The Basic Three Elements you Need to Tame

The Basic Three Elements you Need to Tame

Structure, Proportion & Perspective.

The two disciplines you need to understand and master are: Drawing & Storytelling. These two disciplines should work together on every comic book page you create.

Let’s Start with Drawing: Drawing by itself is a discipline that requires a lot of effort and education. We are going to cover the very basics here and only the tip of the iceberg, due to time and space. So, let’s start:

To Master the Drawing you will need to first understand how to create a well structured figure and scene, for that we need to learn how to create Basic Geometric Forms in the right Proportion and Perspective.

Structure: The Basic forms every artist works with are: the circle, triangle, square and rectangle. Most objects can be reduced to these simple geometric shapes. These basic shapes allow you to draw anything you want, all you need to do is to merge them into something that you want to create. Drawing is about understanding what you see and learning how to transform shapes into forms.  The Basic shapes and forms, help artists to go through the process of creating a new world but, for that, he needs credibility!!  And that’s why we  need to get to the next topic!!

Perspective: Perspective is a technique used to represent three-dimensional images on a two-dimensional picture plane. There are many types of perspectives: overlap, atmospheric, linear, curvilinear, cylindrical, fisheye, isometric, etc… Once you Master the Perspective techniques you’ll be able to create complex scenes with the illusion of distance and deepness.

Proportion: It’s all about Place and Dimension. The proportion of one element is relative to Where in space it’s located and what Size/Scale it has in relation to everything else in the scene. Imagine the Nose of a Character: Place and Size on the face. If it’s in the wrong place it won’t give enough credibility to the drawing, as much as if it’s with the wrong Size. Too big nose can give a comic felling to the character and this is a choice you have to make in order to create the  right Emotional Experience for the reader.


There are many other elements like Composition and figure Drawing to Master on this discipline but, like I said, this is only the tip of the Iceberg. We’ll be talking more about Composition, Perspective and Figure drawings with lots of tools for you to download! Stay tuned!!

NEXT: 6 Basic Lessons About Anatomy.

Do you know how to draw the Human Body in the right Proportions? Download the Master Proportion Grid  to help you create your characters the right way: Here! 

6 Lessons About Anatomy

6 Lessons About Anatomy

Figure Drawing

On the Last Article we talked about Structure, Proportion and Perspective. Let’s get deep into the subject and talk more about the Figure Drawing.

Now that you have your Master Proportion Grid, you can use it to create Characters and Faces in the right proportion with all these 6 elements that I’ll be sharing here:

  • Skeleton and Muscular System – Always remember to structure your drawings with the right: Anatomy, Proportion and Perspective.
  • Faces – Again, learn to draw a face with the right Anatomy, proportion and Perspective. 
  • Face expressions – There are 6 main face expressions that all others are created from. 
  • Hands – Learn how to draw hand. Hands are used all time to convey emotions in comics. Learn it’s form and shape so, you can represent it the right way and convey the right emotional reaction on the reader of your comic book.
  • Feet – One thing that Editors look at in a page are Feet! Yes, yes they do. Get them done right and give credibility to your drawings. Often Artist that don’t know how to draw feet, try to hide them from panels and pages. By hiding something from a page is like writing on a balloon on that page: I don’t know how to draw feet!!!
  • Body Expressions – This is one very important aspect of how to tell a story about a character. Every Character have a different Body Expression and all convey some part of the characters personality so, when drawing a character think about his/hers personality and how to translate that personality in a body expression.

The biggest Challenge every artist will face is to create a character that look Alive!! These are living people, breathing people. We rarely see a image of a character that really looks like he/she is Alive!

It’s vital to master the art of figure drawing to be able to create a comic book page with credibility and never trow the reader out of the story. The drawing is only a tool to tell the story. The Story is what’s important and everything you do must serve it.

Consistency is also vital to keep the reader in the story. And another great challenge to Artists. Drawing the same character in different angles and poses can be hard and frustrating if you don’t have the necessary experience to do so. What’s needed in this case is Practice, practice and more practice.

Here is a nice example of Joe Kubert drawing a character at New York Comic Con few year ago:


NEXT: The Best #1 Tool to create Perspectives Faster.

The Best #1 Tool to Create Perspectives really Fast!

The Best #1 Tool to Create Perspectives really Fast!


