Teaching Outcome Website

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1. TEACHING OUTCOME SHEILA GOLOBOROTKO
2. Basic Printmaking Linocut, Woodcut, Collagraphs, Water and Oil Based Monoprint, Basic Intaglio, Photo Etching and Lithography. Printing Methods: Multi-plate, Reduction, Chine-collé, à la Poupée Printing.
6. Photo Silkscreen Direct Authographic Markings, Digital and Photo Methods Color Separation, Spot printing, Halftone and 4 Color Printing (CMYK)
14. Lithography Stone, Aluminum Plate, Polyester Plate, Photo Lithography Direct Authographic Markings, Digital and Photo Methods Color Separation, Spot printing, Halftone and 4 Color Printing (CMYK)
19. Intaglio Etching and Dry Point, Hard Ground, Soft Ground, Aquatint, Spit Bite, Deep Bite. Printing Methods: Multi-plate, Reduction, Chine-collé, à la Poupée, and Color Viscosity Printing.
29. Large-scale Woodcuts Large scale woodcuts printed collaboratively with the use of a steamroller. Students participated in Relief class Art + Politics and wrote manifestos to accompany prints.
36. Multiple Ones An exploration of multiple printmaking techniques that create one-of-a- kind and variable editions. This course includes: oil and water based monotypes, collagraphs, porchoir, and silk monotypes.
43. Media Intervention An exploration of multiple printmaking techniques combined with multi disciplinary media approaches including the integration of digital, sculptural, site-specific, 3D printing, and time-based media Click on links to view Time-based Media Video Animation using Monotype and Intaglio Prints by Taylor Bizancio, Media Intervention, Fall 2013 http://www.goloborotko.com/wp-content/uploads/2014/10/ BISANZIO_intaglio.mov Video Animation using Monotype and Intaglio Printsby Vincent Spano, Fall 2014 http://www.goloborotko.com/wp-content/uploads/2014/10/Vinnie- Spano.mov
58. Direct Independent Study Students from various majors area pursue in-depth a particular area of interest not covered in the regular curriculum and produce multi disciplinary projects including fused glass, sculptures, ceramic, digital and traditional prints
59. Independent Studies Project with MFA Printmaking student Kate Gesel Student is working with a combinaEon of screen prints and glass fusing. Specially designed wooden containers explore the legacy of American NaEonal Parks and the idea of gentrificaEon, development and land conservaEon.
60. Independent Studies Project with BFA Ceramics student Megan Grey Student developed a series of woodcuts and silkscreen as a s a source of exploraEon for 3D modeling and laser cuts imagery inspired by geometrical paQerns of early American quilts. The final projects were a combinaEon of ceramic Eles and uElitarian objects built with complex color ceramic inlay process.
61. Independent Studies Project with BFA Ceramics student Megan Grey Student developed a series of ceramic pieces and converted onto digital prints.
62. Independent Studies Project with BFA Ceramics student Megan Grey Student developed a series of ceramic pieces that inspired handmade books.
63. External Advisor to MFA Ceramics student Jessica Lombardo Student is working with a combinaEon of wooden structures, handmade paper and silkscreen on ceramic sculptures to describe her recreated memories of inhabited and familial spaces.
64. Independent Studies Project with BFA PainEng Major Shaun O’Hanlon Student used a combinaEon of digitally printed images of scanned prints on Epson MaQe paper as a base for mulE color silkscreens and monotypes.
65. Independent Studies Project with BFA Printmaking Major Ryan Murray Student produced natural dyes and pigments to be used as inks in lithographic process. She documented the process and created color charts with several diluEons of pigments and illustraEons of pigments sources.
66. Independent Studies Project with BFA Photography Major Tina Remine Student used a zinc plate as the prinEng element and scanner as a camera and proceeded scanning the object with various intervals of opening and closing scanner. Horizontal lines were created both as a result of using various lpi resoluEon and the choice of keeping scanner operaEng without interrupEon. These intervals were carefully recorded and the scanned images were printed digitally on acetate. The final project is a spiral bound book were the horizontal lines of various thickness and colors rebuild the original prinEng element.
67. Students Research Mentorship is a noble role that I take with serious responsibility and pride. To printmakers, mentorship is part of the genealogy of professionals, professors, and apprentices. It is doubtless one of the most important factors of students' success; I value the relationship with my mentees and celebrate their individuality, research and successes. I set a high standard in my professional life because I want to inspire students to research, produce and exhibit high caliber work. I share wisdom, resources, and practical advice about my professional life and practice.
