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Creating a Fine Art Series

Lesson 53 of 70

Materials for Alternative Processes


Creating a Fine Art Series

Lesson 53 of 70

Materials for Alternative Processes


Lesson Info

Materials for Alternative Processes

I am so excited to talk to you about mixed media and how you can create original images out of your prints. We've talked a little bit about limited edition and open edition prints, and I want to go into a little bit more detail about that here. So this print that you see here, it could be one of many. There is no telling because it's not numbered and it is completely digital. So digital prints can be printed as many times as you want you, as the artists are the one who gets to specify if there are five of a print of a print, 500 of a print or unlimited. So whatever you decide as the artist is what goes. And it's sort of this moral agreement that you make with the person buying it that you will not print more than that many of that picture at that size. However, if you want to do away with additions, then you can focus on original prints, which is to say, I'm going to print this once and never again. Technically, you could do that with a completely digital image, and that would make it...

one of a kind. And the way that some people do this when you have multiple prints that are auditioned in different ways is to addition. Let's say you're small size out of 20 and your medium size out of 10. But then saying the biggest one that I'm ever going to print on Lee going to print one of, and that makes it an original at that size, you could also Onley print it once at any size, making it truly an original. Or you could alter the print in some way so that it truly could not be replicated. What you have done is added something onto the print so that nothing can ever replicate it unless you take a picture of it. But it won't have the right texture. So I want to show you a few different things that I have done. Thio add to my prints and make them originals, but at the same time create more interactivity in my Siri's. So this is Samsara that I already showed you, and I want to show you a few different ways that we can judge up these prints and do something a little bit different to them. I talked a little bit before about the hair, and it was pretty gross and probably there was a lot of groaning, but I wanted to show you the image that I made from the hair. So I asked a bunch of people online if they would send me their hair, just like from their brushes and stuff. And it sounds worse than it is. Or maybe it sounds as bad as it is. I'm not sure, but this is what came of it. I created this image and I photographed all the hair balled up together, and this is what I made. Now one way that I could enhance this image potentially is to use the hair. I'm only gonna pull my hair out, so it's okay. But I might take the hair and actually apply it to the print, which I could do, using a role on glue of some kind, anything that would kind of fix it. And then it has this physicality to it. The way to maintain that when you exhibit images is to go ahead and frame it in a shadow box or a really thick frame where you have a lot of distance between the glass and the print. That way you maintain the depth of it, which is how you can really tell that it's an original print putting the hair away. Don't worry. Okay, Bye bye, hair. And another way that I've been thinking about interactivity is by including mawr than just photography or even mixed media and prince into my Siri's. So I'll be, uh, doing some writing. And I have these sheets of paper here that will be exhibited alongside the artwork. I got this really nice textured, antiqued paper that I will be typewriting on and I haven't done this yet, but I had some people from the Internet send me eulogies that they had written about people that had died in their lives, and I took the eulogies and created redacted poetry from it. So I crossed out all of the words that I didn't want shown, and Onley left select words throughout the eulogies to create a poem out of the eulogy that will be printed on here in a typewriter and exhibited alongside the Samsara pieces so that you have thes redacted eulogy poetry pieces to go along with it. And this is another physical way that you can add interactivity to the scene. Now, if you want to take it a step further, as I really hope to do during this exhibition, I'm not going to have a station where people can type their own sort of eulogies and write a eulogy about themselves while they're at the exhibition, which I hope is going to be a fun. Maybe fun is the wrong word, an interesting way of interacting with the theme of death and grief, as this is the Siri's that I'm making. So there are a couple more ways that we can do fun things to Prince. And what I hope this encourages you to do is to start thinking outside the box to start thinking inter actively and physically about the work that you're creating, because in my opinion, work doesn't stop when it's published. It really eyes enhanced by having something physical, like a print to show for it. So these air, all of the prints that I have here that I have made and I'm going to be painting on this one, so I'm going to set that aside and just show you, ah, couple of the images that I have here. So we have this one, um which has a lot of little death masks on it. Um and, ah, lot of different options for painting or applying different materials to the prince. So that's something that I am really looking forward to doing. And I'm going to do one of them right now, Like I said, we would be going with this one. And this makes the most sense to me because it is already very painterly. So I'm creating with the end product in mind. I'm not creating from the standpoint of I wonder what I should do. I hope it turns out okay. I have the concept in mind from the very beginning and even all the way through printing and whatever I'm going to do to this particular image. I made it extremely painterly. And I even added digital brushstrokes onto this image so that I could then follow those guidelines of adding my own brush strokes when I added paint to it.

Class Description


  • 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


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.


  • 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)


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.


  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


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!