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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.

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.

There are just black holes/ Where the stars would be watching/ just black holes where the stars should have been

A dark-eyed, and seemingly soulful being, receives orders by way of feathered messenger.
Detailed and perhaps a bit alarming, this piece was beamed to us from the farthest reaches of the aether, seemingly as a warning of events yet to unfold, and in this – as a testament to the importance of our research at the Miskatonic Archive.
Bearing the seal and sigil of one “Myke Amend”, artificer, and graphical alchemist, we are proud to present this uniquely prophetic image in our gallery. I use that word loosely, as this piece apparently has an expiration date of 11-11-11, even though 1911 has long-since passed.It is printed on heavy archival metallic photostock in Epson Ultrachrome k3 archival pigment inks, coated with a uv-protective, scratch-restant, and moisture resistant coating.

There are just black holes/ Where the stars would be watching/ just black holes where the stars should have been

A dark-eyed, and seemingly soulful being, receives orders by way of feathered messenger.
Detailed and perhaps a bit alarming, this piece was beamed to us from the farthest reaches of the aether, seemingly as a warning of events yet to unfold, and in this – as a testament to the importance of our research at the Miskatonic Archive.
Bearing the seal and sigil of one “Myke Amend”, artificer, and graphical alchemist, we are proud to present this uniquely prophetic image in our gallery. I use that word loosely, as this piece apparently has an expiration date of 11-11-11, even though 1911 has long-since passed.It is printed on heavy archival metallic photostock in Epson Ultrachrome k3 archival pigment inks, coated with a uv-protective, scratch-restant, and moisture resistant coating.

There are just black holes/ Where the stars would be watching/ just black holes where the stars should have been

A dark-eyed, and seemingly soulful being, receives orders by way of feathered messenger.
Detailed and perhaps a bit alarming, this piece was beamed to us from the farthest reaches of the aether, seemingly as a warning of events yet to unfold, and in this – as a testament to the importance of our research at the Miskatonic Archive.
Bearing the seal and sigil of one “Myke Amend”, artificer, and graphical alchemist, we are proud to present this uniquely prophetic image in our gallery. I use that word loosely, as this piece apparently has an expiration date of 11-11-11, even though 1911 has long-since passed.It is printed on heavy archival metallic photostock in Epson Ultrachrome k3 archival pigment inks, coated with a uv-protective, scratch-restant, and moisture resistant coating.

Solid Wood Frame Hand-made by Myke Amend, making for a total size of 8×11 inches.
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. They are painted on 5×7 canvas board in acrylic paint.

Solid Wood Frame Hand-made by Myke Amend, making for a total size of 8×11 inches.
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. They are painted on 5×7 canvas board in acrylic paint.

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.

Limited run of 20 – hand signed, numbered, and dated
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 beautifully printed 12 x 12 on heavy 200 year fine art rag paper in archival pigments inks.

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 5 x 5 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.

Printed 7×10 with a one inch border (total size 9×12 inches) on heavyweight fine art rag paper (archival 200 years). Limited to 20 of these signed, numbered and dated prints.
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.

rinted 7×10 with a one inch border (total size 9×12 inches) on heavyweight fine art rag paper (archival 200 years). Limited to 20 of these signed, numbered and dated prints.
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.

There are just black holes/ Where the stars would be watching/ just black holes where the stars should have been

20 of these giclees are available, printed on heavyweight 200 year archival fine art rag paper.Each is hand-signed, dated, and numbered by Myke Amend. Printed area is 12×16 with an added one inch border all-around.
A dark-eyed, and seemingly soulful being, receives orders by way of feathered messenger.
Detailed and perhaps a bit alarming, this piece was beamed to us from the farthest reaches of the aether, seemingly as a warning of events yet to unfold, and in this – as a testament to the importance of our research at the Miskatonic Archive.
Bearing the seal and sigil of one “Myke Amend”, artificer, and graphical alchemist, we are proud to present this uniquely prophetic image in our gallery. I use that word loosely, as this piece apparently has an expiration date of 11-11-11, even though 1911 has long-since passed.It is printed on heavy archival metallic photostock in Epson Ultrachrome k3 archival pigment inks, coated with a uv-protective, scratch-restant, and moisture resistant coating.

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

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.

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.

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

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

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.