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9 by 12 inches on heavy archival professional metallic photo stock with a uv/scratc/moisture resistant coating.
I did a number of these engravings as a set, partially as a practice run at intaglio.
They were done on Ampersand Art clayboard: an archival tempered hardboard surface coated in white clay and india ink.
Though they were all done within the span of a couple of months, this is one of the very earliest of them all – This was, I think, my 5th such go at engraving.
I was stranded in an ice storm in deepest, darkest Missouri at the time – power was out almost statewide, weeks I in our region. I was reading whatever books were handy, and thinking of someone who was on the other side of 20 miles of fallen trees, darkness, and panicked people. These particular scene out of C.S. Lewis’ Perelandra” struck an accord with me.

Printed area is 8.5 by 11 inches on heavy photographc professional metallic stock in archival pigment inks.
I did a number of these engravings as a set, partially as a practice run at intaglio.
They were done on Ampersand Art clayboard: an archival tempered hardboard surface coated in white clay and india ink.
Though they were all done within the span of a couple of months, this is one of the very earliest of them all – my first being a remake of Gustave Dore’s “the Raven” (done to decorate my own wall). This was my third lifetime go at engraving.

From the engraving, larger to better showcase the incredibly small detail in this piece.
Printed on heavy archival metallic professional photographic stock in archival inks.

Printed at 9 x 6 inches, this is a fine art reproduction of the original painting from Myke Amend – a beautiful, serene, and equally strange piece, with bizarre lighting and shadow effects which make some objects and figures seem to lean out of the painting.
This surreal piece is heavily-influenced by “Spirit Walking” (“long-term sleep deprivation” as we like to call it).
These are printed in Epson Ultra Chrome k3 archival inks on high-quality heavyweight metallic professional photo stock. They are uv-sealed for a longevity of about 200+ years, moisture and scratch resistant.

Framed in a solid wood fram hand-crafted by Myke Amend, total size Framed: 8×11.
This fine engraving depicts a rather Lovecraftian creature of the deep embracing a submersible craft, much like the Nautilus of Jules Verne’s 20,000 Leagues Under the Sea.Atop the oceanic mountain in the far background rests an ancient and forgotten temple, marked at its entrance by the sigil of Dagon.Though small, these engravings are so incredibly detailed, that no web image could ever do them justice. Rest assured, this is a very fine piece of work, and very skillfully crafted.Properly matted and framed, it would make an excellent addition to any space.These engravings are done on archival claybord – a thick, tempered archival hardboard layered with archival white clay and india ink, all acid-free. The archival rating on these pieces is 200+ years.

An unhappy sleepy deity wreaks havoc on a pesky lighthouse.
This piece is highly detailed, with incredibly fine linework.
The engraving is done on archival Ampersand Art Clayboard – a tempered hardboard surface layered with white clay and coated in india ink.
Size: 9×12 inches

A tiki-culture piece I did on my return from California
This piece is highly detailed, with incredibly fine linework.
The engraving is done on archival Ampersand Art Clayboard – a tempered hardboard surface layered with white clay and coated in india ink.
Size: 9×12 inches
 

Sophia, our Goddess…

What lambs are led to slaughter, are for the good of the flock; Who would keep them from the cliffs, were their stewards to perish?
This piece is highly detailed, with incredibly fine linework.
The engraving is done on archival Ampersand Art Clayboard – a tempered hardboard surface layered with white clay and coated in india ink.
Size: 9×12 inches

8×10 inches
I did a number of these engravings as a set, partially as a practice run at intaglio.
They were done on Ampersand Art clayboard: an archival tempered hardboard surface coated in white clay and india ink.
Though they were all done within the span of a couple of months, this one was one of the very first.

9×12 inches
I did a number of these engravings as a set, partially as a practice run at intaglio.
They were done on Ampersand Art clayboard: an archival tempered hardboard surface coated in white clay and india ink.
This one is a little bit 80’s, which I enjoyed doing.

5×7 inches. Framed in a solid wood fram hand-crafted by Myke Amend, total size Framed: 8×11.
I did a number of these engravings as a set, partially as a practice run at intaglio.
They were done on Ampersand Art clayboard: an archival tempered hardboard surface coated in white clay and india ink.
They were all done within the span of a couple of months. This was done on a whim, Lovecraft inspired.

9×12 inches
I did a number of these engravings as a set, partially as a practice run at intaglio.
They were done on Ampersand Art clayboard: an archival tempered hardboard surface coated in white clay and india ink.
Though they were all done within the span of a couple of months, this is one of the very earliest of them all – This was, I think, my 5th such go at engraving.
I was stranded in an ice storm in deepest, darkest Missouri at the time – power was out almost statewide, weeks I in our region. I was reading whatever books were handy, and thinking of someone who was on the other side of 20 miles of fallen trees, darkness, and panicked people. These particular scene out of C.S. Lewis’ Perelandra” struck an accord with me.

