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Creating a Fine Art Series

Lesson 21 of 70

Create Physical Elements in an Image

 

Creating a Fine Art Series

Lesson 21 of 70

Create Physical Elements in an Image

 

Lesson Info

Create Physical Elements in an Image

then there are physical elements that you can use in your work. So, for example, sculptural elements. I've been very interested in sculptural elements with wire and creating these really weird sort of. I don't even know organic sort of abstract looking sculptures, which again may not be your thing, but it's fun to think about. How can you create a backdrop, for example, from wire where you might be able to add a ton of texture to it? And how could you use that? So there are different ways that we can use these things. In this case, this was an actual sculpture that I made, and I photographed the sculpture to put into the image so that it looked like my skull was exposed, which was an actual sculptural element. And in some cases, sculptural elements don't have to be made out of these materials, like clay or wire or anything like that. In this case, I'm just showing you how I used weeds from my garden that I pulled inside and I laid them out in a way that looked sculptural. And when I sa...

y sculptural, I mean it looks like it has intention and flow to it, which made it look really cool. Now I have paint, and for this image I actually painted a piece of glass that I then photographed. You can see that here the paint was just smeared onto the glass, photograph that separately and then added it on top of myself that I photographed additionally, as well. Here's some examples where I tried to photograph myself with the paint, but I found I wasn't quite such a good painter as I thought I would be. So I photographed them separately. In the end, you can always go for a painted backdrop. Finding canvas or anything like that that you could paint yourself to use as a backdrop is a great option. I used bed sheets a lot as backdrops, which I find highly effective. But if you wanted something a little bit more dynamic, get a bed sheet and then paint on top of it, and that could be a great way to add some texture into the background of your images. Wire sculpture. As I mentioned, we have a couple different ways of doing that, which I'm about to show you. So we've got little tiny ah wire sculpture that's really easy to work with, as well as the really heavy handed stuff. Um, which is a little bit more difficult to work with. So let me show you some of these things at play. Okay? First, I want to show you what we can do with the paint because I really wanted to bring that up here. I've got this body paint, so there's a safe for the body, it a specifically body paint. And I would use it really simply by just getting some and rubbing it on my arm. And if it's too much, I'll thin it out. And if not, then I'll just kind of smear it. And you can get this in any color. I just happen to have white and red, which is fine. Um, you could do this with anything you want any color you want. You can try to match your skin tone just to try to create some interesting, um, sort of texture rather than color, which works really well red paint that I will use very sparingly just to sort of mix it in, um, and so basically, just play with stuff like this, and that's totally fine and and very, very fun to Dio. So next thing is this wire here and I've got a couple of different pieces. Like I said, this one is very small and very pliable. So this is really easy to work with. You can kind of just quickly shape it into whatever shape you want. Um, which I'm will fail it doing promptly because I'm not so good at that. Unless I have, like, five hours to work on this. I see a nose forming. Why not? Okay, this is a face. I'm sure you can tell that this is the face, okay. And why're sculpture works in a few different ways? One of the ways that it can work is if you use some sort of plaster. So that's what this is. It's just a little bit of plaster, and you might be able to use this. Watch out for the plaster, but you can use it by dipping it in water. In this case, it's a T die. You get it wet, and then you can apply it directly on thio the wire that you're working with. So you just kind of mold it right on there and let it dry that way. So that's one way that you could do wire sculpture another way that I have done. Wire sculpture is with, um, like spray foam that you would use for cracks in your house. I just spray the spray foam directly onto the wire, and it creates this really interesting texture that you can then spray paint or paint, or put whatever on it that you want. That's totally fine to Dio. Um, if you're using bigger sculpture materials like this one, you will need wire cutters. And it's the whole thing that I do not recommend you do without being safe first. So beware, but you'll need wire cutters and just thinking about safety. So I use wire sculpture in my new Siri's quite a bit, and I find it really, really effective. And this is just chicken wire. So this is just get your any like local um, store that sells home repair things, and you'll probably find some there so wire sculpture is very fun because a lot of things can adhere Tow wire. And that's