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Three 5×7 metallic prints, printed on heavy 200-year archival professional metallic stock in archival pigment inks, coated with a uv, moisture, and scratch resistant coating.The Smile series is from a same-named series of miniature paintings from Myke Amend, all 5 inches by 7 inches in acrylic on canvas.Smile series 1, also intended to be kid-friendly, was perhaps a bit on the creepy side with the blood and all – but this series is much brighter and happier, and not so incredibly creepy… though Myke may argue to the contrary because smiles really creep him out.

One of my mini paintings from the ongoing series lowbrow art series “Smile”.
Printed area is roughly 7×10 with a 1 inch border all around, as this thick and beautiful woven 200-year archival fine-art rag paper begs to be shown off.
This is blown up to 1.25 times the size of the original 5×7 painting, but given how small I work and how much detail I put in my pieces, it looks wonderful at this size.
20 of these will be printed – all will be signed and numbered, by the artist, in the margin. I will hand-embellish 3 of these, giving hand-embellished prints in place of the standad giclees, at random. For those selected, buyer has the option of choosing a standard print instead of a hand-embellished print… just in case.

A printing of one of my mini paintings in the “Smile” series.
Printed 5×7 on metallic archival stock with a luster uv, moisture, and scratch resistant finish
 
 

“Missed Me” – one of my mini paintings in the ongoing series of lowbrow paintings, “Smile”.
Printed area is roughly 7×10 with a 1 inch border all around, as this thick and beautiful woven 200-year archival fine-art rag paper begs to be shown off.
This is blown up to 1.25 times the size of the original 5×7 painting, but given how small I work and how much detail I put in my pieces, it looks wonderful at this size.
20 of these will be printed – all will be signed and numbered, by the artist, in the margin. I will hand-embellish 3 of these, giving hand-embellished prints in place of the standad giclees, at random. For those selected, buyer has the option of choosing a standard print instead of a hand-embellished print… just in case.

One of my mini paintings in the “Smile” series.
Printed 5×7 on metallic archival stock with a luster uv, moisture, and scratch resistant finish
 
 

Printed area is 7 x 10, surrounded by a 1 inch border of the same beautiful, thick, durable woven paper that the giclee is printed on.
A giclee on 200 year archival fine art rag paper of one of my low brow mini paintings in the “Smile” series. 5×7 acrylic on canvas board. It depicts a diesel powered robot sifting through a scrap yard, and the strange alien invaders he has found.
Signed and numbered in the margin, limited run of 20.

One of my mini paintings in the “Smile” series.
Printed 5×7 on metallic archival stock with a luster uv, moisture, and scratch resistant finish

“To the Fairest”
From the original 12×15 acrylic painting on canvas, the metallic paper presents a wonderful added dimension of color and vibrance to this somewhat fairy-tale inspired piece.
25 are available, each signed, numbered and dated within the margin of the work. The printed area is roughly 12 x 15 inches, on 200-year archival fine art rag paper, with a 1 inch white border for easy mounting and framing.

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.

Printed area 9×12 inches, print size 11×14.
Edition Size 25
Printed on Hahnemuhle Fine Art Rag Paper with rough edges, in archival pigment inks, signed and numbered.
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.

A cozy Gildan 100% Cotton pre-shrunk T-shirt, screen printed in 2 colors, using the antiqued brown textured color in the shirt as the third color, with the airship pirate glyph from the upcoming art book “Airships and Tentacles” (early 2010).
These are NOT digitally printed or heat transferred, and not from cafe press.
Click “More Details” for Sizing Info
 

From the original water color painting over pen and ink, made for the cover of the upcoming coffee-table art book (and as the design for the new t-shirts).
These are printed on 200+ years archival metallic photographic stock in archival pigment inks, coated in a UV/moisture/scratch resistant coating for added protection and sheen.

Limited edition of only 25.
From the original water color painting over pen and ink, made for the cover of the upcoming coffee-table art book (and as the design for the new t-shirts). The printed area is 11×14 inches (the exact size of the original).
These are printed on 200+ years archival fine art cotton rag paper in archival pigment inks, signed, numbered, and dated in the margin by Myke Amend.

