Complot - I made an illustration for issue #2 of 'Complot' magazine, about Japanese animations from the 60's to the our days (1996). As an anecdote, back in those days, though internet existed, it wasn't so easy to look up for documentation of each one of the characters, so I made use of my memory, because when I was a kid I watched these series that really made an impression on me. Now with the DVD's it's easier to find documentation from the past.
The Flintstones - I got the job of drawing 'Los Picapiedra' (The Flintstones) for Editorial Vid, that back then handled that license, so, I did 10 issues of the prehistoric family, that without a doubt is one of my favorite cartoons (1990).
The Flintstones - I got the job of drawing 'Los Picapiedra' (The Flintstones) for Editorial Vid, that back then handled that license, so, I did 10 issues of the prehistoric family, that without a doubt is one of my favorite cartoons (1990).
The Flintstones - I got the job of drawing 'Los Picapiedra' (The Flintstones) for Editorial Vid, that back then handled that license, so, I did 10 issues of the prehistoric family, that without a doubt is one of my favorite cartoons (1990).
The Flintstones - I got the job of drawing 'Los Picapiedra' (The Flintstones) for Editorial Vid, that back then handled that license, so, I did 10 issues of the prehistoric family, that without a doubt is one of my favorite cartoons (1990).
The Flintstones - I got the job of drawing 'Los Picapiedra' (The Flintstones) for Editorial Vid, that back then handled that license, so, I did 10 issues of the prehistoric family, that without a doubt is one of my favorite cartoons (1990).
The Flintstones - I got the job of drawing 'Los Picapiedra' (The Flintstones) for Editorial Vid, that back then handled that license, so, I did 10 issues of the prehistoric family, that without a doubt is one of my favorite cartoons (1990).
The Flintstones - I got the job of drawing 'Los Picapiedra' (The Flintstones) for Editorial Vid, that back then handled that license, so, I did 10 issues of the prehistoric family, that without a doubt is one of my favorite cartoons (1990).
The Flintstones - I got the job of drawing 'Los Picapiedra' (The Flintstones) for Editorial Vid, that back then handled that license, so, I did 10 issues of the prehistoric family, that without a doubt is one of my favorite cartoons (1990).
The Flintstones - I got the job of drawing 'Los Picapiedra' (The Flintstones) for Editorial Vid, that back then handled that license, so, I did 10 issues of the prehistoric family, that without a doubt is one of my favorite cartoons (1990).
The Flintstones - I got the job of drawing 'Los Picapiedra' (The Flintstones) for Editorial Vid, that back then handled that license, so, I did 10 issues of the prehistoric family, that without a doubt is one of my favorite cartoons (1990).
The Flintstones - I got the job of drawing 'Los Picapiedra' (The Flintstones) for Editorial Vid, that back then handled that license, so, I did 10 issues of the prehistoric family, that without a doubt is one of my favorite cartoons (1990).
The Flintstones - I got the job of drawing 'Los Picapiedra' (The Flintstones) for Editorial Vid, that back then handled that license, so, I did 10 issues of the prehistoric family, that without a doubt is one of my favorite cartoons (1990).
The Flintstones - I got the job of drawing 'Los Picapiedra' (The Flintstones) for Editorial Vid, that back then handled that license, so, I did 10 issues of the prehistoric family, that without a doubt is one of my favorite cartoons (1990).
The Flintstones - I got the job of drawing 'Los Picapiedra' (The Flintstones) for Editorial Vid, that back then handled that license, so, I did 10 issues of the prehistoric family, that without a doubt is one of my favorite cartoons (1990).
The Flintstones - I got the job of drawing 'Los Picapiedra' (The Flintstones) for Editorial Vid, that back then handled that license, so, I did 10 issues of the prehistoric family, that without a doubt is one of my favorite cartoons (1990).
