Visiting Marseille with CHEBEC program

14 Oct 2019

As we told you in our last post, during this last September we did two international trips (to Marseille and Colombia). Today, we will tell you a bit about the first one, which we did under CHEBEC program.

Project Chebec (Hacking the Mediterranean economy through the Creative and Cultural Sector) is funded by European Union Interreg MED's fund, and supports Cultural and Creative Indutries's access to new markets while keeping their own identity, with the final aim to favor MED clusters (Portugal, Spain, France, Italy, or Serbia) attractiveness for creative people.

Drawfolio has been one of the chosen projects for this program in Valencia, where EconCult (Area of Research in Economics of Culture from the Faculty of Economics of University of Valencia) is one of the partners of the european project. During this year, we have been attending a course about internationalization and european funding.

Visiting Marseille with CHEBEC program

During the program, 3 mobility events are held (Sevilla, Marsella, and Bologna), where some of the projects in the program are put together to network between them and with cultural actors from the host city. We were one of the selected projects to go from Valencia to Marseille mobility event, along with PhotOn Festival, Barret Cooperativa, La Cosecha, Russafa Escénica, Ikebanah Producciones, and Saltarinas.

During the 3 days where "Culture makes the world go round : rencontres professionnelles" (the mobility event in Marseille) took place, we had some activities aimed to do networking and find potential collaborators with the other 40 CCI projects from the various regions, and also some talks from the Chebec partners and European Union's Interreg MED fund.

Visiting Marseille with CHEBEC program

The place where the mobility event was stunning: La Friche Belle de Mai. A former tobacco factory, La Friche is one of the most vibrant culture centers in Marseille and France. The space is huge, with various large exhibition rooms, theaters, rehearse rooms, concert halls, restaurants, a book shop, a skate park, and office and workshop spaces for nearly 70 cultural organizations. Among them is AMI (Aide aux Musiques Innovatrices), one of the chebec's partners.

We also had the chance to visit other cultural spaces in the city. We were lucky enough to get a exclusive guided tour on Marseille's FRAC (Contemporary Art Regional Fund). We could appreciate the architeture of Marseille's FRAC building, and see all the current exhibitions (there is no permanent collection at the FRACs), discovering interesting artists such as Cristof Yvoré or Nicolas Daubanes.

Visiting Marseille with CHEBEC program

They where 4 pretty busy days, but we discovered Marseille as a vibrant city full of artistic and creative initiatives, with significant players. We got to meet lots of visual, scenic, and music arts projects from Barcelona, Sevilla, Évora, Bolonia, Roma, Lyon, Marsella, and Sarajevo. The CHEBEC program keeps on: right now, we are on the mentoring phase, in order to build our internationalization plan. We'll keep you posted!

Tag your #Inktober2019 works

08 Oct 2019

We are back! We know that it has ben a while since we last published on this blog, but we have been getting some new stuff ready, and we did two short trips to Marseille (as part of European Union's CHEBEC program) and to Colombia (as part of the RedEmprendia Landing program), aside from being part of Prime The Animation 2019. We are building content to tell you all that we did and learnt there, but meanwhile.. it is Inktober already!!

As we did last year, we created a special index in "Discover Artists" to showcase all the inktober works from our users.

To be shown there, just upload your inktober works to your portfolio website, go to "Edit" on each picture and tag it with the "inktober2019" (no need to put #) tag in "Tags".

And, as we did last year we will be giving away one year of PRO Plan for free to the artist whose work has the most likes in that list. To allow everyone to have enough time to upload everything and receive likes, we will be waiting until 15th of November to find the winner.

No matter if you follow the original Inktober by Jake Parker, or maybe Catalina Novelli's version, or your own Inktober: the main goal is to learn and share!

We hope to see your work, and Happy Inktober!

Tag your #Inktober2019 works

Summer Sales: -30% on first year of your PRO Plan

01 Jul 2019

It is summer, the heat has come, and in Drawfolio is time to launch discounts!

From this day to next September, you can have a 30% discount on your first year of PRO Plan, to make it more easy for you to have a great portfolio website that will get you opportunities and new customers.

You don't need to do anything special: the first year of all PRO plans will just cost 51,95$ instead of 75$.

Summer Sales: -30% on first year of your PRO Plan

Drawfolio Community Slack for PRO customers

10 Jun 2019

We are bringing today something special for our PRO customers. These years we focused in steadily improving Drawfolio as a product, and although we launched "Discover Artists" and we promote our users on our blog and social media, we were not building much of a community between our users.

That's why, after talking to some of our PRO customers and validating the idea made sense, we are making the first step launching the Drawfolio Community Slack. We hope this will enable our PROs to build networks, share ideas and knowledge, and get to know each other.

If you don't know what Slack is, a brief summary: it is basically a private chat you can use via a web browser or mobile app, focused on team colaboration. Aside from the most familiar, whatsapp-like features (like chat, emojis, sharing videos and images), you can create new chat rooms, conversation threads, surveys, and much more.

If you are on PRO Plan, you should have an email with a private link to register into our Drawfolio Community Slack. If you don't find it, or have any problem registering into it, please contact us at uservoice or write us at

See you on Drawfolio Community!

Drafolio Community Slack for PRO customers

Ocultos: the new comic book by Laura Perez

28 May 2019

We are super-happy today, because we are bringing back Laura Pérez to our blog. Aside from illustraiting for clients such as The Washington Post, Vanity Fair, or National Geographic (among others), Laura just published "Ocultos" with Astiberri, and we talked with her to know everything about her new comic-book.

Ocultos: the new comic book by Laura Pérez

Before talking about "Ocultos", and just in case someone still does not know about you: Who is Laura Perez?

Laura is someone who draws every day, because years ago she found out that was the thing she was best at. I work as an Illustrator since I finished my college degree, and more recently I work on comics/graphic novels, too.

Ocultos is your second graphic novel (after "Náufragos", where Pablo Monforte wrote the script), but is the first time you are in charge of everything. Where does this new idea and story come from?

The idea has been around my mind for some time. After publishing "Naúfragos" I felt more than ever the urge to tell my own stories, with my own voice. Working on commercial illustration, or illustrating other people's script, you always tell a story from an already built basis. I needed to find out a whole narrative voice of my own.

Mystery and the Occult always have interested me. I grew up with stories about spirits, psychic weirdness and other phenomena that, looking back, was not normal at all. But it wasn't until now that I decided to use that atmosphere to tell small stories that refer to these themes.

Ocultos: the new comic book by Laura Pérez

After reading "Ocultos", it felt very much in the symbolist tradition of Marcel Schwob's short stories, but with your own imaginarium and personality. A lot of the short stories in the comic book are silent, or barely have text. What made you take that approach, which is a bit inusual on comic-books?

I think I may be more influenced by cinema than by other comic-books. I love all kinds of cinema, but specially silent films and experimental narratives. You can tell a lot on scene without using words, and I love that.

I also like playing with slow paces, and setting some "slow motion" key moments, as if weirdeness made everything stop. And that happens to us when we experience time as fast or slow. Mental time is a very subjective matter, and you can show that in a comic-book very effectively.

Your stories are full of ghosts, aliens, and other worlds, but also day-to-day details and human sensations (like loneliness). Where these ideas come from, and how your worked on them and selected them to include in the collection?

It seems that when we talk about ghosts or aliens we put that in a drawer, and when we talk about other human experiences we put that in another whole separate drawer because you talk more about the day-to-day ones. I think all stuff is related to human perception and experiences. Some people have lived weird situations during ther lives: maybe they talked about them or not, but to some extent we all have lived a situation where something didn't quite fit with what we've been told traditionally on books or school.

That's where the ideas in the comic book come from: talking about we don't see but we intuit, and the very few certainties that we end getting. The things that are told to us, are to be questioned under our own analysis.

Choosing which stories to tell was very hard, too. All of them were written in notebooks, papers, or audio notes. Some of the were lost, other discarded, and others chosen to be included. In the end, I let myself be carried away by the stories that "emerged" more naturally, trying to keep a consistent theme that would give a sense of unity once you finish reading the book (or at least, that's what I tried to do!)

Ocultos: the new comic book by Laura Pérez

On the technical side, you keep using both traditional and digital techniques, and you also chose to do "Ocultos" in landscape format (not the most usual thing for a comic book). Can you tell us a bit more about your process??

Almost all my sketchbooks are landscape notebooks, I love that format. It didn't take me much time to decide the same format for the comic book: it made sense.

Lots of the stories in the book come from those landscape sketchbooks. Some were born out of an image, or others from a sentence or a concept. The process was very organic, so chaos also came into play more than once. But with blind faith on being able to resolve an artistic conflict (which I sometimes didn't even understand), everything came to order.

What did you discover and learn with this project and journey?

I learnt that along the way numberless obstacles will always appear, and being in shape is the best way to dodge them.

And last, but not least: What can we expect from Laura Perez on the next months?

I hope to keep developing more stories. Some of them very "Ocultos"-like, and others will be very different.

Thanks a lot, Laura!

Wahcommo: the new comic book by Luis NCT

25 Apr 2019

Today we are bringing an interview very special to us: it is a big pleasure to talk again with a great artist as Luis NCT. Back in 2014, Luis was one of the very first artists that we interviewed in this blog, and as he recently published Wahcommo under the Astiberri publishing firm, we didn't pass the chance to talk with him and know everything about his new comic book first-hand.

Before talking about Wahcommo, tell us a bit about yourself. Who is Luis NCT?

I grew up by the Mediterranean sea, reading all kinds of comics and books, and spending a lot of time surrounded by art and printing machines. I began drawing comics as a kid and continued making fanzines on high school. I studied Fine Arts in Valencia after that, and wasted some time on musical matters and the illustration world. I'm trying to focus on Comic stuff nowadays, so I also work as colorist for USA while I make my own comic work.

Wahcommo: the new comic book by Luis NCT

Wahcommo is your second long work, after publishing "Sleeprs" with EDT. Where does this new story come from?

This comic book has its origin on a number of diverse interests. On one side, the most basic impulse was to do a color story of greater proportions (size and length), as contrast with Sleepers. I also wanted to do something on the epic fantasy genre, which I enjoyed so much as a reader (and role-playing gamer) during my kid, teenage, and post-teenage years.

On the other side, the fantasy genre served me as scaffolding to talk about social and historic evolution, providing more deep thoughts on what could seem a lighter story at first glance.

**The first thing that catches the eye is the large size the comic has, and of ocurse, the stunning visuals. Can you tell us about the process of illustration and coloring? How much did it takes to create one page of Wahcommo?

From the very moment the project was approved, I knew the final page size and format was going to be that. Because of the themes in the comic, I think the physical appearance of the comic book (the book as an object) completes the whole vibe I was looking for with the story. All the creation process was digital, from pencils to color, but it is made to be read on paper. I couldn't tell how much time each page took, and it also varies from page to page, but the whole project took me 4 years of work (I also worked on other projects during that time, too).

Some cool things about the process: I sometimes laid the first layer of color with a very low-detail sketch, and then used that color layer as base to create the clean drawing. I worked as this during the first half of the book, and on some landscapes. I also re-learned 3D on purpouse to solve some architecture issues. The typography to letter the pages was also done from scracth (as well as I could).

Wahcommo: the new comic book by Luis NCT

Talking about the story, the one thing that impressed us the most was how well "dosed" the plot and dialogues are, and that you tell a lot with very little. Wich are the things you want to talk about with this story?

In Wahcommo, I tried to combine two narratives: the one reflecting the character's drama, and the other exploring the themes that shape the story's world.

About the main characters, on one hand we got Fox, who struggles to fit the role his tribe expects him to play (and the traits that supossedly make a hero) although his true nature is not aligned with that. On the other side, Kaya fits perfectly on that role, but that is denied to her because being a woman, and she fights over that prejudice. Vanyan the warrior, for example, really represents what a true hero is, which is something very different from the glorious ideals that stories build around heroes.

About the more broader themes are not strictly tied to the characters that shape the world around them, they basically are the horror of war, the downfall and rise of civilizations, and how History misunderstoods (and a lot of time, re-writes) events to make them fit into a convenient narrative.

On the editorial side, how was working with Astiberri? How is the "industry" side of publishing a comic book like Wahcommo?

Astiberri are marvelous people. Actually, I already signed with them for a new comic-book with them, and working with them is a very pleasant experience. On the industry side, to create a story like this, where the author is in charge of everyting (except final graphic design on the cover and layout work, which Alba Diethelm did) is very different in deadlines and process than working on USA comics, where you are a part of a whole bigger team.

What did you discover and learn with this project and journey?

I found out that if I was able to make 200 full-color pages all by myself, I can do another 200 more, better and faster!

And last, but not least: What can we expect from Luis NCT on the next months?

I hope that a lot more comic-books! On May 2019 a 32-pages manga that I wrote and drawed is going to be published on Japan. It's a spin-off from Apollo's Song, by Osamu Tezuka, and will be publish on the Tezucomi magazine.

I'm already working on a sequel to Wahcommo. And I also would like to return to Slepeers before devoting my time to a longer project that's been a while in my mind.

Thanks a lot, Luis!

Re-Fream looks for artists and designers to Re-Think Fashion

13 Mar 2019

Today, we want to let you know in our blog about Re-FREAM project. Re-FREAM is a european-funded project that aims to give artists and designers access to new production technology, new materials, and know-how to co-create innovative fashion concepts with scientists.

In three co-creation spaces (Valencia, Linz and Berlin) each of the 20 artists will receive 55.000€ of funding for co-creating innovative art concepts with scientists within a 9-month-period.

In the hubs, Re-Fream will provide access to different fields of expert technology and co-creation facilitation services, as well as network and knowledge opportunities to accelerate the selected projects from the call and help them grow.

The call for projects is already open and ends of next 30th of May. There are three challenges where projects can be submitted:

  • From Analog to Connected (Berlin), focused on integration of electronics on textiles.
  • From 2D to 3D (Linz), focused on 3D design and printing in fashion.
  • From linear to sustainable circular systems (Valencia), focused on sustainability and reducing wastefulness and pollution.

An international jury will evaluate the artistic and technical content of these applications, paying close attention to the design, technological and business concepts, and professional background. You can find way more information about their evaluation criterias of the Re-Fream project in this PDF document, and a guide on how to apply and document your proposals in this other PDF document.

Hope you will find this interesting, and if you decide to submit a proposal: good luck!

Re-Fream looks for artists and designers to Re-Think Fashion

Diego Lizán and María Moya: All that happens

07 Feb 2019

It has been a while since we did an interview in our blog, and it is time to fix that! To open the 2019 interview series, today we bring you Diego Lizán and María Moya, two illustrators who also have been subscribed to PRO Plan. María and Diego spent last year on an art residence that merges illustration, sculpture, and literature. We'll say no more, so you can find out more reading the interview. Enjoy!

Diego Lizán and María Moya: All that happens"

Before talking about "Todo lo que sucede" (All that happens), let's talk a bit about you. Who are Diego Lizán and María Moya?

Diego Lizán: I'm a graphic designer, illustrator, and visual artist. My work flows from one discipline to the other. After working a lot of years on communication and graphic design, I'm focusing lately on illustration for children games and toys (with clientes like Djeco in France, or cartonLab), and on institutional communication. I love and have a great collection of toys and artoys; I'm very fond of ancient cultures and 50s-60s aesthetics. But my real passion is creating characters and imaginary worlds.

María Moya: I'm an illustrator focused on children books. Since 3 years ago, I've been also working on ceramics. Traditional techniques (materials and crafts) are my passion. In my illustrations you can always find a link with reality and nature, where I get inspiration from to create characters and environments. My worlds are full of tiny details which contain greats dosis of humor and tenderness.

"All that happens" has its origin on an art residence at Centro Puertas de Castilla Culture Center (Murcia). Could you tell us a bit more about the center, and how all this got started?

