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Limited Run of 20. Printed area is 7×10 with a 1 inch border all around (making it 9×12). It is printed on heavy 200 year archival fine art rag paper in pigment inks; Signed, dated, and numbered by Myke Amend.
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.

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 fine art paper in Epson Ultrachrome k3 archival pigment inks, signed, dated, and numbered by Myke Amend

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.

With 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.

With 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.

With 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.

Limited run of 25. Printed 14×18 on heavyweight Fine Art Rag Paper with a 1 inch border for a total size of 16×20 inches.
Originally done as a Cover Illustration for Liam Kemp’s Fatalysia
Printed in archival pigment ink on 200-year archival fine art rag paper, signed, numbered and dated in the margin.

Limited run of 25.
Printed area: 9×12. A 1 inch-around border makes this print 11×14 inches.
Printed in archival pigment ink on 200-year archival fine art rag paper, signed, numbered and dated in the margin.

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

This illustration is a scene from Dexter Palmer’s novel “The Dream of Perpetual Motion”, originally done for web resolution, I have had this piece slated for repainting for some time now, and finally I’ve finished it, and on a big scale- since it was my very favorite from the set.

This print is finally available as a *huge* 16×20 inch giclee on fine art rag paper (here), and as an 11×14 metallic print

This giclee is printed on heavyweight archival fine art rag paper in archival pigment inks, for an archival rating of 200+ years. It is hand-signed, numbered, and dated narrowly in the margin.

Edition size: 30

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

I finally have this piece available in color. A handful of the original and more-limited black and white giclees are still available as well.

Printed at 11×14 inches on an 16×13 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 30 giclee prints of this piece 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.

One of my older works, which I only finally got imaged in October of 2010 because of a good number of requests that I do so. It was first shown publicly in September of 2010.

A fairly emotional piece, painted during a time when leaving a life and people behind, in search of myself, seemed like the best way to pull through.

I can’t say any one piece I have done has but one feeling, event, or idea attached to it – a piece tends to gather thoughts and concepts like a snowball on an incline. This piece is no different there: Somewhere in the completion of this piece, the chalk outlines seemed like the perfect finish, inspired by a scene from Eric Adams‘ Lackluster World (Eric is a long time friend of mine from my hometown of Cincy), so I expanded on that thought a little through the completion of the piece.

These giclees are printed on fine art rag paper in archival pigment inks. They are limited to only 20 made. They are full-sized (16×20), hand-signed, numbered, and dated (very subtly) within the margin of the print.

Painted in oil on tempered hardboard. 24×24 inches. This was my second oil painting.

I just finally had this piece professionally imaged, so I am finally ready to let it go and put it up for sale.

I have hand-made a wooden frame for this piece, stained it with a few coats of red mahogany, and sealed the frame with varnish for a very sturdy, very rustic and elegant looking piece. The full size of the framed piece is 36×36 inches.

I am offering it ridiculously cheap because the face is that of an ex of mine, and my fiancee doesn’t want it hanging anywhere. It is a beautiful piece, and a lot of work – the work I put into making the frame alone is worth this price.

**Ships Rolled Outside of the US, stretched and Mounted Inside of the US**

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.

These 20 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.

**Ships Rolled Outside of the US, stretched and Mounted Inside of the US**

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.

9×12 inches on Ampersand Art Clayboard Black. Archival life: 200+ years.

This engraving was done as the cover for issue #8 of the GateHouse Gazette. It is 5×7 inches on Ampersand Art Clayboard Black. Framed in a solid wood frame hand-crafted by Myke Amend, total size Framed: 8×11.

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.

The full size of the original painting, only 20 of these will be printed.

This is the last 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 image was commissioned for David Ross, and it includes two aitships anchored above a comfy Torry Pines picnic spot. Ghostly figures twist and turn within the mists, clouds, stony peaks, rocks, and grass – while mythical creatures swim in the waters below.

These 20 prints are printed in archival pigment inks on high-quality heavyweight archival matte paper (230 g, 9.5-mil), with a smooth surface, neutral white color, engineered for accurate and brilliant color reproduction that provides high contrast and high resolution output. This paper is acid-free, with an archival-rating at about 100+ years.

They are hand-signed, hand dated, and wrapped in an acid-free sheeting for safe transport and storage.

Limited edition of 10 prints.

John Strangeway, aka Steampunk Boba Fett hired me to create a more Victorian/Edwardian era craft for him in a painted portrait. This is the result.

These reproductions of the original painting, are printed as giclees (prints in archival pigment inks), for truest color and crispness, and printed on canvas, and uv-protected – with an estimated archival rating of 200 years.

With many of my pieces, people are more certain that the giclees are the originals, because my original paintings are texture-less and on board. Since the Original Slave 1881 was painted on canvas, these will be very hard to tell from the original painting – in stunning color and detail.

I am putting them up at a lower introductory price, because people who see one of these on their wall, will likely want one of their own, which is good for me.

The prints themselves do *not* have the Mykeamend.com watermark (seen lower right in full view).

The original is 30×24 inches (the same size of these giclees, which are hard to distinguish from the original), painted in acrylic on canvas.

A Limited Edition of 20, from the highly, highly detailed 5×7 inch engraving on Ampersand Art Clayboard.

These engravings are made small, but with the larger prints in mind. 11×14 is the perfect size to showcase all the detail in these pieces.

All these giclees are hand-signed, numbered, and dated by Myke Amend

Engraved on Ampersand Art Clayboard (archival tempered hardboard layered in white clay and india ink). 5×7 inches and rich in details.

