Lesson Info
14. Creating a Dialogue With Your Art
Lessons
Class Introduction
07:25 2Overview of Brooke’s Journey
20:13 3Your Timeline is Nonlinear
05:37 4Using Curiosity and Intention to Build Your Career
03:26 5What Factors Dictate Growth
08:24 6Organic Growth vs. Forced Growth
05:18 7Niche Branding
04:57 8Brooke’s Artistic Evolution and Timeline
24:27How Can You Get Ahead if You Feel Behind?
10:02 10Ideation and Conceptualization to Identify Meaning in Your Art
05:54 11Idea Fluency
10:33 12How to Represent an Idea
07:01 13How to Innovate an Idea
07:07 14Creating a Dialogue With Your Art
05:48 15Conceptualization For a Series vs. a Single Image
03:43 16Transforming a Single Image Into a Series
03:12 17How to Tell a Story in a Series
03:28 18How to Create Costumes From Fabric
07:20 19Brooke’s Most Useful Costumes
02:19 20Using Paint and Clay as Texture in an Image
02:56 21Create Physical Elements in an Image
10:22 22Shooting for a Fine Art Series
05:45 23Conceptualization: Flowery Fish Bowl in the Desert
04:08 24Wardrobe and Texture
04:54 25Posing for the Story
05:32 26Choosing an Image
01:23 27Conceptualization: Rainy Plexiglass
11:34 28Posing for the Story
04:17 29Creating Backlight
02:37 30Photo Shoot #1 - Creating a Simple Composite
17:51 31Photo Shoot #2 - Creating a Dynamic Composite
06:31 32Photo Shoot #3 - Creating a Storytelling Composite
07:40 33Shooting the Background Images
06:14 34Editing Samsara Shoot #1 - Working With Backgrounds
24:35 35Editing Samsara Shoot #1 - Retouching the Subject
04:20 36Editing Samsara Shoot #1 - Color Grading
02:45 37Editing Samsara Shoot #1 - Floor Replacement Texture
15:24 38Editing Samsara Shoot #1 - Final Adjustments
03:21 39Editing Samsara Shoot #2 - Cropping and Editing Backgrounds
05:25 40Editing Samsara Shoot #2 - Selective Adjustments
03:55 41Editing Samsara Shoot #2 - Adding Texture + Fine Tuning
03:21 42Editing Composite Shoot #1 - Compositing Models
06:58 43Editing Composite Shoot #1 - Expanding Rooms
02:17 44Editing Composite Shoot #1 - Selective Color
02:47 45Editing Composite Shoot #1 - Selective Exposure
04:04 46Editing Composite Shoot #2- Masking Into Backgrounds
10:45 47Editing Composite Shoot #2- Creating Rooms in Photoshop
06:11 48Editing Composite Shoot #2- Compositing Hair
05:07 49Editing Composite Shoot #2- Global Adjustments
04:49 50Editing Composite Shoot #3- Blending Composite Elements
05:00 51Editing Composite Shoot #3- Advanced Compositing
08:46 52Editing Composite Shoot #3- Cleanup
03:34 53Materials for Alternative Processes
06:20 54Oil Painting on Prints
05:41 55Encaustic Wax on Prints
03:09 56Failure vs. Sell Out
05:14 57Create Art You Love and Bring an Audience To You
03:35 58Branding Yourself Into a Story
05:40 59The Artistic Narrative
05:26 60Get People to Care About Your Story
03:36 61Get People to Buy Your Story
11:36 62Getting Galleries and Publishers to Take Notice
03:41 63Pricing For Commissions
06:43 64Original Prints vs. Limited Edition Prints vs. Open Edition Prints
02:11 65Class Outro
01:00 66Live Premiere
16:14 67Live Premiere: Layers of Depth 1
04:41 68Live Premiere: Layers of Depth 2
07:12 69Live Premiere: Q&A
16:10 70Live Premiere: Photo Critique
47:33Lesson Info
Creating a Dialogue With Your Art
It's really important that we have a dialogue with our work, that our dialogue is happening openly between people. I know people and and there's no fault against this who release their work and their that's it, like it's theirs. They put it out there, but they don't want comments. They don't want feedback. There it is, and that's fine. But I think that a dialogue is important when we're speaking about art. From the standpoint of I want to affect somebody with what I'm doing, How can I do that? Will you open up the dialogue and a dialogue is really just two things put together. It's a provocation. It is me provoking you and then you responding to that provocation. That's what a dialogue is. Provocation can come in the form of a question. Discomfort, curiosity, shock. So many different things can cause a provocation in somebody even beauty. You may look at something and be awed by the beauty of it. That's your provocation. Now how will you respond to it? And a response could be looking a...