Puertas de Castilla Culture Center had a artist residence program where we took part in 2014 with other illustrators from our city (Murcia). The center, whose program is focused on comtemporary culture and art, and which regularly programs local and international artists, works, leaded by his director, to find new and different projects. We knew the center had a ceramic oven that was used in previous workshops, so we pitched project to them focused on character creation and moving from two to three dimensions. We called the project "Muñeco de Barro" (Mud Doll).

The process was all game and experimentation. We began trying to move the existing imaginarium from each of us to three dimensions, but as we progressed, everything transformed into the creation of a whole common world divided into 5 different landscapes. There was an expo with more than 200 pieces on Puertas de Castilla Center, which we called "All that happens between green and blue".

Diego Lizán and María Moya: All that happens"

How was the experience and process of transforming illustration to a 3D ceramic sculpture?

In the early stages, experimentation and contact with materials made the pieces to have a strong, fresh improvisation ingredient, but as the project grew the pieces were more defined by the sketches. As the landscapes for our world took form, the characters were born right away on pencil and paper to live in one of these landscapes. We learnt and improved the ceramic techniques as we created more and more characters. We used different types of clay, porcelains, and enameling techniques.

What implies for the project "coming back" to the 2-dimensional world in book form, and having Grassa Toro join the project? What new challenges arose?

The book is the final piece that ends the residence project at Puertas de Castilla and took lots of hours of work, as we thought and designed it to be more of a book-object than just a plain book. We called Grassa Toro because of his extensive experience and publications related to design and illustration. He has worked with great creatives like Isidro Ferrer and Pep Carrió, who we deeply admire.

We had to do photography sessions almost as we were in a theater production, making them a way to illustrate this special book we designed. Grassa Toro wrote the "Fast and Visual Method of Initiation to Wonder" along the title "All that Happens". In this manual of sorts you can find four lessons: Reality, Metamorphosis, Wonder, and Beauty, each one of them with syllabus, questions, practical exercises, and recommended readings.

Diego Lizán and María Moya: All that happens"

What did you discover and learn with this project and journey?

We were able to prove that, with passion, you can go very far in your journey. We discovered great professionals and people, who didn't hesitate to play with us. It was a huge project that we could develop from its very beginning. We are very glad with the process and outcomes.

And last, but not least: What can we expect from now on with "Todo lo que sucede" (All that Happens)?

"Todo lo que sucede", the book that we published from Puertas de Castilla on 2018, will continue its journey and we hope more people gets to know it. The expo "All that happens between green and blue" will be on La Cala de Choles, managed by Grassa Toro, until end of March. You can find more info at

We already began to sell some pieces from the expo and we are working to launch sales again of our "Traveller", the cermic artoy that became the image of our project "Mud Doll". If you want to find more about it, you can visit www.muñ

Thanks, María and Diego!

January Sales: 30% off in your first year

07 Jan 2019

2019 is here! And as usual, we like to begin this new year in the best way we know: a discount sale! So until 28 February you can have a 30% off discount on your first year of PRO plan.

You don't need to do anything special: the first year of all PRO plans will just cost 52,30$ instead of 74,67$.

January Sales: 30% off in your first year

For any doubt, question, suggestion or problem, please contact us at uservoice or write us at

Most liked artists in 2018

24 Dec 2018

2018 is ending soon, and as we did last year, we can now show you the artists with the most liked pictures and works in Drawfolio in 2018.

As you'll see, most of them are related to the two illustration challenges we organized during this year: the Spanish Free Comic Book Day Challenge and Inktober 2018

As always, you can find out more artists and inspiration in our Discover Artists search engine. If you want more chances of appearing ins posts like this, you can enable Likes in your Drawfolio website.

Also, here are our Instagram best Nine. The artists, from left to right, and top to bottom, are: Caya Gutiérrez, Miedo12, Caya Gutiérrez (again), Draw for Animals, Jotaká, Mike P. Sánchez, Laura Montes,Viktoria Schmidt, y BarracaCrafts.

Most liked artists in 2018

And that's all for now! All the team at Drawfolio wishes you a Merry Christmas and a Happy New Year :)

Custom text in your Contact Form

17 Dec 2018

Some months ago, we worked to be sure your website contact form was GDPR compliant, as per the new European Union regulation.

What we are bringing today is much more simple, but we think you will like it: if you want, you can now customize all the text for the contact form of your site: title, button caption, description, and even the messages on the success page your visitors will see after writing you a message through the form.

You can find everything in the new "Contact Form" item of the left menu. Please be aware that contact forms, and everything related to them, are only for users in the PRO Plan.

Custom text in contact forms

For any doubt, question, suggestion or problem, please contact us at uservoice or write us at

See you at Ilustrisima 2018, illustration fair and conference

28 Nov 2018

Ilustrisima it's the illustration fair and conference that takes places every year in Madrid's Museo ABC, and one of our favourite events to be part of!

On the 2018 edition, Ilustrisima has grown to take place over the entire ABC Museum (more than 1000 square meters). This year more than 40 artists will be showing and selling their artwork (among them, Alejandro Llamas, Ana Jarén, Ana Müshell, Angylala, Asis Percales, Barahona, Berta Maluenda, Betowers, Carol Jiménez, Celeste Ciafarone, Estudio Thilopía, Dani Blázquez, Daniel Diosdado, or El dios de los tres) and also some editorials and publications like Minchö Magazine, Principia Magazine, Kiwi Magazine, or Chucherías de Arte. And Drawfolio too, of course!

During 4 days (December 13,14,15 and 16) you can visit us in our stand, visit the artists' and publication stands, and attend to workshops and talks.

Admission is totally free during the 4 days Ilustrisima takes place. See you there!

Location and Schedule

Museo ABC – Centro de arte – dibujo – ilustración. Calle Amaniel, 29-31. Madrid
13 December, from 17 to 21H / 14 y 15, December from 11 to 21H / 16 December, from 11 to 19H

Ilustrisima 2018

BLACK FRIDAY: -50% until Sunday

21 Nov 2018

It's that crazy time of the year: once again, we are doing our traditional BLACK FRIDAY sales!

From today until sunday, first year of PRO plan will have a 50% off: 36,70$ instead of 73,41$.

We decided to got a bit synthwave/retrowave for this year's Black Friday. If the nice lads from Muse do, so can we, right?

BLACK FRIDAY: -50% until Sunday

#Inktober2018 Prize Winner

16 Nov 2018

We already have the #Inktober2018 winner! As we told you before, you could tag the 2018 Inktober works you uploaded to Drawfolio and tag them with #inktober2018 to be featured on Discover Artits.

We also decided to give away 1 free year of PRO Plan to the artist whose inktober was most voted in that list. The time for voting ended yesterday, and the most voted inktober (with 148 likes) was by José Miguel Álvarez Benítez. Congrats!

#Inktober2018 Prize Winner José Miguel Álvarez Benítez

We remind you that you still can see all the other #inktobers in Discover Artists.

There will be a prize for the most liked #inktober2018

16 Oct 2018

If you read our last post, you'll know that we are featuring in 'Discover Artists' all the works you upload to your site in Drawfolio and tag with "inktober2018" (no need to put the #).

But we also decided that, after October ends, we will be giving away one year of PRO Plan for free to the artist whose work has the most likes in that list. To allow everyone to have enough time to upload everything and receive likes, we will be waiting until 15th of November to find the winner.

We hope to see your works tagged, and lots of luck with the voting!

There will be a prize for the most liked #inktober2018

Tag your #Inktober2018 works

01 Oct 2018

Did you do the Inktober Challenge during 2017? As we did last year, we created a special index in "Discover Artists" to showcase all the inktober works from our users.

To be shown there, just upload your inktober works to your portfolio website, go to "Edit" on each picture and tag it with the "inktober2018" (no need to put #) tag in "Tags".

Still don't know what Inktober is all about? Well, illustrator Jake Parker started this challenge on 2009, and now artists all over the world do and share one ink drawing a day the entire month of october, following a new list of themes proposed each year.

Here's the list for this year, and we hope to see your works featured in Discover Artists!

Tag your #Inktober2018 works

Optional gallery titles in galleries index

09 Jul 2018

The feature we are bringing today is just a small detail, but was highly requested from a lot of users. Until now, if you were showing the galleries index in your website's home page, the gallery titles were showed in the index. We do this to improve navigation and search engine optmization on your site.

But sometimes, specially in mobile devices, having long gallery titles could be visually annoying. You could always write some custom CSS code to hide it, but we decided to make things even easier. You can now enable or disable the "Show gallery titles in galleries index" option in "Appearance" -> "General" -> "Title and Description".

Optional gallery titles in galleries index

For any doubt, question, suggestion or problem, please contact us at uservoice or write us at

Summer Sales: -30% on first year of your PRO Plan

02 Jul 2018

As it is traditional in Drawfolio during the summer months, we are launching the thing we like the most: discounts!

From this day to next September, you can have a 30% discount on your first year of PRO Plan, to make it more easy for you to have a great portfolio website that will get you opportunities and new customers.

You don't need to do anything special: the first year of all PRO plans will just cost 53,40$ instead of 77$.

Summer Sales: -30% on first year of your PRO Plan

Interview with illustrators: David de Ramón

21 Jun 2018

Keeping on with our interview series, we are bringing you today one of the most outstanding illustrators in Spain: David de Ramón. As in our last interview, we met David after his talk on the last edition of Ilustrasal. David has lots of experience illustrating for publicity, publishing, press, magazines, festivals, or album covers. And even more, he works in all this fields keeping a very unique and personal style. We talked with him about this and more stuff, we hope you enjoy the interview!

Interview with illustrators: David de Ramón

Tell us a bit about yourself: how did you end in the illustration and design world?

Well, I think that it was more about "beginning" and "keeping in", because I didn't end in that world: it's the only thing I'ever done professionally!

I always wanted to work on illustration. I loved reading comics, and I always admired the artist's techniques. The more "pictorial" they were, the more I admired them (Bilal, Kent Williams, Sienkiewicz).

I used to decide which comic, book, magazine, or music albums to buy just watching their covers. I have bought some music albums from bands which I wasn't interested at all, but had beautiful cover art. Cover art had the ability to make me dream of the story I was about to read or the music I was about to listen to, they allowed me to enjoy the experience even before opening the product itself.

That kind of fascination and the joy of drawing always came hand by hand, and working in illustration was something very natural to me.

How is your process? Do you mix analog and digital tools?

My process always begins in my head, even before getting to pencil and paper. I almost never begin doodling without a clear idea of what I would like to do. Mine is a bit more meditated process, and then I try to make things happen on the sketchbook: which composition can be more interesting, how can I make things as simple as possible, etc.

When I have made a sketch that I think may work, I sometimes do a more detailed drawing of it (if I have to show the idea to clients), or rather scan it and begin digital painting over it.

Sometimes, that early stage can be a mixture of traditional and digital: I scan that early sketches, change dimensions and composition in the computer, print it and use that as basis for a new drawing.

When the pencil and paper stage is done, the rest of the work is entirely digital. All color work is digital, although I try not to show it much. I like things to seem "hand-made" even in digital illustration. That's why my technique is very painting-like, and I try to avoid filters, gradients or any tool that makes the result feel less natural.

Interview with illustrators: David de Ramón

You work mainly for advertising and publishing. How are these worlds? What qualities does a client and project need for you to feel comfortable and motivated?

Every project is different. The main variables at play are budget, creative freedom, and time.

In advertising, budgets are bigger, as our work is useful for obvious commercial purpouses. We need to make images to attract people to products or brands. Art Direction is usually more strict, and a lot of people are deciding on the creative side of the agency and the client. Deadlines are way more tighter, because all the filters your work has to go through.

In editorial and publishing work we have more creative freedom, because our image is "opinion", not just a simple translation of text to images. Budgets are lower, but deadlines are not that tighter, except in newspapers, where things are even more fast than in advertising. In my experience, the more comfortable deadlines in the publishing world are in books, somewhat less in magazines, and a lot less comfortable in paper press.

That being said, everything can happen: corporative magazines with a very clear line of things they need, or advertising campaigns that seek your way of seeing things, and give you total creative freedom (but few are like that!).

But money-wise, things are always like that. It's more difficult to get bigger budgets on editorial work that in advertising, at least in Spain. Editing firms abroad usually have reasonable budgets.

To feel motivated with a project, I just need to let be free to work most of the times. I need the client to understand my work and not micro-manage me. The best projects are the ones where I work knowing the client really trusts me.

Do you think it's important for an artist to find a well-defined and unique style, or it's better to be versatile? Is it possible to find an equilibrium between these two?

There are people who enjoy being versatile and fitting in any kind of project. There's no flawless approach to this work, but my personal attitude is totally opposed to that. I try to feed my own creative, artistic needs through my work, so having my own style (or rather, my way of doing and thiking) is key.

It's not just a job to me. I try to get personally fulfilled with what I do, aside from the communication or commercial goals of the project. Seeing things this way, I think it's inevitable to have that "well-defined" style. It's something that comes naturally, bit by bit.

Interview with illustrators: David de Ramón

Where do you find inspiration for your work, and how do you melt your sources of inspiration to create your own way of art?

I get influenced by everything surrounding me. Personal relationships, movies, books, travels. And, of course, other artists, illustrators, photographers, etc.

I'm very fond for images and events from the first half of the 20th century. It's a wonderful time, very active and kind of innocent in posters, travel photography or spectacles. But, as I said before, everything we live sneaks into what we do.

And last, but not least: any advice for aspiring illustrators just starting up their careers?

There's always a lot to learn, no matter if you are beginning or you've been years into this profession. If you are passionate about what you do, you'll have no problem to spend all the time needed, and it's going to be a lot of time! You only improve by work and curiosity.

You've got to be constantly learning from masters and manage that frustation when you think you'll never be that good. You've got to transform that frustation into something positive that makes you want to improve.

Awards or followers are worthless if we are not fulfilled with what we do. When we enjoy our work, is when we begin to do it right.

Thanks a lot, David!

Privacy Policy for your website

11 Jun 2018

As you'll know after lots of email, the new European General Data Protection Regulation became mandatory a few days ago. Lots of our users did ask us if they had to do something about that on their portfolio websites. Although we are not legal experts, we are writing this blog to help you get informed about GDPR:

If you have a Drawfolio free acount, no action at all is required. In the regular, free portfolio websites at Drawfolio no personal data from visitors is captured. We do use cookies to analyse traffic and visits, but that is covered by our own privacy policy.

If you are subscribed to PRO Plan, but you didn't enable the contact form in your portfolio website, no action is required, as you are in the same situation described above.

If you are subscribed to PRO Plan and enabled the contact form in your site, then you'll notice we made some changes to comply with regulation. To contact with you through the form, people now have to enable this checkbox accepting your privacy policy.

Privacy Policy for your website

And where can you edit the privacy policy for your site?. You'll see now a new item in the left menu of Drawfolio administration page: "Terms and Privacy". You can edit your privacy policy there. As you'll see, we already pregenerated one in spanish for you, and are currently working in an english version of it. It'll come soon!

Privacy Policy for your website

For any doubt, question, suggestion or problem, please contact us at uservoice or write us at

Interview with illustrators: Bakea

21 May 2018

Today, we are bringing an exceptional guest to our interview series: Juan Carlos Paz (also known as Bakea). Juan carlos works as a freelance art director, illustrator, and even sculptor. After years of working with some of the most important advertising agencies on Spain, Juan Carlos left all that behind to focus on illustration, and has developed a unique and personal style and universe of his own (Bakelanasland). We met Bakea at 2017's edition of Ilustrasal and we were eager since then to interview him for our blog.

Interview with illustrators: Bakea

Tell us a bit about yourself: how did you end in the illustration and design?

Hi! I'm Juan Carlos Paz, I was born on Puertollano (Ciudad Real) on 1984, and I love drawing!

I've been drawing everything everywhere since I was a kid, so it was clear to me that I wanted to focus my career towards that.

