Humanity vs. AI

Dominik Schubert  aka ASIT 9 new illustrations for "Humanity vs. AI" send a satirical warning signal – and strike a nerve in our times. In this interview, the illustrator and art director discusses creative flow, intuitive color choices, and how authenticity and conviction can remain visible in illustration in the age of AI.

How did you come up with the theme "Humanity vs. AI" ? And what does the phrase "The machine informs about the non-existent love" mean to you?
It's meant as a satirical warning. The use of AI has progressed incredibly fast in all areas, and I think we should have taken more time because we can't yet fully grasp some of the consequences. A perhaps somewhat clunky, but fitting comparison: It's probably not a particularly good idea to marry someone and start a family after just three dates. But who am I to judge?

You use strong color contrasts and clear surfaces. What role does color generally play in your work?
I use color very intuitively. It plays a big role, but I usually decide in the moment and strongly based on feeling.

Human vs. Machine: What role will illustration play in this?
The situation has certainly worsened over the last two years. Many customers follow a very capitalist approach and cut corners wherever possible – unfortunately, often at the expense of creative work. The end consumer doesn't seem to care enough, or they no longer recognize the difference in our overstimulated society. Personally, I still have high hopes for a cultural renaissance. If we allow AI to replace us humans in the cultural sphere, we will – in my opinion – become obsolete as a species.

What does authenticity mean to you in illustration? How do you measure honesty in an image?
Authenticity begins with oneself. Therefore, I would say that honesty in a work arises from within – and that it can be seen or felt. This is precisely where my criticism of the use of AI tools lies: one recognizes that a computer utilizes many available resources and combines them as efficiently as possible. In my opinion, genuine attention to detail and a clear, honest message are hardly possible in this way.

You are both an illustrator and an art director. How does conceptual thinking differ from the actual drawing process for you?
For me, there are no fundamental differences here. I approach most topics conceptually in a very similar way. Ideally, it starts with a clearly defined task – and then it's the task of both art direction and illustration to develop a good and visually compelling solution from it.

How do you handle projects that are deliberately outside your comfort zone?
Trial and error – ideally, you find a good solution approach through the process and build on it. However, if something doesn't feel right at all, I prefer to decline a project or request. Before I do something I can't stand behind, I'd rather leave it alone.

How can you recognize "a typical Dominik work"?
A certain vibrancy of color and a very direct, honest linework. Added to that is a sense of humor – or rather, a personal stance and emotional depth, a kind of storyline. My works are sometimes very different, but I think you can still recognize that they come from the same artist.


You work both analog and digitally and move confidently between pen, pixel, and vector. What do you need to get into a real creative flow?
Basically, it works relatively smoothly for me. I try to keep my mind fresh and inspired by continuously nourishing it with new impressions and experiences – from everyday life as well as from cultural contexts.

Experimentation is central to you. Are there any techniques that have recently surprised or changed you?
Change is part of life. I'm convinced that you should constantly reinvent yourself, both personally and creatively. That doesn't mean every new direction is automatically a good ride – but without failure, there's no improvement and no further development. If you don't make mistakes, you don't learn to do things differently or better. And conversely: if you don't try anything new, you can't find out if it might be the better path for you.

What topics currently particularly interest you, artistically or socially?
I'm currently working a lot with analog media, but I will continue to work extensively in mixed media. It's important to me to maintain creative freedom and not restrict myself too much.

If you could have your dream project – analog or digital – what would it look like?
I would love to design or co-develop an illustrative world for an event – for example, for Lollapalooza, Primavera, or something similar. This would include event branding, from the conception of this world through design elements and typography to stage design, promotional materials, merchandising, and more.