The Italian Architect, Filippo Brunelleschi (1377-1446) formulated the principles of linear perspective in the late 19th Century. The Linear or Mathematical Perspective System created by Brunelleschi was a great Breakthrough to represent the reality with accuracy. Perspective is a great structure builder in any art form. The mathematical Perspective allows you to give the illusion of deep and space with actual real dimensions. Let’s say you have a room 3mx3m. Using the mathematical perspective method you can actually draw the 3mx3m space with accuracy. It’s described as a “Technique of depicting volumes and spatial relationships on a flat surface”. As you can see, perspective has everything to do with Proportions: The Scale and Location of an element in space. The Perspective is the tool that allows you to create the right proportion between elements in your piece and mastering perspective is vital to any Comic Book Artist.

There are lots of types of Perspectives:

  • Atmospheric Perspective
  • Fisheye Perspective
  • One Vanishing Point Perspective
  • Two Point Perspective
  • Three Point Perspective
  • Cylindrical Perspective

The Best way to create Perspectives really fast is to use grids. The grids are already done and you can use them as reference to create whatever you want. Grids can give you the measurement of space and dimensions needed to put everything in the right proportion. Of course before you use grids is extremely recommended that you understand the Perspective concepts and how to create them from sketch. Otherwise even using grids can take you to the wrong way.

Choosing the right tool, in the right order to achieve the right result is critical to create and tell the story.

Perspective is a extremely complex and to master them all takes time and effort. There’s no need to rush, take your time and study it carefully, understand it. Creating rich environments can be a lot of fun and creating them with accuracy and credibility will give you a sense of satisfaction hard to top.


Creating a Perspective. Filippo Brunelleschi way. – NEED TO CREATE IT.

The use of perspective is essential for creating credible scenarios. Your scenario can have a ForeGround, MiddleGround, and Background. Using the perspective tool you can insert all kind of details into you scenario and create a brand new world.

You can Download the Infographic of How to build a Perspective using this Method HERE. – NEED TO CREATE IT.

The Best tool to create a perspective really quick is a already done Grid!! You can Download this one HERE.  –  NEED TO CREATE IT.

NEXT: Storytelling, Rhythm & Timing.

The #1 Little Dirty, Dirty trick, Professionals Use to Create Their Comic Book Faster and Better.

The #1 Little Dirty, Dirty trick, Professionals Use to Create Their Comic Book Faster and Better.


For many of you, this maybe not a secret at all but, for some it is! 

What I’m going to share today is that the use of photographic reference is essential for the comic book artist nowadays! Maybe in the past, the artist could get away drawing by head. Not anymore. The Industry got much more demanding on the Super-Hero genre. Of course there are lots of styles but even so, the use of reference is fundamental. You can see a manga comic book and say: “Oh wait a minute, these characters don’t really need reference!!” Oh my friend, YES they do!!! The reference is there as a guide to help you to create a credible scene. They are there to help you to make the character with the right anatomy, the right proportions and in the right perspective: STRUCTURE remember?!!! The style you use should follow these principles of drawing. Except for very rare cartoons, then you need to follow nothing but nonsense right.?well…

One challenging problem I see over and over is the consistency. How to draw the same character over and over and make it look like he is the same guy. And more challenging is drawing the same character in different angles. Even professionals have a hard time on this one. There are artists that are able to afford to hire models to pose for them. Some take pictures of themselves to use as reference. Some asks for friends to pose and create a scene so, they can work from that photo. The fact is that the reference helps immensely to create a scene in a professional and accurate way. The forms, shapes, perspective, lights & shadows are all there.

A little tip I would give is NOT to TRACE the photo!! But use it as a reference!!! Tracing the photo can make your characters look stiff and lifeless. Hard enough is to make a character dynamic and alive with a reference but, tracing it may kill the scene. You need some experience to be able to create a character that looks alive in a scene!! The line quality of your work will only show when you use the reference and actually build the character by yourself!!

So, use reference for EVERYTHING!! background, vehicles, animals, shoes, lamps characters, clothes etc…

Are you able to draw the same character in different angles over and over again? This is a problem that I found for myself and for that I’ve created my own Comic Art Reference Book! You can download some tools for free HERE: ! With more than 20 poses specially created for comic book artists this book will soon be available. You will find Faces, facial expressions, hands, feet,  anatomy, proportion, poses of all kinds and much more!!!! 