When I finished art school, I opted for a college degree on Advertising and PR. After that, I worked for 5 years on big spanish advertising agencies, but came to realize that it wasn't what I really liked. So I began to draw more and more, and show my work on Internet, trying to work as a freelace illustrator some day. And luckily, I got there!

As you told on your talk on Ilustrasal 2017, your presonal projects evolved in some kind of "brand" that gave you a lot of visibility and brought clients, projects, and comissions. Can you tell us about how this happened?

Yes, I would say that it's more of a personal style rather than a brand, and that makes my work easily recognizable.

When I worked for advertising agencies, I was asked a lot to "copy" the style of different illustrators, and I realized how important having personal work and style is for an illustrator. Also, there's some work of experimentation and research to find a style you like and you feel comfortable with.

Who are your biggest influences and the artists you most look up to?

A lot of them! From current artists, I love Mark Ryden, Gary Baseman, Jack Sacks, Glanderco, Grand Chamaco. Also, being around friends who work on illustration inspires me a lot. Diaz Faes, Wearbear, or Nose, are friends but also very inspiring.

From classics, I love Grant Wood, Henri Rousseau, or Dalí.

Interview with illustrators: Bakea

What qualities does a client and project need to have for you to feel comfortable and motivated?

The most important thing is that I need the project to be interesting. Being interested in a project makes everything more simple, and gets you more involved. When this happens, everyone works towards the same objectives, and the final result is always way better.

You've got a strong presence on Social Media. How do you manage your social networks, and how much time do you spend on them?

Well, not so strong, I would say! I invest less time on them than I should. Nowadays, social media is super-important and deserve a lot of attention. Because of my particular style, I take a lot of time to make each illustration, and that makes me post less than I would like.

And last, but not least: any advice for aspiring illustrators just starting up their careers?

Don't give up! You've got to experiment with different stuff, and look for a style that clicks with people, not only with yourself. I began drawing black and white Hell Angels and now I draw colorful monsters!

Thanks a lot, Juan Carlos!

Interviews with artists: Jhon Ortiz

02 May 2018

Following in our interview series, we bring you young talent Jhon Ortiz, who we had the pleasure to meet when he won the jury award of the Cinema Challenge we celebrated last year. Though Jhon's main focus is in 3D animation, as you'll see in the interview, he also works on 3D modelling, illustration, and other disciplines.

Interviews with illustrators: Jhon Ortiz

Tell us a bit about yourself: how did you end in the illustration and animation world?

I’m not sure of the moment I decided to become an artist. I always enjoyed painting and drawing, but I did it just for fun, I never connected it with a professional career. I remember watching the Saturday morning cartoons as a kid: Merry Melodies, Looney Tunes, and Hanna-Barbera where among my favourites. I was a kid bqack then and knew zero about animation, they were just fun characters to me. I think everything changed for me when I first watched Toy Story: I knew what I wanted to become since that moment, even if it’s difficult to tell your family you want to earn a living with animation.

Even if I knew it was not my thing, I decided because to study journalism because I thought that way my parents would be less anxious about me having a degree, and would let me dot what I wanted after. At university I met a friend who was as mad as me about animation. I remember us going to a Motion Graphics course, and things flowing fast since then: one course led to another, and my will to learng grew more and more until leading me to 3D animation.

You work on a variety of fields: illustration, 3D modelling and animation, even some UX and UI Design. Is it easy to combine the creative side with the technical side? Do you think that more artists should do that?

John Lasseter once said that "art challenges technology and technology inspires art". I think both things, art and technology, walk hand in hand. Creativity is one of the most important skills of a human being. The technical side helps us execute and make real what we imagined, but I don't see it as two separate things, but as a whole process.

The skills I have in those diverse fields come from different situations, and each artist walks a different path and finds different obstacles. In my case, I always was a self-learner and being able to sketch, concept, model, and rig a character gave me a lot of freedom and independence.

Interviews with illustrators: Jhon Ortiz

Who are your biggest influences and the artists you most look up to?

I'm influenced by a lot or artists: Genndy Tartakosky, Nate Wrangg, Mike Yamada, Dice Tsutsumi, Gop Gap, Elioli, Julia Sarda. And I could go on! Nowadays, just opening instagram or pinterest makes you discover new great and talented artists.

How do you manage your social networks, and how much time do you spend on them?

I don't have a strong influence in social networks, and I usually post stuff when I got some spare time to illustrate. But I don't really schedule myself for it, there are times where I make stuff and won't post it. I don't try to keep it up-to-date, I just draw and post stuff for fun.

Finally, any advice to those who are starting to work in illustration and 3D art?

It's hard advising when I just got started! But I think what matters is to be constant. You've got to see things like a marathon, not a 100 meters race. Hard work wins over talent when the talent does not work hard! If you are passionate about it, don't stop working on that, and don't be afraid of asking what you don't know and don't be afraid to show what you do know: the most talented people I know are the humblest.

Thanks a lot, Jhon!

Interview with illustrators: Shycheeks

23 Apr 2018

Following on our now quite extense interview series with artists and illustrators, today we are bringing you Shycheeks! (or Sara). Shycheeks is from Valencia, our home town, and a true Drawfolio veteran (she is with us since 2014!). We love her work, so an interview in our blog was due. As you'll see, Sara mainly does digital illustration and comissions for books, events, or firms, and also her own production and items, which sells online and on art fairs.

Interview with illustrators: Shycheeks

Tell us a bit about you. How did you decide to work in art and illustration?

I’m in love with comics and animation since I was a child so I never left drawing. I had the chance to do artistic studies in my hometown before university and then I went to Valencia to study Fine Arts. After that, a one-day workshop runned by Laura Pérez and Io Bru in Valencia was really inspirational and helpful to me as they told us a lot about how to start, build a portfolio, find clients and contact agencies, attend events, legal paperwork… All those important things that we need but wasn’t told in my university. A bit later I started to study illustration in ESAT where I found really interesting classes such as the Carlos Ortín and Malota ones. Ever since, I started my adventure of drawing, sending emails, attending events and meeting new people. Until now I’ve done commissions for books, events, little companies and videogames and now I’m spending most of my time doing my own merchandise and selling it at conventions and also online.

How is your process? Do you mix analog and digital tools?

In my early years doing Fine Arts I bought a Wacom Bamboo, so while I was mostly drawing with traditional tools, soon I got used to draw digitally even from the sketch. A lot of people doesn’t believe me when I say that I enjoy drawing most rather than painting. I use to draw everything a couple of times before starting to use color, but it’s true that I use to pay a lot of attention to my color palettes and I use a limited number of colors. I always use Photoshop and I’m the kind of person that uses lots of layers, but I try to keep them arranged in folders so I don’t get lost.

Interview with illustrators: Shycheeks

Who are your biggest influences and the artists you most look up to?

Recently I shared an influence map in my social media. I love the stylised characters and scenes painted by pre-raphaelites, artists like John William Waterhouse, Dante Gabriel Rossetti or Frederick Leighton. Now I see myself so influenced by the artstyle of Samantha Mash, Sara Kipin, Emily Carroll and Emily Cheeseman. I hope to draw illustrations as beautiful as theirs sometime.

Also, you are so active in social media. How do you manage that and how much time do you spend on it?

I like to pay attention to any new app, web or software, but it’s nearly impossible to spend time in all of them at the same time. While some time ago I was mostly using Facebook or Tumblr, now I prefer Instagram or Twitter. Or while I was using Deviantart and Behance some time ago, now I have more presence in Drawfolio and Artstation. I try to post on Instagram every two or three days and everyday in the stories, while I post the same on Twitter but with more interaction with other artists and friends. It’s hard to control what every algorithm wants from you in every social media, but most of them just wants you to be as active and using their possibilities as possible.

Interview with illustrators: Shycheeks

What positive and negative sides do you think the internet and new technologies have in your field?

On the positive side: to me as an introvert person helps me to reach and meet more people, to show my work anywhere and specially to find information about everything so easily. I don’t need to face anyone to get the email of an editor, I can ask directly to any artist how have they done anything or my illustrations can reach hundreds of persons in a day. On the negative side: there is a constant pressure to keep posting and producing art content to share in your social media and there is a high risk to get addicted to earn more and more likes and followers. You must try to avoid that and focus on drawing and to not compare yourself with others. Also you must learn to deal with some people that doesn’t know the value and effort of what you do and came to you asking for free drawings or use your work with no credit or license...

Finally, any advice to those who are starting to work in illustration?

I encourage them to start showing their work with no fear even if they don’t have so much confidence yet. People like to see your work process and your art progression, not only finished works. I would say them not to undervalue their work and to help others understand the value of your work, time and effort. And specially I would say them to cheer their artist friends and send them lots of love!

Thanks a lot, Sara!

Better instagram galleries in your portfolio website

22 Feb 2018

At Drawfolio, we are always improving our product based on what you tell us. As you know, since quite a bit of time you can connect your instagram profile to show your latests images as a regular gallery in your portfolio site. But since instagram started allowing non-square pictures, a lot of people were telling us that the instagram galleries in their sites were not looking great in some templates of Drawfolio.

We worked to unify the look of the instagram galleries, and now they look great independently of the template you are using in your site.

Better instagram galleries in your portfolio website

For any doubt, question, suggestion or problem, please contact us at uservoice or write us at

Interviews with illustrators: María Simavilla

23 Jan 2018

Time to get back to our interview series. We were a bit busy organizing the Cinema Challenge Expo and also travelling to Ilustrísima and Ilustrasal, so sorry for that!

It was on the latter conference, Ilustrasal, were we met María Simavilla. Maria is from Salamanca and works as illustrator for editorial and publicity projects, with clients such as Anaya, Edelvives, SM, or Edebé. After seeing her talk at Ilustrasal, we knew we had an awesome interview waiting to be done. And as you will see, we were exactly right!

Interviews with illustrators: María Simavillal

Tell us a bit about yourself: How did you end into art and illustration?

Rather than "ending" there, I never left! I was one of those cheeky kids (although my mom says otherwise!) that always knew what she wanted to do when she grew up. But I never knew how I was going to make that love for art and drawing happen in the professional world. "Working" always sounded bad to me, I just wanted to make drawings (more or less like nowadays!). But of course, I had to earn a living sooner or later.

But luckily, I found illustration as a professional medium during my college degree. I studied Fine Arts at Salamanca and took contact with illustration thanks to the subject that Miguel Ángel Pacheco taught. It was love at first sight (with illustration) and began working to be part of the profession. I remember that on my last day of class, Pacheco told me something like: "You could be an illustrator, but you'll have to work a lot". And I thought: "Well, if it's that all, let's go!". That's what I did and keep doing ever since.

What are the artists that influenced you the most?

Something I always had in mind during my studies is the strong determination to not be like anyone else in particular. So that's why it's a bit difficult for me to name artists that influenced my work. It is inevitable to be influenced by work from your peers on a technical level, because we are always learning from each other, but I think having your own voice is key.

When I finished my degree and while I worked to build a strong portfolio, I ran a blog about illustration where I also featured great illustrators I love. All of them were great influences and curating all that work and pictures were a great exercise, and I learnt a lot from that. But aside from that very diverse sources, I think the authors that most had an influence in me were the ones who illustrated my favourite childhoods books. Specially english illustrators like Quentin Blake or Patrick Benson, who illustrated my beloved "The Tough Princess". But I think this influence is more on "character" rather than visual style: it is on the characters and the atmosphere they are walking in. It is something subtle that is always present in my drawings.

Interviews with illustrators: María Simavillal

Your production is mainly digital: can you tell us more about your process? Do you blend digital and traditional techniques?

The first steps of the my process are still traditional, or at least I try them to be. I always sketch on pencil if I'm not running short of time, in which case I'll sketch on the graphic tablet right away. But I need to keep touch on paper, and it's true that I'm more eager to get my hands dirty and make things far away from the screen these days.

When I've scanned these sketches, I colour them, and the process of doing that resembles inking on a light table. I use the sketch on a layer for reference, and re-draw and colour on Photoshop. Some years ago, I would do that "re-drawing" process on Illustrator and then export to Photoshop to add textures and details, but as my works has evolved I've found myself using Photoshop only and leaving vector stuff aside. It is more exciting and I feel like I have a lot more freedom this way.

You work mainly for the editorial sector. What is it like? What qualities does a client and project need to have for you to feel comfortable and motivated?

The editorial sector is a huge machine that moves insanely fast and I'm just a tiny part on that mechanism. I'm sometimes overwhelmed by the speed in which the publishing market operates nowadays, both as a consumer and illustrator working for editorial projects. I've got the impression that the industry releases far more publications than the average consumer can cope with in a life, and that's great and awful at the same time, because I don't know if this pace is sustainable at all.

I worry about that because I'm one of the people making a living on that, and I'm trapped on the rythm of this great consuming machine. But I'm also worried about the amount of good stories (illustrated or not) that may go unnoticed because of the speed of the market. Deadlines feel tighter and tighter, and that always takes a toll on our work. I feel we sometimes are feeding an unsatiable beast.

That would be the ugly side of it, but of course there is a bright and romantic side: telling and sharing stories. Sometimes beautiful texts come to you, and illustrating them is more a gift than a job. Even with the tight deadlines, you remember why you are doing this and make amends with your profession. If the project is managed by a great publishing company that cares about the work and trusts you, then everything goes smoothly. I had the chance to work with great editors that gave me freedom and trusted me. That's key to me for being creative, be motivated, and enjoy the process. And that, of course, shows up in the final result.

Interviews with illustrators: María Simavillal

Aside from the spanish market, you also worked with projects abroad. How is the experience? What differences do you find between Spain and other markets?

I work mainly for the spanish market, my collaborations abroad have been more casual. Right now, I'm working on a project with a Norwegian publisher and the most relevant difference is budget. Work abroad is better paid than in Spain, that's a fact. That's why I feel we have to do as much as possible to work on international markets, even if it can be hard to begin. I know other kind schedules and deadlines are handled, but that's something I'll have to discover myself bit by bit. Let's hope!

And last, but not least: any advice for aspiring illustrators just starting up their careers?

For starters, the one that was first given to me: work, work a lot, and don't feel discouraged on rejectments and closed doors. Don't work for others, for likes, followers, editors, or agencies.. be selfish and work for yourself, for your own enjoyment. Do not try to be like someone else, be like the person you see in the mirror: yourself. And always be patient!

Thanks a lot, María!

January Sales: 30% off in your first year

09 Jan 2018

2017 is here! And as usual, we like to begin this new year in the best way we know: a discount sale! So until 28 February you can have a 30% off discount on your first year of PRO plan.

You don't need to do anything special: the first year of all PRO plans will just cost 55,16$ instead of 78,80$.

If you are already on PRO Plan, we are also running a sale on STORE plan: pay 6 months for advance and you get one more month for free. Contact us and we'll tell you the details on how to benefit from this promo.

January Sales: 30% off in your first year

For any doubt, question, suggestion or problem, please contact us at uservoice or write us at

Most liked pictures in 2017

20 Dec 2017

2017 is ending soon, and as this year was the first with our likes system in our Discover Artists, we can now show you the most liked pictures and works in Drawfolio in 2017.

As you'll see, most of them are related to the two illustration challenges we organized during this year: the Spanish Free Comic Book Day Challenge and the Cinema Challenge, where we also set up an Expo. (Please note that these links are in spanish, as these were local events we celebrated in Spain).

As always, you can find out more artists and inspiration in our Discover Artists search engine. If you want more chances of appearing ins posts like this, you can enable Likes in your Drawfolio website.

And that's all for now! All the team at Drawfolio wishes you a Merry Christmas and a Happy New Year :)

BLACK FRIDAY: -50% until Sunday

23 Nov 2017

It's that time of the year: once again, we are going all BLACK FRIDAY Crazy!

From today until sunday, first year of PRO plan will have a 50% off: 38,20$ instead of 76,40$.

Tell all your creative friends and colleagues, and help us reach more people!

