Oil Painting on Prints
Brooke Shaden
Lesson Info
54. Oil Painting on Prints
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
Oil Painting on Prints
This is oil paint that I'm using, Um, particularly these right here. I brought with me some yellow because, like we've been talking about, the whole entire Siri's has this visual overtone of yellow to it, so I wanted to make sure to enhance that with this on. I also brought some black so I could make it a little bit dark and mysterious. If you are going to add paint onto your prince, which it could be acrylic like I have here, it could be oil. I mean, you choose what you want. Always make sure that you mix the paints together so that you have original colors. Because if you don't, then you're going to get whatever's in the bottle, which means that other people could get that exact same color. So try to keep it original by mixing your paints together. I'm gonna go ahead and just apply a little bit of paint to this, and I'm using a brush that was kind of hardened already to apply it because I don't want any flexibility here. I want to really dab it on and exactly the right spot. Here we ...
have the paint, I've got yellow that I picked out for the image We've got black, which I decided would be the best thing for mixing together to make my own color. And then I have a gel medium which thickens up the paint so that I don't have to use a ton of oil paint, and instead I could mix it with this medium to make it thicker. I really like to apply for thick paint to my images, but something that I've never tried is watercolor, for example, which I would love to do because I think it would be really interesting. So don't limit yourself to what I'm doing here. I'm just experimenting and I am not qualified to teach this. It's not like I'm a professional at applying paint. I'm just doing what I think looks good. And I think that's super fun. So I'm gonna take some of the yellow mixed with the Joe medium and just kind of mix it in there and then add some black to that again. Nothing really fancy. Just seeing what I could dio and that was way too much black. So I'm gonna add more yellow. And this is why I said I'm not a professional at this Like, I don't know precisely the right way of mixing paints and all of that, but you don't have to be. You just have to be willing to try these things. So, um mixing, mixing. I'm gonna get a little bit more yellow out of the tube to brighten it up just a little bit. And then I'm going to start to apply it to the print in a way that I think is going thio, um, enhance the texture that I've already put on there, which I did do a lot of text during work already for this image. So let's get that mixed up. There we go. Perfect. And I'm going to start applying. So I'm gonna take it and apply this perhaps, just like right on the area where I already see some streaks wherever. I already helped myself by giving myself guides. That's what I'm doing. I'm just kind of dabbing it on again. No, no. Prescribed a way of doing this, but really, this goes into your training as an artist, as a photographer or a visual artist. It's just about understanding when it's going to enhance and when it's going to take away just like an editing. You understand when it is adding something to the image and when it's not. So I'm trying to follow natural lines of my body and natural highlights in this image. So I see that there's a highlight here on the leg. I'm just gonna dab, dab, dab, and I'm letting it remain thick. So I am not right now attempting to brush this on evenly. I'm creating distinct lines within the image so that I'm enhancing it. Now. If I had other colors, I would do this with other colors so I might try red streaks in here. Um and I could even try some black, so I'm gonna take a different paintbrush. Now, I'm just gonna set this one down and I might try, Let's try with the palette. So I've got the palette knife here, and I'm gonna get some of this black and dab it on maybe, like, around the hair. And I'm going really, really thick with that. So I'm just gonna basically create almost like a highlight, uh, in the background here, if you want to get something a little bit thicker than what we have here instead of using so much paint, you can use this awesome product, which I love, which is a pompous gel, and you can get this in varying thicknesses and textures. So what this is, is it's basically a gel medium that has texture already in it. I love creating texture, so this is one of my favorite things. I'm just gonna wipe this knife off and grab some, and you can see it's like this really fun. Kind of, uh, it's almost like gravel, and you can use that to mix in to your pain so that it has this texture already in it. You just kind of mix it until it's completely coated, and once you find that it's completely coated, you could essentially do the same thing. So you can go in there with the coded promise Joe, and it creates a natural texture. You can even hear it when I scrape. It's It's like you're scraping rock because of that Joe medium in there. So these are a couple of ways that you can apply paint to your images, and it totally depends on what you're going for. Like I said so I wouldn't really go this thick on this print. I'm just doing it to demonstrate. But to finish this image when I really go for it, I'm going to include yellow streaks, red streaks and maybe even some lighter yellow for highlights and just follow the natural contours of the body. Now you might go really extreme with this or not. So some of the images that I have here, I will go very extreme with what I'm adding onto them and others. Not so much so it's all just a matter of preference.
Class Materials
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