Gothic

Printed at 12×15on fine art rag paper.

Prints are printed in fine archival pigment inks and on quality acid-free specialty paper to make the color, detail, and crispness of these images superb and perfect.

On the move: An army of airships and foot soldiers and something more, swimming in the aether.

Every last bit of this is incredibly detailed, with a maddening amount of coverage of painted glyphs as textures on leather and metal.

You can see how incredibly detailed this piece is Here.

I am only offering 10 of these as giclees on paper – all will be hand signed, dated, and numbered. Posters and photographic prints, will be available on our RedBubble account – puzzles, coasters, magnets, and the like will be on my deviantart account at some point.

Watermark and web address are not present on the actual prints, of course.

Prints are printed in fine archival pigment inks and on quality acid-free specialty canvas to make the color, detail, and crispness of these images superb and perfect. They are also coated with a UV-protective coating for added long-lasting archival quality.

I am only offering 11 of these as giclees on canvas (10 in the limited edition, 1-super-size one to be repainted and offered at an art showing) – all will be hand signed and numbered.

Watermark and web address are not present on the actual prints, of course.

Printed on highest quality acid-free fine art paper in archival pigment inks for an archival rating of nearly 200 years, hand-signed, dated, and numbered in india ink – hand-embellished with acrylic paint, gold leaf, and/or silver ink to make each of these prints a one of a kind.

Printed image area is 14×14 inches, printed size with white border is 18×18.

From the original acrylic on birch panel, painted mainly in shades of deep blue with touches of orange.

This is from one of my larger Micro Paintings (a large painting packed into a compact space through really dense and tiny detail).

The size of the original is 8×10 inches, these are printed on archival fine art paper at 9×12 with a one inch border (total size 11×14 inches), and hand-signed and numbered (1 through 20)

Acrylic on birch panel mainly in shades of deep blue with touches of orange.

This is one of my larger Micro Paintings (a large painting packed into a compact space through really dense and tiny detail). The size is 8×10 inches

Custom framed with custom painted frame painted by me.

*Reduced until 4-29-2012* (road funds for the Steampunk Symposium trip)

Over 30 works of art, on good paper, and in good inks for ease of coloring – printed at a huge 8.5.x11 inches (17 inches wide when open).  For a coloring book, these things are pretty huge.

I realized when I received these that this book, if not colored in, is pretty much a way to get 30 hang-able prints for under $15, but I am still making it available as a regular item in my store.

This is pretty much 75% of the black and white works for the airships and tentacles book, and a good trial run at that piece. In addition to over 30 images to color with colored pencil, I have little bits written about each artwork: My process in some cases, usage in others, just little strange fiction bits in other places – making it something to read as well as view.

For those who would like to give this book to a younger person, I made it so that the middle page could be removed, thus removing the two images that depict uncovered breasts.

You can view a web resolution PDF of the entire book here: CLICK HERE for PDF

Limited edition of 20. Signed, numbered, and dated by me.

From the original 5×7 work Engraved on Ampersand Art Clayboard (archival tempered hardboard layered in white clay and india ink).

These engravings are made incredibly rich in detail, and imaged at 600DPI, so that they convert well to larger prints.

The larger pieces are actually what I have in mind when making the small originals, which are an exercise in compactness and micro-fine lining.

The originals are something else to see, but these larger prints are the best representation of the work that printed form can offer.

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.

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.

Each of these 20 giclees is printed in quality archival inks on heavyweight fine art rag paper – and is signed,numbered, and dated by Myke Amend.

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.

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.

I decided that I break far away from my typical American Art Movement or Luminist style, and delve into something more Art Nouveau or cartoony (I chose somewhere between ‘both’). I didn’t sacrifice detail, yet I still find the deviation from realism rather pleasant and fun. More pieces like this one may follow.

From the cutting room floor.

A doodle I did in the process of designing a magazine cover for Gatehouse Gazette, before changing the approach entirely.

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

Everything else about the piece, I am going to leave to the imagination.

I just finally had this piece professionally imaged, but it was painted in 2005. Finally, this piece is available as a limited edition giclee on Fine Art Rag Paper – only 20 of these will be made. They are printed in archival inks on acid-free art paper, with an archival rating of 200+ years.

Prints are 24×24 inches.

All prints are signed, dated, and numbered by the artist (subtly) on the frontin pencil.

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 canvas in archival pigment inks and coated in a special uv-protective coating. They are limited to only 20 made. They are full-sized (16×20), hand-signed and numbered in paint (subtly) on the front, hand-signed, numbered, and dated on the back.

**Overseas orders are shipped rolled, not stretched and mounted, in order to keep the price down.

The second panel, special-made for the inside of a special box/portable frame assemblage art piece I am making.