  • If you want to learn how to draw.
  • If you want a reference book specially created for comics book artists.
  • If you want to create characters with consistency. 
  • If you want to draw real shadows and real people as well as super-heroes.

I’ll be off to NYCC next week and hope to meet some of you there.

Hope you have enjoyed this sequence of articles and that they could help you somehow, I had a blast!! Thanks for your time!

All the best to all.

Th, th, th, that’s all folks! See you next time.

Yours truly 

Rod Rodollfo 

Breaking Into the Comics Business – How to Create a Great Portfolio –

Breaking Into the Comics Business – How to Create a Great Portfolio –

7 Essential Lessons Every Comic Book Aspiring Artist Needs.

A comic book convention is an event created to celebrate the art of storytelling through images, as well as meet people who, in one way or another, are connected to this small industry. Small but, through their stories and characters, is gaining more space in cinemas, tv shows and theaters worldwide. In the case of the New York Comic Convention of 2014, about 150,000 people gathered at the Javits Convention Center. Our first trip to New York in 2010 was incredible !!! Had never participated in an event like the NYCC !!! At that time we were, me and my wife, running from one side to another, delivering samples of sequential pages looking for a job! We delivered various portfolios during the convention but, unfortunately I was not able to get any work at that time … Although, it was very exciting, we  have had meet many professionals and received many constructive criticisms. The highlight of this convention was meeting the talented Joe Kubert!

It was on 2011 that I got my very first work on a mainstream publisher: Zenescope. For many years I’ve been working with Indy creators and trying to break in the mainstream. Once again I went to NYCC with a hand full of left over samples and contact info and that was it. Several months later Zenescope contacted me for a job. They asked me to do a 1 page test sample and the next thing I heard was: You got the job!!

To get a job on the mainstream of the comic industry you need to master the two disciplines you’ll be working with for the rest of your life: drawing & storytelling. I’m going to share with you what you must have in order to impress the editors and get a job at a publisher:

1 – The things your pages must show are that you are a master of drawing & storytelling: you know perspective, composition, anatomy, proportion, etc… and that you know how to tell a story  in a clear and efficient way. Show that you know how to draw hands and feet. Show that you know how to draw buildings and vehicles: cars, trucks, buses, helicopters etc… The editors want to see that you have the ability to cover a range of visual material a publisher would need from you.

2 – You must show that you know how to draw super-characters as well as real people. There are real people in comics too you know?

3 – Environment and backgrounds are part of the story. Give your buildings credibility!! Make them look real, creating a grid of lines won’t cut it!!

4 – Show quiet scenes with normal people and action scenes with super-heroes characters.

5 – Show Hands and Feet. Don’t hide them, Editors want to see that you can draw hands and feet.

6 – Try to show at every page: one close up, one full body character and an establishing shot.

7 – Draw a 3 to 6 pages of SEQUENTIAL ART not only Pin Ups! It’s a comic book and the editors want to see that you can draw pages with actual panels on it!!!

So, here you go. Five quick tips to make a Portfolio that impresses editors!!

NEXT:  The #1 Little Dirty Secret

My First Cover Process

My First Cover Process

6 Step by Step

The very first cover I ever done for the comic book industry was: Battlestar Galactica Six Issue #3. In this article I’ll break down the process of creating a cover for a comic book publisher. 

First you’ll get the request from the editor to work on a cover and if you accept it (of course you will) he’ll send you a brief description about what you need to work on.

What you are about to see now is the briefing the editor sent me to work on this cover. This is a highly private discussion that by the time it’s taking place it’s considered TOP SECRET!!!! 007 Kind!

Here’s how it goes:

Hey Rod, 

We’d like you to do the covers for Battlestar Galactica: Six series for issues #3, 4, and #5.

Can you please do the cover for #4 first?  Here is the solicit copy for the issue.

Battlestar Galactica: Six #4 – Number Six, like the other humanoid Cylons, has been designed to be human in every way. If that’s the case, then how can she be sure what she really is on the inside? In order to know the truth for certain, she’ll have to take a leap of faith. But will she fly high or crash and burn?

When can you provide cover layouts for me to look at?


And now we start the process:

1 – Creating the lay-out: I wanted to give the editor 6 choices for the cover. I made thumbnails for the editor to choose from. The character was in a dilemma: am I Human or Cylon? So, I came up with the idea of dividing her in two, partly metal partly real… Just missed the silver wings and nerves of steel… (Comment below if you know what’s this reference about ;P).