8.5×11 inches
I did a number of these engravings as a set, partially as a practice run at intaglio.
They were done on Ampersand Art clayboard: an archival tempered hardboard surface coated in white clay and india ink.
Though they were all done within the span of a couple of months, this is one of the very earliest of them all – my first being a remake of Gustave Dore’s “the Raven” (done to decorate my own wall). This was my third lifetime go at engraving.

Painted at 49×32 inches, in acrylic on rough canvas this original painting from Myke Amend is a beautiful, serene, and equally strange piece, with bizarre lighting and shadow effects which make some objects and figures seem to lean out of the painting.This surreal piece is heavily-influenced by “Spirit Walking” (“long-term sleep deprivation” as we like to call it).

A lonely cliff scene (Half Moon Rock in the Historic Daniel Boone Forest), serene and violent at the same time. A silhouetted figure throws roses into the wind brought by a not-too-distant storm on the horizon.
Acrylic on Canvas

This is the Latest painting and the eighth work in the collection “Airships and Tentacles” wherein Vernian and Lovecraftian influences intermingle.
The work was commissioned for Cherie Priest, Author of “Bone Shaker”, for her new book “Clementine”, and it includes the Clementine sailing away from a stranded group of pirates after a strange air battle.
It is 36 inches by 24 inches in acrylic, on canvas.

An image of Western Exploration, Expansionism and Imperialism colliding with the innocence of tribal life and sensibilities in a virgin land. Galleons presented as strange monsters seen at night from a tranquil shoreline, thrash through the endless sea against stormy skies.This was one of my earliest engravings. With the original done at a slightly smaller 8×10 inches, these enlarged prints showcase intensive detail from any viewing range near or far, and are printed on quality 200-year archival heavyweight fine art paper in archival black pigment ink.Printed area is 11×14 inches, with a border of 1 inches all around (print size is roughly 13 by 16).Only 35 of these are to be printed.I did a number of these engravings as a set, partially as a practice run at intaglio.They were done on Ampersand Art clayboard: an archival tempered hardboard surface coated in white clay and india ink.

So much did I love my memory of her, that I could not bear the thought of this thing she had become, starving for all of eternity in a stone casket with those who took her from me.

Now, all that remains of my family – a lonely field of shattered bones and turned earth, and this sad and broken shell of a man, who will someday soon become her final meal; This, my penance, my payment, for the horror I have brought into the world.

8×10 inches.
I did a number of these engravings as a set, partially as a practice run at intaglio.
They were done on Ampersand Art clayboard: an archival tempered hardboard surface coated in white clay and india ink.
This was one of the earlier ones of those.

Printed area is 9 x 12 inches, with a border of 1 inches all around (print size is 11×14). It is printed on heavyweight fine-art rag paper in archival black pigment ink – and hand signed and numbered by the artist.
Only 25 of these are to be printed.
I did a number of these engravings as a set, partially as a practice run at intaglio.
They were done on Ampersand Art clayboard: an archival tempered hardboard surface coated in white clay and india ink.
This one is a little bit 80’s, which I enjoyed doing.

Printed area is 9 x 12 inches, with a border of 2.5 inches all around (print size is 11 by 14). It is printed on Hahnemuhle fine-art rag paper in archival black pigment ink – and hand signed and numbered by the artist.
Only 25 of these are to be printed.
I did a number of these engravings as a set, partially as a practice run at intaglio.
They were done on Ampersand Art clayboard: an archival tempered hardboard surface coated in white clay and india ink.
This one was done for Beth, who likes Pineapples.

Printed area is 8 x 10 inches, with a border of 1 inches all around (print size is 10 by 12). It is printed on Hahnemuhle fine-art rag paper in archival black pigment ink – and hand signed and numbered by the artist.
Only 35 of these are to be printed.
I did a number of these engravings as a set, partially as a practice run at intaglio.
They were done on Ampersand Art clayboard: an archival tempered hardboard surface coated in white clay and india ink.
Though they were all done within the span of a couple of months, this was done on a whim, Lovecraft inspired.

Printed area is 11 by 14 inches, with a border of roughly 2.5 inches all around (print size is roughly 16 by 20). It is printed on heavy metallic professional stock in archival black pigment ink.
I did a number of these engravings as a set, partially as a practice run at intaglio. This one was done as a sketch for a work in process (same-named painting).
The originals are done on Ampersand Art clayboard: an archival tempered hardboard surface coated in white clay and india ink.

