Lesson Info
53. Materials for Alternative Processes
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
03:14 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
Materials for Alternative Processes
I am so excited to talk to you about mixed media and how you can create original images out of your prints. We've talked a little bit about limited edition and open edition prints, and I want to go into a little bit more detail about that here. So this print that you see here, it could be one of many. There is no telling because it's not numbered and it is completely digital. So digital prints can be printed as many times as you want you, as the artists are the one who gets to specify if there are five of a print of a print, 500 of a print or unlimited. So whatever you decide as the artist is what goes. And it's sort of this moral agreement that you make with the person buying it that you will not print more than that many of that picture at that size. However, if you want to do away with additions, then you can focus on original prints, which is to say, I'm going to print this once and never again. Technically, you could do that with a completely digital image, and that would make it...
one of a kind. And the way that some people do this when you have multiple prints that are auditioned in different ways is to addition. Let's say you're small size out of 20 and your medium size out of 10. But then saying the biggest one that I'm ever going to print on Lee going to print one of, and that makes it an original at that size, you could also Onley print it once at any size, making it truly an original. Or you could alter the print in some way so that it truly could not be replicated. What you have done is added something onto the print so that nothing can ever replicate it unless you take a picture of it. But it won't have the right texture. So I want to show you a few different things that I have done. Thio add to my prints and make them originals, but at the same time create more interactivity in my Siri's. So this is Samsara that I already showed you, and I want to show you a few different ways that we can judge up these prints and do something a little bit different to them. I talked a little bit before about the hair, and it was pretty gross and probably there was a lot of groaning, but I wanted to show you the image that I made from the hair. So I asked a bunch of people online if they would send me their hair, just like from their brushes and stuff. And it sounds worse than it is. Or maybe it sounds as bad as it is. I'm not sure, but this is what came of it. I created this image and I photographed all the hair balled up together, and this is what I made. Now one way that I could enhance this image potentially is to use the hair. I'm only gonna pull my hair out, so it's okay. But I might take the hair and actually apply it to the print, which I could do, using a role on glue of some kind, anything that would kind of fix it. And then it has this physicality to it. The way to maintain that when you exhibit images is to go ahead and frame it in a shadow box or a really thick frame where you have a lot of distance between the glass and the print. That way you maintain the depth of it, which is how you can really tell that it's an original print putting the hair away. Don't worry. Okay, Bye bye, hair. And another way that I've been thinking about interactivity is by including mawr than just photography or even mixed media and prince into my Siri's. So I'll be, uh, doing some writing. And I have these sheets of paper here that will be exhibited alongside the artwork. I got this really nice textured, antiqued paper that I will be typewriting on and I haven't done this yet, but I had some people from the Internet send me eulogies that they had written about people that had died in their lives, and I took the eulogies and created redacted poetry from it. So I crossed out all of the words that I didn't want shown, and Onley left select words throughout the eulogies to create a poem out of the eulogy that will be printed on here in a typewriter and exhibited alongside the Samsara pieces so that you have thes redacted eulogy poetry pieces to go along with it. And this is another physical way that you can add interactivity to the scene. Now, if you want to take it a step further, as I really hope to do during this exhibition, I'm not going to have a station where people can type their own sort of eulogies and write a eulogy about themselves while they're at the exhibition, which I hope is going to be a fun. Maybe fun is the wrong word, an interesting way of interacting with the theme of death and grief, as this is the Siri's that I'm making. So there are a couple more ways that we can do fun things to Prince. And what I hope this encourages you to do is to start thinking outside the box to start thinking inter actively and physically about the work that you're creating, because in my opinion, work doesn't stop when it's published. It really eyes enhanced by having something physical, like a print to show for it. So these air, all of the prints that I have here that I have made and I'm going to be painting on this one, so I'm going to set that aside and just show you, ah, couple of the images that I have here. So we have this one, um which has a lot of little death masks on it. Um and, ah, lot of different options for painting or applying different materials to the prince. So that's something that I am really looking forward to doing. And I'm going to do one of them right now, Like I said, we would be going with this one. And this makes the most sense to me because it is already very painterly. So I'm creating with the end product in mind. I'm not creating from the standpoint of I wonder what I should do. I hope it turns out okay. I have the concept in mind from the very beginning and even all the way through printing and whatever I'm going to do to this particular image. I made it extremely painterly. And I even added digital brushstrokes onto this image so that I could then follow those guidelines of adding my own brush strokes when I added paint to it.
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