Lesson Info
59. The Artistic Narrative
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
The Artistic Narrative
This brings us to the artistic narrative and thinking about your overall story in narrative form. What does that mean? What are your narrative Touchstones? The things that you go back to time and time again to define this story that you're telling for me. I have a few different sort of Touchstones that I will always go back, Thio and reference so that they're showing up again and again in the story that I'm telling one of them is that I'm really happy. And yet I create dark art, and I think that's a fascinating narrative to talk about because people are contradictory. We contain multitudes to quote what women, And because we know that about ourselves, we can never, ever be just one thing. And when we try to brand ourselves is one single thing, we get frustrated, we burn out and we get sick of our own business. So I'm happy, and yet I create dark art. I am not afraid to look at my anxieties and examine them and then talk about them openly. I am very interested in interactive art and ope...
n conversations around darkness, and I'm knowledgeable about fine art and how to create it. So all of those things are the Touchstones of my narrative that I go back to again and again to keep working into the story that I tell you about myself. What are the elements of story? We're talking a lot about story. We're talking a lot about how we tell stories and the ways that we communicate that with other people. But what are the elements of story? Well, there are five main elements of story. If you look at it from a very literal standpoint, this is often found in literature. When you're studying writing, there are five elements of story. There's the introduction. How are we introduced to the world of the story? Um, what do you see? What kind of atmosphere is there? What kind of story are you telling? Set the tone. That's the introduction. Then you have the back story. So who are the players in the game? Who are these characters? What do we need to know about them? To move into the narrative story And you might be thinking, Why are we talking about this? Trust me. It's gonna full circle right back into branding and then you have the inciting incident and the inciting incident is the point of no return. It's where you have these characters. You know their backstory. You have the world set for yourself, and then they do something. They make a decision, and whatever decision those characters make, they either go in one direction or another direction. And it sets the story on its course that it will remain on until the resolution after the inciting incident is the conflict. And when we look at conflict, it's really just how are we going to solve the problem? What is the big problem and how is it going to get solved? That could be violently or with sadness or with joy. You never know what the conflict will result in, and that leads us to the resolution. How does it all end? And I talk about this pattern of storytelling because most stories are told in this way, and you could even extend that art and branding. So, for example, if you can identify the way that you tell stories, you'll be more likely to tell stories that resonate with an audience. This goes for your art. First, where do your images fall in terms of storytelling techniques. Are you somebody who tends to photograph and introduction, maybe your landscape photographer, and you always get the sweeping views of mountains or something like that that might be an introductory shot. You're introducing the world to a place that you love. It's an introduction. Maybe you focus on back story. If you're a portrait photographer, what's the story of that person that you're photographing? And how can you really bring that story to life? Will you focus on what makes them them at their very core? The inciting incident is where I fall as a photographer. I love the inciting incident because it's the point where you're not sure what's going to happen. There is a choice that's being made, and I portray this in many different ways. For example, I have images where there are lots of hands holding up, Ah person and some of them look like they're pulling her down. Some look like they're pushing her up, and it's the inciting incident because we have to decide what's about to happen. Is she being held up or pulled down another example of this? Within my work, I have an image with a girl who is falling off of a cliff, and you don't know if she's going to fall down, come back up or fly or just hover there. And it's the point of no return. Something is about to happen that you can't take back. So that's where I fall. And then, of course, conflict. Do you create the conflict oven image? For example, Um, if you're a birth photographer, that's that's the conflict, the moment of conflict. It's where all of these emotions have come to a head and we're going to see what's going to happen. Or is it the resolution? You know? Are you photographing the end of something? How does it end? What is the ending that you're telling? You can also translate that into branding. How do you tell the story of who you are and your art altogether? Well, do you tell it from an introductory standpoint from a character driven standpoint, like the back story? Do you move from a place of I've learned something, but I'm on the precipice of a discovery, you know, where do you fall for storytelling? And when you discover that you can write with more specificity and it's very helpful
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