Lesson Info
17. How to Tell a Story in a Series
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
How to Tell a Story in a Series
once we thought about ideation and conceptualization through a Siris of images. We have to think about how to tell a story in a Siri's, and this is kind of a fun thing to approach because there are multiple ways that we could do it. Story can unfold thematically or abstract Lee linearly Concrete Lee There are so many ways that we can represent story across time. Ah, story could be representative time. So like your story might be, there's a beginning, a middle and an end. You're following a character or time is passing in the Siri's. That's a really fun way to make a Siri's. I've seen some amazing documentary Siri's that, you know, contain the passage of time for somebody. There's a beginning, a middle and an end. There's a story arc, and that's a really great way of creating. But equally a story in a Siri's could just elaborate on a single idea. That's actually how I work is I elaborate on single ideas, so I have a single theme, and then my Siri's is all about that theme. The timeline ...
of it doesn't make any difference. It doesn't really matter if you view one before the other because it's all about representing a theme individually in different ways. So that's kind of how I like to work. But your your Siris of images, I want you to think of it not as having to tell a story, but as feeling a story as feeling your way through whatever the ark is that you're creating, whatever that through line is. And that could be a much more accessible way of thinking about story. Instead of saying who it has to have a beginning, middle and end, or I have to create a character. No, you don't. It just has toe have a sense of emotion in the through line. Each image convey, build on feeling, or it can provide a road map for emotions to follow. So maybe it's really obvious how you're supposed to feel. Maybe it's not. But what you're doing is you're giving someone the tools to be able to emote with the images every single time they view it, and you could do that many different ways through the images themselves, without really having to tell the viewer very much about what you're doing. Um, you can write about it. An artist statement, for example, lots of different ways that you might be able to communicate that emotional roadmap to people. When we think about conceptualization, we have to think about the understanding of ideation, because ideation the coming up of ideas leads to image fluency. It leads us to be able to say I have ideas. Ideas are abundant because I have a creativity practice idea. Fluency leads to greater image connection, because when you can come up with many really deep ideas, then you're more likely to find one that resonates globally or with whoever you want it to resonate with. Image connection then leads to a better understanding of art and more successful images. The more we can understand every facet of art and everything that you're doing and what you're putting into, that how it connects to people in a deeply psychological way. Then you can begin to create a dialogue and impact and innovation, and all of that is vital to conceptualization. So I hope that you will consider how you can make a Siris of images may be in for 10 air. If you're being more ambitious, that's fine at Minimum five and start to come up with ways that you can make a Siri's that's authentic to you that creates a dialogue and that practices innovation.
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