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Using Paint and Clay as Texture in an Image

Lesson 20 from: Creating a Fine Art Series

Brooke Shaden

Using Paint and Clay as Texture in an Image

Lesson 20 from: Creating a Fine Art Series

Brooke Shaden

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Lesson Info

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.

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

Using Paint and Clay as Texture in an Image

now I love to think about how I could get texture into an image, because when somebody sees something with texture, they feel like they can touch it, creating tangible works, especially when you're putting it on the Internet is so important. You want to feel like you can reach out and touch something, and it's gonna feel like something. And it's sort of like using all of your senses. When I study writing, they say that you're supposed to write with all of your senses well, the same with creating to me. I would love to be able to create texture so that you you know what the image feels like if you were really, there is just one more sense that you can play on, and I think that's always a good thing. I love to use paint in my images on skin because it just gives a different texture to the skin, which you can see here in quite an extreme example of that. And it doesn't have to be that extreme. And of course, all of this take it or leave it if it's your style or not. But what I hope that y...

ou gain from This is understanding that you can find innovative ways to elevate your work that air really fun and sometimes messy. But that's the best kind for this particular image. I just went into my kitchen and I gathered whatever I could find and made a group. I don't even know what was in this mixture. It was just a group of whatever I could find in my kitchen. And I don't know if you haven't gotten your kitchen and made a cocktail that you can pour over your head lately, I highly recommend it. It's very fun, and this may not be your style again, but just see how creative you could get for my new Siri's Samsara. I have been doing paint and syrup mixed together, and the benefit of this is that the syrup. When you press your hand on it, we'll kind of take away some of the paint that's already on your skin. So it's creating this really weird kind of speckled texture on your skin. It's almost like if you think about painting a wall, you might do like a sponge effect on it, and it's kind of the same effect by using painting syrup combined. I've used glue, which is surprisingly easy to get off. Like I think, of all the things that I have asked models to dio, they have said this is, surprisingly, the easiest one. Wax, however, is the hardest one, so I do not recommend pouring wax all over someone unless you have a really good plan to get it off. But it looks awesome. Clay is another way that you can create texture on skin or on a backdrop or on a prop. That's the other thing that I wanna make clear is that I'm using these on people's skin. But you don't have thio. You can use them on props. So let's say that you found a key that you would like to photograph. Just a simple key. But it looks new. It doesn't quite look right, and you can't just rub dirt on it because it'll fall right off. Well, Clay would be a really good option to rub on the key to make it look really aged because it's going to stick. So find different materials that will work on different props and see how that goes for you

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