Fine Art Photography

Lesson 22 of 38

Editing Indoor Shoot Part 2

 

Fine Art Photography

Lesson 22 of 38

Editing Indoor Shoot Part 2

 

Lesson Info

Editing Indoor Shoot Part 2

so I've got this big image I know that I want to keep the light on her face and absolutely addicted to this lighting right here so I love that wanna focus in on that I wanted dark and down the edges so the first thing that I think about when I'm editing and I have gotten to this point where I could make overall adjustments I want to go in and I want to say what needs to happen to the lighting the lighting specifically not the color I save that for later but the lighting I call this changing the lighting dynamics so with the lighting dynamics I am asking myself how do I read the light how should the light be moving through this image so I think that I would like to darken down this wall right here and this piece right over here I remember in some of the first shots that I took of this this area right here was very bright the light was hitting it very directly so we added in these leaves so if I had had more time or more patients I might have covered all of this in vines but I didn't hav...

e the time and patients so I'm just going to make it darker which is something that I talked about at the beginning of that segment saying that I'm going to show how to make this wall darker so let's go ahead and do that I want to work with my lasso tool a lot now so I don't need my polygonal lasso tool because I am using a walk him into us four right now so I'm going to go ahead with my regular lasso tool so I can just click drag and draw to make a selection now I know that this whole area over here is too bright for my liking so I'm going to go ahead and just run right along the shadow just get in here really generally I am not trying to make a selection that's perfect just that's kind of a big selection moving into the binds a little bit that way we do have all of the bright part selected right click feather or refine edge so I'll choose refine edge and I want to see what my selection is looking like now I'm going to take that feather slider up and keep going but it's so maybe somewhere in the hundred pixel range I think would be very appropriate here say ok I think that we're getting just slightly too much of that shadow so I might just move this down just a little bit you can always move your selection around and now I want to go in to curves so I'm going to work in curves again image adjustments curves and I want to make this area darker but what you notice about this whole area is that I really just want to change the highlights I want to change the brightest parts of this image if I click you can see that I have a little eyedropper tool that's in defaulting because of curves I can click and it is showing me exactly where that bright spot is on my curves graph and that is this little peek here that I have in curves so because I have this peak that means that I know exactly where my highlights are that I need to take down I don't need to go over here from the midpoint and pulled down because that bright spot is still there because I'm not affecting that area as much as I should be so I'm gonna click that little point drag it off of my curves to get rid of it and instead I want to move from the highlight portion of my graph and pulled that down so I'm clicking on the highlight portion pulling that down and you can see how it really starts to dull the wall there whereas pulling from the mid tones did not successfully do that so I'll take it maybe to there I think that looks really nice you can preview it to see what you've just done and that is a huge change in terms of how you read this image so I say okay right click d select and it's very natural because of how much we feathered that part of the image so I have that part darken and now I would like to darken this side of the image so I'm going to the same thing with just selecting very generally all through here right click refined edge take that feather slider up this side I could do a little bit more maybe one hundred fifty pixels and now same thing going back into curves and then from that highlight portion of the graph I am pulling it down just to there right click do you select so now if I click that you can see that what we've done we've darkened down the edges which means that we're focusing in on our subject even more than we were before at this point though I'm going to make some more overall changes I would like to do a vignette but I don't do vignettes how a lot of people do vignettes because I don't want to make all four corners equally is dark instead this corner right down here in the bottom left is already very dark I really don't need to change that very much because if you can see there are shadows in there that are going to be crushed so I don't need to make that any darker this corner I would like to make that darker let's see I'd like to go in here even more than I did before so instead of doing a normal vignette all four corners I just draw it in myself and I just say okay well start here I'd like to get in here again maybe appear maybe down there and just start to draw whatever I think a very natural vignette would be which ends up looking like a random squiggly line but it's not so random because I've drawn then wherever I think ah light pattern would look interesting right click and either feather or a fine edge so if I were going to feather this regular feather I'm gonna choose un amount of pixels that's very large because I want this to be an extremely soft edge so let's say three hundred pixels and say okay so I have feathered that quite a bit and now from they're going back into curbs so image adjustments curbs now I have already taken those highlights down in fact you can see the peak of the highlights has moved over on the graph because it's more of a mid tone now so I don't necessarily need to go from the highlights and pull that down but it can't hurt just to get rid of any lasting highlights that we might have to pull that down a little bit but I also want to pull down from the mid tones to make everything a little bit darker and say okay right click d select so now we have the lighting changing even more we have the light hitting the subject I'd like to add a little bit of light actually right here to this side of the frame so if I zoom in there I want to see the detail of the beautiful curls there so I'm just going to select wherever I want it right click feather will dio hundred pixels there at ah image adjustments curves and we're just going to