Prints (Engravings)

*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

“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.

An image of Western Exploration, Expansionism and Imperialism colliding with the innocence of tribal life and sensibilities in a virgin land. Galleons presented as strange monsters seen at night from a tranquil shoreline, thrash through the endless sea against stormy skies.This was one of my earliest engravings. With the original done at a slightly smaller 8×10 inches, these enlarged prints showcase intensive detail from any viewing range near or far, and are printed on quality 200-year archival heavyweight fine art paper in archival black pigment ink.Printed area is 11×14 inches, with a border of 1 inches all around (print size is roughly 13 by 16).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.

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.

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.

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 11 by 14 inches, with a border of roughly 2.5 inches all around (print size is roughly 16 by 20). It is printed on Hahnemuhle fine-art rag paper in archival pigment ink – and hand signed and numbered by the artist.
30 of these are to be printed.

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 Hahnemuhle fine-art rag paper in archival 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.

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 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.

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.

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.

There is a 1-inch border on this print, making the total size 11×14 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 Hahnemuhle Fine Art Rag Paper and hand-signed in pencil within the margin.

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.

Printed Area 12×15 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.

So much did I love my memory of her, that I could not bear the thought of this thing she had become, starving for all of eternity in a stone casket with those who took her from me.

Now, all that remains of my family – a lonely field of shattered bones and turned earth, and this sad and broken shell of a man, who will someday soon become her final meal; This, my penance, my payment, for the horror I have brought into the world.

Printed area 9×12 inches, print size 11×14.
Edition Size 25
Printed on Hahnemuhle Fine Art Rag Paper with rough edges, in archival pigment inks, signed and numbered.
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 was one of the earlier ones of those.

Full size: 8.5 x 11

Limited Edition of 25

A quaint moonlight ceremony on a cozy cobblestone path, surrounded by stone, lit by flickering torches which lend light the reverse side of the tree.

This print (9×6.5 printed area with 1 inch border all around)is slightly larger than the actual size of the original engraving (5 inches by 7 inches), printed on heavy-weight professional fine art paper with an estimated archival rating of 180 years, signed and dated in the margin.

When the last of the royal fleet fell fiery into the waiting fog and mist, we were sure we were home free; It was then that we spotted the temple, which was not fashioned, but formed in molten fire of shimmering basalt. There it stood, millennia-old, perched atop hexagonal pillars, calling to be explored.
A finely detailed pirate airship in a fog of wispy swirls and whorls passes by a ages-forgotten temple in the cliff-top mists.
There is a limited run of only 35 giclees.
The original is 12×9 inches, highly detailed, micro-fine line engraving; Looking at the prints or the original are an entirely new experience.
The Giclees are printed at 12×9 inches in archival inks on fine art rag paper with a one-inch border all-around (making the print 14×11 inches); They are signed, numbered, and dated by the artist lightly within the margin.
200 Years Archival

Limited Edition of 25
Watermarks do not appear on actual print.
Print is 8.5×11 (printed at roughly 9×6.5 inches in archival inks on fine art rag paper with a one-inch border all-around). Signed, numbered, and dated by the artist lightly within the margin. A mechanical alien army marches on planet earth as tentacles probe the ground and sky in the shadows. Airships save the day! Maybe! This is a very, very finely detailed piece, down to the ornamental plates of metal and intricately decorated gears. Slightly larger than the original 5×7 engraving to better showcase the extensive detail within this work.

Watermarks do not appear on actual print.
Limited Edition of 25
Printed at 6.5×9 inches in archival inks on fine art rag paper with a one-inch border all-around (print is 8.5×11). Signed, numbered, and dated by the artist lightly within the margin. Cover illustration for the October issue of Gatehouse Gazette, a dieselpunk, steampunk, and pulp magazine. This is a very, very finely detailed piece, down to the ornamental plates of metal and intricately decorated gears. Slightly larger than the original 5×7 engraving to better showcase the extensive detail within this work.

Limited Edition of 25
Watermarks do not appear on actual print.
Print is 8.5×11 (printed at roughly 9×6.5 inches in archival inks on fine art rag paper with a one-inch border all-around). Signed, numbered, and dated by the artist lightly within the margin. A clockwork mechanical cat rests in classic pose upon a rocker arm in a clocktower amidst turning gears and moving pistons. Inspired by the Cheshire cat of Alice in Wonderland, this is a very, very finely detailed piece, down to the ornamental plates of metal and intricately decorated gears. Slightly larger than the original 5×7 engraving to better showcase the extensive detail within this work.