Once the editor approves and chooses the cover idea it’s time to start drawing. It’s a good idea to number the layouts for easy identification. In this case the editor choose #2.

IMPORTANT: Remember to leave space for the title of the issue on top of the cover and credits in the bottom.

NOTE: The Covers as well as all sequential pages were done digitally.

2 – Now it’s time to sketch the idea in the real size. I like to use a blue or red brush when sketching…just a personal taste of mine.


3 – Change the opacity of this layer and create a new layer called pencils to tight things up.


4 – Turn off your sketch layer and change the opacity of the pencils. Create a new layer called inks and start inking.


5 – Now that you have the character done you’ll have to create the background. Better to do that in a new Layer 😉


6 – Save your cover in 400dpi, CMYK, TIFF format and send them over for approval. Once it’s approved it will be sent to the colorist and the logo of the issue will be inserted and it will look something like this:


Congratulations!! Now you have your first comic book cover!!! 😀


NEXT: How To Create a Great Portfolio.

The Drawing Process

The Drawing Process

6 step by step

You must keep in mind that whatever you choose to work with: digital or traditional, these are tools you use. The tools are as important as the basics. Learn what to use and when to use it in order to have the desired result.

I am always looking to establish the best workflow I can and be comfortable with it. Dealing with a monthly deadline doesn’t allow much room for mistakes. The pages need to be ready for the Inker, Colorist, Letterer and Editor review before going to print. And that’s why I will always choose the most efficient, quick and easy way to create a comic book page. I already have a established workflow and I’m going to share it with you today.

  1. The first thing to do is to download the master lay-out template HERE, I start reading the script sample and make notes about it, anything that can be useful to create a scene like a photographic reference I can remember of, I take a second to make a note about it. 
  2. After that I start creating the layout of the pages with what I call the Master lay-out Template. I created this tool to help me visualizing all the pages layouts in one single sheet. That way I create the lay-outs in thumbnails size and can see the whole book looks in the same screen/sheet of paper.
  3. Time to use the master page template, you already downloaded right? if not you can download it HERE. This template have the right specs of a comic book page. I copy and paste the lay-outs I’ve done on the master lay-out template and free transforms it here to match the right size of a comic book page. The rough lay out is done.
  4. Now I create the lay-out itself. Using paths on Photoshop. There are 2 main grids of a page lay-out that I already shared with you on a preview article (Link HERE?), you can also download the grids HERE.
  5. After the lay-out is done it’s time to start drawing over the sketches. We need to clean those sketches and make them as clear as possible. Now is where your drawing abilities comes to handy but not only that, your storytelling as well. Hhhmm, if you think about it, your storytelling begun with the lay-outs right? Yes, yes they did!! When creating the lay-outs you should think about rhythm, framework, composition, movement, grids etc…By the end of this step you’ll have a full pencilled comic book page.
  6. Once you get the pencils done, it’s time to Ink! There are many brushes and pens you can use to Ink your page and each one of them is used to a specific task! Now, we don’t have much time to talk about all of them here but, I’m sure you can find all kinds of resources all around the net.

Well, of Course there are a lot more considerations to it but, due to time and space this is all we can do here at this moment but, it should be enough to get you started.

And the Artist’s job is DONE!! A full black and white page penciled and inked!!! Well done!

Now you send the page to the colorist and then to the letterer and you have a comic book page ready to print, of course if your editor don’t ask for any changes that is…lol!!

Thanks for reading and until Next Time!

NEXT: My First Cover Process.

The 8 Elements of Composition your Comic Page Must Have

The 8 Elements of Composition your Comic Page Must Have

Composition 1.01

The main objective of the composition is to tell the story by guiding the eye of the reader through the panels and the page in a clear and effective way. To get your message across clearly you must understand all elements of composition and how to make them work together.