pull that up a little bit because I am using such a big feather on all of these things the transition is extremely smooth so that makes a really big difference now I think I'm going to do one more giant sweep for a big vignette so I am going to now in this case I've actually selected a little bit too much I want to get rid of the wall here so if you ever want to add to a selection or take away from a selection you can always hit alter option which brings up a little minus sign and that will allow you to click drag and draw to take away from a selection or shift which will bring up a little plus sign and then you can add to your selection so I might want to add that I don't though so I'm going to take it away just like that now right click feather let's do two hundred pixels and then right click and select inverse so I've actually selected here what I want to preserve and if I write click and select in verse I now have the whole outside edge again selected so same thing going back into curves and now from the mid tones only going to make that a lot darker and say okay now you can see we've made drastic changes to the white from that to that how we're reading this light is very very different so I want to start minute plating now the part that I'm interested in which is her so I'm going to move in here and I actually want to start playing with some colors so I've changed the lighting dynamics and now I want to say okay what needs to happen now to the color in this picture to make it more dynamic everybody's gonna have a different opinion about that I get that a couple things that I want to dio first I might want to change the color of the green leaves actually hate photographing green I think that it could be really beautiful especially in this situation with the red interacting with it what if I wanted purple leaves what if I wanted to do something really magical so let's go into image adjustments replace color replace color is one of my best friends and photo shop because I do change colors a lot very drastically so in that picture that I showed during the last segment I was wearing a maroon sort of pinkish color dress I used replace color clicking the dress changing that to be a vibrant red and that's how I did it for that picture so the way that replaced color works is that it brings up thes eyedropper tool selections it defaults to the regular eyedropper tool you also have the plus sign and a minus sign I'm on my regular eyedropper which means that I can go into this image and click any color that I want to change so I'll click this green right in there really neutral green you can see this graph has changed whatever is white in this graph will be changed by our little sliders down here whatever's black will not be affected if you don't have enough selected based on that click you can change the fuzziness by pulling the fuzziness slider up and you can see that more will be changed because you have added it with your fuzziness lighter alternately you could always choose your little plus sign eyedropper tool to select more colors within your image and it will add to your graph you could do the same thing with minus by taking away color so you have added too much you can go in with your minus sign eyedropper click the color that you don't want selected anymore and it will take that away so let's see what this does what this graph does I'm going to go down to my hugh that's going to allow us to move the slider to make color changes so if I take the hue you can see what we're doing there were making some changes to these colors but you can see that we're not making changes toe all the colors because I don't have enough selected so that's where I would go in with that little plus sign eyedropper tool choose this vibrant green color and now all of that is added to our selection so what do you guys think should I change the color should I keep the color we can play with the slider as much as we want maybe I'd make it may be in there something that's a little bit on the cusp of being warm or just we'll just go blue you know who knows anything could happen there's my purple love using purple um but should we do something totally magical or not okay I like you guys so much but I knew you would say yes this is great okay so we're going with purple now I can always change my fuzziness and just see how it looks to add a little bit more but you can see that the more that I add the more her face changes color she looks like the wicked witch now with a green face so we're going to take that right back and we don't want to add that much this also seems to de saturate a lot of our image which I am absolutely fine with because I'm going to add color back into this picture so I'm saying okay I really do like that purple hue that we've added everywhere it looks absolutely magical with her red hair makes me so happy that's why I dyed my hair red because because I want to do have red hair and make sure so this is exactly what I'm looking for in an image like this little did I know I could just get an awesome wig and it would all be the same but here we go so let's start to add color overall into this image so I'm going into curves again image adjustments curves now let's say that you don't know what color you want to add into this picture you don't know if it should be warm or cool or whatever the case may be you can always go into photo filter and if you go into photo filter that's going to give you a really good idea if I take this density up off what the image will look like when you add color to it so this is a warming filter you could try a cooling filter you could try underwater if he wanted to sew all these different options to see what the different colors look like so I typically do that if I'm feeling a little lost I see what what kind of color palette I want but then I cancel that and I teach myself from there so instead of just saying okay I'll do whatever photo shop says I'm going to say ok I do like those warm colors now how do I recreate that in curves to teach myself what that curve would look like so I'm going into image adjustments curves and I actually want to add color to the white in this image so I want to make it red I want to make it yellow I do want to add warmth into this picture because I think that'll look really nice with her skin tone and with the wall so I'm going into channel rgb blue because the opposite of blue is yellow I don't want to add blue to this image I want to take blew away from this image but I want to do so in the highlights so I'm going to add yellow to the highlights of this