Medium Prints

The original painting was commissioned for Robert of Abney Park, and it includes the HMS Ophelia as well as a Jules Vernian submarine, some Lovecraftian influences.

These reproductions are printed in Epson Ultra Chrome k3 archival inks on high-quality matte heavyweight stock. They are uv-sealed, scratch and moisture resistant, and have a longevity of about 200+ years.

Though they are open edition, there is no guarantee that they will be printed indefinitely, or for any length of time. They simply have no set number.

The HMS Ophelia is a trademark of Abney Park, as conceived and designed by Eliza Gauger. Abney Park is a Trademark of the Band Abney Park.

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 woven canvas, 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, hand-numbered, and hand embellished (new figures/details painted onto the giclee to make them each a unique work of art).

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.

Steampunk Boba Fett in front of his airship “The Slave 1881″, with his trusty rifle.

These prints are printed in archival pigment inks), for brilliant color and crispness on thick and heavyweight archival fine art metallic paper – with an estimated archival rating of 80 years.

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

This giclee print is the same size as the original which was drawn on acid-free 11×14 inch bristol board in graphite pencil, with an additional 1-inch border all-around to make for easy mounting and to display the beauty of the paper

Printed as a giclee for the truest match in color and detail to the original as possible. They are printed on acid-free heavyweight fine art paper in archival pigment inks for an archival life of 180+ years.

It depicts a strange hut crashing out of the forest and into a sleeping village. Owls circle, tentacles flail and grab, huge metallic legs crush trees and rip the earth below.
20 of these will be printed. Each is hand-signed, numbered, and dated in pencil unobtrusively just within the margin.

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.

This is the Second painting and the Second work in the collection “Airships and Tentacles” wherein Vernian and Lovecraftian influences intermingle.

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.

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 metallic reproductions are printed in Epson Ultra Chrome k3 archival inks on high-quality professional heavy-weight metallic photographic stock. They are uv-sealed, and given a scratch-resistant and moisture-resistant coating for a longevity of about 200+ years.

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.

This piece depicts a mechanical dragonfly making a nymph from spare parts, with the aid of its creator’s manual.

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

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.

Printed Area 11×14 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 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.

Limited to 25 pieces. Each is hand-signed and hand-numbered in the margin.

This edition is printed on 200-year archival heavyweight Fine Art Rag Paper and hand-signed in pencil within the margin. There is a 1-inch border on this print.

There is a 1-inch border on this print, making the total size 12×15 inches. Limited edition size: 25 prints.

Tiki Culture meets H.P. Lovecraft inspired Cthulhu art – this piece was done at my table at the Pittsburgh comic con, and was the result of tiki on my brain from my Los Angeles trip.

This edition is printed on 200-year archival acid-free watercolor-textured Fine Art Rag Paper and hand-signed in pencil within the margin.

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.

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.

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.

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.