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Creating a Fine Art Series

Lesson 24 of 70

Wardrobe and Texture

Brooke Shaden

Creating a Fine Art Series

Brooke Shaden

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Lesson Info

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.

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

Wardrobe and Texture

So you're looking awesome, by the way, with the K. I love this. I love anything that adds texture, right? And the good thing about playing with materials like this is if it's too much, we'll use some water and take it off. But the thing that I'm really excited about is that I have some syrup here. Which can I think we talked about this earlier. Be a really good way off, adding layers of texture in an image. So I'm going Thio, take the lid off of this and show you a little bit of how syrup can work here, which is not pleasant for anybody involved. So hopefully you will enjoy this for all of us. I'm just getting it on my hand like that, and I'm letting it kind of thin out a bit and dry up just a little. And the great thing about using syrup is that as it dries, it almost becomes like an adhesive, and it will take some of the clay off in places and add different texture. So that's gonna be the next step is just taking a hand with some syrup painted on it and just kind of pressing on the s...

kin. So that's what we're going to do next. You mind if I touch your leg real quick? Okay. So just kind of getting a little bit on and letting it kind of sit, And then we'll come in later and press it and pull it away so that it creates this sort of disgusting. I can't even describe the texture. I feel like I'm trying to describe food in my mouth or something, which that's weird, but whatever. So that's what we're gonna do with the texture eyes Just use syrup and clay and kind of layer that on. This looks amazing. I'm really I'm very pleased with this, So I think it looks really good. And if we could just get right across the chest, then I think we'll be fine on looking good. Do you have enough, clay? Yeah. Okay. Just have to keep dipping it. So right now we're just using clay in water like a soap bar and just rubbing it on, which is working pretty well. If you try to use clay on its own, you're going to find that it is just clumpy, and it doesn't really do a ton. It has to have water on it. So that's why it's really kind of helpful to have clay mixed with something else to try to break it down, to use its natural sediment to create texture. Right now, we're going to use a sponge thio kind of fix the texture up a little bit. So if we get a little bit of water on there, we could just go in and kind of dab a little bit and see if we can lessen the clay in some places and leave it in others. And these are all just fun ways that we can play with texture. But you can always modify what you've done. I'm not so great at, you know, creating texture on the first try creating painting or clay or anything on the first try. So it's always good to have something to just kind of go in and clean it up a little bit and create more, and you can see when I do this, it's it's creating, like especially right there. It's really gorgeous, creating this natural texture that I think is really interesting. Have you ever been sponged before with Europe in water? But I think it looks good. I like this a lot. Okay, I'll leave that with you, and I might ask you to use it more, but but it's looking pretty cool. So I think that we're ready for the fish bowl on the head. And it's not like it's a perfect, you know, like round bowl per se. It's got a flat top to it, and it's not gonna go right around the neck like I would like it to, but I looked quite extensively for a fish bowl, a glass fish bowl, and they're not very easy to find. So we're gonna go with this and just just see how it is. And you know, we'll play with that. So I'm going to spray it one more time with the water, because I think I've decided that this will be the front so I'll really get that wet. And I'm gonna hand this to you. And that's the side that I want toward the camera. If we can manage it, I know it's like, how do you get in? Uh huh. Yes, it looks great. Okay, so I'm gonna come in and just, like, reach under to manipulate some of these flowers Because this is really I'm so sorry that this is the weirdest thing ever, but I don't even know if I could do it. Uh huh. Looks good. Okay, let's try that for now. And I'm gonna be rotate it that way just ever so slightly. Yeah. There you go. That's perfect. Oh, we've got a stray flower. Okay, I'm gonna grab my camera and get in position, so we haven't also I'm going to put this cap on because we should not have an open bottle of syrup here.

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.



Class Materials

Bonus Materials with Purchase

Worksheets.pdf

Student Practice Images (large 1.9gb zip file)

Ratings and Reviews

Student Work

Related Classes

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!