image by taking from the top portion of this curve clicking and pulling down I am now adding yellow into this image into the highlights mostly now it looks a little bit green we're looking at this we're like I don't know about that that's okay it's simply because there's too much science in this picture or too much green in this picture so I'll go into my red curve perhaps pull up now on the highlights their toe add some red and we're just gonna warm this image up now I think that the shadows they're still a little bit too cool so let's go into our green curve and we don't want green I personally don't I changed all the leaves from green so I'm going to take away green in the shadows I'm doing that because the shadows seem a little bit too cool to me so in the shadow portion pulling down tto add some magenta overall to this image and then say okay so now when I zoom out on this I can see that I have the purple exactly at the color that I want it I really like the hair I might even make it a little bit more vibrant perhaps and I want to add a little bit more light streaking in here just a little bit and I want to make that light redder and more yellow so I'm just going to draw in the white wherever I think it should go like this right click and feather we'll do another three hundred pixel feather and then back into curves and now I want to play with how the light is coming in the room just in this particular section if you want to add hazy light if you want to make it look like the window it's coming in there's a lot of dust in the room in that case you khun stay on channel rgb but then you can pull up from the shadow portion and it'll look a little bit like there's some hazy light coming in there and then you could go in and add some yellow to those highlights and some red and so that's going to allow you to make it look like there's some hazy light filtering in I don't want to though I like it with a lot of contrast there on her so instead let's go in and play with this red hair now because we have added some red hues all around on the walls and what not I don't want to use replace color on the hair because I think that I'm going to pick up too many other colors that are happening within this image so instead I want to take my lasso tool and just very generally just select her hair just wherever I think it is it's not perfect but I just want to overall now change the color just slightly oh and we'll go in and make her I pop even more would be nice and creepy okay okay some selecting the hair oops missed a little spot so hold shift click and drag and draw now I have the hair selected right click and feather ah we'll do twenty pixels their two feather image adjustments curves now I could make it a little bit brighter or add some contrast you add contrast and curves by making an s curve so you can see there's kind of an s shaped happening here even though it's very slight what you're doing is pulling down in the shadow portion which is right down here with these black point meat and pulling up in the highlight portion so you're pulling up pulling down making that s curve and that's creating contrast by creating contrast were making the highlights in her hair stand out and you add saturation by doing that just by default if you hadn't done that you could always just go into your red curve adds him read to her hair pouf and that would work but we don't want her to look like ronald mcdonald so we're going to leave it just how it is you say ok right click d select now I want to go into her eyeball and I want to see what we can d'oh we're zoomed away in there I want to make her eyeball pop and I want to add color to it I know it myself okay so I want to add color I want to make her I blew again so I'm going to go ahead and just select right in here it's going to be ever so subtle but these are the kinds of details that matter when your printing an image for a show so I'm just selecting where her I would be blue right click and feather maybe two pixels very very slight and then I'm going to go back into curves I'm going into my red curve so I can add some science I'm going to go into my blue curve so I can add it's um blue and say ok and now when I d select that she's got some blew in her eye there and then I'm just going to select this little highlight making what mel it's like the whole eye just to make the whole thing a little bit brighter right click feather the four pixels this time image adjustments curves make the whole thing a little bit brighter maybe some contrast still but overall a little bit brighter say okay d select so she's got a much brighter I know you can still see that standing out really well so if this is a big print you're going to walk right up to the eye and you're going to say whoa I can see her eyes so well and it's going to be something that really stands out which is honestly what khun sell a print so I'm going to go ahead and add some make up to her face just a little bit this is something that I do a lot in photo shop especially because I hate wearing makeup I don't wanna have to do somebody else's makeup so I asked my models to come along with maybe some mascara maybe some foundation nothing more than that and then if I need to add something later on I can so let's get right in here on her lips I'm going to select her lips and I'm going to add some lipstick for her maybe it'll be red maybe it'll be blue who really knows what's gonna happen we'll see could be anything we're on an adventure together right click feather and let's do five pixels here for a feather now I'm going into curves command m or control em I could make them a little bit brighter could make them a little bit darker I like them darker actually so add some contrast at the same time making them a little bit darker and now perhaps we want to add some red so I'll make them just a little bit more vibrant when I add a red lips I also really liketo add some yellow so does add a little bit of yellow in there say okay d select and now just in the face so I click this on and off we've made a big difference and so maybe I would go in and maybe I would take out a blemish or lighten the shadow or something like that but I'm not really one to do much of that so I'm going to leave her face just out of it is because I think she looks absolutely stunning there and we're going to pull back and take a look at this image now I feel good about this I don't think that I really need to do anything else to this I would I'm sure add a little bit more color in but for right now let's move on to another edit if you guys were good with that

