Last week was all about wrapping up production cycles. Besides finishing the inks for Ringbreaker #2, I also completed the layouts for The Shadow in the Jungle written by Aaron Shaps. Now it’s time to go over everything, make some adjustments, and dive into the inking process across these 22 pages.

The ink pile for Ringbreaker #2, written by Alan Bahr. Since I went back to traditional inking over a year ago, I’ve felt more comfortable, faster, and genuinely happier with my work; Immersing yourself in inking a page, switching tools, cleaning a brush or loading ink.

"This is the Light of my Soul, a sacred territory that no one can profane". #evangelion30th #エヴァ30周年

Fire Blossom unleashing her full aura to save the day. Just three more pages and I’ll be done drawing The Shadow in the Jungle, this self-contained issue written by Aaron Shaps.

Broken Rock about to prove his worth in the Forbidden Forest. Just a few pages away from finishing the pencils for The Shadow in the Jungle. Written by Aaron Shaps.

It's almost a constant that Buddhist iconography seeps into the comics I create. Here are the concept designs of the Christ Child and the Buddha Child, the main characters of The Uterus of God (l'Utérus de Dieu), published in Métal Hurlant #16.

Designing minimalist buildings and imagining New India, one of the locations where The Uterus of God (l’Utérus de Dieu) is set, published in Métal Hurlant #16.

"It is said that dying in the Ganges stops the wheel of reincarnations". Another panel from The Uterus of God (l’Utérus de Dieu), published in Metal Hurlant #16.

A panel from the most recent short comic I published in Metal Hurlant #16. Theo-scientists have managed to duplicate Christ's DNA and print a new Messiah thanks to the Uterus of God (l’Utérus de Dieu), the most advanced human printer on the planet.

I was surprised by the amount of technical information the video offers. If I'd had this as a kid, I would have worn out the VHS from watching it so much. What surprised me most is the explanation of how to balance the black in a panel, a balance you continue to pursue throughout your inking life.

Panel by panel, I'm catching up on my backlog of work. Another sequence of Broken Rock facing the dangers of the Forbidden Forest. Script by Aaron Shaps.

Wonderful interview. It's truly a pleasure to read the masters speak so in-depth about Urbicande. I had no idea it was originally intended as a full-color album. I'm glad they decided to do it in black and white; it adds so much drama to the story. Excite about every post on this substack.

Returning to the digital drawing table with Broken Rock and its foray into the Forbidden Forest. Written by Aaron Shaps. With more than half of the issue already drawn, I'm starting to feel like inking.

Algunos paneles de Fósil, la historia con la que participo dentro de la Antología de Historietas Fuera de Temporada inspirada en nuestra ciudad Mar del Plata. La mía recupera un fragmento fosilizado de la historia del Museo de Ciencias Naturales Lorenzo Scaglia. Disponible en la Crack Bang Boom 👍

Desde el Jueves 14 hasta el Domingo 17 voy a estar feriando en la Carpa de los Fanzines dentro del marco de la CBB (Rosario). Ferio con los tres números de Sundari y algunas cosas más 🙂

François Schuiten and Benoît Peeters throughout the creation of a page, it’s in French, but everything that’s happening is very easy to follow. One of my favorite duos in the world of comics since I came across with La Fièvre d´Urbicande, architectural science fiction.

Returning to the onomatopoeia drawn in my panels, a resource that I had put aside because I couldn't do it well, but which I love to see in other comic artists when they incorporate them organically within their panels; it's a very beautiful compositional resource.

A classic day making comics. Self-reference for depicting Broken Rock, the main character of this project I'm working on these weeks. The economy isn’t helping much, but I’m doing my best to enjoy the process these days 🙇

Piloto del programa "La Epopeya de Mayo" de 1979 con ilustraciones de Alberto y Enrique Breccia a tinta. Una belleza y hermoso documento de archivo.

Entre tanto trabajo me había olvidado lo lindo que era escribir un poco en un Blog. Este posteo es sobre el pintor Fidel Roig Matóns y el conjunto de obras sobre la Gesta Sanmartiniana que pintó hasta quedarse ciego: substack.com/home/post/p-...

I make a living by making comics. Right now, it's becoming really difficult for me financially to sustain it. I've been pulling long nights of drawing and inking for a few weeks to meet multiple deadlines. Here is a panel from The Shadow in the Jungle, scripted by Aaron Shaps.

Just got proofs for my first comic in way too long! Cole City #1 by me and @facundonehuenlopez.bsky.social, small batch debuting at A2CAF, crowdfunding this summer.

Un texto inédito muy lindo de Felipe Ávila, guionista, dibujante e investigador fallecido en 2018, recuperado en el sitio Legado de Orfeo, analizando el trabajo de Héctor Germán Oesterheld en Chile.

El material promocional de Editorial Columba para la edición nacional de Lone Wolf and Cub fue algo increíble, hay joyas invaluables, ver dibujos de Ogami Itto y Daigoro por Cacho Mandrafina es hermoso.

Last week I finished drawing the last panels of Ringbreaker #2, scripted by Alan Bahr. I was able to indulge in several panels with a strong focus on backgrounds, long wide shots where the characters are very small, it's really fun to play with scale ✍️

Enorme labor de Diego Labra y Lisandro Arau en estos 14 Episodios de La Batea Podcast que recorren la historia de la publicación de manga en Argentina, muchísima data y una cronología que te hace volver al pasado si entraste a la historieta por Ivrea. Tremendo material.

A panel from one of the projects I'm currently working, from Rinbreaker #2, written by Alan Bahr. Few things are more difficult than drawing horses, but what a visual power they have in a composition!

