Set Design Arrangement
Brooke Shaden
Lessons
Class Introduction
19:06 2Storytelling & Ideas
27:34 3Universal Symbols in Stories
03:19 4Create Interactive Characters
02:16 5The Story is in The Details
04:13 6Giving Your Audience Feelings
05:49 7Guided Daydream Exercise
04:20 8Elements of Imagery
02:19The Death Scenario
01:47 10Associations with Objects
03:01 11Three Writing Exercises
06:39 12Connection Through Art
30:35 13Break Through Imposter Syndrome
07:40 14Layering Inspiration
23:13 15Creating an Original Narrative
07:42 16Analyze an Image
04:12 17Translate Emotion into Images
04:31 18Finding Parts in Images
06:02 19Finding Your Target Audience
04:05 20Where Do You Want Your Images to Live?
12:01 21Create a Series That Targets Your Audience
32:43 22Formatting Your Work
06:08 23Additional Materials to Attract Clients
07:24 24Which Social Media Platforms Will be Useful?
04:17 25How to Make Money from Your Target Audience
11:27 26Circle of Focus
07:55 27The Pillars of Branding
06:18 28Planning Your Photoshoot
09:05 29Choose Every Element for The Series
07:38 30Write a Descriptive Paragraph
09:37 31Sketch Your Ideas
17:27 32Choose Your Gear
02:50 33How to Utilize Costumes, Props & Locations
26:18 34What Tells a Story in a Series?
13:06 35Set Design Overview
01:43 36Color Theory
19:50 37Lighting for the Scene
12:05 38Props, Wardrobe & Time Period for Set Design
06:00 39Locations
04:31 40Subject Within the Scene
07:26 41Set Design Arrangement
05:46 42Fine Art Compositing
03:46 43Plan The Composite Before Shooting
10:29 44Checklist for Composite Shooting
18:52 45Analyze Composite Mistakes
12:11 46Shoot: Black Backdrop for White Clothing
10:42 47Shoot: Black Backdrop for Color Clothing
08:36 48Shoot: Black Backdrop for Accessories
08:17 49Shoot: Miniature Scene
09:59 50Editing Workflow Overview
01:57 51Add Fabric to Make a Big Dress
08:35 52Edit Details of Images
08:09 53Add Smoke & Texture
10:47 54Blend Multiple Images Into One Composite
24:58 55Put Subject Into a Miniature Scenario
17:55 56Location Scouting & Test Photoshoot
22:10 57Self Portrait Test Shoots
22:30 58Shoot for Edit
04:21 59Shoot Extra Stock Images
10:01 60Practice the Shoot
25:07 61Introduction to Shooting Photo Series
03:33 62Shoot: Vine Image
10:40 63Shoot: Sand Image
09:50 64Shoot: End Table Image
04:59 65Shoot: Bed Image
06:18 66Shoot: Wall Paper Image
05:54 67Shoot: Chair Image
08:02 68Shoot: Mirror Image
06:57 69Shoot: Moss Image
05:48 70Shoot: Tree Image
07:33 71Shoot: Fish Tank Image
04:09 72Shoot: Feather Image
09:00 73View Photo Series for Cohesion & Advanced Compositing
07:35 74Edit Multiple Images to Show Cohesion
36:55 75Edit Images with Advanced Compositing
29:33 76Decide How to Start the Composite
09:35 77Organize Final Images
21:37 78Choosing Images for Your Portfolio
08:19 79Order the Images in Your Portfolio
16:28 80Why do Some Images Sell More Than Others?
16:03 81Analyze Student Portfolio Image Order
11:42 82Framing, Sizing, Editioning & Pricing
02:19 83Determine Sizes for Prints
16:44 84How to Choose Paper
13:56 85How to Choose Editions
07:18 86Pricing Strategies
18:59 87How to Present Your Images
13:26 88Example Pricing Exercise
09:39 89Print Examples
08:23 90Licensing, Commissions & Contracts
04:44 91How to Keep Licensing Organized
06:07 92How to Prepare Files for Licensing
07:28 93Pricing Your Licensed Images
12:33 94Contract Terms for Licensing
12:07 95Where to Sell Images
04:55 96Commission Pricing Structure
08:23 97Contract for Commissions
12:17 98Questions for a Commission Shoot
08:45 99Working with Galleries
08:58 100Benefits of Galleries
07:39 101Contracts for Galleries
10:32 102How to Find Galleries
05:22 103Choose Images to Show
08:53 104Hanging the Images
03:38 105Importance of Proofing Prints
08:04 106Interview with Soren Christensen Gallery
21:59 107Press Package Overview
04:35 108Artist Statement for Your Series
18:20 109Write Your 'About Me' Page
09:04 110Importance of Your Headshot
03:55 111Create a Leave Behind & Elevator Pitch
20:19 112Writing For Fine Art
04:44 113Define Your Writing Style
14:49 114Find Your Genre
06:41 115What Sets You Apart?
