Ivan (left) and Oliver Sutherland
Ivan (left) and Oliver Sutherland

OPINIONSummer 2022January 13, 2023

Every New Zealander should know the Sutherlands

Ivan (left) and Oliver Sutherland
Ivan (left) and Oliver Sutherland

Summer read: There are some whose work has changed Aotearoa. Such is the case for Ivan and Oliver Sutherland, argues Jules Older.

First published May 5, 2022

New Zealand is rich in heroes. In science, Ernest Rutherford. In music, Kiri Te Kanawa and Lorde. For human achievement, Peter Snell and, of course, Edmund Hillary. In medicine, invention, sport, theatre, film – we’re especially rich in film – we are heroically well-endowed.

Except … we have no widely recognised family heroes where one tuatangata passes the mantle to the next generation. 

It’s time we did. For the inaugural holders of this title, I nominate the Sutherlands — Ivan the father and Oliver the son. Both were (in Oliver’s case, still are) persistent truth-tellers, esteemed educators and brave warriors for social justice. Neither has received the recognition he’s earned, often at considerable personal cost. In Ivan’s case, possibly the cost of his life.

Born in Masterton in 1897 of deeply religious, Salvation Army, teetotaler parents, Sutherland was a high achiever from an early age. He did so well at Victoria University that he was scholarshipped to Glasgow, then London, where he earned a Ph.D. in the new and controversial field of psychology. He went on to lecture and administer at Victoria and Canterbury universities. He was a pioneering psychologist, anthropologist and philosopher.

But though Ivan excelled in teaching – endless academic lectures, radio talks, presentations – it was the pursuit of social justice that made him a hero. He fought for freedom of and from religion. He vigorously opposed the then-trendy and overtly racist Eugenics movement, argued for women’s rights and actively advanced workers’ education. Two issues drove him hardest: Māori rights/Pākehā wrongs and the plight of Jews escaping Nazi Germany.

Despite heroic efforts, Ivan’s entreaties on behalf of Jews in the late 1930s largely failed. New Zealand doctors, led by Otago Medical School, didn’t want competition from European physicians. Nor did others. 

A case in point was Austrian tailor Paul Kaiser. In 1938, he was twice imprisoned for the crime of being a Jew, and more dire consequences clearly awaited. Ivan met with finance minister Walter Nash, explained the urgency of getting Kaiser and his wife out of Austria, adding that the tailor had a guarantor in Palmerston North, and assured Nash that Kaiser “could be employed at once”. 

Nash turned down the application. Three months later, after being informed of the family’s “extreme distress”, he turned it down again. Nearly a year later, Ivan opened a letter from the comptroller of customs stating that the minister had changed his mind and “had decided to grant the desired permission”. 

The Kaisers got as far as England; they decided not to continue on to New Zealand. Theirs was but one of many examples of the government’s reluctance to let non-white Brits into the land.

Ivan’s untiring efforts to change Pākehā attitudes toward Māori bore more positive results. Working with his close friend, Sir Āpirana Ngata, and inspired by the work of scholars Peter Buck and Tūtere Wī Repa, Ivan championed the economic, cultural and social advancement of Māori. It’s said he was the first Pākehā scholar to recognise Māori for their own cultural beliefs and practices and regularly affirmed his commitment to a bicultural New Zealand.

A 2013 biography of Ivan, written by his son Oliver, was titled Paikea. Ngāti Porou had honoured Ivan by gifting him the name of one of their tīpuna. Sleeping on meeting-house floors, eating when he could find a free moment, travelling to wherever he was called – his commitment ceaselessly drove him. 

For this, Ivan paid a terrible price. Physically and emotionally, he wore himself out: lost weight, lost hope, fell into depression. In 1952, at age 54, high in the Port Hills of Christchurch, Ivan Sutherland took his own life.

Oliver Sutherland in 2021 (Screengrab: When Nobody Was Looking)

Oliver Sutherland was only eight when he lost his father. Like his father, he excelled in school; unlike Ivan, he chose a profession as remote from social change as humanly possible. He became an entomologist, studying insects, not people. 

