Using Paint and Clay as Texture in an Image
Lesson 20 from: Creating a Fine Art SeriesBrooke Shaden
Using Paint and Clay as Texture in an Image
Lesson 20 from: Creating a Fine Art SeriesBrooke Shaden
Lesson Info
20. Using Paint and Clay as Texture in an Image
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
Using Paint and Clay as Texture in an Image
now I love to think about how I could get texture into an image, because when somebody sees something with texture, they feel like they can touch it, creating tangible works, especially when you're putting it on the Internet is so important. You want to feel like you can reach out and touch something, and it's gonna feel like something. And it's sort of like using all of your senses. When I study writing, they say that you're supposed to write with all of your senses well, the same with creating to me. I would love to be able to create texture so that you you know what the image feels like if you were really, there is just one more sense that you can play on, and I think that's always a good thing. I love to use paint in my images on skin because it just gives a different texture to the skin, which you can see here in quite an extreme example of that. And it doesn't have to be that extreme. And of course, all of this take it or leave it if it's your style or not. But what I hope that y...
ou gain from This is understanding that you can find innovative ways to elevate your work that air really fun and sometimes messy. But that's the best kind for this particular image. I just went into my kitchen and I gathered whatever I could find and made a group. I don't even know what was in this mixture. It was just a group of whatever I could find in my kitchen. And I don't know if you haven't gotten your kitchen and made a cocktail that you can pour over your head lately, I highly recommend it. It's very fun, and this may not be your style again, but just see how creative you could get for my new Siri's Samsara. I have been doing paint and syrup mixed together, and the benefit of this is that the syrup. When you press your hand on it, we'll kind of take away some of the paint that's already on your skin. So it's creating this really weird kind of speckled texture on your skin. It's almost like if you think about painting a wall, you might do like a sponge effect on it, and it's kind of the same effect by using painting syrup combined. I've used glue, which is surprisingly easy to get off. Like I think, of all the things that I have asked models to dio, they have said this is, surprisingly, the easiest one. Wax, however, is the hardest one, so I do not recommend pouring wax all over someone unless you have a really good plan to get it off. But it looks awesome. Clay is another way that you can create texture on skin or on a backdrop or on a prop. That's the other thing that I wanna make clear is that I'm using these on people's skin. But you don't have thio. You can use them on props. So let's say that you found a key that you would like to photograph. Just a simple key. But it looks new. It doesn't quite look right, and you can't just rub dirt on it because it'll fall right off. Well, Clay would be a really good option to rub on the key to make it look really aged because it's going to stick. So find different materials that will work on different props and see how that goes for you
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