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Creating a Fine Art Series

Lesson 53 of 70

Materials for Alternative Processes

Brooke Shaden

Creating a Fine Art Series

Brooke Shaden

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Lesson Info

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.


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1 Class Introduction Duration:07:25
3 Your Timeline is Nonlinear Duration:05:37
5 What Factors Dictate Growth Duration:08:24
7 Niche Branding Duration:04:57
11 Idea Fluency Duration:10:33
12 How to Represent an Idea Duration:07:01
13 How to Innovate an Idea Duration:07:07
22 Shooting for a Fine Art Series Duration:05:45
24 Wardrobe and Texture Duration:04:54
25 Posing for the Story Duration:05:32
26 Choosing an Image Duration:01:23
28 Posing for the Story Duration:04:17
29 Creating Backlight Duration:02:37
33 Shooting the Background Images Duration:06:14
54 Oil Painting on Prints Duration:05:41
55 Encaustic Wax on Prints Duration:03:09
56 Failure vs. Sell Out Duration:05:14
58 Branding Yourself Into a Story Duration:05:40
59 The Artistic Narrative Duration:05:26
61 Get People to Buy Your Story Duration:11:36
63 Pricing For Commissions Duration:06:43
65 Class Outro Duration:01:00
66 Live Premiere Duration:16:14
69 Live Premiere: Q&A Duration:16:10
70 Live Premiere: Photo Critique Duration:47:33

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.


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!