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Edition Size: 25

The gun-slinging rogue preacherman, mechanized and given the steampunk aesthetic.

Printed on Watercolor-textured acid-free Fine Art Rag Paper. Hand signed and numbered in the margin. Print size is 11×14 inches with a half-inch border all around.

The gun-slinging rogue preacherman, mechanized and given the steampunk aesthetic.

It is printed on heavy archival metallic photostock in Epson Ultrachrome k3 archival pigment inks, coated with a uv-protective, scratch-resistant, and moisture resistant 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.

Each of these 25 giclees, inspired by H.P. Lovecraft’s Shadow Over Innsmouth and the Dagon movie it spawned, is printed on heavy fine-art rag paper in Epson Ultrachrome k3 archival pigment inks, hand signed, dated, and numbered in the margin by Myke Amend.

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

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 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 20 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.

From the engraving. Printed on Hahnemuhle fine art rag paper in black pigment inks, signed and numbered. Printed 9×12 with a vorder of 1 inches all-around (total size 11×14)

Edition Size: 35

Printed on Hahnemuhle fine art rag paper in black pigment ink. Hand-signed and numbered.

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 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 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).

Printed area is 11 by 14 inches, with a border of 1 inches inches all around (print size is roughly 13 by 15). It is printed on Watercolor-textured fine-art rag paper in archival pigment ink – and hand signed and numbered by the artist.

20 of these are to be printed.

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 14 by 11 inches, with a border of .5 inches all around (print size is roughly 15 by 12). It is printed on Acid-free Watercolor-textured fine-art rag paper in archival pigment ink – and hand signed and numbered by the artist.

30 of these are to be printed.

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 little Cthulhu atop a basalt monolith against a sea of golden stars.

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, to match the original engraving, and 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.

It is printed on heavy metallic professional stock in archival pigment inks

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 9 x 12 inches, with a border of 1 inches all around (print size is 11 by 14). It is printed on Acid-free watercolor-textured fine-art rag paper in archival pigment inks – and hand signed and numbered by the artist.

Only 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 was done on a whim, Lovecraft inspired.

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.

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.

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.

An image of Western Exploration, Expansionism and Imperialism colliding with the innocence of tribal life and sensibilities in a virgin land. Galleons presented as strange monsters seen at night from a tranquil shoreline, thrash through the endless sea against stormy skies.

This was one of my earliest engravings. With the original done at a slightly smaller 8×10 inches, these enlarged prints showcase intensive detail from any viewing range near or far, and are printed on quality 200-year archival heavyweight fine art paper in archival black pigment ink.

Printed area is 11×14 inches, with a border of 1 inches all around (print size is roughly 13 by 16).

Only 35 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 is the eighth work in the collection Airships and Tentacles wherein Vernian and Lovecraftian influences intermingle.

The work is an illustration of a scene within Cherie Priest’s novella “Clementine”, which is a sequel to her novel “Boneshaker”, but there are a lot of hidden things in here which have little to do with the story: a great pacific northwest prairie octopus, skulls and skeletons, and other things to make the calm and serene appearance of this piece rather deceptive.

It was painted at 36 inches by 24 inches in acrylic on canvas, and is a super-detailed piece, many details painted with a sewing needle and a single-hair brush.

5×7 inch engrving on ampersand clayboard, framed in a solid wood frame 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.

A lonely cliff scene (Half Moon Rock in the Historic Daniel Boone Forest), serene and violent at the same time. A silhouetted figure throws roses into the wind brought by a not-too-distant storm on the horizon.

Acrylic on Canvas

Painted at 49×32 inches, in acrylic on canvas this original painting is a haunting, 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 (or long-term sleep deprivation I like to call it), and took me nearly a week of standing, leaving the painting only for restroom breaks. My knees buckled whenever micro-naps threatened, and I painted up to just an hour before my big art show – which I ended up sleeping through, and through an additional couple of days.

8.5×11 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, with an archival rating of hundreds of years.

This is one of the earlier ones, depicting a projection of self, or sometimes invisible friend, from my early childhood – my shadow self, an incarnation of anger toward humanity, distaste for being human, and my love for the forest and nature in general.

Painted in acrylic on 18×12″ oak panel, vividly colored and intensely detailed. A stranger, happier, more whimsical dreamscape piece.

One of the very last pieces from the Airships and Tentacles series before the book is complete.

This printing is the same size as the original 18×12″ painting, printed as a giclee to get a perfect match in colors, hues, and detail of this vividly colored and intensely detailed work.

There are only 25 such canvas prints available of this stranger, happier, more whimsical dreamscape piece – One of the very last pieces from the Airships and Tentacles series before the book is complete.

Each is hand-signed, dated, and numbered by the artist in paint in the front lower corner – and in ink on the back edge of the print. All prints are shipped stretched an mounted in the US and abroad.

Total size Framed: 8×11, with a hand-made hardwood frame made by me.

The engraving (5×7) is in ampersand art clayboard black (thick tempered hardboard, ph neutral white clay, india ink). It is durable, and long-lasting, and highly, highly archival (some of the very oldest artworks in existence are made of clay).

It depicts H.P. Lovecraft’s “Resonator” of “From Beyond!” in steampunk mad-scientist fashion.

8×10 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 one was one of the very first – depicting strange wooden beasts spotted from the coast of the Americas