Class Description

AFTER THIS CLASS YOU’LL BE ABLE TO:

  • Brainstorm and plan a fine art photograph
  • Design a story with props and posing
  • Shoot an image that only exists in your imagination
  • Complete the vision in Adobe Photoshop
  • Self-critique your own work
  • Build a business from fine art photography
  • Approach galleries with confidence
  • Grow your own unique style and brand

ABOUT BROOKE'S CLASS:

Sometimes, creative vision is bigger than a camera can capture. In this class, learn how to turn imaginative ideas into physical fine art prints. From planning the shoot to assembling composites in post, work to turn the images in your dreams into a concrete photographic image. Go from a dreamer to a professional photographer with the help of artist Brooke Shaden.

Start with defining your style and building your creative vision in this three-day class. Then, learn tips and tricks for bringing that vision to life using posing and props. Go behind the scenes in nine live shoots ranging from self-portraiture to creating your own fairytale. Use posing, props, motion, and composition to tell a story.

While fine art photography isn't usually the first business model that comes to mind when considering a career in photography, Brooke shares how it's possible to earn a full-time living from your art. From building a brand to approaching fine art galleries, learn what you need to turn a passion for fine art photography into a career. As Brooke says, you can't stop because your best work is just ahead.

WHO THIS CLASS IS FOR:

  • Intermediate photographers ready to take fine art to the next level
  • Professional photographers looking to expand their storytelling and compositing skills
  • Fine art photographers at any skill level

SOFTWARE USED:

Adobe Photoshop, Adobe Lightroom

ABOUT YOUR INSTRUCTOR:

Brooke Shaden is a storyteller. The American fine art photographer is well-known in the art world for her dream-like, fairytale images. Her work often uses dark tones, heavy emotions, self-portraits, and juxtapositions. Working as a fine art photographer for more than a decade, she started her art journey after studying film in college and now teaches and speaks along with continuing her work. Brooke's work has been featured in dozens of gallery exhibitions, along with magazine and book covers and limited edition fine art prints. After growing up near an Amish community in the United States in Pennsylvania, she now lives in California.

Lessons

  1. Class Introduction

    Meet Brooke Shaden in the first lesson, and learn where the fine art photographer finds her inspiration. Then, gain an overview of the three-day class.

  2. My Evolving Style

    No one starts out creating their best work, Brooke says, but that doesn't mean you shouldn't get started. See how Brooke grew in her craft, where she started, where she is now, and how she's always motivated to continue to create beautiful images.

  3. Visual Examination

    How you describe yourself as a person will influence your art. In this lesson, embark on the process of visual examination. Learn to visualize yourself, your style, and the story you want to tell -- and how that translates into photography.

  4. Storytelling and Character

    Brooke is more motivated by storytelling than photography -- and you can tell by looking at her work. Learn how to train your mind to find your inspiration, to then start telling that story. Work on building a story by starting with an object or person from your inspiration, and asking yourself questions about that item. Build a story with elements like theme, setting, character, time, and conflict.

  5. Storytelling Q&A

    Build on the concept of storytelling with questions from students like you.

  6. Critique Yourself Part 1

    Critique is an important aspect of any type of fine art -- but photographers shouldn't consider critiques from others as fact. In fact, Brooke encourages photographers to learn how to critique their own work. Follow Brooke's process for self-critique in this lesson.

  7. Critique Yourself Part 2

    Everyone will have a different favorite image. After sharing her favorite and least favorite images, Brooke shares what some of the students in the class pick as their most and least favorite images. The insight helps build the skills to critique a photograph.