BLACK FRIDAY: -50% until Sunday

Tag your #Inktober2017 works

09 Oct 2017

Have you been doing the Inktober Challenge during this month? Just a short entry to tell you we created a special index in "Discover Artists" to showcase all the inktober works from our users. This way, everyone will be able to enjoy them!

To be shown there, just upload your inktober works to your portfolio website, go to "Edit" on each picture and tag it with the "inktober2017" tag in "Tags".

If you still don't know what Inktober is all about, we'll tell you real fast. In this challenge started by the illustrator Jake Parker on 2009, artists all over the world do and share one ink drawing a day the entire month, following a new list of themes proposed each year. Here's the list for 2017!

Tag your #Inktober2017 works

Sliders in your site's home page

25 Sep 2017

As usual, we continue improving Drawfolio mostly based in conversations with our users. One of the things that kept arising lately was the possibility of having a slider in your site's home page, in order to grab more attention from new visitors.

Said and done! You will now find two new options at "Appearance" -> "General" -> "In portfolio home, show..." that allow you to show a slider with random pictures from your site, or the pictures from one of the existing galleries.

Sliders in your site's home page

For any doubt, question, suggestion or problem, please contact us at uservoice or write us at

Interview with illustrators: Collateral Damage Studios

29 Aug 2017

Today we have something special on our ongoing series of illustrator interviews. We talked with Collateral Damage Studios, an illustration studio based on Singapore, who apply anime and manga skills to projects with major brands like Microsoft, ImagineFX, or HTC. We hope you enjoy it!

Interview with illustrators: Collateral Damage Studios

Tell us a bit about Collateral Damage Studios. How was the illustration studio born, and why?

Collateral Damage Studios (CDS) started out as a hobby art circle with a group of friends. Over the years, by participating in conventions and doing freelance work, we expanded our circle to include a number of talented artists.

In 2013, Microsoft Singapore approached us regarding a concept artwork we posted online. Microsoft wanted us to develop our Inori Aizawa concept into a marketing campaign. However, we had to set up a professional corporate entity as an illustrator agency to work with them.

This opportunity came at the right time, when some of us were at a junction of our careers and wanted to go into the creative arts industry professionally. We took the the leap of faith and went ahead.

We are dedicated to creating opportunities for our fellow doujin and manga artists in Singapore, and delivering high-quality artworks for our clients around the world.

Who are the individuals behind CDS? Can you tell us more about your team and artists?

CDS is a doujin collective of talented freelance artists in formed around a core of full-time illustrators and a manager (myself). Many of us come from diverse career and academic backgrounds, and are self-trained in illustration.

Two of our lead illustrators are Low Zi Rong (WaHa) and Tan Hui Tian (Space Penguin).

Low is our lead character designer. He designed iconic characters such as Aizawa Inori (of Internet Explorer fame), Seika (the mascot for Anime Festival Asia), and the Princess of Orchids (a Singapore-themed princess for Japanese mobile game, Uchihime). He is also a talented animator who did the creative direction for animated shorts our studio produced.

Tan is a versatile illustrator who worked on some of our studio’s most significant projects, drew backgrounds for our animated shorts, and wrote a series of art tutorials.

Interview with illustrators: Collateral Damage Studios

You work for big firms and brands (Microsoft, ImagineFX, HTC), as well as small, indie projects. What qualities does a client and project need to have for you to feel comfortable and motivated?

CDS is best known for our anime-inspired work. That said, we are seeking to grow our portfolio into new territories. Beyond straight-up anime art, we are taking up work that takes inspiration from North American or European comics.

An ideal project for us is one that challenges our capabilities to create something new, using our existing strengths.

And our dream client understands the needs of their illustrator, and gives constructive criticism to push an illustrator into producing his or her best. For me, there is a fine line between giving the illustrator just enough creative freedom to put his or her personal touch on the work, and ensuring that the final piece of work suits the original intent of the client. We are fortunate to have worked with a number of good clients who know how to navigate that fine line.

Of course, ideally, we’d love having ample time and budget to work with!

Can you tell us about the illustration and digital art industry in Singapore and Asia? What differences do you find when trying to approach European or US markets?

The illustration industry in Singapore and Asia is already highly competitive. On top of that, since we tend to have weaker currencies compared to the US and Europe, our artists are able to offer our services globally at a slightly more competitive rate.

We’ve never been to Europe ourselves, but enjoy working with our Europe-based clients. ImagineFX commissioned us to do a series of workshops in six issues of their magazine. MAGE Company had us do artworks from steampunk airships to anthropomorphic cartoon rabbits for their board games. We would like to diversify our revenue sources and work with more European clients in the future.

Interview with illustrators: Collateral Damage Studios

As far as we know, you've got strong roots in the doujin and manga scene. How do you take those skills and make them be useful to companies and firms? What problems did you find in the process?

The doujin community is a competitive , always on the lookout for the latest trends and outdoing each other in terms of product offerings for our customers. Emerging from this competitive scene, CDS offers our clients our experience, skill, and versatility in creating art products that appeal to the latest consumer trends..

We continue to draw our talents from the doujin scene. Of course, it t takes some time train artist who were previously only exposed to the anime medium to new art direction. They might not be used to working based on a client brief. It gets trickier if the client’s target audience is not the usual anime consumer! However, over time and experience working with the rest of the team, the new artist can master a more diverse range of artwork.

And last, but not least: any advice for aspiring illustrators just starting up their careers?

Regardless of art direction, it is important to have a strong foundation in basic art concepts. This will enable you to adapt your preferred art style into various forms to fit different circumstances. Going back to the basics of art helps artists find problem areas and correct them.

Finally, do like us on our Facebook!

We will, thanks a lot!

Interview with illustrators: Marta Nael

26 Jul 2017

Keeping on with our interview series, we are very happy to bring you one of the best concept and matte painting artists in Spain: Marta de Andrés (also known as Marta Nael). Marta won the Expomanga award to best Spanish Illustrator in 2011, and in that same year, the Rising Stars Award from English magazine ImagineFX. She has worked in lots of comissions for book and music covers, and has published four artbooks with Babylon Editions.

Interview with illustrators: Marta Nael

Tell us a bit about yourself: How did the road began for you to get into art and illustration?

First things first, thanks a lot for interviewing me!

I feel that I have been drawing since forever, but my first memory drawing might be when I was five years old. At that time, a teacher told my parents to enroll me to an art school and I started experimenting with charcoal, oils, and color pastels. I remember that I always knew I wanted to study Fine Arts. That's where I met a professor that got me into the brush strokes technique, as opposed to line drawing, and to create stuff playing with light and color.

During the last year of my degree, I began to try out digital illustration and matte painting, and I had my first commissions soon enough. I began to work with Ediciones Babylon next year, and I’ve already published four artbooks so far.

Your style is quite unique, and you even called it "Digital Impressionism". Where do you find inspiration for your work, and how do you melt your sources of inspiration to create your own way of art?

Thanks a lot! Truth is, I discovered my passion for light and color thanks to this professor at Fine Arts. I worked more a more on these concepts and I tried to take the technique a step further, adding more saturated colors. That's where the "Digital Impressionism" thing comes from, since it’s mainly based on XIX century Impressionism.

Interview with illustrators: Marta Nael

Sorolla has always been a great inspiration for me, but my work is also very influenced by Turner. From living artists, I would highlight Nathan Fowkes and James Gurney, for their use of light and color. But I actually follow a ton of artists with styles very different to mine.

I get inspiration from mostly anywhere: series or movies, books, or even while walking down the street you can get to see a unique light somewhere.

Talking about digital: can you tell us more about your process and how you blend digital and traditional techniques?

I always start by filling the whole canvas (be it digital or a real one) with a neutral color that is in the palette of colors I've got in mind for that particular piece. I try to play with complementary colors and color warmth, always using one color as an "accent" (due to its saturation or because it stands out from the rest) to highlight an element from the scene and make it the center of interest. Shapes are created by the contrast of light and color surfaces, in order to block in both the characters and the background.

I try to use both digital and traditional techniques, even if separately. If I've been doing digital work for quite a time, I need to get back to traditional techniques, and viceversa.

You've got a strong presence on Social Media. How do you manage your social networks, and how much time do you spend on them?

I try to spend on them at least one hour daily. It's not always an easy task to do because of the wide range of social media networks I'm in. I used to spend more time on Facebook before, but with the latest changes to their algorithms my content does not reach as many people as before. So I tried to open myself to other platforms such as Instagram, Youtube, or Artstation.

Each social media plataform is a little universe itself. There's always a format or way of telling things that's better for each one, or a time range where your content spreads better. I try to post updates on process and final pieces, or pictures from events I attend.

Interview with illustrators: Marta Nael

What good (and bad) things do you feel the Internet and the new technologies have brought to your field?

I think it's mostly positive. Without the Internet, I could only reach people next to me, dramatically decreasing my chances to find customers and get commissions. Thanks to the Internet, I can reach virtually any person, anywhere. Bad things about it come when people make a bad use of it. But professionally, I think it offers only advantages.

And last, but not least: any advice for aspiring illustrators just starting up their careers?

I always say the same thing: work, work, and work, and when you think you're done, keep working. I don't believe in being "gifted", but in hard, constant work.

On the other side, if you want something, fight for it and do not give up. But always try to be humble and critical with your work, while believing in yourself to reach what you want.

Thanks a lot, Marta!

Interview with publishing firms: Grafito

04 Jul 2017

In our current interview series, we are trying to show insights from artists and illustrators, but also from the publishing firms who look for artists in their projects. We met with the founding team from Grafito Editorial (an independent spanish comic book publishing firm) in the last edition of the Splash Sagunt Comic Festival. We have been slowly cooking this interview since then, and finally, here it is! We hope you enjoy it.

Tell us a bit about Grafito.. How were the project and publishing firm born?

Grafito is the result of mixing two different groups of people. Some of us come from the fanzine and autopublishing world, and others from marketing and business. But all of us wanted to achieve the same goal: tell good stories via great spanish comic book artists. That's why we chose to publish to do our own production, and then license later to other countries. It's a lot of work, but we are very happy with the catalogue we managed to publish until now.

Interview with publishing firms: Grafito

Who's behind Grafito? Tell us about the founding team and collaborators.

The two main "public faces" of Grafito are Guillermo and Yolanad. Guillermo Morales is on charge of the publishing and production side. This means looking and selecting projects, but also walking the authors during all the phases of the process. And, of course, everything related to printing and publishing.

Yolanda Dib takes care of marketing, communicacion, events, and international business development in order to sell licenses. But these two areas intersect a lot, and we like to agree on all decisions. It's a lot of teamwork, really.

We work with great professionals, too. Delfina Palma is our "license scout" and overall talent hunter. She is the illustrator who made all the branding for Grafito. Jesús Huguet works as layout designer in all our comic-books, and helps in lots of details with a great know-how as comic book artist.

What is the selection, edition, and publishing process of Grafito?

We are always looking for new titles in an active way. We are looking for autoconclusive stories that are about 100 pages long. If we spot an artist we like, we'll probably talk with her and ask her for more stuff.

We constantly look for new projects. A lot of them come straight from our website. We carefully tell there the guidelines to send us material (briefings, artists or writer's portfolios, etc.)

We don't really care if the authors are already well-known or not: we think their work has to speak for itself. And as we already work with a lot of writers and illustrators, we introduce each other to build teams.

Interview with publishing firms: Grafito

What do you need from authors and artists to feel comfortable working together?

We like to work with creative, involved people who are willing to tell a good story and have the required discipline to meet deadlines.

Publishing a comic-book is only half of the work. Promoting both the comic-book and the author takes a lot of work in social media, talks, shop presentantions, and other events. This must be a joint work of the publishing firm and the author. We work together for a long time and usually end up being friends. We are lucky enough to say we enjoyed working a lot with all of our authors and artists.

You made a bet to publish both on paper and digital formats. How did the digital media changed the editorial world, in your opinion? How do you see the future of comic-books and editorial publishing?

Our goal from the very start was making our comic books available to as many people as possible, and that's why we also sell them in a digital, unexpensive (2,50€) version for the people willing to read in a tablet device.

But the average comic book reader is a natural born collector, and our main revenue still comes from paper comic books. A lot of innovative new formats have been seen these years, but still there's no silver bullet.

Spanish market is small if you compare it to other markets, like the French-Belgian market. But we've seen a rise of interest on people who usually do not read comics, thanks to the rise of graphic novels and also the current comic book movie adaptations.

Interview with publishing firms: Grafito

Our business model looks getting out of Spain. We export stories to other countries to reach as much readers as we can. Actually, we are glad to announce we just sold four licenses to a frenc-belgian publishing firm (Buckson, ¡Socorro! Mi madre tiene Facebook, Cazador de Sonrisas y Arde Cuba). As this job need to visit international expos and fairs, we also began to work as agents for our authors.

And last but not least: What is being cooked right now at Grafito? What new stuff can we expect?

We've got some things beeing cooked in the oven. For starters, a main course: ARDE CUBA from Agustín Ferrer will be released in October. It is an adventure story that takes place in La Habana just before the Castro Revolution, told through the eyes of Errol Flynn's photographer: Frank Spellman.

We are also preparing a very diverse buffete: a spies comic with lots of Hollywood stars from the 50s, a historical adventure in the ancient Greece, and another magic/humor story. And also some others more from which we won't be telling any details (we have to keep looking mysterious and interesting, you know?).

Thanks Yolanda and Guillermo!

Summer Sales: -30% on first year of your PRO Plan

26 Jun 2017

As it is traditional in Drawfolio during the summer months, we will try to fight the heat wave with the only thing we can do: discounts!

From this day to next September, you can have a 30% discount on your first year of PRO Plan, to make it more easy for you to have a great portfolio website that will get you opportunities and new customers.

You don't need to do anything special: the first year of all PRO plans will just cost 51,10$ instead of 73$.

Summer Sales: -30% on first year of your PRO Plan

Galleries index and subgalleries navigation

12 Jun 2017

They always say Devil is in the details: the small things are the ones who make easy your day-to-day, but they can also be what makes that day extremely frustrating. That's why we keep improving Drawfolio: we want our small details to make your life easier, not the other way around.

For example: until now, you could choose the order of the galleries list in your website's home. But they were always all the public parent galleries, and you could not do much else to customize that. That's why you can now include or remove any public gallery (parent or child) on the galleries index at your site's home: just go to "Galleries" -> "Setup galleries index".

Galleries index and subgalleries navigation

Also, some of our users were asking us to let them op-out from showing all the children galleries in the menu navigation, so you can now disable that in "Main menu and navigation" -> "Other menu options."

Galleries index and subgalleries navigation

For any doubt, question, suggestion or problem, please contact us at uservoice or write us at

Improvements on Analytics Dashboard

18 May 2017

In addition to having an awesome portfolio website that helps you to build a personal brand, having information on what content is working better towards your audience is key.

Thats way, since the very beginning of Drawfolio, we set up an analytics dashboard for our PRO users with information about the traffic their websites is getting. But, honestly, there was room for improvement, and information was not visual and easily understandable enough.

That's why we worked to improve the analytics dashboard, and now we show a much more visual ranking on what pictures and galleries are having more audience in your site. We hope you find it useful!

Improvements on Analytics

For any doubt, question, suggestion or problem, please contact us at uservoice or write us at

Interview with Minchō Magazine

25 Apr 2017

On the last interview we made on this blog, we talked with the founders of Principia Magazine, so we really wanted our next interview to be with the team behind our favourite art & illustration independent magazine: Minchō Magazine.

We are lucky to know the founders of Minchō from its early stages (we actually were advertisers on the firt issue), so it was about to made them a proper interview. We hope you enjoy it!

Tell us a bit about Minchō: How were the project and magazine born?

Minchō was born from a previous editorial project, Linea Curve magazine. After the sudden closing of this publication on 2013, we started another one with the same goals: to give more visibility to the great artists behind cartoons, newspaper comics, publicity, music album covers, children books, and some contemporary icons unkown to most people.

