SGWBM #1: Pokeystick!

The original was drawn in pen and ink on 11×14 inch Bristol Board, I did the coloring with my 4-year old Adesso drawing tablet so as to preserve the pen and ink original.

The Black and White version is the Cover for Gatehouse Gazette #14, my third cover for them.

I am making only 20 of these full-sized giclees. Total size with 1″ border is about 13×16 inches.

They are printed on cotton-weave fine art rag paper in archival pigment inks for the sort of superior clarity and color quality expected from a giclee print.

All giclees are pencil-signed, numbered, and dated, all in tiny handwriting, in the margin.

The original was drawn in pen and ink on 11×14 inch Bristol Board, I did the coloring with my 4-year old Adesso drawing tablet so as to preserve the pen and ink original.

The Black and White version is the Cover for Gatehouse Gazette #14, my third cover for them.

These are printed on heavyweight professional metallic stock at 8×10 inches

Available for a week at the reduced price introductory of $25 (reg $35).

The second panel, special-made for the inside of a special box/portable frame assemblage art piece I am making.

It was requested that I make prints of this piece – so, I am making 20 of each on fine art rag paper, signed, numbered, and dated tiny in the margin.

They are printed on a fine cotton rag paper, in archival pigment inks for an archival rating of 200+ years.

The print is 8.5×11 inches including the 1 inch border. Printed area is 6.5 inches by 9.

The Assemblage this comes from is a sort of dark carnival and Miskatonic feeling piece, made to feel much like all the occult ephemera of the late 1800s/early 1900s, a time when mysticism was for city-dwellers was becoming quite the fashion – though I often pull from real references when making these sorts of pieces, I do not imply that they have any actual magickal properties or serious reference value. They are more “camp” for fans of the ooky-spooky.

Available for a week at the reduced price introductory of $25 (reg $35).

The art is the first panel, special-made for the inside of a special box/portable frame assemblage art piece I am making.

It was requested that I make prints of this piece – so, I am making 20 of each on fine art rag paper, signed, numbered, and dated tiny in the margin.

They are printed on a fine cotton rag paper, in archival pigment inks for an archival rating of 200+ years.

The print is 8.5×11 inches including the 1 inch border. Printed area is 6.5 inches by 9.

The Assemblage this comes from is a sort of dark carnival and Miskatonic feeling piece, made to feel much like all the occult ephemera of the late 1800s/early 1900s, a time when mysticism was for city-dwellers was becoming quite the fashion – though I often pull from real references when making these sorts of pieces, I do not imply that they have any actual magickal properties or serious reference value. They are more “camp” for fans of the ooky-spooky.

This artwork is three in one.

The box/dual frame: I labored hard for well-over a week on the box, which is a very sturdy hand-built, hand-stained, hand-varnished, hand-waxed chunk of quality hardwood (heartwood select pine base and birch sides). It not only serves as a box (if you would want to use it as such a thing), but as a self-contained double frame fr both of the enclosed artworks (“Red Right Hand” and “Weaving Spiders Come Not Here”) which requires no wall hanging.

The box has two decorative hinges with a decorative patina on the spine edge if it; The latching mechanism is self-made from another smaller version of these hinges, combined with three solid brass model cannons from a model ship. The latch holds the piece securely shut, but opens easily when you want it to with a slight squeeze of the box and an easy flip of the thumb.

There is a *lot* more to say about this piece, and a LOT more images of this work to see.

There are closeups of both paintings, as well as better views of all the workmanship here: Red Hand Assemblage Images and Details

The original was painted on a wood panel cabinet I hand-made for the purpose of doing this painting.

It was lovingly, carefully scanned for truest color and detail, and printed as a giclee for the best, most highly-detailed and most brilliant reproduction quality.

These are printed 12×18 (the original size of the work) on a 16×20 sheet of fine art rag paper (for the optimal standard framing size), in archival pigment inks on 200+ year archival quality paper.

Each is hand-signed and dated by Myke Amend.

The original was painted on a wood panel cabinet I hand-made for the purpose of doing this painting.

It was lovingly, carefully scanned for truest color and detail, and printed as a giclee for the best, most highly-detailed and most brilliant reproduction quality.