  8. Identify the Problems

    Learning to identify problems in your own work helps you focus on areas to improve your art form. Watch Brooke work through some problems in her images. Learn to correct the problems that you see in your images.

  9. Posing Overview and Q&A

    Posing for a portrait and posing to create a fine art photograph are often very different. Dive into creating a story through body language, emotion, and character after a brief Q&A on questions from the previous lessons.

  10. Ten Basic Poses

    Learn how to create a better pose using ten basics. Work with poses to create lines and shape while telling a story. From basics like creating separation to advanced topics like creating believable action, pick up essentials to building a pose in fine art imagery.

  11. Posing a Man

    Posing looks different for men and women. In this lesson, Brooke shares her tips on posing a man in an emotive manner, while keeping the "manliness" intact. See different examples of fine art poses for men.

  12. Shoot: Posing Demo

    Should the model look at the camera? Brooke shares the pros and cons of eye contact and why it's often avoided in fine art photography. Run through a checklist to perfect your pose. Then, jump into a live posing demonstration to see those tips in action. Watch Brooke direct a model to portray a specific emotion, then watch how she fine-tunes the pose to create the desired look.

  13. The Art of Self-Portraiture

    Even if you don't actually want to be the subject matter in your own images, learning how to photograph yourself helps you learn how to direct a model to create fine art images, along with building the ability to express yourself and create something from your imagination. Build a foundation for self-portraiture in this lesson.

  14. Posing Yourself

    Walk through the process of posing yourself for a self-portrait. Learn how to focus and trigger the shot when you're not behind the camera, while still having enough time to get into the pose. In this lesson, Brooke shares tips for the process of posing and shooting yourself for fine art.

  15. Shoot: Self-Portraiture Demo

    Go behind the scenes for one of Brooke's self-portraits. See the process in action, starting with the test shot. As she talks through the process, watch Brooke create a pose, critique herself, then improve the pose. Using student suggestions, Brooke goes through several different poses portraying different emotions to use in a self-portrait.

  1. Shoot: Indoor Scene Part 1

    Starting with a blank canvas, learn to build a scene for an indoor shoot. Begin with a vision and an empty room, and watch how Brooke begins to bring her creative vision to life. See the inspiration and the blank scene, then watch Brooke build the scene.

  2. Shoot: Indoor Scene Part 2

    With the model and set in place, watch how Brooke captures the shot. Go behind the scenes on decisions like composition, angle, lighting, exposure, and focal point. Learn to evaluate the scene to get the details of the story in the camera.

  3. Shoot: Butterfly Daydream

    Work within the same space to create a different fine art image. With something as simple as an empty wall and a few still life props, go from creative vision to art print about a daydream. Refine ideas about posing, props, composition and more in this lesson.

  4. Image Compositing

    Sometimes, those fine art ideas aren't something concrete that could actually exist in real life. Other times, shooting in exotic locations isn't feasible financially or practically. Brooke suggests shooting as a landscape photographer to capture backgrounds for composite work whenever the opportunity presents itself. Learn how to shoot with a composite in mind, considering factors like matching the lighting and the perspective. Then, gather some basics on editing composites.

  5. Shoot: Using Props

    Start shooting a composite image using some backdrops and a kiddie pool. With a composite in mind, watch Brooke work the scene and plan ahead to mix multiple images together. Work with multiple poses and props. Then, move into a second scene and watch Brooke work with props in a self-portrait.

  6. Editing Indoor Shoot Part 1

    Move into editing for fine-art photography. Go through the complete editing process from the first live shoot with the vines. Work with aspect ratio, merging multiple images, layer masks, curves, cloning, and more.

  7. Editing Indoor Shoot Part 2

    Continue working with the image from the previous lesson, making overall adjustments to the image. Here, Brooke shares how to edit lighting, replace color, adjust overall color, add make-up, and more.

  8. Editing Butterfly Shoot

    Work with the butterfly shoot in Adobe Photoshop. Analyze how to improve the image, then work with several different editing techniques, including composting, adjusting brightness, making local adjustments, working with color, and more.

  9. Editing Pool Shoot

    Start working with the indoor-outdoor composite mix from the pool shoot. Learn how to paste a subject against a different background with realistic results. Work with trimming out the background, blending edges and more as you learn to create realistic composites.