And we did this with a new attitude, a new team, more focus on design, and riskier contents. All to make Minchō become the proof that second parts can be awesome.

Interview with Minchō Magazine

Who's behind Minchō? Tell us about the founding team and collaborators.

The founding team of Minchō are Francisco Carrasco, who graduated in Fine Arts in AKI ArtEZ (Enschede, Holland), and was editor at the illustration Magazine Linea Curve, and Natalia Giménez, Art Historian specialized in contemporary art with a wide experience in teaching and cultural management. But when we talk about team, we must talk about our wide network of collaborators. Minchō is a reality because technology enabled us to connect with great professionals from all over the globe, and because of their personal bet and effort, and also our romanticism (and sometimes lack of pragmatism) that keeps us learning and growing strong.

What is your production process? How is each issue of Minchō cooked and built?

Despite what it may seem after seeing the careful design, bilingual edition, and international distribution, everything except printing and sewing is done at home! So we could say the "cooking" of each issue is almost a literal thing, as each issue is created both in the office and while we are cooking spaghetti on our home's kitchen.

Aside of working together, we are a couple, so we live in a non-stop brainstorming. Each issue is impatiently created from a continous questioning and our need to share our views on illustration and graphic design. On this personal "vomit" that we call Minchō, you will find a lot of our passions, mainly about contemporary art and independent publishing.

We have also been organizing the stuff we want to show, making each issue thematic, and linking the different sections of Minchō (illustration, animation, comic, design, or children albums) to the cultural present with humor, psychedelia or forklore representation as the conducting thread.

Interview with Minchō Magazine

One of the things that we think make Minchō unique is that Illustration, Animation, and Comic are dealt as what they really are: Art. Why this disciplines are often though as "minor"? How can we end with this stereotypes? What do you look for on the artists your feature on the magazine?

This is because traditional art theory, where fine arts are distinguished from the applied arts, or "minor arts". There is still a long road to walk in order to undo this, withs efforts going back as early as the Arts & Crafts movement, from a century and a half ago. Even in the 60s, the Pop artists introduced advertising design or comic books in their work, with a lot of controversy from some part of the art critique. That's why we devoted our section "The New Contemporary" to show up this intersections between art and illustration/comic/animation to help end the cultural hierarchies.

About dealing with illustration as art, we do it because it deserves to have its own theorical framework, which is usually linked to art history (drawing is the common ground of all visual arts). But we have to bear in mind illustration is a discipline tightly coupled to design and market, though. Illustration must build its own space, as graphic design did in the 80s, and Minchō is born to help to this process of analyzing illustration from a solid critic framework.

Minchō is spreading internationally, not only on selling points, but also on collaborators. How did you manage to reach so many people abroad?

The good thing about a small, independent project, is that it can be more versatile and has more room to adapt or being creative. From the very first moment we knew the magazine had to be global project, as very few publications like this exist internationally. We were conscious that thanks to the online media (and Drawfolio knows also a bit of this), old frontiers of mainstream are falling down, art ideas travel faster, niches spread, and quality prevails.

There is a lot of management work behind this, though. International distribution is not an easy road to go down, and being on fairs and events is key to get yourself known.

Interview with Minchō Magazine

And last but not least: What is being cooked right now at Minchō? What new stuff can we expect?

The activity of Minchō Press goes round the magazine, which is itself a mutant project that re-invents itself each two years with a new editorial design. But we are also open to collaborations that can boost the project, so you will also find us on contemporary art fairs or as teachers on illustration courses.

We are a bit unmpredictible, so if we dared to publish the latest from Yuichi Yokoyama, who knows what can be next! We've got plenty of ingredients on the fridge and the stoves are on.

Thank you a lot, Natalia and Francisco!

Better Spam protection with Akismet

15 Feb 2017

As you know if you upgraded your account to PRO plan, one the available features is having your own contact form in your portfolio website. This makes things really easy for people to contact you, but it also has some risks: it makes possible for spammers to send you undesired messages, too.

We are always working on the technical side to make things hard for spammers, and today we are integrating Drawfolio with Akismet, one of the best spam detection platforms, which is widely used on the Internet, specially on sites using the Wordpress platform.

You also have a "Spam" folder on "Messages", where you can see the messages Akismet did automatically classify as Spam, and mark other spam messages you could have on your Inbox (or do the other way around, in case of false positives).

Better Spam protection with Akismet

For any doubt, question, suggestion or problem, please contact us at uservoice or write us at

Interview with Principia Magazine

09 Feb 2017

This time we are bringing a very special interview to our blog. Principia is an independent scientific divulgation magazine with illustration and design deeply engraved in its DNA. For us, Principia is one of the most awesome projects in the indie magazine scene at Spain. We met its founding team at Ilustrisima ABC 2016, and naturally, we couldn't resist interviewing them!

Interview with Principia Magazine

Tell us a bit about Principia: How were the project and magazine born?

Principia was started as a online platform in 2014, and in July 2015 the paper magazine was born. For the printed version of Principa Kids, we had to wait until November 2015. However, our experience on the science divulgation world comes from 2009-2010, when we developed two projects: a science social network and a digital magazine where we learned a lot, and also came to realize we didn't want to continue working on that direction.

We saw how our articles weren't going further from the academic and science world, and decided to change focus. That's why we spent more than one year thinking what to do and how to do it, event studying master courses to learn how to actually make professional projects, and Principia was born from there; a publication where we claim science as part of culture itself, where science is the connecting thread, but does not need to play the main role. A publication that uses illustration to delight readers and make concepts stick, that has literary texts and an elaborate narrative, and makes science something entertaining and quotidian from an humanistic point of view. Because science never stopped being part of the human studies, no matter if some people would like it that way.

Who's behind Principia? Tell us about the founding team and collaborators

Principia co-founders are Cristina Escandon, our art director, who also has a biology degree and works as graphic designer. Javier Díaz-Romeral is software engineer and our technical manager (having a technical guy in the team is great), and myself, Enrique Royuela, Microbiology, phisiology, and genetics Phd., (also did a Creative Web Design master course), and maybe the most visible head of Principia (an obligation of sorts, actually).

As we were only three people, we decided that all three of us would be managers. We actually don't manage anyone, but it was a unique chance to tell our family we were Managers! On sunday family meals, managers always get the most big and juicty chicken piece.

There are also two deeply involved people since the beginning: Rafael Medina and Silvia Mielgo, whose daily and selfless work makes things way easier for us.

As it happens on big scientific discoveries, help and collaboration from lots of people were needed to make this project a reality. That's why we thank all the Principia family for their generosity and trust in the project: nearly 300 writers and illustrators, and also our readers and subscriptors.

That's the only way we can compete against the big media, or other initiatives funded by the government. The game loses a bit of fun if you don't put in it your own money (and health), right?

Interview with Principia Magazine

One of the things we like the most from Principia is the bet you do on illustration and the concept of "One Single Culture". Which is the reason this artificial wall between culture and science exists, and what can be done to tear it down?

These are the things we like the most from Principia, too. Our motto, "One Single Culture", it's not just an slogan, it's an assertion we do with every gesture, every web article, every issue we publish. This was clear to everyone when we signed up to Premios Bitacoras (a national spanish blog contest) on the Art & Culture category. We had to stick to what we said. And, we won the prize! It demonstrated that Science is Culture, at least for the judges of the contest.

With "One Single Culture" we affirm that there is no separation between science and humanities. These are artificial categories that can be handy on some situations, but are useless to label persons. Science or Humanities? Why do I have to choose between them? That's our answer: you don't have to choose, because culture is knowledge.

The breach between the so called "humanities" and science comes from far long. I won't bore you talking about Charles Percy Snow. But what I want to say is that the task reducing that breach lays in our hands. We have to stop using awfult terms like "scientific culture", because when saying that you are already admiting that there is a "science culture" on one side and a "general culture" on the other. And that's a lie. We can understand that some can benefit from that differentiation, specially in academia, and that the term "scientific culture" can be well-intended to show that science is also culture. But we cannot stop there. If we did, our contribution would be actually self-defeating.

What do you need from an illustrator to feel comfortable working together?

Our relationship with our illustrators is always tight and easy. They usually are super-receptive to our perspective on science, culture, and knowledge. Every article needs a different style, and the participation depends on each artist. There's an insane amount of quality among our collaborators, so it's really easy counting on them.

We really find easy to work with illustrators, designers, painters, sculptors, and other artists. We learn a lot of them because working with them makes us think backwards of what we usually do: when we see an illustration based on an article we can see if what we wrote really transmits what we wanted to tell, or discover new perspectives to it. Learning through conceptual illustrations is awesome and a must for us.

Interview with Principia Magazine

You made a bet on self-publishing from the very start. What advantages does self-publishing have versus traditional distribution, and what do you think of the future of self-publishing?

Well, we bet on self-publishing because the current system of publishing didn't leave us any other option. If you want to release a product you love you have to invest yourself, or with the help of crowdfunding backers, as we did with the first issues of Principia and Principa Kids. When your work for the big media, your freedom is severely restricted. We don't depend of a editorial line set up by sponsors, so we really can release what we want, given it complies with our quality and rigor standards.

This seems all pretty and fun, but it's not always like that: building a self-funded project like this it's really hard. After two years, none of the founders got a penny for our work (we edit, design, illustrate, write, correct, etc), while we payed all contributors for they work on every issue, and re-invested incomes on following issues. This can be really tough. But we also understand that our project needs at least other two years of hard work to be profitable. When you self-publish and self-fund your project, everything is way harder. Fortunately, we also found awesome people along the way, like Raquel Blanco, manager of independent distribution firm Liberantes (we are all very indie around here, you see), who knows book sellers very well and has helped us a lot.

We believe self-publishing is a very good way to boostrap an editorial project, but beware: this can lead you to "amateurism" in no time, and that's not the most appropiate attitude to have for a project in the long run. As I said before, the three Principia founders prepared ourselves meticulously befoure starting this to be as professional as possible.

Interview with Principia Magazine

And last but not least: What is being cooked right now at Principia? What new stuff can be expet??

Well, we are preparing a lot of stuff at the same time!

We organized a event next 11 Februrary for the International Day of Women and Girls in Science.

We are also running a social project with an expo called "Shelter Science", where we want to talk about the refugee drama with examples of scientists who were refugees themselves at times of war. This project is early stages yet, but you will be able to see more about it soon.

On the editorial side we are working on the new season of Principia Magazine and Principa Kids. Next issues will bring some surprises that readers will love, playing with a very daring concept that will make our third season a truly collectors item, on both text and illustration.

We are also thinking of releasing a second parte of our card game "Ciencia a pares", with other ten female and male scientists.

But this year will be the first where we work on other editorial projects than the magazines, like an illustrated children album about creativity, a book about women in science called "She", and another suprise I can tell very little about, only that is Mars-related. As you can see, lots of stuff, lots of work, little time, and less money, but huge amounts of imagination and hope.

Thanks to you Enrique, and also thanks to the rest of the team!

Likes in your website (only if you are up to it)

16 Jan 2017

As you know, we recently launched our likes system for the featured pictures of discover artists, in order to be more democratic and open on deciding what works get more visible.

We did a survey among our users and discovered what we already were suspecting: that the majority of people found likes interesting, but wanted to be in control of them showing or not on their portfolio website. So, from now on, you can enable likes in your website whenever you like.

In "Appearance" -> "Likes", you can enable likes on galleries, picture pages, or both. Actually, you can go to "Edit" on a picture and enable likes only for that single picture page, too.

Likes in your website (only if you are up to it)

Likes in your website (only if you are up to it)

We alse changed likes rules to be less restrictive. Until now, only one like from a IP was allowed, but now we opened that to a like for each browser session, so you visibility can grow faster.

For any doubt, question, suggestion or problem, please contact us at uservoice or write us at

January Sales: 30% off in your first year

12 Jan 2017

2017 is here! And honestly, we cannot think of a better way to begin this new year with you than.. a discount sale! So until 28 February you can have a 30% off discount on your first year of PRO plan.

You don't need to do anything special: the first year of all PRO plans will just cost 50,82$ instead of 72,60$.

If you are already on PRO Plan, we are also running a sale on STORE plan: pay 6 months for advance and you get one more month for free. Contact us and we'll tell you the details on how to benefit from this promo.

Tell all your creative friends and colleagues, and help us reach more people!

January Sales: 30% off in your first year

For any doubt, question, suggestion or problem, please contact us at uservoice or write us at

A conversation with Edu Flores from Apila Editions

21 Dec 2016

Today, we are bringing something a bit different to our blog. As you know, we don't just announce improvements and promos in our blog, but also try to bring valuable content. Until now, this usually consisted on interviews with other artists and illustrators. But we didn't really had the chance to talk about the other side of the table: the people hiring illustrators for editorial projects.

Recently, we were at Feria Liber 2016 and we had the chance to do precisely that: we talked with a log of publishing firms focused on illustration about what they look for in artists, and which are the best ways to approach them for work.

A conversation with Edu Flores from Apila Editions

One of these conversation was with Edu Flores, from the publishing firm Apila Editions. Apila is a small publishing firm focused on children illustrated albums, born in the Art School of Zaragoza. As Edu says, they created Apila to "be able to teach things we actually had done": knowing the publishing market first hand, creating their own firm with their own resources.

One of the first things we talked about is the kind of Illustrated Album made at Apila. Edu told us that when they receive proposals that "smell of being pedagogical stuff", they just reject them. The main mission for an illustrated album at Apila must be telling a story with which the children can feel moved and identified with. Of course, comunnicating values is needed in a children book, but always through storytelling, which must be the core of the whole thing.

Edu admits there has been a sort of children illustration boom, and that they receive much more proposals that they can process, although they always try to answer to everyone. This illustration boom has also brought bad things, such as some style standardization. That's why Apila always looks for unique illustrators with a distinguishing style. This is a bit easier to find on illustrations that are not 100% digital, and it's usual for Apila to work with illustrators that only use "real" techniques, or a combination of that and digital techniques, at most.

A conversation with Edu Flores from Apila Editions

About approaching editors with new ideas, Edu says that "email is the most inmediate way to do that". It is very important to be as brief and succint as possible, both in the email text and in the illustration portfolio or attached material. The person reading our proposal is also trying to process emails from a lot of other artists, and we are seriously under the risk of overloading them. It is better to be brief (both textually and visually) and straight to the point.

Edu also talked about an attitude he sometimes finds on beginning artists and that can really be self-defeating for them: they approach editors with a kind of "don't steal my idea" attitude. This defensive way to do things, that sometimes gets to the point of the artist not wanting to show her/his work, will make the editor just pass instantly on them. Apila, as the vas majority of publishing firms, don't want to steal anyone's work. It's very difficult for them to process all the proposals they get, and making them "struggle" to see an artist's work just makes no sense at all.

We are talking mostly about illustration, but Edu really emphasizes that "that is only half of the formula". It is key to work with good writers, and writers that can make a story work in a brief, limited, and demanding format such as the children illustrated album. As Edu says, if writing was a boxing combat, "a writer can win a novel over points, has to knock out on a short story".

A conversation with Edu Flores from Apila Editions

We don't want to finish this post without talking about the Primera Impresion (First impression) prize, organized by Apila Editions. The aim of this prize is to give a first chance to illustrators with no publications so far, working with them and paying them just as Apila does with well-known artists. This creates great opportunities that kick-start the career of the selected artists. Edu highlighted the success cases of Olga de Dios, winner of 2013 edition, and Canizales, winner of 2016 edition with "Guapa".

The final advice from Edu is "talk less and do more". Right now, there are a lot of events, workshops and fairs around illustration. They bring positive things, but our main focus should be on creating stuff, starting new projects, and show them to the world in every way we can.

Thanks a lot for this great conversation and advice, Edu!

Likes for Featured Pictures in Discover Artists

12 Dec 2016

From the beginning of this year we've been improving our Discover Artists section to get your work more visible and get you more work opportunities. Among these improvements was the Featured Pictures list, where our team has been featuring works from our users on a daily basis.