02:25 116Write to Different Audiences
05:10 117Write for Blogging
39:57 118Speak About Your Work
14:21 119Branding for Video
07:37 120Clearly Define Video Talking Points
14:27 121Types of Video Content
31:45 122Interview Practice
13:22 123Diversifying Social Media Content
22:32 124Create an Intentional Social Media Persona
24:48 125Monetize Your Social Media Presence
18:46 126Social Media Posting Plan
04:01 127Choose Networks to Use & Invest
02:57 128Presentation of Final Images
19:13 129Printing Your Series
09:16 130How to Work With a Print Lab
13:39 131Proofing Your Prints
10:11 132Bad Vs. Good Prints
03:32 133Find Confidence to Print
10:50 134Why Critique?
06:55 135Critiquing Your Own Portfolio
10:39 136Critique of Brooke's Series
16:18 137Critique of Student Series
40:07 138Yours is a Story Worth Telling
02:09Lesson Info
Set Design Arrangement
So we've got a few different wardrobe options here. And, my particular wardrobe is not very diverse. I have a very specific style, and in fact, I thought that what I was wearing would be really different, but it's not, it looks just like all these things. I tried to wear this to a wedding, but I was vetoed on that one. So, I've got a bunch of dresses here, and I also have a couple examples of props. And the point that I want to make here, is this... This really matters. This, versus this. Which, is still warm actually, this is tea. This is a teacup. Did you know? 'Kay. So we've got two very different props, and if I had said to you, okay guys, we're going to do a photo shoot, I need a teacup, somebody bring me a teacup. What is your idea of a teacup? Somebody might bring me this, someone might bring me this. You don't know, and you have to be so specific about what goes with what. So, same thing with keys. I have had this happen on a number of occasions, where I've said to someone, do ...
you have a key that I could photograph, and then I get this. And this is not a good looking key, is it? Maybe you think it is. I think this is a good looking key though. You know, something really old and timeless and beautiful. And, the fact is, that it doesn't matter which one you like more, but you have to choose really specifically. I wish that I could convey how many times I have looked at people's portfolios, and they'll tell me, okay I want, I want to make images that are, you know, that can go on book covers, that can go on young adult fiction book covers. And then I look at their work, and they've got people wearing jeans in the pictures, you know, jeans and a t-shirt. It's like, I get that that's the easy thing to do, but does that actually work for what you're trying to do here? And often it doesn't. So, we've got keys, we've got books, for example. A normal, everyday book, that you would find in Barnes and Noble, versus, this beautiful thing that we found. I just love this, I know. And the pages are worn, and it's just beautiful, and these kind of details make a big difference. Even, let's just say, I'm gonna do a photo right now, and I'm gonna take these book pages and rip them out, and throw them around the room, and that's gonna be part of the photo. I'm not really gonna do that, 'cause this is my book, and I don't wanna do that, but let's just say we were gonna do that. Look at what a difference it would be, to have these pages, these modern book pages that are crisp white, and nothing's ever happened to them, versus this book, which has the most perfect yellow pages in it. I just love them. So how do we choose props, and wardrobe, and location to all go together? We're in this room right now, which is very lovely, but, uninspiring, perhaps, to us sitting here, in terms of doing a photo shoot. So what if I did have to, what if I did have to do a photo shoot here? What are my options? Well, my options are probably to look down at the floor, in terms of the way that I like to shoot, right? And the background that I like to have. So, I would probably, so let's just say, I love books, I just need to say that, I'm not trying to be disrespectful to books, just in case. So if I'm going to create a scene here, you know my reaction is going to be okay, cover this newness as much as possible. 