Raven artwork, Raven, crow, black bird, Aesop Fables, etching by RAVENSTAMPS

40,00 USD

& quot; & quot; THE CROW AND THE PITCHER & Quot; OF WATER. & Quot; Aesop’s Fable. Intaglio Etching on Paper, 5 inch by 7 inch 2014.

THE CROW AND THE PITCHER
A thirsty Crow found a Pitcher half packed with water; but when the Crow put its beak into the mouth of the Pitcher he could not reach far enough to get a beverage. He attempted, and he tried, however at last had to quit in despair. Then a believed accumulated to him, he took a pebble and dropped it into the Pitcher. Then he took another pebble and dropped it into the Pitcher. Then he took another pebble and dropped that into the Pitcher up until at last, at last, he saw the water accumulate near him, and after adding a couple of more pebbles he had the ability to quench his thirst.

Moral of Aesop’s Fable: Gradually suffices

Aesop fable proven to be true:
https://www.facebook.com/video/video.php?v=153624407993898

HOW I CREATE MY PRINTS:
I have had a lot of people ask & quot; & quot; What is a hand made print? & quot; & quot; I made this video of to show the printing procedure. https://www.youtube.com/watch?v=DNdYxOSKt1Y&feature=youtu.be

I often discover inspiration from a traditional or historic account of the raven. Very first I decide on my title. Having a title helps me with the image and state of mind of the piece. Humor is commonly important but I likewise pick titles that compel the audience to believe more about the images.
Next I browse references to find the right posture or gesture for the raven or ravens. Then I invest hours doing preliminary sketches, followed by a series of drawings making use of pencil, conventional gouache (opaque watercolor), ink and charcoal. My next step involves making use of digital technology. I scan the drawings and remodel them with Photoshop. This digital tool enables me to change the value of the drawing and I can even move and restructure the image. I make use of filters if needed. Next I print the drawing from my computer system and remain to draw with the conventional tools. I repeat this procedure several times so the traditional and new technologies merge seamlessly.
In 2009 I started dealing with photopolymer etching plates. In the past an etching involved finish the plate with a petroleum bases sealer then emerging the plate into barrel of acid, cleaning with solvents, recoating, and more acid baths. The process was very hazardous to the artist along with the environment. In 2009 I began dealing with recently refined and safe photopolymer engraving plates. These are UV light delicate printing plates, which are exposed in sunshine and processed in tap water!! In the past I would has spent 20-40 hours producing the printing plate. Now I make use of that time to do my completed illustration. I use my computer and printer to transfer my drawing onto a transparent sheet of plastic. This functions as my negative for the exposure to the sun! I utilize the photopolymer process to transfer the initial drawing to a printing plate from which I can hand print an edition. Finally, I write a narrative. This generally takes me the most time of all!

Copyright Larry Vienneau. All Artwork is ability of the Larry Vienneau and may not be reproduced, duplicated, or marketed. The artist allows it’s for use on blog sites or for academic purpose when image is not sold however is credited to Larry Vienneau. Original artwork will not be used for marketing/ for earnings or non-profit uses without permission. Copyright is retained by the artist following the sale of the item.