68. Tropico Method Results Discussion Introduction The prints I created reveal the life and hardship of women in my family that directly or indirectly raised or help shaping me to the person I am. Growing up in Cuba I heard their stories and saw their tears. Tropico is a creative research project that poses several questions to our society: • Could I, a Hispanic young male artist, be able to recognize, expose, and empower people through a series of prints? Tropico, a suite of woodcut prints on paper: • Documents issues of poverty, domestic violency and opression. • Reflects on socio-economic and gender role issues in our society. • Empowers people to reflect and discuss cultural and socio-economic issues. • Poses and answers personal questions. • Impacts viewers’ lives. The purpose of this creative research project is to recognize, expose, and empower people living under poverty, abuse and discrimination. From these narratives I translated their life experiences, struggles and misfortunes into imagery that combines their physical appearance with their emotional state. I started by interviewing the women in my family and created sketches. Later on, I carved recycled wood blocks and printed 21 woodcuts each representing a female family member across multiple generations. My artistic project and research honors all people that survive violence and abuse growing up. This project allowed me to explore an array of emotions according to each person and their life trajetory. Their presences and stories are forever engraved in my heart and my work. Limited Edition of Woodcut Portraits exploring socio-economic and gender role issues in our society Ricder Ricardo • Can personal life stories documented though imagery become universal narratives? • Did these prints document the suffering and bravery of women living in societies surrounded by discrimination and inequalities? The harsh lines made in a soft-sanded wooden block represent the cruelty and the agony these women went through in their lives.
69. ster•e•o•type:Portraits of immigrants in Contemporary America University of North Florida Department of Art and Design College of Arts and Sciences Introduction Method Results Discussion ster•e•o•type: series of self-portraits reflecting my state of mind during the current turbulent times in America. Since many political changes and uncertainties directly affect me as an immigrant, in this work I illustrate how fragmented, voiceless and hopeless I feel as our human rights are stripped away by our own government. These senseless governmental decisions affect my family members and friends most from different nationalities, ethnic, social and economic background. In some sculptural pieces using fragmented parts of the body I construct a raw self-portrait of what it means to be a Cuban- American immigrant in the permanent exile of my country of birth. In others, portraits from immigrants of many other nations, are developed as landscapes where each immigrant is associated with stereotypical imagery and preconceived notions. These portraits are representational metaphors of each person and the way they are perceived. Three-dimensional portraits are hung and lives are exposed as meat: butchered and hung in the markets. People I carefully portray are often disregard by society; most are overlooked and all are undervalued. I use my voice to call attention of how hollow and shallow our society is and to give voice to immigrants often superficially seen and stereotyped. Working class immigrants live’s are a painful reality with freedom is under siege. How can we stop viewing immigrants as ster•e•o•types? Using digital photography I work with individuals from minority groups directly affected by stereotypical associations. Added props identify and connect each individual to stereotypical beliefs created by others. With digital software I enhance, fragment, and overlap imagery creating a digital collage that is digitally printed and combined with overlying painting of stormy seas, ripped up clothes, exotic flowers, or exuberant fruits connected to each person. Portraits are mounted on recycled wood and hand cut out. Ricder Ricardo BFA, Major in Painting, Drawing and Printmaking and Photography minor SHEILA GOLOBOROTKO, ASSISTANT PROFESSOR, PRINTMAKING Self portrait: photographic reference for pose Desintegración: the making of a large-scale woodblock and printing with a steamroller Self portrait drawing with added composition Projecting scanned drawing to woodblock Drawing the map of Cuba and background Using photograph as a reference for details Inking woodcut large-scale woodblock Steamroller printing and print Woodblock with carving in process Final woodblock print over cotton Manifesto: The way immigrants are portrayed in the contemporary world is conflicting. We must not disregard stereotype profiling in our government and our streets. We must bring awareness to all that different immigrant groups are affected by discrimination, misconception and inequality. We must come together as a society and share our similarities as a species.