A cute Cthulhu atop a basalt monolith against a sea of golden stars – This Lovecraft inspired art looks exceptionally beautiful on the metallic paper, and tends to be a favorite at horror ans sci fi conventions.
Printed area is 9 x 12 inches, with a border of 1 inches all around (total print size is 11 by 14). It is printed on fine-art rag paper in archival black pigment ink – and hand signed and numbered by the artist. Each is individually decorated (embellished) by hand by the artist with gold leaf, each is also signed and numbered in the margin.
Only 50 of these are to be printed, each is a unique work of art different from each of the others.

This one was done while in California, and named for two specialty drinks at Tiki Ti’s in North Hollywood.
Printed area is 6.5 by 9 inches, with a border of 1 inches all around (print size is roughly 8.5 by 11). It is printed on Hahnemuhle fine-art rag paper in archival black pigment ink – and hand signed and numbered by the artist.
20 of these are to be printed.
I did a number of these engravings as a set, partially as a practice run at intaglio.
They were done on Ampersand Art clayboard: an archival tempered hardboard surface coated in white clay and india ink.
Though they were all done within the span of a couple of months, this is one of the earliest of them all.

This is the first engraving in the strange-fiction steampunk art series “Airships and Tentacles” wherein the works of, concepts of, and influences from Jules Verne and H.P. Lovecraft intermingle. It was the prototype for the same-named oil painting.
Printed area is 11 by 14 inches, with a border of roughly 2.5 inches all around (print size is roughly 16 by 20). It is printed on Hahnemuhle fine-art rag paper in archival pigment ink – and hand signed and numbered by the artist.
30 of these are to be printed.
I did a number of these engravings as a set, partially as a practice run at intaglio. This one was done as a sketch for a work in process (same-named painting).
They were done on Ampersand Art clayboard: an archival tempered hardboard surface coated in white clay and india ink.

Printed area is 11 by 14 inches, with a border of 1 inches inches all around (print size is roughly 13 by 15). It is printed on Hahnemuhle fine-art rag paper in archival pigment ink – and hand signed and numbered by the artist.
30 of these are to be printed.
I did a number of these engravings as a set, partially as a practice run at intaglio.
They were done on Ampersand Art clayboard: an archival tempered hardboard surface coated in white clay and india ink.

Printed area is 7 by 10 inches, with a border of 1 inches all around (print size is 9 by 12). It is printed on Hahnemuhle fine-art rag paper in archival black pigment ink – and hand signed and numbered by the artist.
25 of these are to be printed.
I did a number of these engravings as a set, partially as a practice run at intaglio.
They were done on Ampersand Art clayboard: an archival tempered hardboard surface coated in white clay and india ink.
Though they were all done within the span of a couple of months, this is one of the very earliest of them all.
I did this one while coloring a page for Voltaire’s “Deady Bear” comic book. My coloring on that issue was however rejected – as I went so overboard trying to impress him with my coloring and shading skills, that I lost sight of the fact that it needed to mesh with the other pages (i.e. same coloring style).

Printed area is 9 by 12 inches, with a border of 1 inches all around (11×14 total size). It is printed on Hahnemuhle fine-art rag paper in archival black pigment ink – and hand signed and numbered by the artist.
25 of these are to be printed.
I did a number of these engravings as a set, partially as a practice run at intaglio.
They were done on Ampersand Art clayboard: an archival tempered hardboard surface coated in white clay and india ink.
Though they were all done within the span of a couple of months, this is one of the very earliest of them all – my first being a remake of Gustave Dore’s “the Raven” (done to decorate my own wall). This was my third lifetime go at engraving.

Printed area is 9 by 12 inches, with a border of 1 inches all around (print size is roughly 11 by 14). It is printed on Hahnemuhle fine-art rag paper in archival black pigment ink – and hand signed and numbered by the artist.
30 of these are to be printed.
I did a number of these engravings as a set, partially as a practice run at intaglio.
They were done on Ampersand Art clayboard: an archival tempered hardboard surface coated in white clay and india ink.
Though they were all done within the span of a couple of months, this is one of the very earliest of them all – This was, I think, my 5th such go at engraving.
I was stranded in an ice storm in deepest, darkest Missouri at the time – power was out almost statewide, weeks I in our region. I was reading whatever books were handy, and thinking of someone who was on the other side of 20 miles of fallen trees, darkness, and panicked people. These particular scene out of C.S. Lewis’ Perelandra” struck an accord with me.

From the engraving. Printed on Hahnemuhle fine art rag paper in black pigment inks, signed and numbered. Printed 9×12 with a vorder of 1 inches all-around (total size 11×14)
Edition Size: 35
Printed on Hahnemuhle fine art rag paper in black pigment ink. Hand-signed and numbered.