Book cover illustrations

This version of “That Such Men Lived” features a photographic-inspired war setting where the landscape becomes a stage for historical memory. In the foreground, a dirt path and a tiny figure advance towards a hill crowned with buildings, while a shell in the lower right corner introduces a symbol of travel, faith, or personal remembrance. Above the grey sky, a formation of military aircraft flies over the scene, making it clear that war permeates everything.

The desaturated palette of greens and greys, along with the fog that envelops the horizon, reinforces a sober and melancholic tone. The intense red title stands out strongly against the image, like a testimony that refuses to fade, and the composition as a whole conveys the idea that these lives and sacrifices deserve to be told.

In this variation of “That Such Men Lived,” the cover focuses on the portrait of a soldier bathed in a golden light that seems to emanate from the past. The figure, in uniform, appears in profile, with their helmet silhouetted against a warm background that blends sunbursts and photographic grain, as if we were viewing a memory preserved on celluloid. Their contained expression and rigid posture suggest discipline, but also the silent weight of what has been experienced.

The tall, thin typography of the title is distributed vertically over the soldier's body, integrating into the image without obscuring his features. This minimalist and bright design, in contrast to the rawness of the subject matter, reinforces the idea that the novel views war through an intimate, human, and deeply emotional lens.

The “Benesh” cover shows an urban scene rendered in 3D and digital illustration in front of a grocery store lit at dusk. In the foreground, a man with a hat stops in the middle of the street, his back to the reader, contemplating the shop window filled with carefully arranged fruits, boxes, and products. The warm light from inside spills onto the pavement and contrasts with the cooler tones of the street, creating a sense of both home and distance.

The details of the “Burke Grocery Store” sign, the awnings, the vintage car, and the flower pots place the story in a neighbourhood with a past, where every corner holds difficult decisions. The clean typography of the title, positioned in the centre of the cover, reinforces the focus on the character and their relationship with this place that seems to hold both the past and future of their life.

In this version of “Benesh”, the cover plays with the contrast between black and white and colour to underscore memory and transformation. The facade of the “Burke Grocery” store is visually divided into two halves: one part in grey tones, almost photographic, evoking the past, and another bathed in a warm, golden light suggesting the present or a possible future. Between these two zones, the figure of a man and the open door act as a bridge between what is being left behind and what one is becoming.

The tall title typography looms over the shop sign, while the subtitle underscores themes of loss, identity, and overcoming. Together, they construct a cinematic cover that speaks of family roots, painful decisions, and the price of reinvention without forgetting who one is.

The “Rooster of Fire” cover opts for a digital illustration with strong symbolic force in a warm palette of reds and oranges. In the centre, the silhouette of a man holds a long spear topped with a flag, standing before a sea lit by the sunset's glow. The horizon fades into golden tones that could be either fire or mist, reinforcing the feeling of ritual, sacrifice, or call to action.

The white frame surrounding the scene and the small side symbols lend an almost contemporary tarot card or icon feel, where each element seems laden with meaning. The title's typography, rounded and elegant, sits at the bottom and dialogues with the curve of the cut-out, completing a composition that speaks of destiny, inner struggle, and rebirth through flames.

The cover of “Half-Orc Bastard” features a dark fantasy digital illustration centred on a half-breed warrior in the foreground. His defiant gaze and tense stance, with his hand close to his weapon, make it clear that he has survived too many battles and grievances. The urban environment, lit by warm distant lights and neons, suggests a harsh and dangerous city where blood, honour, and vengeance mix on every corner.

The palette of metallic and reddish tones, along with the marked shadows on the protagonist's greenish skin, reinforce the feeling of inner conflict and divided origins. The bold typography of the title is integrated into the top and bottom of the cover, lending a raw and direct air that fits with a story of marginality, violence, and a destiny forged through hardship.

The “Paper Roses” cover combines photography and digital illustration to construct a delicate and melancholic image around roses that appear as fragile as the paper that names them. The petals, slightly blurred or textured, evoke folded letters, memories kept in boxes, and promises worn away by time. The soft tones, between beiges, muted pinks, and creams, envelop the scene in an intimate and nostalgic light.

The title typography, elegant and editorially inspired, overlays the flowers without obscuring them, as if the words were another layer of memory. This balance between beauty and vulnerability suggests a novel about loves that are written, broken, and reassembled, where each paper rose holds a story that still burns within.

The cover of “For Love I Will” uses subtle photography and digital illustration to build an emotional portrait in a contemporary style. In the foreground, a young boy looks away with an introspective expression, while a yellow rose rests against his chest, caught between his hands and the dark fabric of his t-shirt. Out-of-focus petals float above the figure, seemingly pausing in mid-air, as if freezing a moment of decision or an unexpressed confession.

The soft blue and mauve palette, combined with a slight blurring of the background, creates an intimate and almost dreamlike atmosphere. The large, elegant title typography is overlaid on the portrait without obscuring the face, reinforcing the idea that the story revolves around what a person is willing to do – and to risk – for love.

The cover, “Beyond the Joke,” uses digital illustration and photomontage to create an unsettling image around a girl's fragmented face. Pieces of broken glass spread across the cover, dividing her gaze into multiple reflections that suggest a shattered identity, secrets, and unexpected consequences. The title, written in a large, gestural, red typeface, cuts across the composition like a cry that can no longer be taken back.

The contrast between the white background, the texture of the glass, and the shadows around the eyes generates an atmosphere of a young adult psychological thriller, where what appeared as a game leaves real scars. The authors“ names are discreetly integrated at the top, while the overall design maintains focus on the emotional impact of the face and the danger hidden ”beyond" the laughter.

The cover “Contrail” combines digital illustration and photographic composition to intertwine an intimate story and a wartime context. At the top, several aircraft leave long white contrails that fan out across an orange sky. Below them, four characters look in different directions: a young woman in profile, another from behind, a boy, and an older woman, all illuminated by the same warm light that tints the horizon.

The arrangement of the faces, aligned yet emotionally distant, suggests an ensemble plot where generations and experiences intersect under the shadow of war or social conflict. The vertical typography of the title is integrated into the centre, like a column of smoke cutting through the scene, and the overall composition conveys a story about memory, invisible wounds, and the mark that collective events leave on everyday life.