Visual Arts (BA) - The American University in Cairo
Intro to Painting Course - ARTV 2202
Spring 2015
Course Instructor : Rania Fouad Ahmed
raniafouad@aucegypt.edu
Teaching Assistant : Rawan Mohammad Shaheen
rawanshaheen@aucegypt.edu
Students : Nourhan Hossam Eldin AbouGabal Alia Moustafa KholoudHussein
nourhanabougabal@aucegypt.edu aliamoustafa@aucegypt.edu kholoudhussein@aucegypt.edu
Amina El Banna Mayar Ihab Youssef
aminaelbanna@aucegypt.edu mayaryoussef@aucegypt.edu
Yara Helmy
yara.assem@aucegypt.edu
Record of class activity
o Project 1 Studying color and general introduction about means of modulation. use complimentary colors and black and white to create scale of saturation and scale of value . (studio practice +assignment ) o Project 2 Using chromatic greys to paint a technical drawing of rotating head (studio practice +assignment )
o Project 3 Painting a still life (studio practice collaborative ) o Project 4 Painting portrait (studio practice +assignment ) o Project 5 Painting human figure (studio practice +assignment) o Project 6 Introduction to Monotype /painterly prints (studio practice +assignment) o Project 7 Using monotype painterly prints to create a zine (studio practice +assignment ) o Project 8 Introduction to painting animation (studio practice +assignment o o o o
Project Project Project Project
9 Landscape painting practice (outdoor in Campus ) 10 Introduction to art history and old techniques 11 Introduction to art history and old techniques 12 Final
Project 1 Building Value Scale- gradation from dark to light . An attempt to make chromatic greys and control color saturation complementary colors And create value scale using black and white
Moustafa, Alia D
900100746.
using
Koloud
Khouloud
Aliaa Moustafa
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Check Name :
x
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Aliaa Moustafa
Check Name
Project 2 :
Yara
using chromatic greys to paint
Norhan
technical drawing of a rotating head
Mayar
Kholoud
Aliaa Mustafa
Aliaa Mustafa
Painting still life in chromatic greys
Still life in chromatic grey - Tutorial by instructor in class
Kholoud
Lamia
Nourhan
Aliaa
Above Kholoud’ s
pallete
-a set of
chromatic greys.
Introduction to figurative painting
:
Technique painting with mixed media types
and mono
Concept Expressing the flowing and expressive movements of hands, fingers and faces as well as torsos and limbs , while referring to the documentary “Pina” (Wim Wenders, 2011).This exercise help students capture “thinking bodies” , human relations and dramas, through the act of painting.
Brief tutorial by instructor in class
Brief tutorial by instructor in class
Nourhan
Yara
Nouhan
Nourhan (detail)
Aliaa
Aliaa
Aliaa
Kholoud
Dancing figure -Brief tutorial by instructor in class
Amina
Nourhan
Nourhan
Kholoud
Kholoud
Kholoud
Amina
Amina
Amina
Kholoud
Yara
Nourhan
Mayar
Aliaa
Mono type Brief Introduction to the technique of monotype and the possibility of using it in creating painterly prints as well as painting animation . For Inspiration we discuss the monotypes of Edgar Degas and films by Alexander Petrov and Toccafondo Gianluigi
Kholoud
Kholoud
Kholoud
Yara
Aliaa Moustafa
Aliaa Moustafa
\
Aliaa
Yara (experimental – painted transperant plate over a black and white photograph )
Nourhan Abou Gabal (experimental –painted plate on decorative print )
Rawan (T.A .) duplicating a figure using plate and print\
A brief intro to painting animation
https://drive.google.com/a/aucegypt.edu/file/d/0B7qSoPKCwXwXTG x5TDV6aHkxcHM/view
Instructor work
Aliaa Mustafa
Manar
Nourhan
Kholoud
Landscape painting session
Amina
Amina
Amina
Mayar
Yara
Mayar
instructor
Brief intro to old painting techniques : Gilding ,egg tempera , imprimatura and glazing
Kholoud
Amina
Mayar
Yara
Final
The Unbearable Lightness Of Being By Milan Kundera
One evening, before she discovered his correspondence with Sabina, they had gone to a bar with some friends to celebrate Tereza's new job. She had been promoted at the weekly from darkroom technician to staff photographer. Because he had never been much for dancing, one of his younger colleagues took over. They made a splendid couple on the dance floor, and Tomas found her more beautiful than ever. He looked on in amazement at the splitsecond precision and deference with which Tereza anticipated her partner's will. The dance seemed to him a declaration that her devotion, her ardent desire to satisfy his every whim, was not necessarily bound to his person, that if she hadn't met Tomas, she would have been ready to respond to the call of any other man she might have met instead. He had no difficulty imagining Tereza and his young colleague as lovers. And the ease with which he arrived at this fiction wounded him. He realized that Tereza's body was perfectly thinkable coupled with any male body, and the thought put him in a foul mood. Not until late that night, at home, did he admit to her he was jealous.
2) The heaviest of burdens crushes us, we sink beneath it, it pins us to the ground. But in the love poetry of every age, the woman longs to be weighed down by the man's body. The heaviest of burdens is therefore simultaneously an image of life's most intense fulfillment. The heavier the burden, the closer our lives come to the earth, the more real and truthful they become.
3) This absurd jealousy, grounded as it was in mere hypotheses, proved that he considered her fidelity an unconditional postulate of their relationship. How then could he begrudge her her jealousy of his very real mistresses? During the day, she tried (though with only partial success) to believe what Tomas told her and to be as cheerful as she had been before. But her jealousy thus tamed by day burst forth all the more savagely in her dreams, each of which ended in a wail he could silence only by waking her.
Yara
Nourhan
Mayar