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Printed Area 12×15 inches. Limited to 25 pieces. Each is hand-signed and hand-numbered in the margin.
This edition is printed on 200-year archival Fine Art Rag Paper and hand-signed in pencil within the margin. There is a 1-inch border on this print.

This lovecraftian edition is printed on 200-year archival professional metallic heavyweight paper, with a uv, scratch, moisture, and fingerprint-resistant luster coating.

This piece 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.

This lovecraftian edition is printed on 200-year archival professional metallic heavyweight paper, with a uv, scratch, moisture, and fingerprint-resistant luster coating.

This piece 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.

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.

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 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).

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.

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.

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.

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 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.

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.

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
 

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.

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 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.

Printed area is 5 by 7 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.

Printed area is 5×7 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 one is my very favorite of the lot – you would probably have to see it printed to fully understand.

Printed area is 4 x 5
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 5×7 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 was done for Beth, who likes Pineapples, and for me who likes lemurs. The two just go together like peanut butter and herrings… pineapples and trees.

Printed on heavyweight metallic photographic professional 180 year archival photographic stock with a uv-resistant protective coating.
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.

5×4 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.
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.

When the last of the royal fleet fell fiery into the waiting fog and mist, we were sure we were home free; It was then that we spotted the temple, which was not fashioned, but formed in molten fire of shimmering basalt. There it stood, millennia-old, perched atop hexagonal pillars, calling to be explored.

A finely detailed pirate airship in a fog of wispy swirls and whorls passes by a ages-forgotten temple in the cliff-top mists.
The original is 12×9 inches, highly detailed, micro-fine line engraving; Though it translates well to screen resolution, looking at the prints or the original are an entirely new experience.
The Metallics are open edition and printed on heavy archival professional metallic photographic paper.

When the last of the royal fleet fell fiery into the waiting fog and mist, we were sure we were home free; It was then that we spotted the temple, which was not fashioned, but formed in molten fire of shimmering basalt. There it stood, millennia-old, perched atop hexagonal pillars, calling to be explored.
A finely detailed pirate airship in a fog of wispy swirls and whorls passes by a ages-forgotten temple in the cliff-top mists.
There is a limited run of only 35 giclees.
The original is 12×9 inches, highly detailed, micro-fine line engraving; Looking at the prints or the original are an entirely new experience.
The Giclees are printed at 12×9 inches in archival inks on fine art rag paper with a one-inch border all-around (making the print 14×11 inches); They are signed, numbered, and dated by the artist lightly within the margin.
200 Years Archival

Full size: 8.5 x 11
Limited Edition of 25A quaint moonlight ceremony on a cozy cobblestone path, surrounded by stone, lit by flickering torches which lend light the reverse side of the tree.This print (9×6.5 printed area with 1 inch border all around)is slightly larger than the actual size of the original engraving (5 inches by 7 inches), printed on heavy-weight professional fine art paper with an estimated archival rating of 180 years, signed and dated in the margin.

A quaint moonlight ceremony on a cozy cobblestone path, surrounded by stone, lit by flickering torches which lend light the reverse side of the tree.This print is the actual size of the original engraving – 5 inches by 7 inches, printed on heavy-weight professional stock with an estimated archival rating of 180 years.

When the last of the royal fleet fell fiery into the waiting fog and mist, we were sure we were home free; It was then that we spotted the temple, which was not fashioned, but formed in molten fire of shimmering basalt. There it stood, millennia-old, perched atop hexagonal pillars, calling to be explored.
A finely detailed pirate airship in a fog of wispy swirls and whorls passes by a ages-forgotten temple in the cliff-top mists.
The original is 12×9 inches, highly detailed, micro-fine line engraving; Though it translates well to screen resolution, looking at the prints or the original are an entirely new experience.
The Metallics are open edition and printed on heavy archival professional metallic photographic paper.
“Open Edition” is not a guarantee that I will carry them forever, or even for years – but simply stating that they are available, for as long as I choose to offer them. Though not limited and signed, they are beautiful prints – and like everything I sell, very high quality, and 80 to 200 years archival (depending on uv exposure).

A quaint moonlight ceremony on a cozy cobblestone path, surrounded by stone, lit by flickering torches which lend light the reverse side of the tree.This print is larger than the actual size of the original engraving (5 inches by 7 inches) to beter showcase the intricate details within, printed on heavy-weight professional stock with an estimated archival rating of 180 years.

Not a part of an intended tarot set, but a specific card done for a specific reason. Print is the same size as the original 5×7 engraving.
Printed on heavy archival metallic professional photographic stock in archival inks.

Printed area is 6.5 by 9 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.

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, and for me who likes lemurs. The two just go together like peanut butter and herrings… pineapples and trees.

Printed on Heavyweight Archival Professional Metallic Stock and coated with a uv, scratch, moisture, and fingerprint 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 one is my very favorite of the lot – you would probably have to see it printed to fully understand.

Printed on Heavyweight Archival Professional Metallic Stock and coated with a uv, scratch, moisture, and fingerprint resistant coating. Hand Embellished by Myke Amend with silver metallic archival ink.
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 (additional stars drawn in the background)
Though they were all done within the span of a couple of months, this is one of the very earliest of them all. This one is my very favorite of the lot – you would probably have to see it printed to fully understand.

This lovecraftian edition is printed on 200-year archival professional metallic heavyweight paper, with a uv, scratch, moisture, and fingerprint-resistant luster coating.

This piece 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.

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.

Picture for example only. Engravings to be 8×10 on clayboard (archival tempered hardboard, coated in archival white clay, coated in India ink, with the image engraved onto the surface), done in a drypoint/needle technique, in a Dieselpunk style (think Metropolis, The Chrysler Building, etc.)

I will begin these works on May 30th and will complete three per week until they are done. I have a current commission to wrap up, and a convention at the end of may to gear up for, thus the delay – but also the occasion for which I am offering these cheap commissions. I need to raise some hotel money.

I will, if you give me a subject/object you would like an image of, do it in my own style as I think it would look best, and I’ll do a great job of it. I cannot however, do incredibly specific scenes… there is a degree of specification and management where it is no longer art. If you are unsure, just email me or use my contact form – we’ll talk :)