Raven, Odin artwork, Raven, crow, Huginn and Muninn, Etching, assorted colors, 5 inch x 14 inch 2013 by RAVENSTAMPS

70,00 USD

& quot; & quot; Thought and Memory & quot; in Black, Blue Black, or brown ink on white paper, black on light blue paper, Brown on off white paper, Brown on light brown paper, Graphite gray on light brown paper. 5 inch x 14 inch 2013

The plates for this etching are missing out on so I have remade the plates. Due to the fact that they are brand-new plates I am issuing a brand-new edition.
selected as a finalist and an Award winner in the Animal/ Wildlife classification of The Artist’s Publication 28th Yearly Art Competitors. This is a 2 plate etching
The print is featured in the December 2011 concern of THE ARTISTS MAGAZINE p. 50

The Norse God Odin had 2 ravens – Huginn (Idea) and Muninn (Memory) who flew about the world, delivering messages, gathering understanding and reporting back to him. These were, in truth, the first gods of premonitions. Huginn and Muninn are the premiere messengers of the supernatural world, they likewise represent secret understanding.

Every early morning rises,
Huggin’s ideas and Muninn’s memories;
secret uttered, understanding exposed,
Raven Gods See World Wide.
Odin and his allies of perception,
Huginn and Muninn,
Are a trinity of quiet viewers.

I just made a great trade of this print in black with etsy artist David Bard for an archer & quot; & quot; s Raven Quiver. Take a look at his work!!!:
Http://www.etsy.com/listing/97535649/leather-archery-quiver-with-tooled-raven

www.facebook.com/pages/Larry-Vienneau/ 122094571201575

HOW I PRODUCE MY PRINTS
I frequently discover motivation from a standard or historic account of the raven. First I pick my title. Having a title helps me with the image and state of mind of the piece. Humor is frequently vital but I likewise select titles that compel the audience to think more about the imagery.
Next I check out references to discover the right pose or gesture for the raven or ravens. Then I spend hours doing preliminary sketches, followed by a series of illustrations using pencil, conventional gouache (nontransparent watercolor), ink and charcoal. My next step involves utilizing digital technology. I scan the drawings and rework them with Photoshop. This digital device allows me to adjust the value of the drawing and I can even move and restructure the image. I use filters if required. Next I print the drawing from my computer and continue to draw with the conventional tools. I repeat this procedure a number of times so the traditional and new innovations combine flawlessly.
In 2009 I began dealing with photopolymer etching plates. In the past an etching involved finish the plate with a petroleum bases sealant then emerging the plate into barrel of acid, cleaning with solvents, recoating, and more acid baths. The process was extremely harmful to the artist in addition to the environment. In 2009 I began working with newly improved and safe photopolymer etching plates. These are UV light delicate printing plates, which are exposed in sunlight and processed in tap water!! In the past I would has invested 20-40 hours developing the printing plate. Now I make use of that time to do my finished drawing. I use my computer and printer to move my drawing onto a transparent sheet of plastic. This functions as my negative for the direct exposure to the sun! I make use of the photopolymer process to move the initial drawing to a printing plate from which I can hand print an edition. Finally, I compose a story. This generally takes me the most time of all!

Copyright Larry Vienneau. All Art work is home of the Larry Vienneau and might not be recreated, duplicated, or marketed. The artist allows it’s for usage on blogs or for educational purpose when image is not sold but is attributed to Larry Vienneau. Initial artwork shall not be made use of for promotional/ for revenue or non-profit uses without approval. Copyright is kept by the artist following the sale of the item.