Since I was a very little kid, I always had a fascination for drawing and fantasy; restless, mischievous and liar, I won the nickname “Pinolillo” and “Pingo Colorado” among my aunts and uncles.

I always had a big imagination and wanted to do my own stories, influenced by all the comic books my dad bought me every Friday: Kalimán, Lágrimas y Risas, Fantomas, Balam, Tawa, etc., and of course, comic books such as Spider-man, Hulk, Superman, Batman etc., always stick to me.

I drew all the time, day and night. Even my school notebooks were filled with “you-didn’t-do-your-homework” stamps, but they did were filled with drawings.

During the course of years, while studying the Machines and Tools career, the Eng. Humberto GarcĂ­a Jurado once found me drawing and was surprised by my ability…that day he gave me the most important advice of my life: —“You’re at the wrong career; you have nothing to do around here. You have just the right age, eighteen years old, you’re at the middle of your life; you can still correct your way”—. And I did.

That same afternoon, I sat at my home’s door to draw when a labeler friend of mine named Miguel arrived and saw me drawing. He said: —Why don’t you go to Vid Publishing House? I’m working there, painting walls—, and he gave me its address. The most curious thing about this is that during the very same day, two people who didn’t know each other, oriented me towards one same path, which confirmed me the decision I’d make.

Next day I played hooky and went to Vid Publishing House and, what a surprise! The Graduate Francisco Jimenez received me personally and reviewed all my work portfolio: loose Thundercats, Batman and He-Man drawings colored with wooden pencil colors Prismacolor: Of course I was rejected! But something very important happened: Francisco Jiménez gave me several advices about how and what to draw. The next time we’d meet, he told me to do the in between frames, concrete characters of the publishing house and practice…lots of practice!

When I left the place, I wasn’t depressed, but super motivated, since I had had my very first encounter with the world I loved the most: comic books and the publishing house world.

Next year, I returned and it was Francisco himself who received me once again, this time I had followed his advine, but now I was better prepared.

He invited me to enter to the drawing school of Vid Publishing House. The lessons were given by José Alfredo Pereira Tloache. Next week I was already drawing my first comic book: The Muppet Babies. All of this happened during the year nineteen eighty nine, the same year I met Oscar González Loyo. Under his guidance and his father’s, Oscar González Guerrero, I took this long and winding road of comic books. Later on I did The Flintstone Kids, Tom & Jerry, Little Lulu, The Flintstones.

During the course of weeks, Oscar González Guerrero told me I had to go forward in drawing since I have got stuck in cartoon and I was limiting myself, so I needed to practice human anatomy. This way, I chose to leave Vid Publishing House momentarily and dedicate myself to study anatomy.

At the beginning, my family and friends criticized me: How come you’ll stop working only to study human anatomy? Of course! And this was how two long years passed by in which I dedicated myself twenty four hours a day to practice serious-styled drawing (and I keep doing it until today).

During these two years, I met Mister Javier Robles and Master Alberto LeĂłn, who were Art Directors at EJEA Publishing House. I entered a drawing workshop from the publishing house and there I started drawing Sensacionales
from nineteen ninety two until the year two thousand.

This school gave me the needed tools and ability to develop discipline and constancy to deliver work on time, as well as the bases to confront any kind of drawing style.

I have worked for Bongo Comics Group, in The Simpsons; mascot and publicity comic books creation.

I’ve developed illustrations for school books for Mexico and Ecuador, some drawings directly for Akira Toriyama’s Dragon Ball for Vid publishing house, and for Super Campeones.

I did the art for the comic book Blue Demon Jr., El Legado (the legacy), and today, I draw NĂ©mesis 3000, La Alianza (the alliance) and my author projects: Las Inocentes Travesuras de Dulcifer y Tadeo (The Innocent Mischief of Dulcifer and Tadeo); Hoachinton D.C., and El Cuarto Reino (The Fourth Kingdom).

All this during a twenty one years of professional career.