Small Prints

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.

These are printed on heavyweight professional metallic stock at 8×10 inches

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

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 9×12 (3/4 the original size of the work) on a sheet of metallic photographic paper (think tin-type or antique photography with the *slightly* reflective surface.. not gawdy metallic, but deep brilliant color and added depth), in archival pigment inks on 200+ year archival quality paper.

“I believe they may be intelligent lifeforms of some sort, at least they show some signs of intelligence. Note the craftmanship, 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 in archival inks on heavyweight professional metallic stock, coated in a uv-protective and scratch-resistant coating. Archival rating 100+ years.

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.

From the same-named engraving. The Original engraving is 5×7 inches. The printed area of this print is just slightly over that, bringing out some of the intense detail, though remaining very close to the original size.

Printed at in archival inks on heavyweight professional metallic stock, coated in a uv-protective and scratch-resistant coating. Archival rating 100+ years.

Printed in archival ink on metallic photographic paper with high gloss UV and scratch-protective lustre finish.
Cover Illustration for Liam Kemp’s Fatalysia

Printed in archival ink on metallic photographic paper with high gloss UV and scratch-protective lustre finish.
Cover Illustration for Liam Kemp’s Fatalysia

printed in archival ink on metallic photographic paper with high gloss UV and scratch-protective lustre finish.

printed in archival ink on metallic photographic paper with high gloss UV and scratch-protective lustre finish.

These are open edition prints, printed in high quality 200-year archival pigment inks upon fine heavyweight metallic professional paper for a beautiful and lustrous representation of this piece. The prints are also coated with a UV resistant, moisture resistant, scratch and fingerprint resistant protective luster coating.

An alternate version of the promotional piece done for Dexter Palmer’s “The Dream of Perpetual Motion”, published by Macmillan.( http://us.macmillan.com/thedreamofperpetualmotion )This is the scene as I first imagined it in my head: not the more-accurate representation out of the two images, but my favorite.In the novel, the main character is rather un-phased by his flight; This however is a more dramatic piece, as I would imagine the reactions of the other children taken. I also used the demon of the scarier first-draft visage I imagined (in the book, the demons aren’t meant to be so frightening).These are open edition prints, printed in high quality 200-year archival pigment inks upon fine heavyweight metallic professional paper for a beautiful and lustrous representation of this piece. The prints are also coated with a UV resistant, moisture resistant, scratch and fingerprint resistant protective luster coating.

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.

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.

Sophia, our Goddess…

What lambs are led to slaughter, are for the good of the flock; Who would keep them from the cliffs, were their stewards to perish?

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.

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… my penance, my payment, for the horror I have brought into the world.

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.

Printed area is 6×9 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.

This lovecraftian edition is printed on 200-year archival professional metallic heavyweight paper, with a uv, scratch, moisture, and fingerprint-resistant luster coating.

Printed on Heavyweight Archival Professional Metallic Stock and coated with a uv, scratch, moisture, and fingerprint resistant coating.
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 one is my very favorite of the lot – you would probably have to see it printed to fully understand.

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, and for me who likes lemurs. The two just go together like peanut butter and herrings… pineapples and trees.

Found carved into a mysterious black sheet of stone, this piece was found at the summit of a hidden volcano near an abandoned coastal town.Another piece marked by Myke Amend, artificer. It is unnerving, disturbing – he seems to be just a few steps ahead of us, and at the very root of all these strange goings on. These duplications are as detailed as they are high quality, and we hope for the sake of us all, that they aid you well in your research.
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.

Printed area is 6.5 by 9 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 is one of the very earliest of them all.

Not a part of an intended tarot set, but a specific card done for a specific reason. Print is the same size as the original 5×7 engraving.
Printed on heavy archival metallic professional photographic stock in archival inks.

5 by 7 inches on heavy archival professional metallic photo stock with a uv/scratch/moisture resistant coating.
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.

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 is larger than the actual size of the original engraving (5 inches by 7 inches) to beter showcase the intricate details within, printed on heavy-weight professional stock with an estimated archival rating of 180 years.

Watermarks do not appear on actual print.
Print is 9×12 inches in archival inks on heavy professional metallic stock. Armies from the moon attack planet earth! Resistance is meh!

Watermarks do not appear on actual print.
Print is 9×12 inches in archival inks on heavy professional metallic stock. A clockwork cat rests in classic pose upon a rocker arm in a clocktower amidst turning gears and moving pistons. 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.
Print is 9×12 inches in archival inks on heavy professional metallic paper. 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.

This edition is is printed on 200 – year archival heavy archival metallic photostock in Epson Ultrachrome k3 archival pigment inks, coated with a uv-protective, scratch-restant, and moisture resistant coating.

The gun-slinging rogue preacherman, mechanized and given the steampunk aesthetic.
t is printed on heavy archival metallic photostock in Epson Ultrachrome k3 archival pigment inks, coated with a uv-protective, scratch-resistant, and moisture resistant coating.