Viktória Danielis
Where Do Our Patterns Disappear?
Digital drawing on a tablet, with the concept later adjusted in Adobe Photoshop.Font used: Instrument Sans Regular.
The poster draws inspiration not only from Slovak history but also reflects on the current cultural situation in my homeland. The central motif is based on Modra ornaments, whose colors convey the melancholy of the situation while also offering hope for better times. The chosen Instrument Sans typeface was used to emphasize the delicacy of Slovak traditions in the design.
Image to text description:
A blue and white illustration of the text "KDE survole Stracajuvzory?" in an elegant font, with decorative elements like flowers or swirls around it on an all-white background. The letters have different sizes to create depth and texture. This design would be suitable for various applications, from graphic designs to packaging.
The text "Can you hear the whispers?" in the style of blue and white folk art, isolated on a pure background, vector illustration, simple details, delicate ink lines, white space between letters, cute font design.
"KDE volunteers, are we striving for our history?" in the style of blue and white folk art, text only, white background, simple design, symmetrical layout, large letters
The inscription "KDE reel stracuju broadly Deskny in the style of traditional folk art, blue and white colors, simple background, white space around the letters for design"
LLM description:
"The image features the inscription "KDE SA STRÁCAJÚ NAŠE VZORY?" set in a serif typeface, accompanied by decorative elements in blue, reminiscent of traditional folk motifs found in porcelain or textile embroidery.The chosen elegant serif typeface enhances readability while giving the text a traditional and formal aesthetic. The serifs are well-balanced proportionally, emphasizing both the legibility and ornamental nature of the typography.The combination of blue-and-white ornamental floral patterns with black text creates a visual bridge between tradition and modern graphic aesthetics. The message in the inscription raises the question of the loss of role models—cultural or moral—which, alongside the traditional motifs, serves as an invitation to reflect on the preservation of heritage in today's world. ChatGPT 4.0, OpenAI
The Fusion of Traditional Techniques and Artificial Intelligence
The inscription itself raises important questions: Where are our historically rooted values disappearing, fading into the mist of hatred, anger, and fear of the future? Where has humanity gone, and what has happened to our role models as potential positive examples for our nation?
When using artificial intelligence, specifically the "Image to Image" feature, I observed various transformations of my work. However, it was challenging to achieve a style similar to my own—one that would accurately reflect the details of the given theme. Additionally, ensuring that the text was correctly formulated and that individual letters did not become distorted proved to be problematic.
In the end, I used AI to generate several components—flowers and letters—which I then incorporated into another poster, blending AI-generated elements with my own artistic approach.
The poster was created using Stable Diffusion.
The poster was created using Leonardo.ai.
The poster was created using Midjourney.
Representation of the Creative Process Using Various Generative AI Tools
Generated variations:
Creating this poster with Modra ornament themes proved to be a challenge, as it required aligning typography and technique with historical Slavic patterns while simultaneously elevating the work to a timeless level with the help of artificial intelligence.
Through the Image-to-Image process, the motifs of my work were subtly reshaped by AI’s imagination, gradually transforming and distorting into variations that differed entirely from the original.
After unsuccessful attempts with MidJourney and Stable Diffusion, which struggled to accurately interpret serif typography, often distorting the letterforms, I generated individual elements from my poster containing Modra ornamentation. These elements were then incorporated into further iterations.
The final work primarily consists of posters with incorrect or imprecise typography, while the ornamentation shifted towards a more floral and even kitschy appearance, diverging from the original Modra ornament concept.
Galerie G18 ve Zlíně
Gallery of the Faculty of Multimedia Communications,
Tomas Bata University in Zlín
Štefánikova 5670, Zlín
Czech republic