I don't want an AI that renders images that vaguely resemble Ghibli films. I want an AI - or just a regular I - that informs everyone the man's name was Yoshifumi Kondo, he's the guy who designed the characters you think of when you think of "Ghibli", and he died in 1998 at age 47 from overwork

That imperative need of the technological world to try to imitate art artificially, without soul, without consent, absolutely against the wishes of the creators. I understand the beauty and wonder of creating a Ghibli-style portrait, but this isn't the way at all.

I got married with @danamucci.bsky.social 🥂 Wedding between illustrators! It was a crazy few months and one wonderful day that made it all worth it! ❤️ Thank you for brightening my days ❤️

The Doomed Magicians: Prisons. Sentenced to endure a terrible punishment, unjustly imprisoned for crimes they did not commit, they are: 💫 Sundari and the Japamala of Buddha. 💫 Arena and the Alchemist Sphinx. 💫 Marea, the Embryo in the Jar. 💫 Specimen #342: Horus.

Another key piece that was burned into my mind was the first Stargate movie (Jaye Davidson's portrayal of Ra is incredible), and of course, the desert scenes from The Fifth Element, with all that concept art by Mézières and Moebius displayed before my eyes. Lineart of Horus, the Doomed Magician.

Initial design of the Doomed Magician Horus, the Transmuter of Stars. I wanted my representation of the Egyptian God to wear armor, not only because of my obsession with Saint Seiya, but also to protect him from the infinite power of the Sun as he travels across the universe. #ConceptArt

The Doomed Magicians: Horus. One of my earliest obsession was Egypt and its mythology with gods bearing beautiful animal heads. That still lingers in my aesthetic DNA and served as the clay to shape this. . "Specimen 342 from the private collection of the Exiled Pharaoh".

I had some false starts while searching for the right scene for Marea. I still like some of these sketches, especially the concept of the uterus and the kaijū. However, they were out of sync with the series' theme, which is mages trapped in small containers. #Illustration #ConceptArt

The Doomed Magicians: Marea. Nothing is more dangerous than what lies in the depths of the ocean—unknown, hidden under the immense pressure of countless tons of water. . "My biology regresses day by day, soon I will be an embryo again and nothing will be left of me in this jar".

From a few years back until today, I've noticed that sphinxes are my favourite mythological creature, love their morphology and the aesthetic that each culture provide to these beings. I designed this one for this series. She is Khanef, The Alchemist Sphinx. #Illustration #ConceptArt #Sphinx

The lineart of Arena and the Alchemist Sphinx. The concept of the hourglass is what drew me to have every mage of this series miniaturized in some way. #Illustration #ConceptArt

Notes and sketching exploration for the composition of Arena. In the sketch on the left, the Sphinx appears in full body. It's a sketch I still like a lot, but Arena was losing its prominence. The sketch on the right works much better, especially with Sundari beside her. #Illustration #ConceptArt

The Doomed Magicians: Arena. These Mages are strongly inspired by the old artists of Magic the Gathering and Mitos y Leyendas, which opened the doors of the Fantasy Art for me. . "This is the fate of those who try to steal the knowledge of Khanef, the Alchemist Sphinx".

The Doomed Magicians: Sundari. This was the first painting I developed for this personal project. The idea is to continue expanding the universe, but my initial goal was to create a series of four illustrations, which I finally completed. . "...and then I was exiled, tied to the Buddha's Japamālā".

An inkwash portrait I painted of Takehiko Inoue a decade ago. I no longer draw realistically, but I was fortunate that, at the time, an editor showed the piece to the sensei himself. The feeling was absolutely incredible. Happy Birthday, and thank you for your work, sensei!

I have always been fascinated by the creatures designed in Yu-Gi-Oh! These are my four favorite cards: the Blue-Eyes White Dragon, a design that has always captivated me; it’s truly powerful visually. Also, Magician of Black Chaos, Garnecia Elefantis and the unsettling Tsubo Majin.

These are the materials I’m currently using to paint my personal illustrations: Pébéo gouache, I love the hues you can achieve, though I wish they were creamier (they’re a bit dry to work with) And Nicker’s cerulean blue is a little treasure I was able to bring back from Japan.

A few cel frames I painted during the COVID-19 pandemic in my sketchbook, experimenting with how it feels to paint with gouache to build confidence with the material. Usagi Tsukino from Sailor Moon, Shaka from Saint Seiya, and Kaworu Nagisa from Evangelion. I learned that gouache dries very quickly!

The zine version of Sundari 😌A lot of print, fold, staple and trim went into this, but it was worth every hour invested. #Fanzine #Manga #Historieta

"Sundari" es mi webcómic gratuito, una historia de aventura y fantasía sobre la hermana de Buddha. En este hilo encontrarás una breve sinopsis, así como enlaces a todos los capítulos publicados hasta la fecha en español para que los leas. #Manga #Historieta #Comic #Webcomic

Gracias @gonzalomruiz.bsky.social y @matiasfmir.bsky.social por la mención de Sundari en este final de temporada de Oficio al Medio 🙂 Me pone muy contento que la hayan leído.

What fascinating creatures the Djinns of pre-Islamic Arabian mythology are! this is the concept design of Sayaad Harib, the Fugitive Hunter, one of the guardians of the Prison City who appears in the third chapter of Sundari ⌛️ #ConceptArt

Whether or not you are familiar with the work of Quique Alcatena, this documentary by Diego Arandojo is a beautiful piece of Argentine culture. If you are an english-speaking reader and don't know where to start exploring his work, I highly recommend Acero Líquido (scripted by Eduardo Mazzitelli).