But two things intervened. One was in his genes, or perhaps his upbringing. Oliver was raised largely by his mother, Nancy, who became a Labour city councillor in a family devoted to social justice. The other was a year at the University of California, Berkeley in 1969.

Though his field of study was insect physiology, Berkeley in 1969 was the epicentre of American protest against the Vietnam war, against rampant racism, against injustice. Under governor Ronald Reagan, California responded: National Guard troops marching on campus with fixed bayonets, aerial tear-gassing, even shooting student protestors. Oliver emerged with a new view … of New Zealand.

Until that tumultuous year, he’d been a firm believer in the much-repeated phrase “New Zealand has the best race relations in the world.” When he returned home in 1969, he brought with him another phrase — institutional racism

For Oliver, this wasn’t just a slogan. Fusing his scientific training with his new awareness of social injustice, he set out to document the plight of New Zealand children, predominantly Māori, who suffered terrible abuse in “child care”. 

At the state-run centres of Owairaka and Lake Alice, boys were subject to electric shocks and solitary confinement for such sins as bed-wetting, smoking and, yes, running away. At Bollard Girls’ Home, girls as young as 11 were stripped, de-loused, humiliated, confined and subjected to forced tests for venereal disease. 

Oliver interviewed these children, meticulously notated what they’d endured, then widely publicised their plight. Like his father, he was utterly dedicated and absolutely unrelenting. His work in the ’70s proved instrumental in activating today’s royal commission of inquiry into abuse in care.

For his sins – creating awareness of our institutional racism and child abuse – Oliver was regularly denounced by governments, especially the 1970s Labour government led by Norman Kirk. Kirk’s minister of justice, Martyn Finlay, even threatened Oliver with “police investigation under the Official Secrets Act”.

It wasn’t an empty threat. One Saturday morning in 1974, Oliver and his wife Ulla opened the door of their Grey Lynn home to find three policemen presenting search warrants authorised by solicitor general Richard Savage. The Sutherlands’ home was searched, and that Monday, Oliver and Ulla were taken to the central police station “for an interview”. They were likely only kept out of prison by a brash young lawyer, future Labour prime minister, David Lange.

Since then, Oliver has continued his essential work and last year gave evidence in the royal commission of inquiry into abuse in care. After his hour-long submission, commissioner Paul Gibson responded by thanking him for his ongoing efforts. “Thank you for persevering and waiting for 45 years for something more to happen,” he said. “We hope we can do something with that.”

Both Sutherlands have long been venerated by those continuing their work against injustice in this country. It’s time that appreciation spread across the motu.

Keep going!
A human effort (left) meets a well-briefed bot’s. (Images: supplied / Design: Toby Morris)
A human effort (left) meets a well-briefed bot’s. (Images: supplied / Design: Toby Morris)

Summer 2022January 13, 2023

Could a bot do your creative job better and faster than you do?

A human effort (left) meets a well-briefed bot’s. (Images: supplied / Design: Toby Morris)
A human effort (left) meets a well-briefed bot’s. (Images: supplied / Design: Toby Morris)

Summer read: Does an AI art generator respond as effectively to a client’s brief as a human illustrator? Tim Gibson took some of his own creative commercial work and went up against the bots.

First published September 13, 2022

The bots are coming and they’re after our jobs. We knew they were coming after the truck drivers, check-out people and call-centre staff, but I thought as a creative I would have longer to prepare. Now, Artificial Intelligence (AI) art programs like Dall-E 2 and Midjourney are storming my little ivory-illustrator tower.

Is the risk real? If so, are artists just the first creative foot soldiers to get mown down in the front line? Or are AI Art Generators just a new tool in the creative’s toolset?

Just a few years ago illustration and design were listed alongside nursing and social work as industries least likely to be impacted by AI-related job losses. Maybe they had another 20 years. But illustration’s life expectancy has been shaken up by the invasive disrupter that is AI art generators. In an attempt to gauge the current sophistication of these systems, and get a sense of their competitiveness versus a human counterpart I’ve run a few totally biased and unscientific tests of my own. 