But we felt this wasn't enough! We want this visibility to depend on the community, too, and that's why we are releasing our own likes today. You can now set as liked your favourite works, and see the featured pictures list ordered by number of likes.

Likes for Featured Pictures in Discover Artists

This is now limited only to the featured pictures list in Discover Artists, but we plan to allow pictures to be liked from any portfolio website, so any picture can get into the global ranking. But we don't want to make such a big change without knowing your thoughts about it, so you can help us filling this super-short survey about this.

For any doubt, question, suggestion or problem, please contact us at uservoice or write us at

BLACK FRIDAY: -50% until Sunday

24 Nov 2016

It's that time of the year: once again, we are going all BLACK FRIDAY Crazy!

From today until sunday, first year of PRO plan will have a 50% off: 36,30$ instead of 72,60$.

Tell all your creative friends and colleagues, and help us reach more people!

BLACK FRIDAY: -50% until Sunday

Interviews with Entrepreneurs: Abraham Cózar (Chibi Games)

15 Nov 2016

Today we brought you a different flavour on our interview series. This time, we talked with Abraham Cózar, serial entrepreneur and founder of Chibi Games. Chibig is an apps and mobile game studio with a strong focus on narrative. As you'll see through the interview, art and illustration play a decisive role on Chibig process and success.

Interviews with Entrepreneurs: Abraham Cózar (Chibi Games)

Tell us a bit about yourself: how did you get in the path of mobile development and entrepreneurship?

I'm a Telecommunication Engineer from Valencia. When I finished my degree, I got into entrepreneurship and the Lanzadera Incubation Programme, where I created my first company with other partners, aiming to develop educational applications for mobile devices.

This first entrepreneurial adventure didn't work out, and we went out of business. But I learnt a lot through the way, both on business and technical sides. A year and a half ago I decided to start Chibig studio, in order to put these things I learnt into practice and keep learning new stuff.

You founded Chibig, a mobile app and videogame production studio specially targeted to kids and youg adults. How this project started?

I always enjoyed videogames since I was a kid, I just grew with them. When I first began learning programming, I suddenly understood I had the tools to create my own games. I first began to do so in my free time, as a hobby. It was something that was always there, but years had to pass for me to make the decision of making it my career.

With tablets and mobile devices, videogame distribution has become hugely accessible to small teams. I saw one indie studio after another making big titles, so I decided to give it a try.

I always liked to write and tell stories, too. My main intention with Chibig is to create titles with a strong narrative content, games that develop stories and characters which hook the player. I think there's a lot of room for that in mobile games and that there is a lot of audience looking for games like that.

Interviews with Entrepreneurs: Abraham Cózar (Chibi Games)

One of your latest games, Deiland, had more than one million users. How did you arrive to such a milestone?

When I started the game studio, our main objective was to be profitable as soon as we could. We wanted to be sustainable without private investors. We started creating small games and apps were we didn't spend more than 2 months of development time, so we could test user acquisition and monetization strategies as soon as possible.

Not every app did have the same success, some of them worked out while others didn't. But we learnt about our audience and improved our creative process with each one of them.

The success of Deiland was kind of a surprise. I developed it in 2 months, launched it on the app stores and just in two weeks got top ranking positions on a lot of countries. People loved it: they reviewed it, scored it well, or recorded gameplays on Youtube. It got a very good position without any advertising investment, and kept getting users until it got more than one million.

All your games and apps have a strong focus on art and illustration. How do you fit illustration into the production process?

From the very beginning, I wanted to make games with professional illustrations. For 3D models, I use a lot of pre-built assets that can be purchased on Internet. This gets the production process very agile, but the result won't be that unique and will lack personality. Having illustrator Miriam Barea working on the games allows us to make things unique and different.

The illustrator work is present over all the production process of the game: from the idea concepts, to character and user interface design, to the very release of the game and its launching campaign. Our illustrator is a key part of Chibi Games!

What do you need from an illustrator to feel comfortable working together on a project?

A very important thing we need is the artist to be independent! She has to be able to work on an idea and developt with just some lightweight guidelines from us. The illustrator is a key part of world building in the game, and a creative, talented and proactive person is needed for this.

It is also important that the illustrator finds balance between the amount of detail in artwork and the available time and deadlines for the whole project.

Interviews with Entrepreneurs: Abraham Cózar (Chibi Games)

And last but not least: What is being cooked right now at Chibi Games? What new stuff can be expet??

We recently launched our latest game: Ankora, which is a prequel to Deiland. We put more work in this project that the others before (about 6 months of development), trying to put in it the things our users found lacking in Deiland. We are polishing some details right now to release the final version.

After first weeks of testing, we are very glad because players have connected well with both games and uderstood they belong to the same shared universe. Our intention is to keep expanding the Deiland universe, developing new games with more stories and characters, releasing a Deiland saga game every year.

That aside, we'll keep creating smaller games that allow us to keep experimenting with new stuff. Our most inmediate release will be a small pet-game project, where players we'll have to take care of a baby dragon.

Thanks a lot Abraham!

Discover the #inktobers from our users

08 Nov 2016

Have you been doing the Inktober Challenge during this last October? Now that the challenge is coming to an end, we created a special index in "Discover Artists" to showcase all the inktober works from our users. This way, everyone will be able to enjoy them!

To be shown there, just upload your inktober works to your portfolio website, go to "Edit" on each picture and tag it with the "inktober" tag in "Tags".

Discover the #inktobers from our users

Upload Pictures to Pages

17 Oct 2016

After improving our content editor, there was only one more thing about it still hurting. Until now, if you wanted to insert an image into a page, you had to do that from an external URL, or from the URL of another image you alredy uploaded in a gallery.

No more! You can now upload pictures on pages straight away, and set them up to look as you like in the editor.

Upload Pictures to Pages

We automatically create a Gallery called "Pictures uploaded to Pages" where all your upload to Pages stand. If you don't want it to show at your website menu, just remove the new gallery element in "Menu and Navegation".

Upload Pictures to Pages

For any doubt, question, suggestion or problem, please contact us at uservoice or write us at

Set a Page as Home

28 Sep 2016

We keep making little improvements to Drawfolio, in order to make your day-to-day website management easier!

Until now, you could set as home of your site a list of the current galleries, a single picture, or the picture s from a single gallery. Now you can also set one of the free HTML content pages you created as home to your site. This way things are more flexible. You just have to select the option at "Appearance" -> "General".

Set a Page as Home

For any doubt, question, suggestion or problem, please contact us at uservoice or write us at

See you on Feria LIBER 2016

23 Sep 2016

As you may already know, we've been selected by Inndea Valencia and the Valencia Editors Association to be among the 7 firms representing Valencia in a shared space in International Book Fair LIBER 2016.

See you on Feria LIBER 2016

International Book Fair LIBER 2016 will take place in Barcelona on October 12, 13 and 14. In LIBER 2016 every sector in the book world meets, with a special emphasis on digital content, new publishers, self-publishing and literary agents.

We will be on VALENCIA INNOVA space on LIBER DIGITAL among other companies from Valencia such as ITBOOK Editorial, Tirant lo Blanch, No Spoon Tech Lab, Poética 2.0, AjubelStudio and Chiles Medios.

Aside from talking with you about Drawfolio on the Valencia Innova stand, we will also be giving a short presentation on the Digital Corner at Wednesday October 12 at 17:45 p.m.

See you on LIBER 2016!

New content editor

14 Sep 2016

As you know, in Drafolio you can edit the gallery and picture descriptions as you wish, and also create pages with any content. The core of this feature is the WYSIWYG (What You See Is What You Get) editor, where you can edit the content for your website without knowing how to code HTML.

The WYSIWYG editor we had until now needed some improvement, so here's the new one!

Nuevo editor de contenidos

Aside including styles and colors, you can also edit the HTML code directly if you are into that.

Nuevo editor de contenidos

For any doubt, question, suggestion or problem, please contact us at uservoice or write us at

Interview with Creatives: Cat Rose

05 Sep 2016

Next in our interviews series is Cat Rose, designer, entrepreneur, and overall creative. Cat works as freelance on design and online marketing projects, writes at The Creative Introvert blog, and ran the Get Your Art Out Summer Camp online course to teach artists how to successfully promote their work.

Interview with Creatives: Cat Rose

Where did the road to become a successful web designer and entrepreneur began for you?

I think it began back at university: I was in my 2nd year of a rather out-dated print-based design degree, and overheard some older students say 'All the jobs are in web design!" So... I decided if my university couldn't teach me, I'd learn it myself!

After landing an internship at a digital agency during my final few months of studying, I've been able to live off those web design skills. That's what enabled me to pay the bills whilst going down this more 'entrepreneurial' route!

You run The Creative Introvert blog. Where does this project come from?

I suppose it was my personal fascination with personality types: learning I am an introvert and what that means for me as a creative entrepreneur. I wanted to share my experiences with others who might be in the same boat, and that's when I started blogging about it.

I also began the League of Creative Introverts: it may seem odd for an introvert to start an online community(!) but I really wanted to create a space where we could connect yet not feel pressured to be pushy or 'loud'.

What do we introverts have to offer to the world?

So much! My favourite introvert quality is our ability to listen. It seems like a lot of the advice online is all about speaking louder to get our message across, which I agree is necessary, but it's through listening that we really learn and connect with others. Introverts are fantastic at that.

Interview with Creatives: Cat Rose

You still do a lot of freelance work. What qualities does a client and project need to have for you to feel comfortable and motivated?

Interestingly a lot of projects that sound dull at first become really fun when the client is open to new ideas. That's all I need: for myself and a client to communicate well, and see eye-to-eye makes any job enjoyable!

What good (and bad) things do you feel the Internet and the new technologies have brought to the creative sectors?

I think, particularly as an introvert, we're given the impression that everything (from setting up our business to getting clients or customers) can be done from behind our laptop screen.

I'm all for the 'lifestyle' creative, who can work from anywhere in the world, but I've found that meeting people in person is the key to finding fulfilling work, and having more of an impact.

And last, but not least: What would you say to aspiring illustrators and creatives about the importance of finding clients and paying attention to the marketing side of their careers?

Be patient. I can't say I'm the most patient person, but it's something I'm learning. It can be tempting to give up on a project or career choice when things aren't moving as quickly as you like, but it's amazing what happens when you relax and let it be.

I like to look back at the end of each month and see everything I've accomplished - it keeps me motivated to keep on truckin'!

Thanks a lot, Cat!

Custom Menus

31 Aug 2016

Time to get back to work! To make things easier for you, we worked on one of the most asked features: Custom Menus!

From now on, you can set up your menu items as you wish in "Menu and Navigation". You can choose from our "system" items (Home, Contact, About..) and any page or gallery on your site. Cliking on "Sort item menus", you can also order them in the same way you already do with pictures, gallery and pages.

Custom Menus in Drawfolio

For any doubt, question, suggestion or problem, please contact us at uservoice or write us at

Exclusive discount on Get Your Art Out Summer Camp

18 Jul 2016

As you know, we also work to get you opportunities and discounts on interesting stuff around art and illustration (as we already did with our friends from Thrive).

This time, we talked with Cat Rose (who runs The Creative Introvert blog), who is launching a super-interesting online course for creatives: Get Your Art Out Summer Camp. And we got you a 25% off discount!

Exclusive discount on Get Your Art Out Summer Camp

Get Your Art Out Summer Camp is a 4-week online course created to give you a step-by-step system for getting your art seen, shared (and ultimately, get you paid!)

If you’re a creative who struggles with the icky-feeling that comes with promoting your work - then you might be interested in GYAO (Get Your Art Out) Summer Camp. Over 4-weeks, you’ll learn how to:

  • Overcome any mental blocks around showing your work
  • Learn how to craft the perfect pitch and talk about what you do
  • Find out exactly who wants your work - and how to find them
  • How to connect with peers and influencers (and get seen)

Learn more details and get a 25% discount with our promo code DRAW25.

Interview with Illustrators: Coté Escrivá

08 Jul 2016

We are pleasured to bring you an interview with a talented artist from our very home town, Valencia: Coté Escrivá. Coté is designer and illustrator, has a unique style influenced by animation, street art, or tattoos, and he puts it in action on both comissions and personal projects. He has also has showed his solo exhibition Stolen Icon in UK and Spain.

Interview with Illustrators: Coté Escrivá

Tell us a bit about yourself: How did the road began for you to get into art and illustration?

Well, for those who don't know me, I'm a designer and illustrator. I really started as a graphic designer, but I gradually became disillusioned with the profession and my interest in illustration grew. I began practicing, trying new ideas and posting them in social networks. People liked them and I got the chance to show my work on exhibitions, magazines and blogs. And that brought my first customers!

You work simultaniously in several fields: graphic design, illustration, street art, or even sculpture. Do you think is important to do diverse work, or would you like to focus more on some field?

I don't do it because I think it's important to diversify, I do it because I enjoy it a lot! I get bored if I have to do the same thing again and again. I love all these disciplines, so I try to devote time to all of them.

In "Stolen Icon", your solo exhibition, you explore popular culture through unexpected "remixes" of mass-public visual icons that everyone knows. Could you tell us more about the birth of this project, and how did it became a reality?

I think it's important to have a starting point when producing pieces for an exhibition. I had already seen artists like D*Face or Banksy using this approach in their creations. Actually, it's kind of "fashionable" to do this kind of remixes, specially abroad, and I really wanted to do my own version of it. I always try to create powerful, strong illustrations, and using very known visual icons helps with that and is lots of fun.

Interview with Illustrators: Coté Escrivá

Where do you find inspiration for your work, and how do you melt your sources of inspiration to create a unique style like yours?

I do get inspiration from other artists I find interesting. I actually spend a lot of time looking for images on instagram, facebook, or blogs. I also buy a lot of comics and books. I get a lot of inspiration from the street: urban art and graffiti really draw my attention. Any detail can be an inspiration: a pattern, a drawing, or people's clothes.

What good (and bad) things do you feel the Internet and the new technologies have brought to your field?

I think we get more positive things from it, rather than negative. You can reach in a cost-efficient way to loads of people. Barriers seem not to be there anymore, and it's easy to collaborate with people all over the world.

The bad side of it is how fast we consume art now: you feel the pressure to keep demonstrating you are relevant. If you don't post anything, you are good as dead, and I don't like that. Internet has accelerated everything, and sometimes I find it difficult do disconnect and get things quiet.

And last, but not least: any advice for aspiring illustrators and graffiti writers just starting up their careers?

Be perserverant, success doesn't come overnight. It comes from working and insisting again and again. I've done a lot of jobs and learnt something from every single of them. Try to grow as a professional and as a person, learn from people around you, learning to listen, and always enjoy the moment!

Thank you Coté!

Interview with illustrators: Mercedes Bellido

30 Jun 2016

We met Mercedes Bellido at Les Arts PRO 2016, and after listening to her views about the illustration profession, we just knew we had to intreview her. Mercedes is from Zaragoza, but lives at Madrid, where she combines illustration work with her own unique style, art direction for fashion firm Kling, and an intense activity on social media (specially Instagram).

Interview with illustrators: Mercedes Bellido

Tell us a bit about yourself: How did the road began for you to get into art and illustration?

I decided to study Fine Arts at Cuenca and that was the igniter for me to take risks and devote myself to painting and illustration.

Where do you find inspiration for your work, and how do you melt your sources of inspiration to create a unique style like yours?

I get inspiration from different things and sources. I got clear referents like Henri Rousseau, David Hockney, Aleksandra Waliszewska or Giorgio De Chirico, but I don't get influenced only by painters or artists. I get inspiration from childhood memories, things that draw my attention during the day-to-day, or books I've recently read. The most important thing is to find the way to make these ideas real and make them your own.

Aside from your personal production, you also work as Art Director at the fashion firm Kling. Does it get difficult to alternate both worlds? What are your views on the relation between illustration and fashion?