There are 10 giclees available.

The work is 20 x 16 inches at 300DPI for fine, color-rich and crisp, detailed printing at the same size. Canvas shipped within the US is stretched and mounted, and stapled on the back for staple-free sides. Orders outside the US are shipped rolled, so I do not need to charge $75+ for shipping.

The Rhyme of the ancient lighter than air pilot… doesn’t have the same ring, but I really liked being able to take some time and paint this ghost ship of the air… except for being pinned at my computer for 102 hours anyway.

I decided to do this one in digital; It started as a pencil sketch, I scanned it in, thought “maybe I’ll just add a little color to it, and… well, this is how some of my favorite projects begin.

Each giclee is signed in paint on the front (really tiny in the corner), and signed and dated in pigment ink on the back.

These Giclees have an archival rating of over 200 years, and are printed on fine art canvas in pigment inks, coated with varnish and a UV-protective finish.

Printed at 13×18on fine art rag paper. Larger than the 10 numbered editions, and unique in size. (I of II is a smaller 11×14 inches).

This single print, Artist Print I of I for the series of 50, is printed in archival pigment inks on high-quality heavyweight archival matte paper (390 gsm, 21-mil), with a smooth surface, neutral white color, engineered for accurate and brilliant color reproduction that provides high contrast and high resolution output. This paper is acid-free, with an archival-rating at about 100+ years.

It is hand-signed, hand dated “Steampunk Symposium 2012″, and wrapped in an acid-free sheeting for safe transport and storage – and for a limited time priced at a low special Convention Commemorative price.

This single print, Artist Print I of I for the series of 50, is printed in archival pigment inks on high-quality heavyweight archival matte paper (390 g, 9.5-mil), with a smooth surface, neutral white color, engineered for accurate and brilliant color reproduction that provides high contrast and high resolution output. This paper is acid-free, with an archival-rating at about 100+ years.

It is hand-signed, hand dated “Steampunk Symposium 2012″, and wrapped in an acid-free sheeting for safe transport and storage – and for a limited time priced at a low special Convention Commemorative price.

This is the same size as the original, printed as a giclee for the truest color and detail available, and with a 200 year archival rating.

This single print, Artist Print I of I for the series of 25, is printed in archival pigment inks on high-quality heavyweight archival matte paper (390 g, 9.5-mil), with a smooth surface, neutral white color, engineered for accurate and brilliant color reproduction that provides high contrast and high resolution output. This paper is acid-free, with an archival-rating at about 100+ years.

It is hand-signed, hand dated “Steampunk Symposium 2012″, and wrapped in an acid-free sheeting for safe transport and storage – and for a limited time priced at a low special Convention Commemorative price.

The original was painted on a 12 x 24-inch birch panel in acrylic paints. Even the images below can’t possibly give you a good look at all the detail in this piece… but that is the story with most of my works.

Giclees are of course the closest to the original available (and in many cases indistinguishable from the originals. Since I tend to paint on very smoothly sanded board, and hide all texture/brushstrokes in my paintings… often times, the giclees look *more* real than the original does.

The original was Painted at 12×24 inches in acrylic on tempered hardboard backed with birch, and these giclee prints, printed in archival quality pigment inks on fine art rag paper, uv protected, hand signed and numbered are the perfect representation in color and feel.

This single print, Artist Print I of I for the series of 10, is printed in archival pigment inks on high-quality heavyweight archival matte paper (390 g, 9.5-mil), with a smooth surface, neutral white color, engineered for accurate and brilliant color reproduction that provides high contrast and high resolution output. This paper is acid-free, with an archival-rating at about 100+ years.

It is hand-signed, hand dated “Steampunk Symposium 2012″, and wrapped in an acid-free sheeting for safe transport and storage – and for a limited time priced at a low special Convention Commemorative price.

These 25 limited edition giclees, are from 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.

Having sold out of all of the full size metallics (20 released), and now all of the giclees on canvas (50 released), I am finally able to release this – the very last of the limited edition prints of this work (25 available). There will be no more full sized, hand-signed printings of this work, numbered or otherwise.

This single print, Artist Print I of I for the series of 25, is printed in archival pigment inks on high-quality heavyweight archival matte paper (390 g, 9.5-mil), with a smooth surface, neutral white color, engineered for accurate and brilliant color reproduction that provides high contrast and high resolution output. This paper is acid-free, with an archival-rating at about 100+ years.

It is hand-signed, hand dated “Steampunk Symposium 2012″, and wrapped in an acid-free sheeting for safe transport and storage – and for a limited time priced at a low special Convention Commemorative price.

The HMS Ophelia is a trademark of Abney Park.

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 image 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.

This single print, Artist Print I of I for the series of 50, is printed in archival pigment inks on high-quality heavyweight archival matte paper (390 g, 9.5-mil), with a smooth surface, neutral white color, engineered for accurate and brilliant color reproduction that provides high contrast and high resolution output. This paper is acid-free, with an archival-rating at about 100+ years.

It is hand-signed, hand dated “Steampunk Symposium 2012″, and wrapped in an acid-free sheeting for safe transport and storage – and for a limited time priced at a low special Convention Commemorative price.

The original was Painted at 18×12 inches in acrylic on oak panel, and these giclee prints, printed in archival quality pigment inks on fine art rag paper, uv protected, hand signed and numbered are the perfect representation in color and feel.

Only 10 are available, and yours will be numbered 1 through 10. These limited edition ones are hand-signed, hand-dated, and hand-numbered.

Drawn in pigment inks and colored pencil on acid-free paper at 11×14 inches.