Medium Prints

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).

Limited edition of 10.

Traders harvest chips of brilliant and shimmering  rock from outwardly dull-colored standing stones in a seemingly desolate place.

Printed at 600DPI at the size of the original painting (9×12 inches) with a white border, on archival acid-free fine art paper, in archival pigment inks – spray-coated with a matte finish for added resiliency and UV protection.

Each of these only 10 prints, is hand-signed and numbered by Myke Amend. To make them even more rare, and each a unique work of art, prints will be hand-embellished (little added details painted on in acrylic paint) to set them apart as original works.

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.

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 woven canvas, uv protected, hand signed and numbered are the perfect representation in color and feel.

Only 10 giclees on canvas are available, and yours will be numbered 1 through 10. These limited edition ones are hand-signed, hand-dated, and hand embellished (new figures/details painted onto the giclee to make them each a unique work of art).

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)

*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

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

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.

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.

These 15 limited edition prints are printed as giclees (prints in archival pigment inks), for truest color and crispness on thick and heavyweight archival fine art rag paper – with an estimated archival rating of 200 years.

They each are signed by me (Myke Amend), numbered, and dated. The prints themselves do *not* have the Mykeamend.com watermark (seen lower right in full view).

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.
The original is 32×24 inches, painted in acrylic on canvas.

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.

15 of these will be printed. Each is hand-signed, numbered, and dated in pencil unobtrusively just within the margin.

The original work is 14×11, painted in acrylic, on acid-free Bristol board, and the prints are identical in size, plus an extra 1 inch of border for easy matting and framing.

All are printed on archival fine-art rag paper with a watercolor surface to be as true to the original in color, look, detail, and feel, as a print can possibly be. For now, or rather the first 10 of these prints, I’ll be hand-signing these in pencil narrowly within the margin.

This work was inspired by the collaborative mural done by Bethalynne Bajema and myself at Destination 1111; I have painted bits of her beautiful mountain city within the landscape for this piece. I also returned to my old two-color painting for this one, mixing brown and blue for a cozy and tranquil muted and misty scene.

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.

From a commissioned piece, wherein I was asked to do something super-colorful, detailed, and small.

Rather than leaning towards abstract, I went the more impressionistic route; In order to get my usual amount of detail into such a tiny package, I took to painstakingly paining ropes and sail-stitches with a single hair, details so tiny they cannot be seen in a web-resolution image.

Ghostly vampire squid, jellyfish, and other deep-sea denizens swim through the air, fading away into the distant stars.

These are printed on 200 year archival fine art rag paper in archival pigment inks, at the same size as the original (8×10 inches) and hand-signed and dated by Myke Amend.

Border size is approximately 1/2 inch. Not being a set edition, I lean toward 8.5×11 inch for easy framing.

The original was drawn in pen and ink on 11×14 inch Bristol Board, I did the coloring with my 4-year old Adesso drawing tablet so as to preserve the pen and ink original.

The Black and White version is the Cover for Gatehouse Gazette #14, my third cover for them.

I am making only 20 of these full-sized giclees. Total size with 1″ border is about 13×16 inches.

They are printed on cotton-weave fine art rag paper in archival pigment inks for the sort of superior clarity and color quality expected from a giclee print.

All giclees are pencil-signed, numbered, and dated, all in tiny handwriting, in the margin.

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.

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 a 16×20 sheet of fine art rag paper (for the optimal standard framing size), in archival pigment inks on 200+ year archival quality paper.

Each is hand-signed and dated by Myke Amend.

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.

One of my mini paintings from the ongoing series lowbrow art series “Smile”.
Printed area is roughly 7×10 with a 1 inch border all around (9×12 total), as this thick and beautiful woven 200-year archival fine-art rag paper begs to be shown off.
This is blown up to 1.25 times the size of the original 5×7 painting, but given how small I work and how much detail I put in my pieces, it looks wonderful at this size.
20 of these will be printed – all will be signed and numbered, by the artist, in the margin. I will hand-embellish 3 of these, giving hand-embellished prints in place of the standad giclees, at random. For those selected, buyer has the option of choosing a standard print instead of a hand-embellished print… just in case.

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.

“Missed Me” – one of my mini paintings in the ongoing series of lowbrow paintings, “Smile”.
Printed area is roughly 7×10 with a 1 inch border all around (9×12 total), as this thick and beautiful woven 200-year archival fine-art rag paper begs to be shown off.
This is blown up to 1.25 times the size of the original 5×7 painting, but given how small I work and how much detail I put in my pieces, it looks wonderful at this size.
20 of these will be printed – all will be signed and numbered, by the artist, in the margin. I will hand-embellish 3 of these, giving hand-embellished prints in place of the standad giclees, at random. For those selected, buyer has the option of choosing a standard print instead of a hand-embellished print… just in case.

Printed area is 7 x 10, surrounded by a 1 inch border (9×12 total inches) of the same beautiful, thick, durable woven paper that the giclee is printed on.
A giclee on 200 year archival fine art rag paper of one of my low brow mini paintings in the “Smile” series. 5×7 acrylic on canvas board. It depicts a diesel powered robot sifting through a scrap yard, and the strange alien invaders he has found.
Signed and numbered in the margin, limited run of 20.

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.

Printed area is 8 x 10 inches, with a border of 1 inches all around (print size is 10 by 12). It is printed on Hahnemuhle fine-art rag paper in archival black pigment ink – and hand signed and numbered by the artist.
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.
Though they were all done within the span of a couple of months, this was done on a whim, Lovecraft inspired.

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.