I’m giving the Dall-e 2 AI art generator illustration briefs I’ve already completed, and then we’ll semi-objectively gauge the results vs the real-world artwork.

First, it’s probably helpful to compare and contrast the traditional way of sourcing artwork for your beer label/gig poster/marketing campaign vs this new AI “prompt” system. In both instances, someone at a company decides they need illustration to express their  ideas. Then they might gather a few smart broad thinkers, throw some ideas around internally, decide what the artwork needs to achieve, who it should appeal to, some specific content ideas and maybe an idea of art style (impressionist painting vs 1950s comic book etc). 

Here the two pathways diverge.

If you’re using a human artist you’d first try and pick the right person with a good artistic alignment for the style and energy needed. After some negotiation around budget and overuse of the term “excitement”, you’d get a contract signed and set them loose. If the illustrator is broad-minded they might “yes, and” the client’s ideas, spin ideas in new (better?) wild card directions or carefully and collaboratively improve the brief before they even pick up their pencils.

Within a day or three the client might get some rough artwork back, and depending on how close to the client’s needs and wants the artwork is, things might go back and forth a few times to narrow down to a final, polished piece of work that reasonably satisfies everyone involved. Good things take time, but the process might take two to four weeks.

However, for a non-human illustrator, the client takes the brief and condenses the core subject matter into short, visually descriptive sentences and feeds that to the AI. The AI, in literal seconds, spits back some visual hot takes. It’s worth noting that while the AIs themselves are often built in a way that restricts them from creating obviously objectional artworks (some hot-button terms can’t be used in a prompt etc), they also can’t push back on, or redirect, bad ideas – which, let’s be honest, clients do sometimes give.

If the AI’s results are not right the client could either change their written inputs to re-direct the AI or ask for variations on an artwork that’s the closest to what they want, hoping that serendipity will take the work closer to the desired goal. Trying a different AI is also becoming a viable option.

Now, as well as an illustrator I’m also a branding guy and an art director who often selects and guides other illustrators for clients, so I’ll try my best to wear that hat (not my scared illustrator beret) as I give the Dall-e 2 AI “an exciting opportunity for exposure” by completing some old briefs of mine. 

HĀPI DAZE

The author’s original

Original prompt: “A view from the New Zealand bush out to a lake and Mitre Peak, crisp afternoon light, two men sitting by lake in deck chairs, in style of 1930 tourism poster”

Image: supplied
The Dall-E 2 version

AI Result: 4/5 Stars. I had to get more specific with the placement of things and replace “1930’s tourism poster” with colour directions and the term “screen print” to escape the photography style it was pushing. It assumed people on deck chairs 100% wear hats (which is interesting), and it did a great job on NZ-specific-looking bush and the general scene. They do feel a little “school project” to me, but some are heading in interesting directions.

BOSS LEVEL

The author’s original

Original Prompt: “A giant Gundam-style robot, in silhouette with glowing little highlights, standing in a large and dark sci-fi corridor, flashing lasers and lights on walls, roof and floor, Synthwave art style.”

The Dall-E 2 version

AI Result: 3/5 Stars. I think being able to give very specific art style and content references helped, but I (standing in as art director/client) had no success getting certain notes or elements into the piece. It felt a bit like working with a very talented illustrator who doesn’t read their emails properly. I have no idea where all the glowing crucifixes came from – perhaps from Justice’s synthwave album covers?

TSUYU SAISON

Image: supplied
The author’s original

Original Prompt: “A swirl of orange koi fish swimming on a flooded cobbled street, with the reflection of a businessman with an umbrella looking down, traditional Tokyo. Ukiyo-e style Japanese print.”

The Dall-E 2 version

AI Result: 1/5 Stars. I felt like I was bumping up against a limitation that the AI has that a human doesn’t – the ability to combine multiple ideas and elements into a single illustration. I reworded and edited this prompt many times and it was only when I simplified the requests by removing specific content that the results started looking better. Not really fit for purpose.