It gets really difficult to get all the time needed. But with lots of effort, persistence, and good time management, it is possible to get everything done. The most important thing is a good motivation, it is impossible without that.

Illustration always has had an important role on fashion, from mannequins and sketching new clothings, to prints and patterns. I think illustration and fashion go really well together and results are always interesting.

Interview with illustrators: Mercedes Bellido

You've got a strong social media presence. How much time do you spend managing your personal brand? Do you think the influencer phenomenom is a temporary fashion or will become a new profession?

I spend much more time that I'd like in social media. Social media is a powerful tool to spread your job and portfolio, but they consume an insane amount on time. It's not only posting stuff, but replying to comments and also keeping an eye on people's reaction to things.

I think bloggers, tweetstars and instagrammers will be fashionable until the next hot thing comes up. But right now, for me it is just like another job.

What good (and bad) things do you feel the Internet and the new technologies have brought to your field?

I think Internet is key to show your work and access content everywhere. A negative aspect can be that your work is more easy to steal, but that's a risk you take before playing the Internet game. The most important thing is to keep working and using Internet in an addecuate fashion.

And last, but not least: any advice for aspiring artists and illustrators just starting up their careers?

I guess my advice would be: lots of effort, set up your own little goals to prevent burn-out, and seek a personal style to be comfortable with.

Thanks a lot, Mercedes!

Collapsable navigation for mobile devices

27 Jun 2016

As you know, we keep on working to improve the experience of the people visiting your website, to increase the chances of them becoming your clients!

In particular, some of our templates show all the item from the navigation menu when it is viewed from a mobile device. This can be good when you only have three or four items in your menu, but can be a real bummer if you have more, as people will have to scroll down to see your work most of the time.

That's why you can now enable Show collapsable menu in mobile devices in Appearance - General. This way, people visiting your site from a mobile device will see a collapsable menu just like these examples. Cool, right?

For any doubt, question, suggestion or problem, please contact us at uservoice or write us at

Interview with Illustrators: Coco Dávez

23 Jun 2016

On this new interview, we bring you Coco Dávez, illustrator and painter from Madrid who develops an intense work on the publishing sector, personal projects, and brand projects due to her relevance on social networks like Instagram. We met Coco on Les Arts PRO 2016, and couldn't resist to interview her. Hope you enjoy!

Interview with Illustrators: Coco Dávez

Tell us a bit about yourself: How did the road began for you to get into art and illustration?

It was thanks to the motivation given by photographer Dan Gil and the work opportunity given by Rodrigo Sánchez (art director at El Mundo newspaper). Being able to work with them made me truly believe I could make a career as an illustrator.

You've being working on the publishing sector from the very start of your career. What qualities does a client and project need to have for you to feel comfortable and motivated?

I kind of feel a bit privileged on that, because I've always been given a lot of freedom. There may be some constraints, but I always have lots of freedom when drawing for them.

We know you are quite an influencer on instagram. How do you manage your personal marketing on the Internet? Do a lot of brands get to you for collaborations? How does working with brands feel?

Actually, most of my time is focused on social networks. Sometimes I end spending more time on them rather than drawing, I guess it's a new appendix attached to all artists from XXI century. You've got to reinvent yourself, and right now my biggest source of income comes through Instagram, so I really take care of it. And also, as you say, it gives lots of visility towards brands; working with them is also a pleasure. Some projects with brands may be a bit more constrained, but they always give me a lot of freedom on any action.

Interview with Illustrators: Coco Dávez

Who are the artists that influence you the most?

Hopper since I was a kid, then came Picasso, Calder, Hockney, Eames...

What good (and bad) things do you feel the Internet and the new technologies have brought to your field?

Visility and free publicity is definitely positive: we can reach anyplace, anytime. I don't see much negative on them, maybe the time they consume from us. But these are new times, and you got to adapt to them.

And last, but not least: any advice for aspiring illustrators just starting up their careers?

Don't ever stop trusting on what you do, and make mistakes constantly: great ideas are born from mistakes.

Thanks a lot, Coco!

Summer Discount: -30% on first year of your PRO Plan

09 Jun 2016

We can't help ourselves: when summer arrives and weather becomes warmer, we suddenly feel the urge to make discounts to everyone!

As it is traditional in Drawfolio during the summer months, you can have a 30% discount on your first year of PRO Plan, to make it more easy for you to have a great portfolio website that will get you opportunities and new customers.

You just have to use the discount code SUMMER16 on the last step of "Upgrade my account" form.

Summer Discount: -30% on first year of your PRO Plan

Interview with Artists: Jessica Mars

09 Jun 2016

For this new interview, we talked with illustrator and manga-influenced comic author Jessica Mars. We met Jessica after buying her self-published comic Hey Sister!, an spiritual sequel of sorts for japanese manga Worst, but with a really interesting plot twist. We liked it so much that we wanted to interview her as soon as possible, and here is the result!

Jessica Mars

Tell us a bit about yourself: How did the road began for you to get into manga, comic and illustration?

I've been drawing and reading comics since I was a kid. I always wanted to make my own stories, but everything ended up becoming a unfinished project. Some years ago, I finally decided to go for it, and here I am!

Who are the artists that influence you the most?

There are many artists and work that has been an influence to me, not only style-wise but on many other aspects of the creation of a comic. Some of my favourite comic artists are Matsumoto Taiyou, Otomo Katsuhiro and Inoue Takehiko. And I've added Hugo Pratt to that list lately, too.

On your comic works, you are in charge not only on art, but also in writing, script, characters... Can you tell us about your process on this?

My stories usually begin with an idea I want to tell to people, and then they become comics (or illustrations) because that's my medium. I create a story from that idea, set up a timeline and define setting and characters. There's not a fixed order for this process, it sort of happens at the same time. When all of this is done, I begin sketching the comic storyboard and then work on the final comic after that.

Jessica Mars

You have made a strong bet for webcomics and self-publishing. What advantages do they have versus traditional distribution, and what do you think of the future of self-publishing?

The strongest advantage of self-publishing, on my opinion, is being free from go-betweens. No editors, anyone will condition and change your creative work.

The future of self-publishing depends a lot on people engagement. We the authors who self-publish ourselves are equally skilled as the ones published commercially, but in comic-book events they won't give us any visibility. Unless people begins to understand the quantity of self-published authors who need a space to show their work, the future looks tough.

What good (and bad) things do you feel the Internet and the new technologies have brought to your field?

New technologies are the real power-tool for self-published authors in order to show and distribute their work. It may come with some plagiarism or work stealing, but Internet gives a broad horizon of options to people who don't work with publishing firms and lets us reach lots of customers who we wouldn't be able to reach any other way.

And last, but not least: any advice for aspiring illustrators and comic authors just starting up their careers?

The only advice I can give is: don't give up, keep drawing, and try to work on what you really want to work. Don't get influenced by negative comments, as there will be always plenty of them. The sooner you realize that, the better. But the most important thing is: don't stop drawing!

Thanks a lot, Jessica!

Exclusive 30% discount on Thrive Solo

30 May 2016

Last year, we had the great pleasure to work with the team at Thrive Solo to get you an exclusive discount. Jerome, the founder of Thrive, told us that it worked well and a lot of creatives did benefit from this offer, so we are doing it again this year!

Based on United Kingdom, the great guys at Thrive have built Solo with a mission in mind: to help freelance artists to stop undercharging their clients. To achieve this, they built a web application where managing projects, clients, invoices, expenses, quotes is extremely easy, and where you can measure the time you devote to each client and project.

With Solo, all the difficult tasks involving invoicing and clients become painless. We really think the Thrive team has built a great, unique and nearly artistic user experience that gives you a bird view on the day-to-day state of your personal freelance business.

You can try Thrive Solo during 15 days for free, and also get a 30% discount with our coupon code DRAWSOLO30

Thrive Solo

Start getting your freelance work profitable!

Thrive Solo

We are launching Drawfolio Market

23 May 2016

You know that with our STORE plan, you can have your online store in the portfolio website you already built with us, in a matter of minutes: it comes with shopping cart, order management and paypal payments.

Even if we solve the technical pains of having your own e-commerce, selling your stuff on Internet is still tough: people is infoxicated with loads of information every day, and there's a lot of marketing and promotion work to do to get them attracted to your work.

That's why we built Drawfolio Market: we want to make more visible the products that our customers on STORE plan are selling through their online stores. On this section, it's easier to discover new artists and the great stuff they are producing: original works, prints, mugs, or shirts.

Drawfolio Market

For any doubt, question, suggestion or problem, please contact us at uservoice or write us at

Search Engine in Discover Artists

09 May 2016

After improving our Discover Artists list with featured pictures, categories and tags, it was right about time to have a proper search engine! It's finally here, so you can now search pictures or websites and discover new artists.

Search Engine in Discover Artists

Some advice to help you being more easily discovered on our search engine:

  • Write good title and description on your websites and pictures. If you write relevant and short descriptions about you and your work, it will be more easy for the search engine to think of your content as relevant for a search.

  • Same thing with tags: tag your portfolio website and pictures with descriptive words, and clasify your portfolio in one or more of the existing categories.

Search Engine in Discover Artists

For any doubt, question, suggestion or problem, please contact us at uservoice or write us at

Chibi Games Giveaway: Anime Pose 3D

02 May 2016

As you know, we always try to collaborate with other products related to comic and illustration, in order to offer you the best chances possible.

This time, we would like to talk you about our friends from Chibi Games. Chibi Games is a mobile app and games studio from our home town, Valencia, that focus specially (but not exclusively) on kids.

As you will see, in their portfolio they have got great, gorgeous games with a strong component of manga and illustration. But they also made an app named Anime Pose 3D, aimed to help manga artists to improve their work through the easy set up of 3D models to take as a references.

The great team at Chibi Games gave us 5 free keys for Anime Pose 3D to give away.

Just comment below on this post before 23 of May, and we will choose 5 winners from the people who commented.

Take a chance, Comment this post, and Good Luck!

Interview with Artists: Miedo12

26 Apr 2016

The interview we are bringing today is one very special to us.Miedo 12 (or Emilio, as some insist to call him) is a good friend and PRO customer of Drawfolio, but also a graphic art titan in and outside the street walls and one of the creatives native to Valencia that we admire the most. As you will see, the interview resulted quite juicy as Emilio won't hesitate to express his strong opinions about art and graffiti.

Miedo 12

Tell us a bit about yourself: How did the road began for you to become a graffiti writer, and later a designer and illustrator?

If I would have to use two words to describe it, they would be: changes and ignorance. I began with graffiti (or grafiti, as the academics say) on 1998, a lot later than many of my friends. It was a sum of many factors: my friends were into it, I lived near the spray paint shop, and my neighborhood was full of very worked graffiti pieces. I tried it one day and I haven't stopped ever since.

My first motivation to do it was a bit shallow: I wanted to be cool and accepted among my peers. But that motivation changed fast to one of personal improvement. In the next years, I was very lucky to me a member of one of the most famous Milan graffiti crews (Bn crew), which also run a yearly event with the best graffiti writers in Europe. That gave me a big chance to learn and see different perspectives on graffiti beyond the one that was being made in my city.

But I kind of lost some opportunities to make a living from it, because of listening too much to what my family or friends said. That's why I studied Industrial Design and got into graphic design. I also worked on some 3D modelling and made some concept art for video game studios. But I was never totally fulfilled with this things.

Miedo 12

On 2010 I was drawing a lot, but everything I made was focused towards graffiti. My family and friends saw it as a waste of time, and that took a toll on me. But one day, I attended to a comic workshop, and that opened my eyes. Drawing whatever I wanted without limitations and outside judgement made me feel good, and I began drawing non-stop.

I started getting work on illustration and graphic design campaigns (which had a lot of illustration anyway), and I really enjoyed that. At that time, I worked making furniture blueprints, a job that was not creative at all.

So I decided to move on doing what I really enjoy, and I left my job to work fully on illustration and graffiti.

Lots of people confuse the boundaries between street art and graffiti. Could you explain the difference to us?

I'm glad you ask that question. Being over-simplistic, the main difference is that lettering is core to graffiti, while sending a message is the main purpose of street-art.

There's a lot of nuances to this. On the social aspect, graffiti is made for other graffiti writers. There are a lot of style and execution rules. Constrained by this rules, a graffiti writer must find a unique style, mainly through graffiti lettering. There is a diversity of styles for a graffiti piece: from wildstyle, to trash. Graffiti writers look to style and de-construct letters, influenced by traditional calligraphy, comic-books aesthetics, or any element that can make themselves unique.

Technique has also a core role: The more techniques used, the more difficult the piece is to make, and more relevant for other graffiti writers. Also, the use of spray paint during all the process is a must. Brushes or stencils are frowned upon, because it's seen as anti-craft and removes the uniqueness that graffiti aspires to.

Miedo 12

Figurative art and characters are always secondary in graffiti, and work as a complement. Of course, there are exceptions to this: there are graffiti artists that will focus on making figurative art and characters using graffiti techniques. But spray is not like a brush, it's not a compact point, and has its own set of techniques.

The only thing that street art and grafitii have in common is their main showing media: the street. So, in street art everything is allowed with the aim to communicate: brushes, posters, stencils, etc. There is no special focus on spray paint, and message rules over technique and self-improving. Also, in street art there is no real focus on volume or perspectives. About the size of the pieces, there's also some myth about it: there were already some full building facades painted on spray in Germany or USA in the 90s. And there are a lot of graffiti writers that still make full building facades, like DAIM or PEETA.

Miedo 12

When talking about this, we've got to understand that the mass public likes what they understand. But you can't call it graffiti only because you didn't use figurative art or stencils. Technique always rules over message. Also, the bombing side of graffiti (the tags) have a marketing purpose: it's sort of a game between graffiti writers to "rule" over the city, and does not seek the attention of the mass public. Train painting is the same sort of competition between graffiti writers for quantity and quality, with the same set of rules I explained before.

Graffiti borns from teens and socially excluded collectives, and that makes it a closed circle only enjoyed by the ones into it or the ones who invest time in understanding it. It's not really a market product, and that makes some graffiti writers to dislike street-art. The objectives are sort of opossed, and the public reaction is, too. People tend to like more what they can understand. Also, making yourself a name into graffiti is very tough, as it is based on competition and open rivalry.

Where do you find inspiration for your work, and how do you melt your sources of inspiration to create a unique style like yours?

I was really influenced by 90s american comic-books like Savage Dragon, Spawn, etc. Anime and classic graffiti also have a lot of inluence on me. Nowadays, I'm very influenced by art-noveau and cinema. My purpose is to transmit something different when you look to a piece, to go beyond that first impression.

Who are the artists and graffiti writers that influence you the most??

On Art, I would say Alphonse Mucha and Audrey Kawasaki. On comic, Todd MacFarlane and Humberto Ramos.

On graffiti: MODE2, MORSE , BOOST , BONZAI , CES and WOW.

Miedo 12

You work a lot abroad, how is working in another countries different from working in Spain?

Landscape and food aside, in the social side we always get everything late in Spain, and a bit distorted on art & music. On working dynamics, the mediterranean countries are very similar, and the nordic ones are more professional, but less permissive.

Aside from graffiti, you also work as freelance designer and illustrator. What qualities does a client and project need to have for you to feel comfortable and motivated?

I think it' a matter of the nature of the work. For example: I love surf, and recently I made a poster design for a surf company in Mexico. It took me a while, because usually my style is very agressive. Actually, people in Spain didn't like it too much, but they were crazy about it in Mexico.

Maybe it's not a matter of creative freedom, which can become a problem itself sometimes: it's more a matter of the client having a clear idea of what they want to transmit, and that my work is a good fit on that. I love doing illustration for chopper motorbike workshops, but also for children books or for graffiti shops. Graphic and editorial work, I don't love that much. But it's usually fast and pays the bills. In my last job, I had to make a lot of furniture catalogues, and it was torture for me.

