to explain the evolution of idea it is better to start always with an appeal to the source. The word itself comes from French word ‘portail’ and Latin ‘portale’, which means gate, transition, entrance, hole, which allows movement in space. Usually, this word is used to describe both materially physical change of space and metaphysically spiritual one, so this issue may involve multiple planes of existence. The main object of the works is a square with four sides, four vectors of perception, and metamorphosed pattern of concentric squares which are a direct link to an optical illusion, that in it`s turn serves as a portal, the transition from the perception of real to the perception of the plane illusion of reality.
Cycle „Portals 0,5“ depicts two dimensions of perception out of the four created by the author. Two directions of portal perception include both direct vision of this works by the viewer, and the coloristic techniques of the graphic artist during the creation of the cycle. The first vector represents works performed in anaglyph, the second one exposes ones performed in simultaneous contrast.
Description of graphic work cannot focus only on the ideological and conceptual components because technical performance has a great weight value, especially its complexity and cleanliness of a print. Works are created in etching technique, performed in aquatint. Vasyl Savchenko sees the cycle as a portal literally carrying the classic technique of the XVI century into XXI for the purpose of using it as a tool to create actual work of contemporary, so combining the eternal classics with visual illusion. The technique of Durer and Goya, who used it to reproduce realism, the artist uses to deny all real, for him it is the way into the world of metamorphic perception.
Using aquatint and etching, Vasyl Savchenko creates his own technique ‘ЗD’ three-dimensional etching, which is both classic graphics technique and a product of the modern world, current needs, and leisure. Speaking of three-dimensionality it is important to emphasize attention to the specific kind of optical illusion that allowed the artist to create the effect of volume. In these works it is anaglyph.
The main drawback of the method is the incomplete color reproduction. The current three-dimensional image with binocular color mixing effect is seen monophonic or achromatic at a certain ratio of brightness. That is why there is a need and interest in the development of the following three vectors where color is preferred over the volume.
Thus, there is a need for the introduction of the term „modern graphics,“ which is a combination of technical classic and contemporary visualization. The principal originality and value of this work lie in this thesis. At first glance, the works of the cycle „Portals 0,5“ are made with popular now way of digital graphics, that makes work process easier though also takes away the bulk of the meaning given to it by the author. Thus, another meaning of the word portal reveals – a shift from external to internal, graphic works force and encourage plunging into them, to understand their nature, not to stay limited with the brief perception of a surface.
In the process of creating the following segments of the cycle, Vasyl Savchenko had to study the color, its` diversity, and mutual influence. For example, according to Johannes Itten, primary colors are blue, yellow and red. From mixing these three colors, you can get all the others. Blue and red are transmitted from the first anaglyph section to the following ones, while the yellow mediates between them and exposes various combinations of these colors, creating a range of new colors, a new harmony, giving new meaning.
The order to consider simultaneous contrast and it`s optimal usage on the white plane, the author addressed to the circle of chemist Michel Chevreul – the 72-segment color wheel, which is based on three main colors: yellow, red, blue. During the experiments of mixing colors, Vasyl Savchenko was guided by these criteria: chromaticity and saturation. To achieve simultaneous contrast artist uses opposite or complementary colors, diluting their saturation with the achromatic plane surface of the paper so that each color highlights opposite to itself.
from Greek ‘anaglyphos’ – relief, a method of getting a stereo effect for stereo match of ordinary images with conventional color coding intended for the left and right eye. To get a three-dimensional effect special anaglyph glasses must be used where instead of diopter lenses special filters are, usually red for the left eye and blue for the right. The stereo image is a combination of stereo match images in which the red channel shows the image for the left eye and the right one cannot see it because of the color filter and blue channel for the right eye. That is, each eye sees the image painted in a color corresponding to the color filter glass, creating the three-dimensional perception.
associates with visual perception and exists only subjectively, there is no way to accurately measure or fix it. He is at the same time, meaning that color perception is changing under the influence of the surrounding colors. Because of the simultaneous contrast, the same color looks different on different backgrounds. Gray and neutral shades in the vicinity of the rich colors acquire additional shades of color. Supplementary colors similar in tone show the maximum of character and look more saturated. If the two colors that are not complementary are placed side by side, each will change tone and saturation towards the color.
2015 – 2016