  10. Shoot: Outside with Open Sky

    Move away from the computer and jump into more complex fine art composites. Working with multiple images and objects pasted together, start with the shooting process. Work with matching lighting, capturing the right angle, creating a strong composition, and telling a story in fine art photography.

  1. Shoot: Fairytale Scene Part 1

    Head behind the scenes as Brooke re-imagine a scene from The Princess and the Pea. Work with turning a well-known, traditional fairytale into something unique, beginning with the brainstorming and props.

  2. Shoot: Fairytale Scene Part 2

    Gain insight into the process of creating a fairy-tale inspired fine art photograph. Integrate motion into the image and work with motion blur, multiple exposures and more. Work with multiple poses with a model, then move into a self-portrait.

  3. Shoot: Snow Scene

    Move into the final live shoot of the course as Brooke brings the outdoors in. In this start-to-finish shoot, work on the story and vision for the scene, then learn how to create (and photograph) a snowstorm indoors.

  4. Editing Outdoor Scene

    Finish the vision from the live shoots in Photoshop, starting with the outdoor shoot. Work with complex composting techniques, like replacing the sky. Throughout the process, pick up editing tips, like choosing a brush and keyboard shortcuts.

  5. Editing Fairytale Scene

    Fine-tune the Princess and the Pea shot inside Photoshop. Extend the canvas, work with the warp tool, clone out a doorway, and more as Brooke turns her vision into a high-quality fine art photograph. Then, learn how to add textures to your image using photographs of textures that you can create yourself using desaturated black and white images.

  6. Editing Snow Scene

    See the progression from the test shots to the final shots from the indoor snowstorm image. Because the shot used a tripod, the editing options for adding snow becomes simpler. Besides working with the snow and adjusting color, learn how to add a fake light to an unlit lantern.

  7. The Business of Fine Art

    Fine art may seem trickier to turn into a business than something like portraits or weddings -- but it is possible. In this lesson, learn how to build a business as a fine-art photographer. Work with building a brand, finding a place for your work, sharing your talent, and selling your work as a product.

  8. Eight Business Practices for Fine Art

    Build your own fine art business with eight actionable steps. Here, Brooke shares a list of eight actions fine art photographers should do while building a business, from building a portfolio to contacting galleries.

  9. Beginning Your Artist Statement

    An artists statement should describe your photography thematically, visually, and technically. Writing an artist statement feels daunting -- in this lesson, Brooke simplifies it by sharing the process she used to write her own artist statement.

  10. Making Prints with Q&A

    Turn your fine art digital photography into art prints, wall art, and photography books. Decipher the difference between various types of printers, papers, and print sizes. Learn how to find a reputable printer. In your portfolio, learn why details like the order of the print matters. Then, find out how to prepare for a gallery meeting and what to expect during the meeting.

  11. Becoming You

    Becoming an artist, becoming yourself, is a process just as important as the business side. In this lesson, Brooke shares how to grow as an artist. Learn how to move forward, how to challenge yourself, and how to grow as an artist.

  12. Taking Risks

    Taking risks moves you forward on your fine art career path. Taking a risk that has nothing to do with money, Brooke says, helps you move forward, expand your reach, and grow your confidence. With that confidence, learn how to build opportunities like book publishing and more through risk-taking.

  13. Bonus Video: Expand Your Space

    In the bonus video, go behind the scenes as Brooke shares how to work in small, tight spaces by composting. This technique is good for both small spaces and shooting with a shallower depth of field.

Reviews

Kirsteen
 

Brooke says she wants to be inspirational - she has achieved this and so much more during this course. I am so inspired to follow my dream of becoming a fine art photographer and step out of a life as an academic and stop finding excuses. Watching other photographers shoot and edit is always a great way to learn, everyone does things slightly differently and I enjoy Brooke's no fuss techniques. Seeing so many of Brooke's beautiful images through the course has been great and seeing shots from the shoot through to editing really makes them come alive. If you are looking for inspiration or you want to learn techniques or new skills then this course provides all of these things with a big dose of positive thinking thrown in.

user-a81eeb
 

Brooke is amazing! I love this course. Brooke is easy to listen to. She has a beautiful insight into creative fine art . Love it! I have learned so much. I especially love that she is so candid about everything.

Beatriz G
 

I bough the course and it has been very interesting, definitely Brooke establish a great connection with the audience, She put a lot of effort. Her work and her way to teach is open and full of great intentions. I liked to be able to share her process, It's really worthy in my opinion. My very best wishes for her and her work!