t it. That's your response. I've looked at it. I've responded by viewing it. Maybe you comment on it. Maybe you take action because of it. Maybe you saw an image of a sunrise. So the next day you wake up and you watch a sunrise that's taking action because of art. And as an artist, it is your job to provoke a response from the viewer. Be it little or big, uncomfortable or comfortable. It doesn't really matter as long as you understand what kind of response you want to provoke. And I think the best art knows that about itself. The best artists know what this art is meant to provoke from the person that they're sending it out to, And I think that's such a beautiful relationship to have with people viewing your art to say, I hope that this provokes something in you, whatever that may be. So then what's the goal of your image? Um, I think that when you take the creation of that goal to the extreme, make it as arresting as possible for the viewer. That's when you're going to achieve the goal that you have. You say What's my goal? What do I want them to do, What I want them to take action about Now make that as arresting as possible because art is generally fine. There's a lot of great art out there. There's a lot of good art. There's a lot of mediocre art. There is not a lot of really provoking art. So consider how you might address to that. And when I say provoking again, I don't mean controversial necessarily. I mean that it provokes a response. We can utilize verbal and nonverbal cues to provoke a response. The image might be the thing that provokes. Maybe what you write with it or what you say about it is the thing that provokes. So think about it beyond the art itself, How can you share in a way that provokes? What response do you want the viewer tohave? And then how do you want them to communicate that response? We have the ability to be very clear with the people viewing our art about how we want them to respond what we want them to dio, as opposed to you make something. You ship it off somewhere and you never, ever get to meet the people that are looking at it. We have that amazing ability. So think about the response now. Response comes from reaction and action. Everybody has a reaction to art, whether you ignore it or you look at it or you feel something or you don't it's a reaction no matter what, then you have to couple action with that reaction. So you react. Then you act. What's it going to be? How do you help people in that way to react and act to your art? Because most viewers will stop it. Reaction. And this is what causes lack of engagement with art is sometimes people stop with reaction because they don't know what else to Dio or they don't care enough. And that's okay. But I think that it's the job of the artist to then say, Well, I'm going to give you the tools to react to this in the way that I want you to or in the way that will be the most productive for our conversation. So as the artist putting your work out there, ask yourself, How can I give tools to my audience to take action in the way that I want them to? Then ask yourself, what is your call to action to your audience? You is the creator. What is your call to action if you had to write down which I am asking you to dio, if you had to write down what call to action you want people to have when they look at your work, What's it gonna be? I have a few images that I have put here that I want to show you in terms of the titles that I have associated with. Um, this is just one way that you can provoke a reaction and inaction from your audience. Titling is a really good way to lead people into a certain understanding of the work. This image that I'm showing you here is titled I got Trapped inside the House that I burned down myself and it's going to illicit a response from you because it's an evocative title. It is a title that you really have to read through. And then once you catch the meaning of it, you start your own associations with what that could mean to you and for you and what it has meant. This particular image is called. I blamed 100 hands for my violence. What does that mean to you? How do you associate with that even further because I could have just showed you this picture. But without the title, it leaves it more open ended. This image is a much simpler title. It's called offering. And what does that make you think of religion, perhaps giving to others? What does offering make you think of this image is called Risk Simple one word title, but it guides your thoughts in a certain way because we as artists, have the ability to guide our audience.
Class Materials
Bonus Materials with Purchase
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!
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!
Søren Nielsen
Thank for fantastic motivating an very inspiring. The story telling and selling module was very helpful - thanks from Denmark