Art Originals

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.

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.

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

This piece is highly detailed, with incredibly fine linework.

The engraving is done on archival Ampersand Art Clayboard – a tempered hardboard surface layered with white clay and coated in india ink.

Size: 9×12 inches

A tiki-culture piece I did on my return from California

This piece is highly detailed, with incredibly fine linework.

The engraving is done on archival Ampersand Art Clayboard – a tempered hardboard surface layered with white clay and coated in india ink.

Size: 9×12 inches

An unhappy sleepy deity wreaks havoc on a pesky lighthouse.

This piece is highly detailed, with incredibly fine linework.

The engraving is done on archival Ampersand Art Clayboard – a tempered hardboard surface layered with white clay and coated in india ink.

Size: 9×12 inches

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.

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.

These engravings are done on archival clayboard – a thick, tempered archival hardboard layered with archival white clay and india ink, all PH neutral.

9×12 inches on Ampersand Art Clayboard Black.

Note: I just recently received this back from the shooting of the NY INK steampunk episode, and it is also featured on HGTV’s “Home Strange Home” October 25th, 2012.

This painting is 48 x 24 inches in acrylic on birch – it is also surrounded by a frame I hand-made from oak and hand-painted up special for the showing.

“The Red Queen” was painted in finger-painting, hand spatters, sponges, fast brush strokes, flung paint, toothbrushes, and most anything else handy, including feathers – it was an adventure and a lot of fun to do, and fairly unique from my usual controlled form.

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

An 1800s ocean explorer meets with the Ocean’s Emperor.

Part of the Airships and Tentacles series.

Painted at 12×24 inches in acrylic on tempered hardboard backed with birch.

24 inches by 36 inches in acrylic on canvas, painted on front and sides.

This artwork is three in one.

The box/dual frame: I labored hard for well-over a week on the box, which is a very sturdy hand-built, hand-stained, hand-varnished, hand-waxed chunk of quality hardwood (heartwood select pine base and birch sides). It not only serves as a box (if you would want to use it as such a thing), but as a self-contained double frame for both of the enclosed artworks (“Red Right Hand” and “Weaving Spiders Come Not Here”) which requires no wall hanging.

The box has two decorative hinges with a decorative patina on the spine edge if it; The latching mechanism is self-made from another smaller version of these hinges, combined with three solid brass model cannons from a model ship. The latch holds the piece securely shut, but opens easily when you want it to with a slight squeeze of the box and an easy flip of the thumb.

There is a *lot* more to say about this piece, and a LOT more images of this work to see.

Closeups and more about the piece here: Red Hand Assemblage Images and Details

A sampling of simplified airships from my paintings (as well as some exclusive to this sheet).

This is the original sheet, and is 14×11 inches – on Bristol Board, lined with rapidograph, colored with colored pencils.

It also comes with one same-sized black and white/lineart sheet.

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.

This is a painting on kiln-dried oak plywood, with maple sides, attached by solid brass hinges to a cherry and mohogany cabinet.

It is put together in old-fashioned manner, without the use of screws or nails (except on the hinges), for super-durable and sturdy long-lasting construction.

I painted this work with the purpose in mind of making a cabinet, and made the cabinet to suit the painting. This cabinet is also made to look at first glance like a framed painting. Its dimensions are 15x20x4.25 inches.

The painting is done in acrylic, with a thin layer of varnish to protect the work. The rest of the cabinet is painted in white latex enamel, varnished, and waxed.

It is built to be mounted flush as a (semi) permanent part of your wall (holes are already drilled for this), but can also be hung as artwork by the provided hangers and wire (already attached).

Engraved in Clayboard (A thick slab of tempered hardboard, coated in white clay, coated in India Ink)

Depicts Firebirds sparking from a mountaintop brushfire, against a background of swirling stylized clouds, mountains, and swirling clouds.

Size: 5×7 inches. packed with fine details, like most of my works – filled with hidden and interesting  things waiting to be found, to keep it the work every day.

Board design by Bethalynne Bajema, woodwork by Myke Amend.

The board measures 15×18″, is made of 3/4 inch oak, stained a deep red cherry, and is coated in varnish and waxed for an easy gliding of the planchette. Edges are ornately routed for an added decorative touch.

There are only 6 in the edition,  numbered on back and signed by both artists.

The hand-made planchette is optional. Each planchette is uniquely made of oak, hand-shaped brass, and gold leaf – no two planchettes are alike.

Each planchette is uniquely made by Myke Amend, cut from oak, and stained deep red cherry, accented with hand-shaped brass, and gold leaf – no two planchettes are alike.

Board design by Bethalynne Bajema, woodwork by Myke Amend.

The board measures 15×18″, is made of 3/4 inch oak, stained a deep red cherry, and is coated in varnish and waxed for an easy gliding of the planchette. Edges are ornately routed for an added decorative touch.

There are only 6 in the edition, numbered on back and signed by both artists.

The hand-made planchette is optional. Each planchette is uniquely made of oak, hand-shaped brass, and gold leaf – no two planchettes are alike.

Board design by Bethalynne Bajema, woodwork by Myke Amend.

The board measures 14×17″, is made of 3/4 inch oak, and is coated in varnish and waxed for an easy gliding of the planchette. The image shown is the prototype – all boards in the series 1-6 will have larger, routed and stained edges like those seen in out other Spirit Boards.

There are only 6 in the edition, each numbered on back and signed by both artists.

The hand-made planchette is optional. Each planchette is uniquely made of oak, hand-shaped brass, and gold leaf – no two planchettes are alike.

Drawn up for use in a flier for an upcoming art show/luau event, and as a draft for the piece for the show.

I’ll be wanting to make this much larger for my painting, so I’ll be blowing it up and transferring it to a gessoed board…

Which means I do not need to actual pen and ink to paint over, and am offering it up here.

It is drawn in pigment inks on 400-lb acid free archival bristol board.