The Flintstones - I got the job of drawing 'Los Picapiedra' (The Flintstones) for Editorial Vid, that back then handled that license, so, I did 10 issues of the prehistoric family, that without a doubt is one of my favorite cartoons (1990).
The Flintstones - I got the job of drawing 'Los Picapiedra' (The Flintstones) for Editorial Vid, that back then handled that license, so, I did 10 issues of the prehistoric family, that without a doubt is one of my favorite cartoons (1990).
The Flintstones - I got the job of drawing 'Los Picapiedra' (The Flintstones) for Editorial Vid, that back then handled that license, so, I did 10 issues of the prehistoric family, that without a doubt is one of my favorite cartoons (1990).
The Flintstones - I got the job of drawing 'Los Picapiedra' (The Flintstones) for Editorial Vid, that back then handled that license, so, I did 10 issues of the prehistoric family, that without a doubt is one of my favorite cartoons (1990).
The Flintstones - I got the job of drawing 'Los Picapiedra' (The Flintstones) for Editorial Vid, that back then handled that license, so, I did 10 issues of the prehistoric family, that without a doubt is one of my favorite cartoons (1990).
The Flintstones - I got the job of drawing 'Los Picapiedra' (The Flintstones) for Editorial Vid, that back then handled that license, so, I did 10 issues of the prehistoric family, that without a doubt is one of my favorite cartoons (1990).
The Flintstones - I got the job of drawing 'Los Picapiedra' (The Flintstones) for Editorial Vid, that back then handled that license, so, I did 10 issues of the prehistoric family, that without a doubt is one of my favorite cartoons (1990).
The Flintstones - I got the job of drawing 'Los Picapiedra' (The Flintstones) for Editorial Vid, that back then handled that license, so, I did 10 issues of the prehistoric family, that without a doubt is one of my favorite cartoons (1990).
The Flintstones - I got the job of drawing 'Los Picapiedra' (The Flintstones) for Editorial Vid, that back then handled that license, so, I did 10 issues of the prehistoric family, that without a doubt is one of my favorite cartoons (1990).
The Flintstones - I got the job of drawing 'Los Picapiedra' (The Flintstones) for Editorial Vid, that back then handled that license, so, I did 10 issues of the prehistoric family, that without a doubt is one of my favorite cartoons (1990).
The Flintstones - I got the job of drawing 'Los Picapiedra' (The Flintstones) for Editorial Vid, that back then handled that license, so, I did 10 issues of the prehistoric family, that without a doubt is one of my favorite cartoons (1990).
The Flintstones - I got the job of drawing 'Los Picapiedra' (The Flintstones) for Editorial Vid, that back then handled that license, so, I did 10 issues of the prehistoric family, that without a doubt is one of my favorite cartoons (1990).
The Flintstones - I got the job of drawing 'Los Picapiedra' (The Flintstones) for Editorial Vid, that back then handled that license, so, I did 10 issues of the prehistoric family, that without a doubt is one of my favorite cartoons (1990).
The Key to Alimentation - In those days, ¡Ka-Boom! wasn't yet formed as it is constituted nowadays and I worked alone, the early 1990's were hard years because I've never stopped working on weekly comic books. And back then was when the comic book industry in our country fell down, and the adventure to reactivate our industry begun. Meanwhile I made the illustrations for the children's recipee book, "The Key to alimentation" for Nestlé (1992).
The Key to Alimentation - In those days, ¡Ka-Boom! wasn't yet formed as it is constituted nowadays and I worked alone, the early 1990's were hard years because I've never stopped working on weekly comic books. And back then was when the comic book industry in our country fell down, and the adventure to reactivate our industry begun. Meanwhile I made the illustrations for the children's recipee book, "The Key to alimentation" for Nestlé (1992).
The Key to Alimentation - In those days, ¡Ka-Boom! wasn't yet formed as it is constituted nowadays and I worked alone, the early 1990's were hard years because I've never stopped working on weekly comic books. And back then was when the comic book industry in our country fell down, and the adventure to reactivate our industry begun. Meanwhile I made the illustrations for the children's recipee book, "The Key to alimentation" for Nestlé (1992).
