






“How to find Happiness in a Video Game”, a story from the archives.







“How to find Happiness in a Video Game”, a story from the archives.
‘Medical mysteries of Miranda Montes’. From the archives.
New The Secret Knots. “The Day of the Blue Gods”
I haven’t give this one too much love, since it was one of the first stories I did when I switched back to drawing on paper and I wasn’t too happy with some of the panels. But today I found out it’s Vera Chytilova’s birthday, whose movie “Daisies / Sedmikrásky “ loosely inspired a scene here, so here I am again: telling you about poorly translated imaginary movies.
What do you use for making your art?

I draw and work colors in Clip Studio mostly. I’m always switching tools and line styles even, I think it depends a lot on the story. Sometimes I’m very fond of fixed width markers:

And other times I’m drawn to thick, variable pens and brushes:

I’m highly influenceable. I may be reading a comic drawn by David Aja and thiking ´this is THE BEST I should only draw in thick dark blocks’ and next, I’ll remember how much I love the thin, vibrant pen lines in Taiyo Matsumoto’s manga, and wish for that effect as well. And so on.
For a while, I was drawing with real pen and ink once again. This is how I made the Boarding School comic (a project I left on standby, the part I shared was some kind of prologue to a long story).

I think I find drawing on paper the most enjoyable of all techniques, and the one that helps you, more quickly, to get better at inking. But on paper, I do miss the possibility of reframing panels. That’s why, for comics, I ended up sketching on Clip studio and tracing on paper at last. But I always keep the habit of making hand drawn sketches. This is the last one I shared on IG, inspired by a recent finding of an old Shadowrun ttrpg guide:

Finally, here’s a tip for ink artists: whenever is possible, make drawings without pencil sketch. That’s right, ditch the blue lines, ink directly. It’s insane, I know. But I learned this from a post by Ashley Wood, where he boasted of ‘not having time’ to do pencils. And then, getting over the tongue-in-cheek remark, I tried it, and kept at it since then. (Again, when possible by the nature of the illustration) You get to really see the lines as they come alive, and attain a better sense of shapes. And most important of all, you improve faster. Drawing is very much like a gymnastic or martial discipline, it has parts of body training and reckless confidence. You’ll make more mistakes, and learn faster. I’m not saying this from the perspective of a great artist, which I’m not, but from the point of view of someone who is very conscious of the progresses I make.
Thanks for the question! I hope this is useful to someone out there.









New Secret Knots comic, “Memory Weaver”. I hope you like it!

This one is from the upcoming Secret Knots comic called Memory Weaver, already posted to Patreon.






This Secret Knots comic is brought back to you by a new movie awards season.

A small poster I made for a friends’ band gig. The shadowy kid is like their recurring character. Here’s the illustration without titles

I wanted to draw a crazier fantasy car, but I found myself out of my depth on that idea, specially considering the time that I had, so I stayed near to a real Cadillac as reference. Still, I’d love to draw wacky machines sometime. There’s a small glimpse of strange machines in the next Secret Knots comic, which I think may have been a reminder of this itch.
I must admit I have never read The Picture of Dorian Gray, having only heard summaries. Even then, your comic about the painter is super interesting! The art and the telling of his story are really evocative and engaging, and the end felt satisfying even though I had first heard of the man just minutes ago. It’s kind of tempting me to read the book.

Thanks! It’s good to know it piqued your interest abut the book. It was naturally the starting point for the comic, but on the way I also found inspiration in a 1992 film called Orlando. It’s a story (adapted from a book by Virginia Woolf, who appears discreetly referenced in the comic as the writer Basil paints) about a young man who is commanded by the queen not to grow old, so he does exactly that, living through different eras and scenarios. The young immortal noble is played by Tilda Swinton, and I shouldn’t spoil more about it, except to say it’s very recommendable too.