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The Artistic Narrative

Lesson 59 from: Creating a Fine Art Series

Brooke Shaden

The Artistic Narrative

Lesson 59 from: Creating a Fine Art Series

Brooke Shaden

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Lesson Info

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.

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

The Artistic Narrative

This brings us to the artistic narrative and thinking about your overall story in narrative form. What does that mean? What are your narrative Touchstones? The things that you go back to time and time again to define this story that you're telling for me. I have a few different sort of Touchstones that I will always go back, Thio and reference so that they're showing up again and again in the story that I'm telling one of them is that I'm really happy. And yet I create dark art, and I think that's a fascinating narrative to talk about because people are contradictory. We contain multitudes to quote what women, And because we know that about ourselves, we can never, ever be just one thing. And when we try to brand ourselves is one single thing, we get frustrated, we burn out and we get sick of our own business. So I'm happy, and yet I create dark art. I am not afraid to look at my anxieties and examine them and then talk about them openly. I am very interested in interactive art and ope...

n conversations around darkness, and I'm knowledgeable about fine art and how to create it. So all of those things are the Touchstones of my narrative that I go back to again and again to keep working into the story that I tell you about myself. What are the elements of story? We're talking a lot about story. We're talking a lot about how we tell stories and the ways that we communicate that with other people. But what are the elements of story? Well, there are five main elements of story. If you look at it from a very literal standpoint, this is often found in literature. When you're studying writing, there are five elements of story. There's the introduction. How are we introduced to the world of the story? Um, what do you see? What kind of atmosphere is there? What kind of story are you telling? Set the tone. That's the introduction. Then you have the back story. So who are the players in the game? Who are these characters? What do we need to know about them? To move into the narrative story And you might be thinking, Why are we talking about this? Trust me. It's gonna full circle right back into branding and then you have the inciting incident and the inciting incident is the point of no return. It's where you have these characters. You know their backstory. You have the world set for yourself, and then they do something. They make a decision, and whatever decision those characters make, they either go in one direction or another direction. And it sets the story on its course that it will remain on until the resolution after the inciting incident is the conflict. And when we look at conflict, it's really just how are we going to solve the problem? What is the big problem and how is it going to get solved? That could be violently or with sadness or with joy. You never know what the conflict will result in, and that leads us to the resolution. How does it all end? And I talk about this pattern of storytelling because most stories are told in this way, and you could even extend that art and branding. So, for example, if you can identify the way that you tell stories, you'll be more likely to tell stories that resonate with an audience. This goes for your art. First, where do your images fall in terms of storytelling techniques. Are you somebody who tends to photograph and introduction, maybe your landscape photographer, and you always get the sweeping views of mountains or something like that that might be an introductory shot. You're introducing the world to a place that you love. It's an introduction. Maybe you focus on back story. If you're a portrait photographer, what's the story of that person that you're photographing? And how can you really bring that story to life? Will you focus on what makes them them at their very core? The inciting incident is where I fall as a photographer. I love the inciting incident because it's the point where you're not sure what's going to happen. There is a choice that's being made, and I portray this in many different ways. For example, I have images where there are lots of hands holding up, Ah person and some of them look like they're pulling her down. Some look like they're pushing her up, and it's the inciting incident because we have to decide what's about to happen. Is she being held up or pulled down another example of this? Within my work, I have an image with a girl who is falling off of a cliff, and you don't know if she's going to fall down, come back up or fly or just hover there. And it's the point of no return. Something is about to happen that you can't take back. So that's where I fall. And then, of course, conflict. Do you create the conflict oven image? For example, Um, if you're a birth photographer, that's that's the conflict, the moment of conflict. It's where all of these emotions have come to a head and we're going to see what's going to happen. Or is it the resolution? You know? Are you photographing the end of something? How does it end? What is the ending that you're telling? You can also translate that into branding. How do you tell the story of who you are and your art altogether? Well, do you tell it from an introductory standpoint from a character driven standpoint, like the back story? Do you move from a place of I've learned something, but I'm on the precipice of a discovery, you know, where do you fall for storytelling? And when you discover that you can write with more specificity and it's very helpful

Class Materials

Bonus Materials with Purchase

Worksheets.pdf
Student Practice Images (large 1.9gb zip file)

Ratings and 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!

Student Work

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