DEMONIC DREAMS

It began with dreams of various macabre scenes—all of them cinematic—that involved levitation. I worked on the dramatic elements of the classic levitation scene set within a macabre circle, focusing on the colors and the striking, ostentatious identity; the sense of fear arose naturally. That is how this new cover came to life.

A sinister-looking house that no one wants to enter—or at least, the last place you’d want to end up if you got a flat tire on the road. I chose not to include any blood on the cover. At least, not outside the house.

The *Tales from the Crypt* stories—which we all read in terrifying comics and which later made us jump out of our seats in the bizarre movies of the 80s and 90s—offer a modern look back at the wonderful way we used to experience horror.

I tried to capture the imagery of a classic dark occult tale, rich in symbolism and references to Satan himself. That forest... whew!

A 1990s television set, macabre static, a seductive call to draw closer to the screen—an invitation to a sweet, strange hell. A highly peculiar book, steeped in unsettling psychological horror. It was a challenging read, but designing its cover proved to be a beautiful experience.

A young vampire from two centuries ago and her hatred of humanity forged an almost sociological story that makes you reflect on religion, myths, and vampiric beauty. Freehand drawing and digital coloring in layers.

Designing for psychological horror often becomes unsettling, and that is precisely when the artist must seize the moment and put that sense of unease down on paper. Ever since I was a child, puppets have scared me—the ones that stare right at you...

The brief was clear: a historical scene featuring period soldiers and the terrifying image of a hairy beast with blood-red eyes that evoke Lucifer himself. It was a piece I really enjoyed creating, and one I hope will spawn a sequel... will it happen?

Designing these covers for the Katy Pierce collection was a truly rewarding experience. The high-angle, subjective perspective—as if one were discovering the scene and anticipating the book's content—is excellent. The process involved meticulous collage work and numerous subtle optical adjustments.

The task was to design an object—a planner, a case, a body bag...—; the idea was to suggest without revealing too much. It was a meticulous process of assembly and refinement, carried out in direct collaboration with the author, Brian O’Sullivan, who paid close attention to every detail. The result: a cult classic of mystery literature.

For this cover, I sought a child’s perspective—a view from a low angle—to evoke the classic tales of our childhood, the ones we listened to with such a mix of dread and rapt attention. A school-style desk and a rotten apple. The shadowy light, the creaking wood, the imagination racing at a mile a minute...

This was one of the designs I most enjoyed creating. It involved a fundamental process of understanding the work, completely deconstructing the brief, and bringing all the details together at the heart of the context—a subtle way of conveying the message through minimal detail, using vector work to create focal points. Plus, the book itself is excellent!

Just for the fun of it: I’ve always been passionate about cowboy movies, and I’m crazy about samurai, too! This book seemed tailor-made for me. The cover art was a real delight! I even managed to watch a few movies while working on it. =)

I wanted to convey an uncomfortable, threatening atmosphere. After living through the pandemic, the imagery of spores feels more familiar to us...

This cover presented a challenge: capturing the movement of a body in the water in a way that conveys beauty, death, and tranquility—the tranquility of death. The small oxygen bubbles tell me there is still breath, and the dark depths are closing in... but is there life?

This was one of the most beautiful designs I’ve ever worked on. A scene that was calm and somber, yet simultaneously mesmerizing and unsettling. The statue, serving as a central motif, anchors the composition in a narrative of countercultural ritual and ceremony.

This work by Lumen Reese awakened all my childhood fantasies about Westerns, zombies, and macabre tales—a journey amidst shadows and gunfire. I decided to use a high-impact typeface with sharp strokes... just like my nightmares.

I wanted to approach this from a more cinematic perspective—even though I don't think there’s a movie based on this book yet. Based on the brief, I envisioned it as a classic, bloody film—full of revenge, love, hate, sex, lies, and lots of blood... yes... lots and lots of blood...

All the covers I’ve designed for Mary Stone have been amazing! Every series has a special touch: depicting the key scene off-screen—with elegance and dramatic flair. For *Last Vendetta*, as with many others, I used photo collage, extensive layering in Photoshop, and, above all, plenty of hidden details. Her covers are stunning!

Another cover design with a dark, psychological vibe—I love it! I worked with a high-contrast aesthetic to evoke desperation and fear: a woman hiding in a closet, dazed and clutching a weapon... just how complicated could things get?