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Creating a Fine Art Series

Lesson 67 of 70

Live Premiere: Layers of Depth 1

Brooke Shaden

Creating a Fine Art Series

Brooke Shaden

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Lesson Info

67. Live Premiere: Layers of Depth 1

Lessons

Class Trailer
1 Class Introduction 07:25 2 Overview of Brooke’s Journey 20:13 3 Your Timeline is Nonlinear 05:37 4 Using Curiosity and Intention to Build Your Career 03:26 5 What Factors Dictate Growth 08:24 6 Organic Growth vs. Forced Growth 05:18 7 Niche Branding 04:57 8 Brooke’s Artistic Evolution and Timeline 24:27
9 How Can You Get Ahead if You Feel Behind? 10:02 10 Ideation and Conceptualization to Identify Meaning in Your Art 05:54 11 Idea Fluency 10:33 12 How to Represent an Idea 07:01 13 How to Innovate an Idea 07:07 14 Creating a Dialogue With Your Art 05:48 15 Conceptualization For a Series vs. a Single Image 03:43 16 Transforming a Single Image Into a Series 03:12 17 How to Tell a Story in a Series 03:28 18 How to Create Costumes From Fabric 07:20 19 Brooke’s Most Useful Costumes 02:19 20 Using Paint and Clay as Texture in an Image 02:56 21 Create Physical Elements in an Image 10:22 22 Shooting for a Fine Art Series 05:45 23 Conceptualization: Flowery Fish Bowl in the Desert 04:08 24 Wardrobe and Texture 04:54 25 Posing for the Story 05:32 26 Choosing an Image 01:23 27 Conceptualization: Rainy Plexiglass 11:34 28 Posing for the Story 04:17 29 Creating Backlight 02:37 30 Photo Shoot #1 - Creating a Simple Composite 17:51 31 Photo Shoot #2 - Creating a Dynamic Composite 06:31 32 Photo Shoot #3 - Creating a Storytelling Composite 07:40 33 Shooting the Background Images 06:14 34 Editing Samsara Shoot #1 - Working With Backgrounds 24:35 35 Editing Samsara Shoot #1 - Retouching the Subject 04:20 36 Editing Samsara Shoot #1 - Color Grading 02:45 37 Editing Samsara Shoot #1 - Floor Replacement Texture 15:24 38 Editing Samsara Shoot #1 - Final Adjustments 03:21 39 Editing Samsara Shoot #2 - Cropping and Editing Backgrounds 05:25 40 Editing Samsara Shoot #2 - Selective Adjustments 03:55 41 Editing Samsara Shoot #2 - Adding Texture + Fine Tuning 03:21 42 Editing Composite Shoot #1 - Compositing Models 06:58 43 Editing Composite Shoot #1 - Expanding Rooms 02:17 44 Editing Composite Shoot #1 - Selective Color 02:47 45 Editing Composite Shoot #1 - Selective Exposure 04:04 46 Editing Composite Shoot #2- Masking Into Backgrounds 10:45 47 Editing Composite Shoot #2- Creating Rooms in Photoshop 06:11 48 Editing Composite Shoot #2- Compositing Hair 05:07 49 Editing Composite Shoot #2- Global Adjustments 04:49 50 Editing Composite Shoot #3- Blending Composite Elements 05:00 51 Editing Composite Shoot #3- Advanced Compositing 08:46 52 Editing Composite Shoot #3- Cleanup 03:34 53 Materials for Alternative Processes 06:20 54 Oil Painting on Prints 05:41 55 Encaustic Wax on Prints 03:09 56 Failure vs. Sell Out 05:14 57 Create Art You Love and Bring an Audience To You 03:35 58 Branding Yourself Into a Story 05:40 59 The Artistic Narrative 05:26 60 Get People to Care About Your Story 03:36 61 Get People to Buy Your Story 11:36 62 Getting Galleries and Publishers to Take Notice 03:41 63 Pricing For Commissions 06:43 64 Original Prints vs. Limited Edition Prints vs. Open Edition Prints 02:11 65 Class Outro 01:00 66 Live Premiere 16:14 67 Live Premiere: Layers of Depth 1 04:41 68 Live Premiere: Layers of Depth 2 07:12 69 Live Premiere: Q&A 16:10 70 Live Premiere: Photo Critique 47:33

Lesson Info

Live Premiere: Layers of Depth 1

So I'm going to move on to this image. And I wanted to show you just a little breakdown of the editing of this because I start each image with with an image that doesn't necessarily work. It doesn't necessarily fit into the Siri's yet. It's just a raw image, right? So this is the probably the funniest behind the scenes photo ever. I Okay, so, listen, I was in my garage. I painted my face with red paint, which did not come off very easily at a pink face after that. And I had my husband just pour paint over my face. I had this black piece of fabric and I cut a hole in it and I just stuck my head through. And that's why I looked like a cone head here because I didn't really cut it as well as I could have. I think so. It just made my face of really weird shape. Oh, it's so funny. Okay, so that's what I did. And then you'll see these different images pop in because I shot different, um, faces and they were all red. You can see. Okay, so I've got, like, the basic structure of this image the ...

most unflattering image ever. But roll with it because the Siri's is meant to be grotesque. Okay? And eso I got it all structured, all lined up, and then I d saturated everything because I wanted to create this really natural sort of like the color of my skin dripping off of me, which is so disgusting. But I love it. And then I just allowed the center one to be read. And this image is all about death masks and the practice of making a mask of your face. Either after you die or before your diet, you're quite posh, so that is the inspiration for this image. And I'm just putting all the layers back on because, as you can see, it's becoming more and more yellow more and more in alignment with this color palette that you see here. And that's why I have this grid of images for every Siri's that I make. I always put every image into a grid so I can see the images next to each other so that every single one of them I can see how they flow, how they work. If the colors air right and then I adjust from there. So that's how I created this image moving on to this one. This wasn't much simpler edit, but I want to show you the nuances of how these things can work sometimes. So here we have the subject laying in a bunch of roses that I went out and got for this purpose and e d saturated and I opened her eyes even more because I thought I was going to go with open eyes for this picture. Well, spoiler, I didn't, so I closed them. I ended up adding different eyes on there, and I loved this image, but it obviously doesn't work yet. If you go back and look at this, it just doesn't fit. And the reason was that I had all this extra stuff that you could see so it wasn't dark. She's wearing her normal clothes. Didn't want that to be the case. So I started to put a bunch of different elements in Thio, essentially get rid of what I didn't want to see and then enhanced the colors and the darkness so that it was cohesive within the Siri's. I might have edited this image differently if it wasn't for the Siri's. So that's how it ended and people say all the time. How do you know how to edit something for the Siri's? Well, this is how I put it into this context. And I say, Is it different enough yet still fit within the context of the work? So Final One that I wanted to share here is I've got this really funny sort of before image where I'm just laying down nothing exciting happening. Close my mouth and then we're going to see again that darkening of the surroundings. I'm a fairly lazy shooter. I don't mind saying it so darkening in Photoshop. And then I took a picture of a bowl that I had in my house to create this, um, little round of my neck there, which is so bizarre, but it worked really well and then same thing on the other side just to create this open vase type of look here, and I loved making this image for the Siri's. The whole Siri's is about, um, death and grief, and this image is inspired by the idea of a reliquary. A reliquary is a vessel that holds a relic, so I wanted to show the reliquary being the human body and the relic being nothing, that the soul has already left the body.

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.



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!