why I like to do it so much. Whereas going into something like sculpting with Clay takes a lot of patients. Ah, lot of practice and really just a lot of know how. So instead of sculpting with this clay right now, I'm just gonna show you how you can use it for texture. So I'm getting my hands a little bit wet, and then I'm getting the clay a little bit wet so that I could just use some of it. And if you've never played with Clay, it's one of the great joys of life, I think. But I'm just smearing it on my body, so just creating little bits of texture here, I'm letting the excess just fall off, and it just creates a thick kind of disgusting texture, which I find really effective and really fun. Um, I do have my t die here, so I want to show you this t die. I'm just going to use a piece of fabric. Um, let's see. We'll use this little piece of fabric because it's pretty tiny. And if you have a piece of fabric that you feel looks to new and doesn't quite have the right age, you can use a T die. So this is just warm water and a bunch of teabags, just black tea, which I have some examples of right here. Very simple black tea. Just take him and throw him in. Swirl it around and it will slowly turn the water. You can also do this with coffee so it doesn't have to be T could be your beverage of choice, and then you'll basically just let the fabric soak. So I'll put that in there, Make sure it's all covered up, and I'll probably leave this in for probably overnight, at least maybe even 24 hours. But beware of not going too far with it because he gets moldy, I learned which is a terrible thing to have to learn, so don't leave it in too long. But I would say about 24 hours, depending on how dark you want it, obviously more teabags if you want it darker. So the benefit of this is that you're aging it without having to go spend a ton of money on something that's already old. And, um, it creates sort of a more believable character in the in your images instead of going with something new. Like I said, I used t die on this costume, and this was used in my most recent Siri's begin again. So that was the costume that I used for that. So t die is very fun, very effective. And I hope that you like that. Dio, um the last thing that I wanted to show you here eyes the glue just to show you that it really doesn't hurt. I don't even think I'm gonna be able to open this glue because I'm very weak. But, um, it is, there we go. It washes right off. So glue is not a scary thing, per se. Um, it's kind of fun and just rub it right on, just like everything else. And again, this could go on backdrops. This could go on props, anything that you want to age it. So sometimes I like to do this to create more texture in it. Anything that doesn't look man made basically. So I'm trying to avoid streaks and using my fingers too much. So I'm trying to make it more organic by really playing with the texture there. Okay, the last thing that I want to show you just so that you are properly terrified of me is this bag which debated Lee. I should not show you, but at the beginning of the year, I asked a bunch of people if they wouldn't mind sending me their hair. So this is a bag of human hair. And if you've decided that you would no longer like to know me, I understand. But hear me out. Okay? Human hair has great texture, okay? And I'm picking out my own hair right now, So don't Is this really gross? I don't care. This is my own hair, and it has great texture to it. So it could be used to add texture in a multitude of different ways. One of which is the reason why I've gathered hair is that I am going thio actually apply this hair to an image as something that I could do after the images printed to make it a one of a kind original print. This is something that we're going to go over later with all different ways that you can add something onto a print to make it an original. So make sure that you watch that segment so that this makes a little bit more sense. My point in showing you this disgusting hair which is mine but it is disgusting looking. My point in showing you is to say that you can use anything around you in innovative ways, and this might not resonate. And you might think this is all very weird and I would never touch this. That's OK, but what could you find from your own home or from your own surroundings? That inspires you to create in a slightly different way, in a more tangible hands on way? Because eventually what we're leading to here is how to create original prints. How can you make something that's one of a kind that you sell as one of one and a lot of the times that includes adding something onto the print? How can you do that? How can we be innovative? And how can we create art that not only resonates with people and that people understand, but that really makes them think in a deeper way

Class Description

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.

SOFTWARE USED:

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.



Lessons

  1. Class Introduction
  2. Overview of Brooke’s Journey

    How Brooke went from creating only for herself to building a multi-faceted career in fine art photography.

  3. Your Timeline is Nonlinear

    How to incorporate the idea of wealth into your journey as an artist.

