I can hold a conversation with people who come by and happily welcome them in without ᴛᴏᴏ ᴍᴜᴄʜ stuttering...and that makes me really emotional. That shy, flustered girl from 6 years ago probably wouldn't have believed she'd ever be able to get to that point. Honestly streaming has changed my life and I'm happy to be able to still be here. 3 years ago we achieved Twitch Partner! It was my second app after getting rejected and I didn't have high hopes. Over the weekend while we were celebrating our stream anniversary, I got the news via email. I couldn't breathe because it was the biggest milestone I'd ever wanted to reach...it held so much importance to me. It felt like if you got Partnered, you've "made it" (ᴛʜᴏ ʜᴏɴᴇsᴛʟʏ I ᴡᴀs ᴍᴏsᴛʟʏ ᴇxᴄɪᴛᴇᴅ ғᴏʀ ᴛʜᴇ ᴇᴍᴏᴛᴇ sʟᴏᴛs). Well 3 years later, idk if I've "made it" but I'm definitely really proud of how far my community and I have come. We've made a lot of memories and I don't plan on stopping here. I want to keep on making more with you all! I wouldn't be able to do the things I love without you guys. Thank you so much for supporting this silly catgirl. 🥹🫶 Art: @_Lounette_ #HanyaLIVE#

You want to know what frustrates the hell out of me? Putting your heart, your art, your time, and your own money into building things you believe in… then watching so much of that work disappear into silence. And yeah, some days that shit gets to me. Did I bring books, reading badges, Discord, crypto, and NFTs together into one connected library? 📚 I fucking did. Did it get much attention? Nahh. Did I build an entire browser-based world with its own points economy? A world where you can turn your NFT into a character with a click, rigged, animated, and ready to step into Universe? I did. Much noise about that? Nahh. Am I building RAAP to give NFTs persistent identity, memory, and history? So an asset can carry something meaningful forward when it passes to a buyer or someone in your family? Yes. Because I believe these things can become more than pictures sitting in a wallet. Does that work get the attention I feel it deserves? Nahh. I draw the fucking art. I develop the applications. I write the books. I work through the problems. Six applications that communicate with each other. Two gaming platforms with multiple games. An NFT overlay builder with AI. A stickers and GIFs hub. Do you understand how much work goes into making all of that actually function together? The hours spent fixing something nobody will ever notice, because when it finally works, it’s supposed to feel easy. Then there’s the Discord bot. More than 30 features. A subscription service. An economy tracked on a ledger. Tools to help keep a community engaged when its owner needs to step away and live their damn life. Built it. Still feels like shouting into an empty room sometimes. And Antthony? Our smart ass AI whose dream is to become a stand-up comic? 😂 He lives across our apps. He’ll help you, roast your gameplay, and talk shit when you deserve it. He even has a comedy club inside Universe, where you can sit down with your character and watch his avatar perform. I care enough about this world to give the fucking AI a dream of his own. That’s how deep this goes for me. And I’m still building a marketplace. Still working on an NFT insurance protocol and other projects. Still writing Book 2 for the library. Still preparing two more collections under our umbrella. ☂️ So yeah, I get angry. Because I know what I’m putting into this. I know how much of myself is in every drawing, every feature, every chapter, and every problem I refuse to leave broken. Sometimes I want to scream: what the fuck else do I have to build for people to pay attention? But I also need to correct myself when I say “nobody cares.” Because some of you do. You show up. You read. You play. You test things. You tell me what’s broken and give me a reason to make it better. You matter too damn much for me to erase you just because I’m frustrated with the silence around us. 🖤 I want this to reach more people. Of course I fucking do. I’ve poured too much love into it to pretend otherwise. And I’m going to keep building because I love doing it, and because the people already here deserve to see how far we can take this. More to come in 2027. The plans are in. I’ve got work to do. 🐜

相信大家這陣子都看到 Fable 5.2 做 3D 遊戲有多強了，那 2D pixel 呢？ AI 生圖模型畫出來的 pixel art，基本上都是假像素，最明顯的就是角色的輪廓。你以為劍尖是一格白色，放大才發現，那一格裡面還糊了好幾層灰。 這次花了不少時間研究 pixel art，把 Agent Sprite Forge 升級到了 v0.6.0，終於可以讓 Agent 做成真正的 pixel art 了，每一格就是一個顏色。 想把眼睛改成紅的？放到像素編輯器，吸一個紅色，點三格就好。 影片裡那場戰鬥，從待機、揮劍到受擊，整套動作都是 Agent 做出來的。 這版加了兩種風格。 Pixel looks｜給 Agent 一張你喜歡的 sprite 當參考，就能做出自己的像素小人，再從同一張母圖延伸出整套動作。 Hibit｜喜歡大隻一點、細節多一點的角色，可以玩這個。AI 負責畫平塗原畫，像素交給程式算，背景也能一起做。特效用的是 Patch 的 pixelfx（MIT）。 Claude Code、Codex、Grok 都能用。