Raven artwork, Raven, crow, Etching 5 in. x 7 in. 2010-12 by RAVENSTAMPS

40,00 USD

& quot; THE MEETING – sYNCRETISM OF APRIL 3, 33 CE & quot; (Raven Series) Intaglio, Black, Blue Black or brown ink on white paper 5 inch x 7 inches. 2010-12

Raven is a & quot; trickster & quot; in Native American stories and myths, especially in the Northwest region of North America. He’s sometimes a hero, a creator, the father of mankind, and a potent conductor of spiritual forces in the form of sacred dreams.
In Greek and Roman mythology, raven was often a oracle through whom a god is believed to speak.
Syncretism
n 1: the union (or attempted union) of different systems
(especially in religion or philosophy)

In this story Raven is the Creator Spirit. Long ago he traveled around the world to find other Creator spirits. Raven had flown half way around the world and he had all but given up. Finally on April 3, 33 Raven noticed a commotion on a distant hill top. . As approached he realized he had finally found his equal on nailed to a Totem

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

I often find inspiration from a traditional or historic account of the raven. First I decide on my title. Having a title helps me with the image and mood of the piece. Humor is often important but I also select titles that force the viewer to think more about the imagery.
Next I look through references to find the right pose or gesture for the raven or ravens. Then I spend hours doing preliminary sketches, followed by a series of drawings using pencil, traditional gouache (opaque watercolor), ink and charcoal. My next step involves using digital technology. I scan the drawings and rework them with Photoshop. This digital tool allows me to adjust the value of the drawing and I can even move and reorganize the image. I use filters if needed. Next I print the drawing from my computer and continue to draw with the traditional tools. I repeat this process several times so the traditional and new technologies merge seamlessly.
In 2009 I began working with photopolymer etching plates. In the past an etching involved coating the plate with a petroleum bases sealer then emerging the plate into vat of acid, cleaning with solvents, recoating, and more acid baths. The process was extremely hazardous to the artist as well as the environment. In 2009 I began working with newly perfected and safe photopolymer etching plates. These are UV light sensitive printing plates, which are exposed in sunlight and processed in tap water !! In the past I would has spent 20-40 hours creating the printing plate. Now I use that time to do my finished drawing. I use my computer and printer to transfer my drawing onto a transparent sheet of plastic. This serves as my negative for the exposure to the sun! I use the photopolymer process to transfer the original drawing to a printing plate from which I can hand print an edition. Finally, I write a narrative. This usually takes me the most time of all!

Copyright Larry Vienneau. All Artwork is property of the Larry Vienneau and may not be reproduced, duplicated, or resold. The artist permits it’s for use on blogs or for educational purpose when image is not sold but is attributed to Larry Vienneau. Original artwork shall not be used for promotional / for profit or non-profit uses without permission. Copyright is retained by the artist following the sale of the item.