These are printed 9×12 (3/4 the original size of the work) on a sheet of metallic photographic paper (think tin-type or antique photography with the *slightly* reflective surface.. not gawdy metallic, but deep brilliant color and added depth), in archival pigment inks on 200+ year archival quality paper.

Printed on fine art rag paper at the exact size of the original pencil drawing – hand-signed, numbered and dated by Myke Amend.

Printed at 11×14 inches on an 18×15 sheet of 200-year archival fine art rag paper in archival pigment inks, each giclee is a long-lasting work of art in its own.

Only 20 prints of the original pencil drawing will be made, ever.

Alice rides a Mock Turtle at high speed along a peppermint lollipop shoreline, followed by the Mad Hatter in his own special-crafted craft.

These images are not made to be exact to the original story, or any movie, but rather to capture and portray the wonder that mythical and magical lands may hold within a child’s imagination.

15×18 inch giclee print (printed area 11×14) on fine art rag from the original pencil sketch by Myke Amend, printed in archival pigment inks to make for a 200+ year archival giclee print.

Each is discretely signed, numbered, and dated by the artist in pencil, within the margin.

This limited edition of 10 was made just because I thought it would be a shame for the image not to be available as a monochromatic print, and for those who really like to collect rarities.

The pencil drawing was done as a commission for friend, Violet Ash in June of 2010, a part of a small set of pencil commissions I offered up to raise gas money to the World Steam Expo.

When Elizabeth turned her eyes to the light, she froze solid and still, like a wild doe caught in the high beams of an oncoming car.

Cloaked figures with ashen faces, bathed in crimson, floated through the surrounding brush, guided by the eerie signals of their human prey. I could barely summon the courage to whisper “I’m sorry”, gazing horrified and heartbroken into Elizabeth’s tear-filled eyes as I silently mouthed my regret, then ran stumbling into the darkness.

“I believe they may be intelligent lifeforms of some sort, at least they show some signs of intelligence. Note the craftmanship, the artful beauty, the symmetry… It is a wonder they put so much care into the packaging of mere food. That it can reach us from the surface in such excellent condition, still fresh and living, is indeed impressive. I look forward to the time when they finally make contact. I am already most certainly impressed by their offerings”

- Enkielle, priestess of Dagon

Watermarks do not appear on actual print.

Printed at in archival inks on heavyweight professional metallic stock, coated in a uv-protective and scratch-resistant coating. Archival rating 100+ years.

Their fingers and toes, were cinched together in sets of two by hand-sewn bits of a leathery material which I can only say most closely resembled human skin. The same I would say of their tight-fitting suits of alternating dark and light colored diamond-shaped patches.

These bloody harlequins were said to be servants of some ancient and un-namable horror, a master of the ocean coasts, and now lord of the night – his eyeless and tentacled visage drawn in blood and human entrails on the southerly faces of each and every building, of each and every mass-murdered town.

From the same-named engraving. The Original engraving is 5×7 inches. The printed area of this print is just slightly over that, bringing out some of the intense detail, though remaining very close to the original size.

Printed at in archival inks on heavyweight professional metallic stock, coated in a uv-protective and scratch-resistant coating. Archival rating 100+ years.

When Elizabeth turned her eyes to the light, she froze solid and still, like a wild doe caught in the high beams of an oncoming car.

Cloaked figures with ashen faces, bathed in crimson, floated through the surrounding brush, guided by the eerie signals of their human prey. I could barely summon the courage to whisper “I’m sorry”, gazing horrified and heartbroken into Elizabeth’s tear-filled eyes as I silently mouthed my regret, then ran stumbling into the darkness.

“The Red Queen” was painted in finger-painting, hand spatters, sponges, fast brush strokes, flung paint, toothbrushes, and most anything else handy, including feathers …but not the chicken.

The original painting is 48 x 24 inches in acrylic on birch

“I believe they may be intelligent lifeforms of some sort… or at least they show some signs of intelligence. Note the craftsmanship, the artful beauty, the symmetry… It is a wonder they put so much care into the packaging of mere food. That it can reach us from the surface in such excellent condition, still fresh and living, is indeed impressive. I look forward to the time when they finally make contact. I am already, most certainly, impressed by their offerings”

- Enkielle, priestess of Dagon

Watermarks do not appear on actual print.