The Key to Alimentation - In those days, ¡Ka-Boom! wasn't yet formed as it is constituted nowadays and I worked alone, the early 1990's were hard years because I've never stopped working on weekly comic books. And back then was when the comic book industry in our country fell down, and the adventure to reactivate our industry begun. Meanwhile I made the illustrations for the children's recipee book, "The Key to alimentation" for Nestlé (1992).
Huitzizilli - I made the illustrations for the audiotale, "How the Huitzitzilli aquired the iridescent colors and swiftness of the wind", for Grupo Financiero Serfín (1993). The storytelling was recorded by the now deceased actor, Claudio Brook.
Huitzizilli - I made the illustrations for the audiotale, "How the Huitzitzilli aquired the iridescent colors and swiftness of the wind", for Grupo Financiero Serfín (1993). The storytelling was recorded by the now deceased actor, Claudio Brook.
Huitzizilli - I made the illustrations for the audiotale, "How the Huitzitzilli aquired the iridescent colors and swiftness of the wind", for Grupo Financiero Serfín (1993). The storytelling was recorded by the now deceased actor, Claudio Brook.
Huitzizilli - I made the illustrations for the audiotale, "How the Huitzitzilli aquired the iridescent colors and swiftness of the wind", for Grupo Financiero Serfín (1993). The storytelling was recorded by the now deceased actor, Claudio Brook.
Sanluis Rassini - I did the new design of SANLUIS Rassini's characters (which already existed as puppets), besides, I drew its company comic: "S.O.S. ¡Emergencia en Producción" (S.O.S. Production Emergency!). Since then until now a days, our studio accomplishes comic strips and comic books for this company, in order to give internal information to their employees, (2001-2007).
Sanluis Rassini - I did the new design of SANLUIS Rassini's characters (which already existed as puppets), besides, I drew its company comic: "S.O.S. ¡Emergencia en Producción" (S.O.S. Production Emergency!). Since then until now a days, our studio accomplishes comic strips and comic books for this company, in order to give internal information to their employees, (2001-2007).
Sanluis Rassini - I did the new design of SANLUIS Rassini's characters (which already existed as puppets), besides, I drew its company comic: "S.O.S. ¡Emergencia en Producción" (S.O.S. Production Emergency!). Since then until now a days, our studio accomplishes comic strips and comic books for this company, in order to give internal information to their employees, (2001-2007).
Sanluis Rassini - I did the new design of SANLUIS Rassini's characters (which already existed as puppets), besides, I drew its company comic: "S.O.S. ¡Emergencia en Producción" (S.O.S. Production Emergency!). Since then until now a days, our studio accomplishes comic strips and comic books for this company, in order to give internal information to their employees, (2001-2007).
Sanluis Rassini - I did the new design of SANLUIS Rassini's characters (which already existed as puppets), besides, I drew its company comic: "S.O.S. ¡Emergencia en Producción" (S.O.S. Production Emergency!). Since then until now a days, our studio accomplishes comic strips and comic books for this company, in order to give internal information to their employees, (2001-2007).
Sanluis Rassini - I did the new design of SANLUIS Rassini's characters (which already existed as puppets), besides, I drew its company comic: "S.O.S. ¡Emergencia en Producción" (S.O.S. Production Emergency!). Since then until now a days, our studio accomplishes comic strips and comic books for this company, in order to give internal information to their employees, (2001-2007).
Sanluis Rassini - I did the new design of SANLUIS Rassini's characters (which already existed as puppets), besides, I drew its company comic: "S.O.S. ¡Emergencia en Producción" (S.O.S. Production Emergency!). Since then until now a days, our studio accomplishes comic strips and comic books for this company, in order to give internal information to their employees, (2001-2007).
