Cover illustration for Succumb to Darkness by Lauren A. R. Masterson. Depicts three vampiric figures dressed in historic clothing, one woman in a simple blue dress with pale skin, red hair, and red eyes on the left, one woman in a purple dress with lace fringe with pale skin, blonde hair, and purple eyes on the right, and in the center, a man with dark tan skin, black hair, and yellow eyes. Behind them is a brocade-edged curtain.
Cover illustration for The Sharp Edge of Yesterday by K. M. Herkes. Depicts a woman holding a ball of glowing green light on the right (front cover) of the image in the foreground. The background is of a forested, grassy plain lit by a rising sun, gradually shifting from light and renewal (on the right) to darkness and decay (on the left). A river guides the eye from the foreground to the background to a dilapidated building. On the far left, two figures sit and lean against a crumbling wall, looking towards the rising sun. One has a crest of spines running from her forehead down her back (standing). The sky on the far leftmost side is lit by a green aurora borealis.
Grayscale painting depicts two nude human figures, floating or drifting in midair. The figures’ feet have been replaced with hands. This painting can be oriented with the figures either falling “down” or falling “up.”
Grayscale painting depicting two nude human figures, wrapped around each other end to end with legs interlocked. The figures’ feet have been replaced with hands. This painting can be oriented with either figure as the “top” figure, as each figure’s head is in line with opposite sides of the canvas.
Grayscale painting depicting a human figure laying on their side on the ground, one leg extended and reaching up to the top of the canvas, their hands clasped behind their back at the hip. Focuses heavily on the musculature of the reaching leg and the clasped hands. The figure’s feet have been replaced with hands.
Grayscale painting depicting a human figure curled in on themselves, with one hand visible wrapped around the side, the other outstretched along the floor, and one leg raised and bent at the knee. The figure’s feet have been replaced with hands, and one is visible peeking out from under the bottom of the thigh.
Grayscale painting depicts a human figure facing away from the viewer and seated on the ground with both arms crossed behind their back and one leg bent backward. The figure’s feet have been replaced with hands; the figure’s right (viewer’s left) hand is clasping the hand-foot of the figure’s left (viewer’s right) leg. Focuses on the musculature of the back and shoulders and the clasped hands.
Grayscale painting depicting a human figure lying on their back with the back of their head facing the viewer and legs splayed in an exaggerated diamond shape. Their arms hooked under/around the insides of the knees and hands resting on the lower shin. The figure’s feet have been replaced with hands, which are pressed palm-to-palm with the tips of the fingers touching in a gesture of prayer, repeating the diamond-shape position of the legs. Focuses on the musculature of the figure’s shoulders, legs, and four hands.
Grayscale painting depicting a human figure sitting on the ground in a posture of grief or pain. Though their face and front face the viewer, the figure’s right arm (viewer’s left) obscures the face. The figure’s left leg (viewer’s right) crosses their body, obscuring the figure’s lower torso and hips. The figure’s left hand holds their right upper arm, and their right leg is folded underneath them as the figure “sits” on it. The figure’s feet have been replaced with hands, the one on the end of the left leg is splayed on the ground, the one on the end of the right leg clenched in a fist. This painting focuses on the musculature of the figure’s legs and the emotion conveyed through the body’s posture.
Grayscale painting depicting a human figure facing away from the viewer and sitting reverse, with the front of their hips resting on the ground and propping themselves up on their fully extended arms. Their legs crossed behind them, mimicking a crossed-arms pose. Focuses heavily on the musculature of the back and buttocks. The figure’s feet have been replaced with hands, though only one hand-foot is visible.