'Cause I'm not into that. So I'm going to lay these book pages all over the place, and you know, I'm gonna try to create something that covers the whole floor a little bit, makes it look dirty. Maybe I'll bring in some dirt for this image. Maybe I'll have somebody in one of these dresses, just curled up on the floor with the book pages. An easy way to create a scene that is, I was going to say timeless, but let's just say, not of our time, of a different time, because these are not from our time, and these pages are not from our time, and the floor could conceivably not be from our time. What a great way to do that, in this space. To limit the background that you see, to get rid of the noise, to start with the blankest slate possible, because that's what set design and image design is, is thinking of it from the ground up. From having absolutely nothing, absolutely nothing. What are you going to put in that room? What are you going to do? What does your room look like? My room looked like this new series that I created recently, with the yarn on the floor, and the wax on the floor, and things like that. Your room would be totally different, and the way that we would shoot this would be different, but what we need to think about, is what's the difference between these wardrobes? What does this color mean, versus this white color? What does this teacup mean, versus this teacup? Which I think is really just a glass, I don't think this is a teacup at all. I think I've been tricked. So what does it mean? How does it work together? And, are you doing everything possible to make sure that your image tells the story that you want it to tell? And if you are, then, fantastic. And if you are not, there are so many ways that we can do that, and we're going to be looking at that a little bit later on in the class, as well, in terms of how to actually build a photo shoot from the ground up, to be able to communicate what we want to communicate.
Class Materials
Ratings and Reviews
April S.
I tuned in for most of Brooke's lessons in this course and watched some of them more than once as they were rebroadcast. First I want to say that Brooke is a very good instructor. Her easy-going, friendly, down-to-earth, somewhat quirky manner cannot be mistaken for unprofessional. She is very prepared, she speaks well (not a bunch of hemming and hawing), she is thoughtful, she is thorough, she is very relatable and at ease, and she is definitely professional in her presentation. I really thought when I first tuned in that it would mostly be background noise while I was at work, sound to keep me company. Not because I didn't like Brooke but I really didn't think I was into fine art photography nor did I think I cared about the business side of things much. Not now anyhow. I was really wrong. Brooke sparked a deep interest in me to delve into fine art photography, to consider creating images for myself, from my imagination. In fact, I realized that this was something I'd been thinking about for a couple of years though I hadn't put a name to it (the idea of creating pre-conceived images based on my own creative goals). I gleaned many little treasures from her about image sizes, working with printers, different types of paper, selling, interacting with galleries, and so much more. I may not need all of what she taught right now because I'm definitely headed in another direction at the moment, but she planted ideas and information in my head that I know will be useful at some point. Things I may not have thought of on my own, but that seed is in my head now so when the time comes, I'll know. I'd really like to buy her course but at the moment, with the holidays right around the corner, it's not in my personal budget. I'm grateful to have caught the live and rebroadcast lessons though, and her course is on my list to own. I think it's a great reference to be consulted over and over again, not watched once and forgotten. Kudos Brooke for really putting together an excellent course.
Angel Ricci
When the title says comprehensive, it means comprehensive! I loved every part of this course. It's inspirational, motivating, and insightful towards creating art work. Even if you are not necessarily considering a fine art specialty, the concepts discussed in this course are applicable to many areas! I find this super useful as a videographer and photographer and look to apply all of these exercises and concepts for my personal and business work moving forward. It is lengthy, but you will not regret a single minute. Brooke Shaden is an amazing artist and educator. I recommend keeping up with her work, presentations, and any future courses that may come in the future.
Ron Landis
I'm retired now, but spent decades in the people and training business. Brooke is extraordinary! Even though this course is extremely well organized and she's left nothing unattended, she moves through it with friendly conversational manners and without a sense of it being stilted. It's as though we are all her friends, not students, as she shares her heart and passion with us. What a joy it is to listen to her. And what a clear, unambiguous command of her subject. Wow! She explains it with such ease using explanations and techniques that won't overwhelm artists just starting their portfolio or the Photoshop-squeamish among us; but despite its simplicity her resulting art is breathtaking and beyond original. I wish more of my professors at school were as engaging. This was by far my best buy at Creative Live yet.