Cadbury Shweppes - I did "RAF Adventure"s company comic, for Cadbury Shweppes Bebidas Mexico (2002)
Supreme Court - I worked on the "El Poder Judicial de la Federación al Alcance de Todos" comic book, comissioned by the Nation's Supreme Court (2004), making the character design of 'Salomón', 'Constancia' and 'Cirilo'
Supreme Court - I worked on the "El Poder Judicial de la Federación al Alcance de Todos" comic book, comissioned by the Nation's Supreme Court (2004), making the character design of 'Salomón', 'Constancia' and 'Cirilo'
Supreme Court - I worked on the "El Poder Judicial de la Federación al Alcance de Todos" comic book, comissioned by the Nation's Supreme Court (2004), making the character design of 'Salomón', 'Constancia' and 'Cirilo'
Supreme Court - I worked on the "El Poder Judicial de la Federación al Alcance de Todos" comic book, comissioned by the Nation's Supreme Court (2004), making the character design of 'Salomón', 'Constancia' and 'Cirilo'
El Chavo - I illustrated the official collector's album featurin 'El Chavo' for editorial Televisa and Salo. This Mexican TV character is very popular in all Latin America. In it, all the classic characters from the TV show, created by Roberto Gómez Bolaños, are presented, with the exception of 'La Chilindrina'. The script adaptation was made by Susy Romero; the art is mine, (based on other artist's model sheets), the colors and design by Tonatiuh Rocha and Mauricio Cosío.
El Chavo - I illustrated the official collector's album featurin 'El Chavo' for editorial Televisa and Salo. This Mexican TV character is very popular in all Latin America. In it, all the classic characters from the TV show, created by Roberto Gómez Bolaños, are presented, with the exception of 'La Chilindrina'. The script adaptation was made by Susy Romero; the art is mine, (based on other artist's model sheets), the colors and design by Tonatiuh Rocha and Mauricio Cosío.
El Chavo - I illustrated the official collector's album featurin 'El Chavo' for editorial Televisa and Salo. This Mexican TV character is very popular in all Latin America. In it, all the classic characters from the TV show, created by Roberto Gómez Bolaños, are presented, with the exception of 'La Chilindrina'. The script adaptation was made by Susy Romero; the art is mine, (based on other artist's model sheets), the colors and design by Tonatiuh Rocha and Mauricio Cosío.
El Chavo - I illustrated the official collector's album featurin 'El Chavo' for editorial Televisa and Salo. This Mexican TV character is very popular in all Latin America. In it, all the classic characters from the TV show, created by Roberto Gómez Bolaños, are presented, with the exception of 'La Chilindrina'. The script adaptation was made by Susy Romero; the art is mine, (based on other artist's model sheets), the colors and design by Tonatiuh Rocha and Mauricio Cosío.
El Chavo - I illustrated the official collector's album featurin 'El Chavo' for editorial Televisa and Salo. This Mexican TV character is very popular in all Latin America. In it, all the classic characters from the TV show, created by Roberto Gómez Bolaños, are presented, with the exception of 'La Chilindrina'. The script adaptation was made by Susy Romero; the art is mine, (based on other artist's model sheets), the colors and design by Tonatiuh Rocha and Mauricio Cosío.
El Chavo - I illustrated the official collector's album featurin 'El Chavo' for editorial Televisa and Salo. This Mexican TV character is very popular in all Latin America. In it, all the classic characters from the TV show, created by Roberto Gómez Bolaños, are presented, with the exception of 'La Chilindrina'. The script adaptation was made by Susy Romero; the art is mine, (based on other artist's model sheets), the colors and design by Tonatiuh Rocha and Mauricio Cosío.
Parchis - The one that definitely bursted me into stardom was "Las Aventuras de Parchís", based in an 80's musical group, whose members were 5 Spanish children who were very famous in all Latin America. This group was the first group of the children music groups that marked an era. I drew 138 issues of "Las Aventuras de Parchís" for Editorial Proyección-Ejea (1982-1985).