The 8 elements of Composition are:

  1. Emphasis or Focus – What’s the most important element on your Artwork Piece? Whats the message behind the image? What is the story that you are trying to tell? 
  2. Rhythm – I like to think about rhythm in a musical way. You can think of it in Visual art as of how the elements on your image are placed in the space, how they relate to each other in terms of: size, place, and number.
  3. Proportion or Variety – Various designs, types of shapes and forms to create action and dynamism. The Size and Place where each element is and it’s relation to each other.
  4. Contrast or Economy vs Complexity – What you draw is as important as what you don’t draw!
  5. Repetition or Pattern – Patterns are the use of a repeated shape or texture to create an underlying structure. 
  6. Balance or Imbalance – The balance of the elements on your image will induce the visual impact leaving it clear what is the Focus of the image: The message.
  7. Continuity or Movement – Suggestions of continuous lines to create the illusion of movement. Movement is the technique to simulate motion on a static image.
  8. Unity – The relation of all concepts above with each other.

The main Purpose of composition is to tell the story. You can tell a story by making easy and clear to the reader with good composition… or not. What is it that’s most important in your Piece, the Focus of it? Good compositions guide the eyes through your artwork to what is it that you are trying to tell. Sometimes it can be confusing: How do I tell this story? How can I transmit this message. Let’s start “simple”. Every face tells a story. Just by looking at Super-man’s face you can tell a different story than looking at Bat-man’s face. The facial expressions will tell what personality a character has.

Super-man is one of the most difficult characters to draw. For me when drawing Super-man  the image of his face should represent Integrity,  Justice, Dignity, Authenticity, and Truth, while Bat-man is Mystery, Effort, Dedication, Will. Well, how do I make this intangible concepts into tangible images? That’s why Super-man is so hard to draw. Now you got the idea right?  Yeah! that’s the hard part of it isn’t it? And still the most gratifying when you get it right!!


NEXT: The Drawing Process!


Storytelling, Rhythm & Timing.

Storytelling, Rhythm & Timing.

The 2 Main Grids of a Page Lay-out

How to tell a story through visual illustrations? Think about it as a old movie where you can see all the frames of it. can you see it? Remember those Charlie Chaplin movies? There are a lot of elements to think about when you tell a story with static images, for example facial and body expression, the juxtaposition of the panels on a page (the page grid), the angle and framing of a scene… all of these elements should be conveyed to tell the story efficiently.

Rhythm is another structural element of comic book storytelling. Think of it as the pattern of regular or irregular pulses caused in music by the occurrence of strong and weak melodic and harmonic beats: bam, bam, bam, bam, BAAAAAAMMMMM!!!! The size and juxtaposition of your panels will determine it’s importance and rhythm in your story.

The ability to convey timing in a comic book sequence is critical to it’s success. It’s an essential structural element to use when telling a story. On modern society we use a tool called clock to measure time but, Timing in comic books is where an action is extended to enhance emotion. You remember that theater scene where the hero is going to kiss the girl at the end of the movie? They are in the beach, sunset, its a establishing scene, wide camera shot, you can se the beach, the hero at the right and the girl at the left, they are running towards one another…camera on the hero, close up. Now on the girl, close up. Show her foots running on the sand, close up on his chest going up and down running for his love. Close up on her lips. close up on his eyes…close up on her, on him, on her, on him… They are getting closer…The music follows the high moment of the scene: the kiss!! they are getting closer, now is the big moment!! you get up from your chair!! everyone is waiting for this big moment! The movie story is all about THIS ONE BIG MOMENT!! We are all excited about it!! It’s Coming!!! They are going to KISS…but, the hero trips on a shell, falls off with his face on the sand and the girl stands there with a disappointed look on her face staring at the camera…. END SCENE! END MOVIE! ;P     LOL!!    ;P

An example of timing and enhancing the emotional experience. Notice the music on the moment of the Kiss…


When creating your lay-out, consider the options of using panels grids. It all depends on what you want to tell, what rhythm and timing to create that emotion you want the reader to fell. remember emotions is our currency here. Everything should be aimed to enhance the story and that big emotional scene where everyone cries and applaud in the end! What kind of felling you want your reader to experience and how to make it happen in the story?

I’ll give you two suggestions on grids you can use as a reference to create your own grids and lay-out structure. The Artist should be free to choose whatever he fells it’s best to convey an emotion and tell the story, these grids are only suggestions and you should not be tied in to these but, they are a very good source of reference.

The 9 Panel Grid was used in Watchmen by artist David Gibbons and Writer Alan Moore. 

The 16 Panel Grid was used in many pages of Dark Night Returns By Frank Miller.