70. FIRC Mentors: Trevor Dunn Sheila Goloborotko Sample Batches Nine batches of the six selected materials were created to test the balance between the refractory materials and the fluxes. If the refractory content is too high then then clay will be under fired causing it to be porous and weak. If flux content is too high then the clay will be over fired causing the work to melt in the kiln. Batch # I II III IV V VI VII VIII IX Foundry Hill Cream 10 10 10 10 10 10 10 10 10 Grolleg 5 5 5 0 0 0 0 0 0 Tile 6 15 15 15 20 20 20 25 25 25 OM4 20 20 20 20 20 20 15 15 15 Custer Feldspar 30 25 20 30 25 20 30 25 20 Pyrophyllite 10 10 10 10 10 10 10 10 10 Silica 10 15 20 10 15 20 10 15 20 Vitrification Test A small sample of each batch was made and fired to cone 10. Once the tiles were fired they were weighed and documented. Then each tile was placed in boiling water for 15 minutes and weighed again. Any tile that was underfired would be porous which would allow water to soak into the pores. Samples with no weight gain would show that the sample matures at cone 10. Batch I II III IV V VI VII VIII IX Before 14.0 13.4 14.2 13.5 12.9 14.6 14.8 15.2 12.6 After 14.0 13.4 14.3 13.6 12.9 14.8 14.8 15.3 12.7 Gain o o + + o + o + + Samples I and II were both removed because Grolleg is not an ideal material for the body. Grolleg is a very ‘clean’ kaolin meaning it fires very white. The other clays have trace amounts of iron in them which works well in the wood firing process. Sample V was chosen over sample VII because 25% custer feldspar is the ideal for clay bodies. Casting Slip Clay recipes contain different materials that must work together to create a body that fires to a specific temperature. Clay bodies are made up of three different types of materials, clay which is refractory, flux, and a glass former. The two types of clays in this recipe are ball clays and kaolins. Ball clays have a much smaller particle size than kaolin so it is important to have both for a casting recipe. The ball clay in this recipe is OM4 and the kaolins are Foundry Hill Cream and Tile 6. Clay on its own naturally has a high firing temperature, this is brought down with the addition of a flux, in this case, custer feldspar. If the feldpsar content is too low then the clay body would be porous and leech water. If the feldspar content is too high then the work inside the kiln could melt into a puddle. The other type of material in a clay is the glass former, in this case it is 325 mesh silica. This recipe also contains the unique material pyrophyllite which is a non-clay however it is chemically similar to clay. It can be substituted for silica or feldspars to help raise or lower the firing temperature. It also helps prevent thermal expansion, reduces shrinkage and improves the strength of the clay. For these reasons, it is included in every sample at 10% as a constant. Clay Body Research: Cone 10 Slip-casting body formulated for wood fired kilns William Mueller Abstract This research focuses on developing a slip-casting clay body designed to be fired in a wood-burning kiln. Six specific raw materials each influence this clay body formulated towards a unique style of work. Clay is a complex material. During the firing process, the kiln reaches 2350°F and vitrifies the clay body. The materials chosen all play a role in keeping the clay in balance during the extreme conditions of the firing. The body is one that is used for slip-casting. A process where deflocculated slip is poured into plaster molds to create thin clay shell of the cast object. Deflocculation is a process in which a dispersing agent is added to the clay slip. This Dispersant changes the electrical charge of the clay particles which causes them to attract to each other to create a tighter structure. The water needed to lubricate these particles is then drastically reduced which increases the density of the clay. This density is necessary in order for the clay to maintain its strength while still being fluid enough to pour into and out of plaster molds. Deflocculation Ten cups with 200 grams of clay and 80 grams of water were lined up with two drops of Darvan 7 in the first cup, four in the second, six in the third and so on. Once mixed, the first few samples that were too thick to pour received 20 drops of Darvan 7 and placed at the end of the row of cups. This puts the most fluid samples in the middle and provides a full range from under-deflocculated to over-deflocculated. Observances were made on each sample for viscosity and gelling. After the most fluid sample was found, 50 drops of Darvan 7 was weighed to find the weight per drop in order to calculate how much Darvan 7 was in the sample. This test resulted in 0.84% Darvan 7 per the weight of the dry materials. This test was slightly misleading most likely because of poor mixing and small sample sizes. With 5000 gram batches, results were easier to measure more precisely and the after a few batches, the Darvan 7 was lowered to 0.71%. Once no more signs of over-deflocculation were observed, water was added until the slip because very thin and pourable. 40% Water was the starting point but at 43% water the slip became the right consistency. This percentage gave the casting slip a specific gravity of 1.73. Observations and Results During the deflocculation process, a lot of over and under-deflocculated clay was observed. A correlation between a properly deflocculated clay and the way it reflects light was observed. As the clay particles are deflocculated they lay flat against each other instead of their usual structure. This allows light to reflect sharply off the surface of the clay. As the clay starts to gel, this sharp reflection is lost and light begins to scatter more. This can be used to fine tune casting slips. The result of this research is a casting slip that works well for short casts of small objects. This body has a poor casting rate and it is due to the lack of particle size distribution. OM4 and Foundry Hill Cream both have good particle size distribution but Tile 6 does not. Tile 6 is mostly comprised of very small particles, below 2 microns. This causes the slip to demand a lot of water to lubricate these particles. In addition to poor particle size distribution each clay in the recipe contains a high CEC/MBI number which deals with how much particle surface area is present within a certain area of space in the clay sample. The higher the number, the less friendly the clay will be for casting. Switching out Tile 6 for EPK is one change that would significantly improve the casting rate of the body. Another possible change would be switching the Foundry Hill Cream with Grolleg.