Parchis - The one that definitely bursted me into stardom was "Las Aventuras de Parchís", based in an 80's musical group, whose members were 5 Spanish children who were very famous in all Latin America. This group was the first group of the children music groups that marked an era. I drew 138 issues of "Las Aventuras de Parchís" for Editorial Proyección-Ejea (1982-1985).
Parchis - The one that definitely bursted me into stardom was "Las Aventuras de Parchís", based in an 80's musical group, whose members were 5 Spanish children who were very famous in all Latin America. This group was the first group of the children music groups that marked an era. I drew 138 issues of "Las Aventuras de Parchís" for Editorial Proyección-Ejea (1982-1985).
Parchis - The one that definitely bursted me into stardom was "Las Aventuras de Parchís", based in an 80's musical group, whose members were 5 Spanish children who were very famous in all Latin America. This group was the first group of the children music groups that marked an era. I drew 138 issues of "Las Aventuras de Parchís" for Editorial Proyección-Ejea (1982-1985).
Parchis - The one that definitely bursted me into stardom was "Las Aventuras de Parchís", based in an 80's musical group, whose members were 5 Spanish children who were very famous in all Latin America. This group was the first group of the children music groups that marked an era. I drew 138 issues of "Las Aventuras de Parchís" for Editorial Proyección-Ejea (1982-1985).
Parchis - The one that definitely bursted me into stardom was "Las Aventuras de Parchís", based in an 80's musical group, whose members were 5 Spanish children who were very famous in all Latin America. This group was the first group of the children music groups that marked an era. I drew 138 issues of "Las Aventuras de Parchís" for Editorial Proyección-Ejea (1982-1985).
Parchis - The one that definitely bursted me into stardom was "Las Aventuras de Parchís", based in an 80's musical group, whose members were 5 Spanish children who were very famous in all Latin America. This group was the first group of the children music groups that marked an era. I drew 138 issues of "Las Aventuras de Parchís" for Editorial Proyección-Ejea (1982-1985).
Parchis - The one that definitely bursted me into stardom was "Las Aventuras de Parchís", based in an 80's musical group, whose members were 5 Spanish children who were very famous in all Latin America. This group was the first group of the children music groups that marked an era. I drew 138 issues of "Las Aventuras de Parchís" for Editorial Proyección-Ejea (1982-1985).
Parchis - The one that definitely bursted me into stardom was "Las Aventuras de Parchís", based in an 80's musical group, whose members were 5 Spanish children who were very famous in all Latin America. This group was the first group of the children music groups that marked an era. I drew 138 issues of "Las Aventuras de Parchís" for Editorial Proyección-Ejea (1982-1985).
Parchis - The one that definitely bursted me into stardom was "Las Aventuras de Parchís", based in an 80's musical group, whose members were 5 Spanish children who were very famous in all Latin America. This group was the first group of the children music groups that marked an era. I drew 138 issues of "Las Aventuras de Parchís" for Editorial Proyección-Ejea (1982-1985).
Parchis - The one that definitely bursted me into stardom was "Las Aventuras de Parchís", based in an 80's musical group, whose members were 5 Spanish children who were very famous in all Latin America. This group was the first group of the children music groups that marked an era. I drew 138 issues of "Las Aventuras de Parchís" for Editorial Proyección-Ejea (1982-1985).
Parchis - The one that definitely bursted me into stardom was "Las Aventuras de Parchís", based in an 80's musical group, whose members were 5 Spanish children who were very famous in all Latin America. This group was the first group of the children music groups that marked an era. I drew 138 issues of "Las Aventuras de Parchís" for Editorial Proyección-Ejea (1982-1985).
Chtulu - I drew 8 'Chtulu' issues for JI Asociados (1981), it was really my first weekly title.
Chtulu - I drew 8 'Chtulu' issues for JI Asociados (1981), it was really my first weekly title.