This is the fourth painting and the fifth work in the collection “Airships and Tentacles” wherein Vernian and Lovecraftian influences intermingle.
The airship is set against a calm and cloudy sky, and white stone mountains, in the mid ground blow blossoms from the foreground trees, tentacles subtly hidden within the flowers, trees and fog.
The warm colors of this piece make for a light and open feel, and the subtle earthen tones will pull this work together with most any decor scheme.These metallic prints are printed in Epson Ultra Chrome k3 archival inks on high-quality heavy metallic stock, uv-sealed for a longevity of about 200+ years.

Limited Edition of 25
Watermarks do not appear on actual print.
Print is 8.5×11 (printed at roughly 9×6.5 inches in archival inks on fine art rag paper with a one-inch border all-around). Signed, numbered, and dated by the artist lightly within the margin. A mechanical alien army marches on planet earth as tentacles probe the ground and sky in the shadows. Airships save the day! Maybe! This is a very, very finely detailed piece, down to the ornamental plates of metal and intricately decorated gears. Slightly larger than the original 5×7 engraving to better showcase the extensive detail within this work.

Watermarks do not appear on actual print.
Print is 5×7 inches in archival inks on heavy professional metallic stock. A clockwork cat rests in classic pose upon a rocker arm in a clocktower amidst turning gears and moving pistons. This is a very, very finely detailed piece, down to the ornamental plates of metal and intricately decorated gears. Slightly larger than the original 5×7 engraving to better showcase the extensive detail within this work.

Watermarks do not appear on actual print.
Print is 5×7 inches in archival inks on heavy professional metallic paper. Cover illustration for the October issue of Gatehouse Gazette, a dieselpunk, steampunk, and pulp magazine. This is a very, very finely detailed piece, down to the ornamental plates of metal and intricately decorated gears.

Watermarks do not appear on actual print.
Print is 5×7 inches in archival inks on heavy professional metallic stock. Armies from the moon attack planet earth! Resistance is meh!

Watermarks do not appear on actual print.
Limited Edition of 25
Printed at 6.5×9 inches in archival inks on fine art rag paper with a one-inch border all-around (print is 8.5×11). Signed, numbered, and dated by the artist lightly within the margin. Cover illustration for the October issue of Gatehouse Gazette, a dieselpunk, steampunk, and pulp magazine. This is a very, very finely detailed piece, down to the ornamental plates of metal and intricately decorated gears. Slightly larger than the original 5×7 engraving to better showcase the extensive detail within this work.

Limited Edition of 25
Watermarks do not appear on actual print.
Print is 8.5×11 (printed at roughly 9×6.5 inches in archival inks on fine art rag paper with a one-inch border all-around). Signed, numbered, and dated by the artist lightly within the margin. A clockwork mechanical cat rests in classic pose upon a rocker arm in a clocktower amidst turning gears and moving pistons. Inspired by the Cheshire cat of Alice in Wonderland, this is a very, very finely detailed piece, down to the ornamental plates of metal and intricately decorated gears. Slightly larger than the original 5×7 engraving to better showcase the extensive detail within this work.

This is the second painting 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.
The original painting was commissioned for Josh Pfeiffer of Vernian Process for the album “Behold the Machine”, and it includes the HMS Gadreel above an icy sea investigating a strange and perhaps long-forgotten and possibly alien craft. Ghostly figures twist and turn within the mists, clouds, icebergs, and waves.
These 50 giclees are printed in Epson Ultra Chrome k3 archival inks on high-quality 350 g/m² gloss canvas. They are stretched and mounted, uv-sealed for a longevity of about 200+ years, hand-signed, and gallery-wrapped. They are documented with a hologrammed and serialized certificates of authenticity from Hahnemuhle, with a matching hologram affixed to the work.

“All in all, the experiment was a brilliant success, though it ran for a shorter time than desired.

Needless to say, I am beyond eager to see!”

- Professor Aden M. Kemy, Miskatonic Archivist

These metallic prints are printed in Epson Ultra Chrome k3 archival inks on high-quality professional heavy-weight metallic stock. They are uv-sealed for a longevity of about 200+ years.

