Conceptualization: Flowery Fish Bowl in the Desert
So I want to start this photo shoot because there's a lot going on here. We gotta create some fun textures and it could take some time. So, Anna, if you wouldn't mind, I've just got some clay here. Would you mind rubbing that on your arm like a bar of soap? Yeah, that's good. And the idea here is just to create that cracked look, if you recall when I was showing you how I make props and costumes, I rubbed paint on myself and Clay, and it created this really like wrinkly texture, which I know is never what a model wants to here to make yourself look wrinkly and drive. But that's what we're doing because it's all for the concept. It's for the concept. Then I think that that's really important. So concept first, right? And people always say to me, I can't do that because then you know what if it doesn't look pretty? I'm not trying to make something pretty. I'm trying to make something that's moving, and there's a big difference between those two things. So, um, we're gonna focus on concep...
t, and the concept here requires flowers as well. So while you're getting all clay dup. I am going Thio cut. Open some flowers. I'm not sure which ones I want yet. See our options. We've got a lot of colors here. I'll probably go with this one. I think that's best. So the flowers are only going to go inside the bowl. There we go. And I wanna make sure that they kind of look really crowded in there. So I'm going to open them up and get them in. I gotta make sure that Anna's head fits in here too. So I don't wanna crowd it too much, but something like that, I think, would be good. So I'm just gonna cut the stems there. Yes, please. And even the bodysuit. So basically everywhere except your head, not your head. Um, and I might add some other greenery, as's Well, okay, I really liked these flowers. And what drew me to this is that they look really wispy and very romantic. So I think that's gonna be beautiful. I'm kind of staying away from some of these other colors because, like I said, I'm not going for a lot of color in this Siri's, so I'm a little bit wary about using anything too bright. So I'm just going to avoid certain certain aspects of these flowers. So instead I'll focus on this. Fill the bowl with these Aziz. Well, might even be able to get away with not cutting those just kind of fit it in there. Okay, You should always test yourself before asking the model. So how do I look? Okay, I think it looks good, but I can't tell yet, so we'll see. We'll have to tweak in a little bit, and I'm going to have my spray bottle is well. Oh, no, that's not the right setting, okay? And we're just going thio spray spray spray so that everything looks wet and verdant. Yeah. Okay, Now, I think it might not be full enough or it might look thio manicured, so I wanna make sure it looks a little bit wild in here. Eso I might add a few more flowers, but we'll see how it goes, particularly the greens. So I might just pop the flower heads off a little bit. That looks much better. Much more wild, and we'll see how that goes in here. Yeah. Think that looks quite quite good. Okay, I like these yellow ones. Actually,
AFTER THIS CLASS YOU’LL BE ABLE TO:
- Beat “creator's block” by practicing exercises to help you overcome it
- Conceptualize a series that nails story, emotion, and connection
- Execute a low-budget, high-impact photoshoot for your series
- Edit your images for series cohesion and seamless compositing
- Brand yourself and your art into a story that others can connect with
ABOUT BROOKE'S CLASS:
Creating a fine art body of work can be daunting when you consider that a great series has innovative ideas, cohesive editing, and an undeniable connection to an audience. During this class, Brooke will walk through the entire process of creating a fine art series, from conceptualization, shooting, and editing to branding and pricing. The success of a body of work comes from the artist’s ability to go beyond the connection to an audience; it must land in the heart of the viewer and then instill a call to action within them. Brooke will lead you through not only how to make your work relatable, but how to take that extra step to become unforgettable, and ultimately, sellable.
WHO THIS CLASS IS FOR:
- Intermediate creators who want to focus on personal work and find a deeper level of creating.
- Creators who not only want to tighten the cohesion of their work but ensure that the full depth of meaning is communicated.
- Artists who want to learn simple yet effective ways of creating a body of personal work.
Adobe Photoshop 2020 (v21.2.4) and Adobe Bridge CC 2020 (v10.1.1)
ABOUT YOUR INSTRUCTOR:
Brooke explores the darkness and light in people, and her work looks at that juxtaposition. As a self-portrait artist, she photographs herself and becomes the characters of dreams inspired by a childhood of intense imagination and fear. Being the creator and the actor, Brooke controls her darkness and confronts those fears.
After studying films for years in college, she realized her love of storytelling was universal. She started photography then in 2008, excited to create in solitude and take on character roles herself. Brooke works from a place of theme, often gravitating toward death and rebirth or beauty and decay.
Ultimately, her process is more discovery than creation. She follows her curiosity into the unknown to see who her characters might become. Brooke believes the greatest gift an artist has is the ability to channel fears, hopes, and experience into a representation of one's potential.
While her images come from a personal place of exploration, the goal in creating is not only to satisfy herself; her greatest wish is to show others a part of themselves. Art is a mirror for the creator and the observer.
Brooke's passion is storytelling, and her life is engulfed in it. From creating self-portraits and writing to international adventures and motivational speeches, she wants to live a thousand lives in one. She keeps her curiosity burning to live a truly interesting story.
*This course contains artistic nudity.