Printed at roughly 12×9 inches in archival inks on fine art rag paper with a one-inch border all-around (making the print 14×11 inches).

Signed, numbered, and dated by the artist lightly within the margin. There is a limited run of 35 giclees.

Their fingers and toes, were cinched together in sets of two by hand-sewn bits of a leathery material which I can only say most closely resembled human skin. The same I would say of their tight-fitting suits of alternating dark and light colored diamond-shaped patches.

These bloody harlequins were said to be servants of some ancient and un-namable horror, a master of the ocean coasts, and now lord of the night – his eyeless and tentacled visage drawn in blood and human entrails on the southerly faces of each and every building, of each and every mass-murdered town.

Print size is larger than the original engraving, but scanned at 900dpi, these giclees present a larger image where the incredible details can be seen without a magnifying glass at close range – making them perfect for viewing on a wall.

Watermarks do not appear on actual print.

Printed at roughly 12×9 inches in archival inks on fine art rag paper with a one-inch border all-around (making the print 14×11 inches).

Signed, numbered, and dated by the artist lightly within the margin. There is a limited run of 35 giclees.

When Elizabeth turned her eyes to the light, she froze solid and still, like a wild doe caught in the high beams of an oncoming car.

Cloaked figures with ashen faces, bathed in crimson, floated through the surrounding brush, guided by the eerie signals of their human prey. I could barely summon the courage to whisper “I’m sorry”, gazing horrified and heartbroken into Elizabeth’s tear-filled eyes as I silently mouthed my regret, then ran stumbling into the darkness.

“The Red Queen” was painted in finger-painting, hand spatters, sponges, fast brush strokes, flung paint, toothbrushes, and most anything else handy, including feathers …but not the chicken.

The original painting is 48 x 24 inches in acrylic on birch

The Sepia Stains Tarot is a complete tarot deck with original artwork for both the major and minor arcana by Bethalynne Bajema (and back of card art by Myke Amend) . The cards are roughly three by five inches in size and printed on lightweight but study card stock with a thin lamination. The deck comes in a hand made drawstring pouch made from embroidered Asian silk material. We’re self publishing this deck so we do our own card trimming and putting the deck together as we get them from the printers. So please allow two to four weeks for delivery of this item. Even though we are self publishing, the decks are beautiful and very professional looking. We’re quite proud of this project :) And as with all Etta Diem items if you’re purchasing the tarot deck as a gift for someone we provide custom gift wrapping for a small additional fee. Simply send us an email or conversation and let us know what type of gift wrapping the deck needs.

This is the fifth 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.
This one leans a lot more toward my old surreal style, with some elements of older paintings hidden within the sands, such as a sand-storm buried nautilus, and strange shells woven into the stone. The somewhat serene piece is offset and accented by a very active lightning field in the distant background – cages on chains float like balloons on the horizon, a strange sphynx guards the pass, and shadows become starry skies. There are many more hidden details within this piece, and I only outlined the more obvious ones – as with all my paintings, this is an image you can revisit many times of many days to find new and equally strange things within.
These are printed  in Epson Ultra Chrome k3 archival inks on high-quality heavyweight metallic paper, coated with a UV resistant protective varnish, with an archival-rating at about 200+ years.

A.P.s and early edition numbers going to the first takers.
This is the fifth 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.
This one leans a lot more toward my old surreal style, with some elements of older paintings hidden within the sands, such as a sand-storm buried nautilus, and strange shells woven into the stone. The somewhat serene piece is offset and accented by a very active lightning field in the distant background – cages on chains float like balloons on the horizon, a strange sphynx guards the pass, and shadows become starry skies. There are many more hidden details within this piece, and I only outlined the more obvious ones – as with all my paintings, this is an image you can revisit many times of many days to find new and equally strange things within.
These 50 giclees are printed full size in Epson Ultra Chrome k3 archival inks on high-quality heavyweight canvas, coated with a UV resistant protective varnish, 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.