** Damage notes. 2 of these prints were damaged in shipping to me. Each of their edges are only very slightly bent, in a 1.25 inch-long spot along the bottom-most edge, only 1/16th of an inch deep… practically unnoticeable, except to a very, very picky artist.
Framed, or even matted, these damages would be invisible, and vacuum-pressed in the mounting process, I am pretty sure the damage would disappear altogether. These are a part of the limited edition, and come certified, numbered, and serialized as the rest of the edition.
This is the second painting 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.
The original painting was commissioned for Josh Pfeiffer of Vernian Process, and it includes the HMS Gadreel above an icy sea investigating a strange and perhaps long-forgotten and possibly alien craft. Ghostly figures twist and turn within the mists, clouds, icebergs, and waves.
These 50 metallic prints are printed in Epson Ultra Chrome k3 archival inks on high-quality heavyweight metallic stock, coated with a UV/scratch/moisture resistant protective layer, with an archival-rating at about 200+ years. They are hand-signed, and gallery-wrapped. They are documented with a signed and hologrammed and serialized certificates of authenticity from Hahnemuhle, with a matching hologram affixed to the work.
The printed area on this metallic print is 34×17 inches, made to match the size constraints of the 36×24 inch “the Rescue” Metallic prints. The limited run of metallics for “the Rescue” sold out in a week, which saddened me a bit because I didn’t even get to keep one for myself and because  felt a bit bad for the people who wanted them but couldn’t get them. So, instead of a limited run of 20 + II, I am doing a Limited run of 50 for these.

6.5 x 4 inches on an all-weather vinyl decal, adhesive-backed for outside-of-window application (for tinted windows, non window items)

6.5 x 4 inches on an all-weather vinyl decal, adhesive faces inside of glass on print side for inside-of-window application.

The metallic paper brings out the rich colors and depth in this work like no other.
The original was painted in acrylic with hands, fingers, and thrown paint, accented with gold leaf, blood, and razor blades. It is a simplistic, yet energetic piece.
These are printed 12 x 12 on heavy metallic professional stock, in archival pigments inks, coated in a UV/scratch/moisture resistant coating and have an estimated 200 year archival rating.

The original painting was commissioned for Robert of Abney Park, and it includes the HMS Ophelia as well as a Jules Vernian submarine, some Lovecraftian influences.
These reproductions are printed in Epson Ultra Chrome k3 archival inks on high-quality matte heavyweight stock. They are uv-sealed, scratch and moisture resistant, and have a longevity of about 200+ years.The HMS Ophelia is a trademark of Abney Park, as conceived and designed by Eliza Gauger. Abney Park is a Trademark of the Band Abney Park.

“To the Fairest”
From the original 12×15 acrylic painting on canvas, the metallic paper presents a wonderful added dimension of color and vibrance to this somewhat fairy-tale inspired piece.
Printed on heavyweight 200 year archival metallic photo stock in archival pigment inks, coated in a lustrous uv, scratch, moisture, and fingerprint resistant coating.

An alternate version of the promotional piece done for Dexter Palmer’s “The Dream of Perpetual Motion”, published by Macmillan.( http://us.macmillan.com/thedreamofperpetualmotion )This is the scene as I first imagined it in my head: not the more-accurate representation out of the two images, but my favorite.In the novel, the main character is rather un-phased by his flight; This however is a more dramatic piece, as I would imagine the reactions of the other children taken. I also used the demon of the scarier first-draft visage I imagined (in the book, the demons aren’t meant to be so frightening).These are open edition prints, printed in high quality 200-year archival pigment inks upon fine heavyweight metallic professional paper for a beautiful and lustrous representation of this piece. The prints are also coated with a UV resistant, moisture resistant, scratch and fingerprint resistant protective luster coating.The printed area is 10.75 x 10.75 inches, and the extended white border extends it to just 12 x 12 inches.

An alternate version of the promotional piece done for Dexter Palmer’s “The Dream of Perpetual Motion”, published by Macmillan.( http://us.macmillan.com/thedreamofperpetualmotion )This is the scene as I first imagined it in my head: not the more-accurate representation out of the two images, but my favorite.In the novel, the main character is rather un-phased by his flight; This however is a more dramatic piece, as I would imagine the reactions of the other children taken. I also used the demon of the scarier first-draft visage (in the book, the demons aren’t meant to be so frightening).There are 25 limited edition giclees available, printed in high quality 200-year archival pigment inks upon fine high white-point fine art rag paper for the best and most vivid representation of this piece. The printed area is 12 x 12 inches, and the extended white border extends it to just over 13 x 13 inches.They are, of course, signed, dated, and numbered in the margin in pencil by me

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.Other offerings for this image include a 36×18 inch limited-edition giclee on canvas (limited to 50), a 24×12 limited edition giclee on canvas (limited to 50), and a 36×24 limited edition giclee on fine art rag paper.These open editions run for as long as they run, but worldwide there will only be a combined 200 of the limited editions of this artwork existing in the world, total, ever.