These 2 grids can be used as a guide to create a comic book page in any way the artist wish to. There are infinite ways to re-organize the panels that best fits to your own story, always remembering about how you want the rhythm and timing to affect the emotional experience of the reader.

NEXT: The 8 Elements of Composition.

Materials: Traditional vs Digital

Materials: Traditional vs Digital

Basic Tools

Your work space should be a place with all sort of things that Inspire you to Create! All kinds of things that make you happy and move you forward creativity!!! But, that’s not all, it should have tools and equipments you know, all sort of toys you can play all day long. The tools and equipments you use also should help you to keep your health!! yeah! that’s a very important part of it. Since this is a job where you are going to be seated from 8 to 18 hours a day (yes you read it right, 18 hours a day sometimes…) you should choose your table and chair carefully. Make sure you’re comfortable with these two basic equipments because it means your health!! and, without health it’s impossible to work.

Now, to the toys (tools) 😀 Well, there are so much stuff out there and there’s not really a right one, it depends much on your personal preferences so, I’ll just post here what I use ok?

On the Traditional side we have:

  • Pencils and mechanical pencils:
    • From H to B – There is a numerical scale that grades the Graphites from Hard to Soft. You can choose the hardest graphite of 9H to the softest Graphite of 9B. What I like to do in a commission is to start with the Hard Graphite first. With a very light hand I will make almost invisible strokes on the paper just to create the structure of the image. Then I’ll move to a more soft Graphite to make the drawing visible. Lastly I use the mechanical Pencils with Soft Graphite to create the Details and hachure of the drawing.
  • Brushes:
    • There are all Kinds of Brushes and each one serves a specific result. Here I’ll just share a few of them: Flat Brush, Round Brush, Script, etc… In most of the times I just use the Round and Script ones. Other types of brushes can be used to create different textures and so on…
  • Pens: 
    • I like to use Technical Pens to Ink my work, when I’m not using Photoshop. There are different sizes and you don’t need to constantly dipping them into to Ink like with the “nibs and Handles” type of pens.
  • Erasers: 
    • Here I just want to find a eraser that doesn’t dirt or hurt the paper. Keep in mind that every time toy actually use the eraser, your Paper changes texture and it affects the drawing. That’s way I like the Light Box to “Clean”the Drawing.
  • Rules: 
    • All types of rules are welcome: T rules, Triangles, Bolometer, …Every time you need to draw a building, a car or a mechanical equipment a rule comes handy.
  • Papers: 
    • There are different textures of papers you can use. Some papers have texture and you need to choose one for what is it that you want to create. For example, when I want to create a realistic Portrait I like to use a texturized paper with soft 2B pencil to create some shadows, I like the effect it creates. But, to Ink a piece I normally use a smooth paper because it’s a drawing with Inked lines and I like them better this way.
    • The Light Box.
      • The Light Box is a tracing equipment used to clean the sketches. On the Inktober Batman Video I use a Light box to trace the drawing I’ve done digitally and make it a brand new Original Piece.

On the Digital Side we have:

  • MacOS Desktop Computer – this should be more than enough to handle any high quality comic book page.
    • Processor 2.7 Ghz Intel Core i5
    • 8 GB 1600 Mhz DDR3
    • 1 Terabyte HD
  • Wacom – CINTIQ 22 HD
    • One of the best tools to work digitally in my humble opinion. 
  • Third Screen SMT22A550 – SAMSUNG – 21.5
    • I set up adobe bridge on this screen to manage the project I’m working on as a whole. Here I can see all pages and have more understanding of the entire issue all together.
  • Adobe PhotoshopCS6
    • Great software to create comics. It may get some time to staring on it but, once you learn the basics it saves lots of time.
  • Clip Studio Paint Ex
    • Like Photoshop it can get some time to learn the basics. It’s a bit different but, much cheaper. There are pros and con between these two softwares that I won’t be talking here due time and space, if you can, get both!
  • Brother MFC-J6710DW
    • Simply the GREATEST printer I ever had!

Whatever tool you choose to use they won’t be able to help you draw better if you don’t understand the basics of drawing, remember these are only tools and, like a Samurai his sword won’t make much difference if he doesn’t know how to handle it!

Learn how to install your Cintiq with the video below and enjoy 🙂


If you wan to learn more about Digital Art Please send all Inquires to:

NEXT: The Basic Three Elements You Need to Tame!