  4. Using Curiosity and Intention to Build Your Career

    Too many people rely heavily on either intuition or goal setting as a means of propelling their career forward. Brooke believes that there is a blend between the two that sets most professionals apart.

  5. What Factors Dictate Growth

    A look at how improvement in the categories of technique, conceptualization, clarity of voice and vision, and impact all work together to create growth.

  6. Organic Growth vs. Forced Growth

    The most successful artists are able to use inspiration strategically to create innovative works that regularly impress their audience.

  7. Niche Branding

    If you brand yourself into a story, you will be less likely to fall victim to boredom within your branded niche.

  8. Brooke’s Artistic Evolution and Timeline

    Watch as Brooke shares every important event in the past eleven years as an artist to see which were the most helpful in propelling her career forward.

  9. How Can You Get Ahead if You Feel Behind?

    When you learn to celebrate small successes like they are big successes, you will rewire your brain to find optimism in the journey rather than pessimism.

  10. Ideation and Conceptualization to Identify Meaning in Your Art

    Walk through several categories of meaning to figure out how you create and how others perceive your creations. You will learn how to layer the concepts of your art, create controversy in your ideas, how to make viewers feel something, and figure out where you land on the scale of fixation.

  11. Idea Fluency

    Learn abou how your ability to generate many good ideas in a short time is directly influenced by brain science, and then learn how to control your own idea fluency through exercises.

  12. How to Represent an Idea

    Ideas are represented by four elements: visual, symbolic, experiences, and emotions. Learn how to control those elements in your work by figuring them out in your work.

  13. How to Innovate an Idea

    By examining your sense of style, sense of idea, and sense of innovation, we will walk through exercises to not only create what is in your mind, but to take it further to stir yourself and your audience.

  14. Creating a Dialogue With Your Art

    Dialogue comes from provocation and response. Take a look at how to provoke an audience through visual and thematic clues, and then how to issue a definitive call to action.

  15. Conceptualization For a Series vs. a Single Image

    Find out the differences between coming up with ideas for a single image vs. a series and see examples of series Brooke has created to deconstruct how they work.

  16. Transforming a Single Image Into a Series

    A look at how to take a single idea and transform it into a cohesive series by focusing on visuals, theme, and through-line.

  17. How to Tell a Story in a Series

    Storytelling can unfold thematically, abstractly, linearly, and/or concretely. Here you will look at how story structure can help create a more impactful series.

  18. How to Create Costumes From Fabric

    Look at which fabrics work best for costuming, how color plays a role in costume selection, and how to tea dye or coffee stain costumes.

  19. Brooke’s Most Useful Costumes

    See which costumes Brooke uses again and again and how to build a costume wardrobe with a few essentials that won’t break your budget.

  20. Using Paint and Clay as Texture in an Image

    Brooke will demonstrate how creating texture on both skin and costumes can create a more dynamic look in the final image.

  21. Create Physical Elements in an Image

    Brooke will share ideas of how to create sculptural elements in your images, like using wire, paper mache, and more.

  22. Shooting for a Fine Art Series

    How you can create cohesion and conceptual flow across images in a series.

  23. Conceptualization: Flowery Fish Bowl in the Desert

    A description of the image being created and why it is conceptually and visually relevant to the rest of the series.

  24. Wardrobe and Texture

    How to choose wardrobe based on the concept of the image, and how to add texture to make the image more visually appealing.

  25. Posing for the Story

    Brooke will photograph three different poses, each one changing the story of the image, to demonstrate how pose can alter the viewer’s perception of the series.

  26. Choosing an Image

    Brooke will explain why she chose one image over another to demonstrate the need for angles and dynamic movement within an image.

  27. Conceptualization: Rainy Plexiglass

    A description of the image being created and why it is conceptually and visually relevant to the rest of the series.

  28. Posing for the Story

    Brooke walks through poses that become more and more complex, from posing the model behind a Plexiglas sheet, then adding water, then adding syrup.

  29. Creating Backlight

    Using a portable LED light, Brooke moves the light from the side to the back to create a more abstract image.