Chtulu - I drew 8 'Chtulu' issues for JI Asociados (1981), it was really my first weekly title.
Chtulu - I drew 8 'Chtulu' issues for JI Asociados (1981), it was really my first weekly title.
Chtulu - I drew 8 'Chtulu' issues for JI Asociados (1981), it was really my first weekly title.
Chtulu - I drew 8 'Chtulu' issues for JI Asociados (1981), it was really my first weekly title.
Oculto - In the early 80's I did a weekly esoterical comic section in 'Oculto' and 'Insólito' magazines for Editorial Conocimientos (1980-82). I started there with what later would be "The Kundalini Warrior's Manual", esoterical section in my "Karmatrón y los Transformables" comic. As many know, I'm a passionate of all things paranormal, UFO's and lost legends.
Oculto - In the early 80's I did a weekly esoterical comic section in 'Oculto' and 'Insólito' magazines for Editorial Conocimientos (1980-82). I started there with what later would be "The Kundalini Warrior's Manual", esoterical section in my "Karmatrón y los Transformables" comic. As many know, I'm a passionate of all things paranormal, UFO's and lost legends.
Katy la Oruga - I made 10 issues of "Katy la Oruga" for Editorial Ejea (1985). I made this issues as a backup to regular series artist Alfonso Sánchez Jiménez, who was sick at the time.
Katy la Oruga - I made 10 issues of "Katy la Oruga" for Editorial Ejea (1985). I made this issues as a backup to regular series artist Alfonso Sánchez Jiménez, who was sick at the time.
Katy la Oruga - I made 10 issues of "Katy la Oruga" for Editorial Ejea (1985). I made this issues as a backup to regular series artist Alfonso Sánchez Jiménez, who was sick at the time.
Katy la Oruga - I made 10 issues of "Katy la Oruga" for Editorial Ejea (1985). I made this issues as a backup to regular series artist Alfonso Sánchez Jiménez, who was sick at the time.
Capulina -
These are some examples of my first professional assignments, when my dad's boss, Giorgio Torelli, authorized me to do all the back covers of "Las Aventuras de Capulina" (1974- 1979).
Capulina -
These are some examples of my first professional assignments, when my dad's boss, Giorgio Torelli, authorized me to do all the back covers of "Las Aventuras de Capulina" (1974- 1979).
Capulina -
These are some examples of my first professional assignments, when my dad's boss, Giorgio Torelli, authorized me to do all the back covers of "Las Aventuras de Capulina" (1974- 1979).
Cepillin - I present you some of the printed back covers of "Las Aventuras de Cepillín" (1977-1979), where I made several sections, among them "Learn to Draw" and "Cepillin's Zoo". Cepillín was a famous clown that in the 70's apeared in Mexican TV. In those days I was starting to learn how to handle the Ink Pen and the India Ink... It was a torture!
Cepillin - I present you some of the printed back covers of "Las Aventuras de Cepillín" (1977-1979), where I made several sections, among them "Learn to Draw" and "Cepillin's Zoo". Cepillín was a famous clown that in the 70's apeared in Mexican TV. In those days I was starting to learn how to handle the Ink Pen and the India Ink... It was a torture!
Cepillin - I present you some of the printed back covers of "Las Aventuras de Cepillín" (1977-1979), where I made several sections, among them "Learn to Draw" and "Cepillin's Zoo". Cepillín was a famous clown that in the 70's apeared in Mexican TV. In those days I was starting to learn how to handle the Ink Pen and the India Ink... It was a torture!
Cepillin - I present you some of the printed back covers of "Las Aventuras de Cepillín" (1977-1979), where I made several sections, among them "Learn to Draw" and "Cepillin's Zoo". Cepillín was a famous clown that in the 70's apeared in Mexican TV. In those days I was starting to learn how to handle the Ink Pen and the India Ink... It was a torture!
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