CAT’S PYJAMAS

Original Prompt: “Large number of cartoon cats, standing on hind feet like people, some in costumes. Black and white, linework, illustration style like Matt Groening. One cat in middle is wearing pyjamas”

The Dall-E 2 version

AI Result: 1/5 Stars. Things got more fun when I eventually added: “cats having a fun costume party” to the prompt, but overall it’s either devoid of life or a total horror show and it never found the sweet spot in between.

PERNICIOUS WEED 

(Image: supplied)

Original Prompt: “A giant monster made out of hop vines leaning over 3 classic cars, in a hop field, the sky is dark and filled with stars and a full moon, in the style of Tim Gibson.”

The Dall-E 2 version

AI Result: 3/5 Stars. For shits and giggles I added myself as a style reference, in the same way you might use “Keith Haring” or “Rita Angus”. The Dall-E result suggests the possibility that, despite me wantonly exposing my data to giant tech companies via years of phone, social media and smart home interactions, Open AI/Dall-E doesn’t know who I am. Which is comforting, humbling and insulting all at once.

Ego aside, it got confused by where the scene/setting ends and the monster begins, but nevertheless, there are some very interesting stylistic looks it has proposed, which would be fun to explore.

BOSSA NOVA T-SHIRT (So exclusive it was never printed)

The author’s original

Original Prompt: “A gleeful toucan sitting on Carmen Miranda’s fruit headdress and throwing pieces of bright fruit everywhere with its wings, making a real mess.”

The Dall-E 2 version

AI Result: 3/5 Stars. The photo-real images of Toucans making a mess are high-grade deep fake level. The AI couldn’t execute on the complexity of all the prompt requirements, and apparently didn’t get the reference to Carmen Miranda, or her fruity head attire. I eventually replaced that phrase with “fruit-hat headdress” for better results. Lots of fun developments though, with some unrequested anthropomorphism thrown into the mix. 

The life-size toucans messing with the toucan-headed figures are veering into fever-dream territory, which is a hard no for most commercial illustrations.

So where is AI art at? 

Can AI draw? Heck yes and, depending on the AI, it can produce great paintings or photoreal results. Can AI brainstorm? Yes, but like a really disruptive staff member who only listens periodically in meetings and goes on weird tangents when they’re holding the whiteboard markers.

And AI is ludicrously fast at producing work. It might not be what you asked for, and it probably won’t have upgraded your original brief like a good human creative can, but you could burn through a lot of artwork ideas in a fraction of a normal creative engagement. For free.

Do illustrators need to put down their pencils and cancel their Adobe subscriptions? Do we need to picket organisations that outsource their creative work to big tech companies? Well, sort of. A few publications have already been publicly shamed for saving on art budgets by passing over humans in favour of AI. That some of these choices have been made by journalists and editors – one step away from facing similar AI challenges themselves – is worth noting. What’s that quote? “First, they came for the Socialists, and I didn’t speak up because I wasn’t a Socialist…”

Thanks to the AI revolution, stock photography (which is already flooded with content and creatives and not enough cash) could find itself totally wiped out. Most of the marketing you see around these art generators are examples of great executions of simple ideas: “a blue apple”, for example, or a “storm in a tea cup”. I would be surprised if a big stock imagery marketplace doesn’t license from, partner with, or even buy an AI art generator and use it to slowly replace their own stable of human photographers. Just like Uber’s very obvious intent to inevitably replace their human drivers once self-driving cars are viable.

Then there’s Midjourney, an alternative to Dall-e 2 which would be scary if I was still a fantasy/film concept artist.

Creative agencies and small start-ups will already be integrating this stuff into their early explorative creative work, in the same way that mood boards are currently used. 

Still, right now, I’d say using AI for the final work is a bit like working with an enfant terrible. Great if you’re just following the bliss and are relaxed about what you end up with. For those who need to design by committee, or at least have multiple people’s requests embedded into the creative work, a human is still the answer. But this tech innovation has all happened incredibly fast. So ask me again in a month. 

Like a lot of industries, the tech companies in this space aren’t going to slow their roll, and the smaller companies who use creative staff and freelancers will be considering the speed and cost efficiencies. The only thing that will have any real influence on the continued existence of creative professionals is how we as a society – and as individuals – choose to value human creativity. Go hug an illustrator, today.