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This is the first 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 Robert of Abney Park, and it includes the airship: HMS Ophelia as well as a Jules Vernian submarine, some Lovecraftian influences.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. 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.

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.
Though they are open edition, there is no guarantee that they will be printed indefinitely, or for any length of time. They simply have no set number.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.

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.

On sale through November, Reduced by over $30.
This is the third 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.
Squid-like cephalopods swim through the air and fog in an endless field of floating icebergs, taunting these hapless airship explorers.
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. If these are already sold out – try The Miskatonic Archive, the Etta Diem Etsy Store.

“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 50 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, hand-signed, and hand-numbered. 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.

“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.
Limited Edition of 100, signed and numbered.

“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.

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. Reduced by over $70 through November.
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 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.

The original painting was commissioned for Josh Pfeiffer of Vernian Process, and it includes the HMS Gabreel above an icy sea investigating a strange and perhaps long-forgotten and possibly alien craft.
This is the Second painting and the Second work in the collection “Airships and Tentacles” wherein Vernian and Lovecraftian influences intermingle. It is an image both lampooning and celebrating the wreckless spirit of adventure of Victorian and Edwardian-Era century explorers.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.

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.
I have also, to make room for this limited edition, completely cancelled the Limited run of 100 giclees on fine art rag paper, only having sold the two artists prints (I and II). Those two prints, are now incredibly beyond unique and rare.

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.

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 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.

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.

Printed area is 4×5 inches
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.

Printed area is 5 x 4 inches
A cropping of the Gadreel from the “behold the Machine” painting.

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.

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.

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.

Purchase allows you 1 download plus 2 additional download attempts/redownloads.
Only legal tender for postage within the Allied Federation of Vernian States, no cash value.
80 days shipping is subject to terms and conditions, those terms and conditions being that this service does not actually exist.
These stamps are best used as scrapbook accents or for decorating hand-delivered envelopes. Twenty 1.75 inch stamps print for sheet printed, though at this resolution, you can print almost twice the standard size and still get decent (but larger) stamps.
Download size is 2.61 MB – For full terms of use, click “more info” below.

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.

“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.

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.

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 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.

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.

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

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

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.

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.

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.

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.This fine art giclee is printed on heavyweight fine art rag paper in pigment inks with a 200+ year archival rating. They are signed, dated, and numbered (1-20, API or APII) by Myke Amend – and all printed from a unique file for this series only, which will be destroyed at the end of the printing run to further guarantee their uniqueness.

Reg $365 rolled. Available at a lower introductory price for a limited time.
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.This fine art giclee is printed on heavyweight fine art canvas in pigment inks with a 200+ year archival rating and hand-brushed by the artist in a semi-gloss uv-resistant varnish.They are signed, dated, and numbered (1-50, API or APII) by Myke Amend – and all printed from a unique file for this series only, which will be destroyed at the end of the printing run to further guarantee their uniqueness.Each also comes with a Hahnemuhle Certificate of Authenticity, also signed and dated by the artist, with serial-numbered holograms affixed to the back of the artwork and to the certificate.As with all of Myke’s limited editions, there is one set of offerings, no later editions, and there will be no editions printed larger, or on the same support type (fine art canvas), ever.

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.

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.

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.

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.

Printed area is 4×5 inches
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.

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.This fine art print is printed on heavyweight professional metallic paper in pigment inks with a 200+ year archival rating.Other offerings for this image include a 36×18 inch limited-edition giclee on canvas (limited to 50), a 24×16 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.

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.This fine art giclee is printed on heavyweight fine art canvas in pigment inks with a 200+ year archival rating and hand-brushed by the artist in a semi-gloss uv-resistant varnish.They are signed, dated, and numbered (1-20, API or APII) by Myke Amend – and all printed from a unique file for this series only, which will be destroyed at the end of the printing run to further guarantee their uniqueness.Each also comes with a Hahnemuhle Certificate of Authenticity, also signed and dated by the artist, with serial-numbered holograms affixed to the back of the artwork and to the certificate.As with all of Myke’s limited editions, there is one set of offerings, no later editions, ever.

12 x 8 inches on an all-weather vinyl decal, adhesive-backed for outside-of-window application (for tinted windows, non window items)

12 x 8 inches on an all-weather vinyl decal, adhesive faces inside of glass on print side for inside-of-window application.

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.

Solid wood frame hand-made by Myke Amend, painting Acrylic on Canvas Board, 5×7 inches. Total size 8×11 inches. Part of a three painting series, which is a part of an ongoing series of mini-works (“Smile”), made in sets of three.

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.

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 12×18 (the original size of the work) on Canvas (for the optimal standard framing size), in archival pigment inks on 200+ year archival quality heavyweight cotton canvas. Each is coated with a UV, moisture, and scratch-resistant coating for added longevity.

25 total will be printed. All giclees on Canvas are shipped stretched and mounted withing the US, or rolled everywhere else (but you can arrange to receive a stretched copy if you wish to work out additional shipping).

Each is hand-signed, hand-numbered, and dated by Myke Amend. Each also comes with a certificate of authenticity. Both the artwork and the certificate have matching serialized holograms affixed to them (front of certificate, back of canvas) for added assurance and to protect the value of your print.

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