A.P.s and early edition numbers going to the first takers.
This is the fifth 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.
This one leans a lot more towards my old surreal style, with some elements of older paintings hidden within the sands, such as a sand-storm buried nautilus, and strange shells woven into the stone. The somewhat serene piece is offset and accented by a very active lightning field in the distant background – cages on chains float like balloons on the horizon, a strange sphynx guards the pass, and shadows become starry skies. There are many more hidden details within this piece, and I only outlined the more obvious ones – as with all my paintings, this is an image you can revisit many times of many days to find new and equally strange things within.
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 32×21 inches, made to match the size constraints of the 36×24 inch “the Rescue” Metallic prints and the 36×24 “the Machine” 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.

On sale through November, reduced by over $40.
This is the fourth 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 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, mist and fog.
The pink tentacles, scarlet flowers, and protruding ship mast would make Freud very happy; 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 50 giclees are printed in Epson Ultra Chrome k3 archival inks on high-quality 350 g/m² gloss canvas. They are 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.

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.
There is a touch of sensuality in the pink tentacles, scarlet flowers, and protruding ship mast; 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 50 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, hand-signed. They are documented with a hologrammed and serialized certificates of authenticity from Hahnemuhle, with a matching hologram affixed to the work. If these are already sold out – try The Miskatonic Archive, the Etta Diem Etsy Store.

Presale Price valid through August 1st – Ships August 5thThis 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.
There is a touch of sensuality in the pink tentacles, scarlet flowers, and protruding ship mast; 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.Printed on heavy archival metallic stock in archival pigment inks, coated with a UV, moisture, and scratch-resistant coating for added durability and lifespan.

As rich in detail as it is in mystery, this piece was acquired by the Miskatonic Archive through metaphysical and electronical means due to a strange glitch in the aether, and perhaps in turn due to a faulty tube or misplaced artifact. It bears the seal and sigil of one “Myke Amend”, a strange being, presumed to be an artificer from neither future nor past nor present, but someplace sideways and otherly.It is printed on heavy archival metallic photostock in Epson Ultrachrome k3 archival inks, coated with a uv-protective, scratch-restant, and moisture resistant coating.

As rich in detail as it is in mystery, this piece was acquired by the Miskatonic Archive through metaphysical and electronical means due to a strange glitch in the aether, and perhaps in turn due to a faulty tube or misplaced artifact. It bears the seal and sigil of one “Myke Amend”, a strange being, presumed to be an artificer from neither future nor past nor present, but someplace sideways and otherly.It is printed on heavy archival metallic photostock in Epson Ultrachrome k3 archival inks, coated with a uv-protective, scratch-restant, and moisture resistant coating.

As rich in detail as it is in mystery, this piece was acquired by the Miskatonic Archive through metaphysical and electronical means due to a strange glitch in the aether, and perhaps in turn due to a faulty tube or misplaced artifact. It bears the seal and sigil of one “Myke Amend”, a strange being, presumed to be an artificer from neither future nor past nor present, but someplace sideways and otherly.It is printed on heavy archival metallic photostock in Epson Ultrachrome k3 archival inks, coated with a uv-protective, scratch-restant, and moisture resistant coating.

Printed at 24 x 16 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.

** Orders outside the US are shipped Unstretched and Unmounted to reduce shipping.Limited run of only 25 on Canvas, signed and hand-numbered. With a hologrammed certificate of authenticity and matching serialized hologram on the print.Printed at 32 x 20 inches, this is a fine art Giclee print 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 25 giclees are printed in Epson Ultra Chrome k3 archival inks on high-quality 350 g/m² gloss canvas. They are uv-sealed for a longevity of about 200+ years, hand-signed by the artist. They are documented with a hologrammed and serialized certificates of authenticity from Hahnemuhle, with a matching hologram affixed to the work. These shipped rolled, but stretching/mounting (side wrapped or gallery wrapped) is available for US buyers.

One of three really tiny paintings I did to pass the time for a smiley-themed set.
That collection is still building.
These pieces are more whimsical, for fun pieces which I may someday make little rhymes for and assemble into a book, despite that I have been urged to never, ever, rhyme again.

One of three really tiny paintings I did to pass the time for a smiley-themed set.
That collection is still building.
These pieces are more whimsical, for fun pieces which I may someday make little rhymes for and assemble into a book, despite that I have been urged to never, ever, rhyme again.