  30. Photo Shoot #1 - Creating a Simple Composite
  31. Photo Shoot #2 - Creating a Dynamic Composite
  32. Photo Shoot #3 - Creating a Storytelling Composite
  33. Shooting the Background Images
  34. Editing Samsara Shoot #1 - Working With Backgrounds
  35. Editing Samsara Shoot #1 - Retouching the Subject
  36. Editing Samsara Shoot #1 - Color Grading
  37. Editing Samsara Shoot #1 - Floor Replacement Texture
  38. Editing Samsara Shoot #1 - Final Adjustments
  39. Editing Samsara Shoot #2 - Cropping and Editing Backgrounds
  40. Editing Samsara Shoot #2 - Selective Adjustments
  41. Editing Samsara Shoot #2 - Adding Texture + Fine Tuning
  42. Editing Composite Shoot #1 - Compositing Models
  43. Editing Composite Shoot #1 - Expanding Rooms
  44. Editing Composite Shoot #1 - Selective Color
  45. Editing Composite Shoot #1 - Selective Exposure
  46. Editing Composite Shoot #2- Masking Into Backgrounds
  47. Editing Composite Shoot #2- Creating Rooms in Photoshop
  48. Editing Composite Shoot #2- Compositing Hair
  49. Editing Composite Shoot #2- Global Adjustments
  50. Editing Composite Shoot #3- Blending Composite Elements
  51. Editing Composite Shoot #3- Advanced Compositing
  52. Editing Composite Shoot #3- Cleanup
  53. Materials for Alternative Processes

    Brooke shows some materials she uses for alternative processes, or applying texture to an image after it is printed. She shows oil paints, wax, and more.

  54. Oil Painting on Prints

    A look at applying oil paints to canvas prints and how that adds value to original prints.

  55. Encaustic Wax on Prints

    A look at applying encaustic wax to canvas prints and how that adds value to original prints.

  56. Failure vs. Sell Out

    Brooke shares how the most successful artists straddle a line between personal work and consideration of audience.

  57. Create Art You Love and Bring an Audience To You

    When you identify areas of your process and craft that are non-negotiable vs. negotiable, you begin to identify how you can work best with clients and what you need to keep sacred.

  58. Branding Yourself Into a Story

    When you consider that branding is a mixture of personality, art, storytelling, and business, you can feel more at ease with your brand not just being one single thing.

  59. The Artistic Narrative

    Defining what stories you want to tell about yourself directly influences how you tell the story of your brand through your business.

  60. Get People to Care About Your Story

    Your brand must inherently bring interest and value to the people who are viewing it. Take a look at how you can begin down that journey.

  61. Get People to Buy Your Story

    From identifying your clientele to figuring out how you can meet their needs, shifting someone from an admirer of your art to a patron of your business is important in becoming a full time artist.

  62. Getting Galleries and Publishers to Take Notice

    Steps we can take to get representatives to pay attention, like the importance of regular interaction and becoming a resource.

  63. Pricing For Commissions
  64. Original Prints vs. Limited Edition Prints vs. Open Edition Prints

    Brooke goes through the benefits of selling original prints and how they can be done simply to add to your arsenal as an artist.

  65. Class Outro
  66. Live Premiere
  67. Live Premiere: Layers of Depth 1
  68. Live Premiere: Layers of Depth 2
  69. Live Premiere: Q&A
  70. Live Premiere: Photo Critique

Reviews

a Creativelive Student
 

Brooke never fails to deliver. I found this course superb from start to finish. From exercising your creative 'muscle', demystifying taking self portraits, and showing that they don't have to be perfect before you begin editing, to walking you through her editing process and how to price your work. Brooke's enthusiastic personality and excitement about the work shines through it all. Definitely recommended!

Søren Nielsen
 

Thank for fantastic motivating an very inspiring. The story telling and selling module was very helpful - thanks from Denmark

Rebecca Potter
 

Thank you! Thank you! Thank you! Brooke for this amazing class. Inspired and so full of practical knowledge, this is the best class I've ever watched. You have given me the confidence to pursue what I've always been afraid to do. Watch this space!