It was requested that I make prints of this piece – so, I am making 20 of each on fine art rag paper, signed, numbered, and dated tiny in the margin.

They are printed on a fine cotton rag paper, in archival pigment inks for an archival rating of 200+ years.

The print is 8.5×11 inches including the 1 inch border. Printed area is 6.5 inches by 9.

The Assemblage this comes from is a sort of dark carnival and Miskatonic feeling piece, made to feel much like all the occult ephemera of the late 1800s/early 1900s, a time when mysticism was for city-dwellers was becoming quite the fashion – though I often pull from real references when making these sorts of pieces, I do not imply that they have any actual magickal properties or serious reference value. They are more “camp” for fans of the ooky-spooky.

Available for a week at the reduced price introductory of $25 (reg $35).

The art is the first panel, special-made for the inside of a special box/portable frame assemblage art piece I am making.

It was requested that I make prints of this piece – so, I am making 20 of each on fine art rag paper, signed, numbered, and dated tiny in the margin.

They are printed on a fine cotton rag paper, in archival pigment inks for an archival rating of 200+ years.

The print is 8.5×11 inches including the 1 inch border. Printed area is 6.5 inches by 9.

The Assemblage this comes from is a sort of dark carnival and Miskatonic feeling piece, made to feel much like all the occult ephemera of the late 1800s/early 1900s, a time when mysticism was for city-dwellers was becoming quite the fashion – though I often pull from real references when making these sorts of pieces, I do not imply that they have any actual magickal properties or serious reference value. They are more “camp” for fans of the ooky-spooky.

15×18 inch giclee print (printed area 11×14) on fine art rag from the original pencil sketch by Myke Amend, printed in archival pigment inks to make for a 200+ year archival giclee print.

Each is discretely signed, numbered, and dated by the artist in pencil, within the margin.

This limited edition of 10 was made just because I thought it would be a shame for the image not to be available as a monochromatic print, and for those who really like to collect rarities.

The pencil drawing was done as a commission for friend, Violet Ash in June of 2010, a part of a small set of pencil commissions I offered up to raise gas money to the World Steam Expo.

“I believe they may be intelligent lifeforms of some sort… or at least they show some signs of intelligence. Note the craftsmanship, the artful beauty, the symmetry… It is a wonder they put so much care into the packaging of mere food. That it can reach us from the surface in such excellent condition, still fresh and living, is indeed impressive. I look forward to the time when they finally make contact. I am already, most certainly, impressed by their offerings”

- Enkielle, priestess of Dagon

Watermarks do not appear on actual print.

Printed at roughly 12×9 inches in archival inks on fine art rag paper with a one-inch border all-around (making the print 14×11 inches).

Signed, numbered, and dated by the artist lightly within the margin. There is a limited run of 35 giclees.

Their fingers and toes, were cinched together in sets of two by hand-sewn bits of a leathery material which I can only say most closely resembled human skin. The same I would say of their tight-fitting suits of alternating dark and light colored diamond-shaped patches.

These bloody harlequins were said to be servants of some ancient and un-namable horror, a master of the ocean coasts, and now lord of the night – his eyeless and tentacled visage drawn in blood and human entrails on the southerly faces of each and every building, of each and every mass-murdered town.

Print size is larger than the original engraving, but scanned at 900dpi, these giclees present a larger image where the incredible details can be seen without a magnifying glass at close range – making them perfect for viewing on a wall.

Watermarks do not appear on actual print.

Printed at roughly 12×9 inches in archival inks on fine art rag paper with a one-inch border all-around (making the print 14×11 inches).

Signed, numbered, and dated by the artist lightly within the margin. There is a limited run of 35 giclees.

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.

It was then that she began to wail, in a terrifying and unearthly tone; And it was then I realized that the sirens ringing loudly throughout the valley were not sirens at all, but the sound of other fleeing humans, their spirits trapped by the seeking lanterns of the floating leviathans above.

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. These 25 giclees are printed on canvas in 200 year archival pigment inks and UV sealed/protected.

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

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 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.

Printed area is 18×27 inches with a 1 inch border on the sides and a 1.5 inch border on the top and bottom.

These 20 giclees are printed in Epson Ultra Chrome k3 archival inks on high-quality Fine Art Rag paper for a longevity of about 200+ years, hand-signed, hand-numbered, and dated by the artist.

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 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.

From the original acrylic on birch panel, painted mainly in shades of deep blue with touches of orange.

This is from one of my larger Micro Paintings (a large painting packed into a compact space through really dense and tiny detail).

The size of the original is 8×10 inches, these are printed on archival fine art paper at 9×12 inches with a 1 inch border all around (total size 11×14 inches). They are hand-signed and numbered (1 to 20)

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

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.

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