71. Introduction Method Results Discussion Circumvolve: Narratives and Responses to Life Cycles Rachel Huff Smith The Museum of Contemporary Art Jacksonville (MOCA) Student Artist-in-Residency includes studio space at the Museum for the Fall semester followed by a three-month exhibition of the work produced during that time. I am honored to receive this opportunity for 2017-2018. I created a painting series in response to my simultaneous experience of new motherhood and grieving the deaths of my mother and grandmother. The seasons of life Circumvolve in a continuous cycle. Birth, growth, and death are universal realities. Circumvolve investigates questions, such as: Does a connection remain regardless of a person’s presence or ability to reciprocate? What happens to love when the beloved is gone? What are the best ways to render a story? Can a painting capture the emotion of an experience in a way that touches a viewer with their own experience? I hope that by addressing our personal responses to the life cycle, we find shared truth even in disparate circumstances. I utilized studio space at the Museum to draw and paint using repurposed family snapshots and photography that I created and edited digitally. I generated the painting series from concept to production and then to exhibition which included drawing, writing, recollecting family stories, collecting family snapshots and photographing new imagery for painting reference. Paintings were completed in oil and acrylic paint. Sharing both abstract and realistic elements, the figures painted in oil and acrylic reflect distorted memory, grief, longing, and joy. - One of the best experiences of this residency was working as a full-time artist while still being a student. - It is very challenging to express an emotionally charged topic in large quantity on a limited timeline – and it is very rewarding. - I explored different ways of working with both acrylic and oil on one painting using acrylic as a first layer. This proved to be effective for creating abstract backgrounds but limiting as oil dries slower allowing for more changes. - I completed a series of 12 paintings in oil and acrylic on wood panel. They are medium sized paintings measuring about 35” x 24.” Laugh with Me, Acrylic Paint on Wood Panel, 35” x 24” Shine Baby Shine, Acrylic Paint on Wood Panel, 35” x 24” So Thankful I Have Your Smile, Acrylic Paint on Wood Panel, 35” x 24” Tired of Missing You, Acrylic and Oil Paint on Wood Panel, 35” x 24” Community Painting Process Results I invited MOCA studio visitors to participate in the creative process to give them the opportunity to respond to the theme of the series with their own mark making. At monthly Art Walk events, participants considered their own relationship with the circle of life and experienced the process of mark making as expression. Release and Create, Acrylic Paint on Wood Panel, 32” x 80” Participants experienced many of the same challenges that I did in the creative process of how to tell a visual narrative. Mentor: Sheila Goloborotko, Assistant Professor of Printmaking
72. SYNTHESISCity+ Nature System A system of urban identity which embodies, creates, and preserves natural space. Unique components converge to create organic space. In this creative research project, I bring attention to the impending need for design- based responses to the global climate change crisis. These solutions, when utilized in tandem, are designed to foster a sense of respect, responsibility, and appreciation for the environment, while improving the quality of both human and non- human life. It is my hope that through simulated experience of the future, we can bring ourselves closer to a reality in which these solutions are actualized - and in which our existence with nature is not separate, but synthesized. TM 0 ft. 9 ft. 4.5 ft. 4.5 ft. 4.5 ft. 4.5 ft. 9 ft. 7 ft. SMART+STREET GROUND+WAY A series of tunnels which provide multi-modal access to and from the city without disrupting the surface ecosystem. Underground vehicle storage saves surface space, minimizes street widths, and enables pedestrian networks. GREEN+GRID A street level grid which provides park access to the entire city. The organically flowing network is designed for people’s social and recreational needs, and facilitates primary transit routes. ECO+BRIDGE Massive bridge used exclusively by native flora and fauna. Provides a migratory route for fauna with minimal disruption from humans. Its width minimizes noise and light pollution. Tunnels allow people to pass discreetly underneath. TOPO+ROOF Use of natural topography and flora to determine the roofing of each structure. All roofing is dedicated to the preservation and experience of natural land, therefore there are no private roofs. Individuals may access the roofing via elevators, stairs, and bridges. Advanced system of streets designed for pedestrians and public transit. Incorporated flora provides water purification, drainage, and some food resources. Technologically outfitted streets monitor lighting, traffic flow, and resource collection throughout the city. Project by Zachary Mease Mentorship by Jenny Hager: Professor of Sculpture, and Sheila Goloborotko: Assistant Professor of Printmaking
73. SHEILA GOLOBOROTKO www.goloborotko.com