What good (and bad) things do you feel the Internet and the new technologies have brought to your field?

For me, there's only good things. Because of my situation and what I do, I don't have that much room for work here in Spain. Actually, all the work I do is for countries abroad: Guinea, Mexico, USA or Germany. Internet is my mean of living.

Miedo 12

In my own view, there are four big types of clients. There is the client who does't value your work, always tries to down prices, and does not think much of creative skills (but will pay loads of moneys to a plumber). The second would be the ones who value design, but are too influenced by the current fashion and design trends or media. The third one are self-made businessmen, that don't have too much knowledge about design and creativity, but have big money to spend. And the fourth group would be the kind of clients I usually work for.

I don't see anything bad about the Internet right now. We live in a world of supply and demand, that feedbacks on new ideas. If you get a unique and different product out, there's no problem. You just have to move it in the right places. If you do what everyone does, just with little changes or typography, or making copies of something else, you will only get a minimal benefit from it.

Some time ago, I noticed that a company from US took pictures of my wall pieces and used them to make bags and thigs like that. I don't care, graffiti is free and that's why is made in the streets. It happens too with the people doing photobooks with my wall pieces as background: it would be stupid to ask them for copyrights, and they are also promoting me indirectly.

For me, the key is sharing just enough and creating something unique and different. And, above all, move yourself a lot. If you don't get valued where you are, go where you will get valued.

And last, but not least: any advice for aspiring illustrators and graffiti writers just starting up their careers?

Do what makes you happy, no matter what the people say. And be proud of what you make: eventually, someone who values it will show up.

Thank you a lot Emilio!

Talk at Primer Frame School with 3DValue and Repro3D

07 Apr 2016

Maybe you already saw on our social media accounts that we visited Primer Frame 3D Animation School together with 3D Value (partners of Wacom and Adobe) and Repro3D.

Our goal was to show the students at Primer Frame a lot of useful tools in all the phases a 3D creative project goes through: from the production of 3d art, to the variety of options available to 3D print it, to communicating it to the market and making a living out of it (which is the part we care the most at Drawfolio!)

Talk at Primer Frame School with 3DValue and Repro3D

First, Edmundo Irigoyen, sales manager at 3D Value, showed us in detail the Wacom professional tablets on the very known Cintiq line, and did a real life demo of Wacom's latest technology to digitalize any paper sketch: Bamboo Spark.

Talk at Primer Frame School with 3DValue and Repro3D

Next, Jose María Ferrandiz, founder and CEO of Repro3D, gave us a quick perspective on the current state of 3D printing, the variety of material and printing methods available, and how to choose the right ones for each kind of 3D project.

Last but not least, our CEO and founder Luis Roig talked about taking that creative production to market and finding customers who value it, through tools like personal branding, sales funnels, social networks, portfolio websites and analytics.

Talk at Primer Frame School with 3DValue and Repro3D

Thanks again to everyone for coming, and to the Primer Frame team for inviting us to make this great event become a reality!

Product categories and weights in STORE Plan

05 Apr 2016

We got more and more customers in our STORE plan, and we are improving our initial product to be more flexible while keeping it easy to use.

Today, we bring you two small improvements that will make things easier to you and your potential customers:

  • Weights in products and shipping prices: You can now set a product's weight, and set a minimum and maximum weight in your delivery prices rules. This way, you can have different delivery prices on the same set of countries depending of the order weight: as flexible as it gets!

    Weights in products and shipping prices

  • Product Categories: You can now create product categories, and add a product to one or many of them. On your store main page will be still showing all products by default, but your customers will be able to filter them by the categories you set on the navigation menu.

    Product Categories

For any doubt, question, suggestion or problem, please contact us at uservoice or write us at

Discover Artists: Featured Pictures and Tagging Images

24 Feb 2016

Two weeks ago, we launched the revamped version of our Discover Artists section, and lots of our users have already listed themselves on a category or tagged their portfolios.

If you created your portfolio time ago, it is possible that you portfolio will be in the latter places in a category or tag listing. To mitigate that, we are now featuring invidual images in the Featured Pictures list.

You can also go to "Edit" in a picture you uploaded and tag it to better describe it and be more easily found.

Discover Artists: Featured Pictures and Tagging Images

For any doubt, question, suggestion or problem, please contact us at uservoice or write us at

Interviews with illustrators: Victor Martinez

22 Feb 2016

Victor is an illustrator and designer from Valencia. We met him while he presented his last work, The Festival at Manhattan Comics. We are also big fans of Providence's most famous author, so we didn't think twice and interviewed Victor as soon as we could.

Tell us a bit about yourself: How did the road began for you to get into illustration?

I always loved drawing, and slowly moved my educational path towards the art world: I went to art school, finished the Graphic Design degree later, and tried to work on projects afterwards.

Victor Martínez

You recently illustrated a book by H.P. Lovecraft: "The Festival". Can you tell us a bit more about this project?

Sure! I've always been a big fan of Lovecraft and always was drawing stuff about the Mythos, specially the Great Old Ones.

When I finished my bachelor's degree, I spent some time looking for a corporate job with little luck. I decided to complete my education with a final graphic design focused course, where I had to make a final project.

I spent some time thinking on what I could do, and then found out that it was H.P Lovecraft's 125th aniversary, and decided to make a little tribute for all the great times I had enjoying his stories.

The process of making the book was slow and frantic at the same time: I had only 6 months to complete the project, but it was a slow process because I spent 4 months just getting the right style and format, because I really wanted to do something original and unique. That left me just 2 months for illustrations, layout and printing!

The crowdfunding campaign at Verkami was instrumental for making "The Festival" possible. How was the experience of planning and making the crowdfunding campaign a success? How do you think crowdfunding has changed the comic and illustration fields?

It was crazy! I threw myself into it without the proper planning and had to calculate packs and rewards on the go: I also had problems with two printer shops and my budget was a bit fuzzy. But it worked well in the end! For promotion, I walked over to every comic-book shop in Valencia and worked intensively on social networks.

Crowdfunding has changed every creative area for the better. Now you can try to release your work on your own: sometimes great work won't be given a chance by publishers because of being too controversial or because it has little commercial potential.

Victor Martínez

You are working on other projects, like Twist Comics and "The fucking badass". What new things can we expect on the next few months?

I don't know if I can talk about this yet, let it be a secret between us: at Twist Comics we are working on a card came that it's going to be great and with lots of humor, mocking action films from the 80s-90s. It's going to be a fun, fast-paced game focused on friend-backstabbing. You can't get any cooler than that!

I'm also working on another Lovecraft-inspired project. It's on a very early stage, so I cannot tell anything yet!

And last, but not least: any advice for aspiring artists and illustrators just starting up their careers?

Yes: never stop drawing, and if you cannot get something right, just copy! Look for references and models, you won't get things right the first time but you surely will get it the 30th time.

I don't mean copying other people's work as it was your own: I mean copying to learn by practice!

Thank you, Victor!

New 'Discover Artists': Categories and Tags

08 Feb 2016

Slowly but steadly, Drawfolio has been growing to more than 4600 registered users. They come from countries like Spain, Argentina, Chile, Colombia, Peru, Costa Rica, USA, France, Russia or Arab Emirates, but they also work on a diversity of fields: illustration, photography, fine art, 3D modelling, tattoo, architecture or interior design.

That's why we've been working to evolve our "Discover Artists" engine. Now, finding portfolio websites from any of our users, PRO customers, or the ones featured by our team, is way more easy.

New 'Discover Artists': Categories and Tags

You can also filter by Categories and Tags. In "Information -> Be Discovered", you can now choose the Categories you want your website to be in, and add the tags you want to better describe you and your website.

We think it's better for you to be easily found, but if you don't want to be listed on "Discover Artists", you can always enable the "Prevent showing in discovery" option in "Settings".

New 'Discover Artists': Categories and Tags

For any doubt, question, suggestion or problem, please contact us at uservoice or write us at

Interviews with Artists: Martina Billi

01 Feb 2016

Art pieces by Martina Billi instantly draw people's attention: big wooden panels with illustrations of wolves, bears, crocodiles or monkeys drawn only with ballpen or ink. We met Martina at Ilustrisima 2015 and we couldn't (or wouldn't!) pass on the opportunity to talk with her.

Tell us a bit about yourself: How did the road began for you to get into art and illustration?

My education as an artist began on the Art Institute in Florence, my home town. It is a beautiful building that actually used to be the stables of the Pitti Palazzo. I later graduated on the Fine Arts Academy at Florence. There, I had the chance to study painting, sculpture, drawing, photography, and engraving, among other things, in a very creative and estimulating environment.

Martina Billi

A key part of your work is the material you work on: wood. How did you get to focus on wood? What do you find special about it?

Wood is a material I've worked with during years. Studying Fine Arts, we used to experiment with a lot of materials and media, and I always felt more comfortable painting on wood than on a canvas. It gave me a way stronger foundation that wouldn't deform on pressure and was more resistant to brushing.

When I arrived at Madrid, I began collecting and recycling all the wood I could found in order to experiment with it, now with ballpens and ink. I liked the warmth of the final result, and the challenge of working over a tough surface with a lot of "personality". Wood ended being part of the composition and the art piece.

Where do you find inspiration for your work, and how do you melt your sources of inspiration to create a unique style like yours?

A big inspiration for me is photography, specially black and white pictures. I like to collect old photos that I find at antique shops or flea markets. I look for unusual characters and instantly start dreaming about stories or events I didn't take part on. This images are a true, unique treasure for me, always at hand if I want to look at them. I feed this collection from old magazine scraps, too. Making collages is very inspiring and fun!

Another side of my work is based on the observation of the animal world and the animal's anatomy. The thorough execution on medium and big formats are also a good foundation to develop other compositions that blend humand and animal traits.

Martina Billi

What qualities does a client and project need to have for you to feel comfortable and motivated?

I like challenges and also getting my clients to be happily suprised and satisfied with the final result. Some people have a clear idea of what they want and guide you step by step through each line you draw, which is sometimes curious, educational and a real zen exercise for the artist.

In other ocassions, like the last comission I made, people who trust you give you complete freedom without interfering in the process. When talking about projects, I like them to be collaborative and fit my own sensibility and ethics.

And last, but not least: any advice for aspiring artists and illustrators just starting up their careers?

If art is really what motivates you: full-time dedication to it, no tricks!

Thank you Martina!

Interview with Artists: Berta Llonch

25 Jan 2016

We met Berta Llonch on Ilustrisima 2015 an we were instantly amazed by her work, so we didn't want to pass on the opportunity to interview her for our blog. Berta is an artists based on Madrid who published her first illustrated album in 2013 and has been combining work on illustration, fine art and mural painting since then.

Berta Llonch

How did the road began for you to get into art and illustration?

I always knew I wanted to work on the art world. Feeling a need to draw, paint and create is something that will always lead you towards that path. I feel like I never left the art world, rather than I ended in it. I wouldn't and couldn't leave!

You work simultaniously in several fields: fine art, illustration and mural painting. Is it hard trying to get those different worlds together?

No, not at all. Actually, the opposite happens. When you combine a diverse range of work (mural painting, fine art, illustration) you are constantly improving them. Working on a large, 15 meters format, and then working with markers on an A4 next week, helps me to open myself to a broad field where I can develop any kind of project.

I used to be concerned that versatility could make what I do more difficult to understand for the public. But once I stopped thinking lik that, I felt free to work on what I wanted on a diversity of fields, and without labeling myself as painter, muralist or illustrator. I'm an artist, and that means being versatile and work on any field you need to develop your art.

Berta Llonch

Where do you find inspiration for your work, and how do you melt your sources of inspiration to create a unique style like yours?

My inspiration comes from everything that's happening around me. The people near me, the new people I meet, the light of that day, or that city, or that item, or that color, or maybe a feeling or something that happened. I love beauty and I love looking for it in the nature of things. I'm interested in all the things (until they stop interesting me!). Everything has a story to tell: moments, people, objects.. but it must be authentic. The art you work with has also a very personal way to tell those stories.

What good (and bad) things do you feel the Internet and the new technologies have brought to art and illustration?

It is a huge showcase to show your work to the world. New technologies have been a big help in my career. They also allow me to know millions of art platforms, new opportunities and new artists.

And last, but not least: any advice for aspiring artists just starting up their careers?

My only advice would be to enjoy what they do, that's the most important thing.

Thank you Berta!

Interviews with Artists: Alberto Aucha

18 Jan 2016

Alberto Aucha is one of the very first paying customers of Drawfolio, and has been supporting us from the beginning of our beta version. Even if he is young and just began his career, he's already fighting for opportunities on the 3D Art and Graphic Design world. He recently took part on the production of spanish 3D animated movie "Capture the Flag" by LightBox Entertainment.

How did the road began for you to get into 3D art?

Hi! First things first, I want to say I'm so happy to have the chance to be in your blog, and I want to congratulate the Drawfolio team for the great work done during these years.

It all began when I was a kid, probably in the same way the other creative professionals did. I never stopped drawing through every stage in my life. I always took some time to relax and express myself through my drawings and illustrations.

Alberto Aucha

I studied at an art school and then moved to college, where I studied the Fine Arts degree with focus on Graphic Design. I did a master course on visual production and 3D character modelling and animation after that.

Even before I got to college, my main goal was to take part in the production of an animated film one day. With a lot of work and patience, I got to do that last year! Now I want to keep growing my career and get to work on another movie, let's hope it will be soon!

Which are the artists or productions that influence you the most when animating, modelling or illustrating?

When talking about influences, it would be unfair not to mention the big names on animation. Big international movies like Inside Out (Pixar), Hotel Transilvania 2 (Sony Picture Animation), or even the spanish Capture the Flag (Lightbox Entertainment) can inspire everyone and help you set your own goals.

John Lassseter (founding partner of Pixar) has been a great influence for me from the very start. His own personal story is very motivating. Looking at artists and modellers, spanish artists like Juan Solis are very inspiring to me. For me, Juan is one of the best modellers in Spain and the world, and has worked at great productions like Frozen(Disney), Planet 51(ilion animation studios) o Tadeo Jones (lightbox entertainment), among others.

On animation, I've always been inspired by Carlos Baena, because he was one of the first spanish animators to travel to USA looking for opportunities on big companies. He has worked on films like Toy Story 3, Ratatouille, or Cars.

On illustration, I follow a lot of artists, but Ryan Lang is one of my favourites. He has worked for Disney and other big names, and his art is stunning.

You recently worked on the film "Capture the Flag" from Lightbox Animation Studio, on final rendering and technical duties. Can you tell us more about the experience there?

Yes, it was quite a technical position, not very creative, but the experience has been awesome and very inspiring. A dream come true, I didn't want it to end, although our deadlines were tight.

Our main work was to fix the camera shots and angles that the previous departments delivered to us. Using an image composition software, our main goal was to detect and fix any issue in the more than 3000 camera shots that the 3D film had.

Even if my job was a quite technical position, I learnt a lot working closely with the rest of the team on matters like illustration, matte painting, character design, story board, 3D modelling, etc. There's always something new and positive to learn from your colleagues working in an animation studio.

What good (and bad) things do you feel the Internet and the new technologies have brought to illustration and 3D art?

Well, Internet is now essential for us artists and designers to get a job. Well, actually not only for artists and designers, but for everybody!

Having your own space on the Internet is imperative for us artists, and with Drawfolio I got to reach more people through my own domain, smart templates and easy customization. Anytime, anywhere, people can find your work, talk about it, praise it and reach you for an opportunity if they are a company or studio.

For me, the bad side of the Internet is the anonimity people shield themselves on when making destructive and negative commentary. I'm not saying it for myself, as I'm not relevant at all: but a lot of films where big teams put insane amounts of effort and work during years, can be put down in no time with a few lines of harsh commentary.

That aside, new technologies grow every day to make our work more easy and productive. Lots of artists nowadays couldn't exist with technology. But as John Lasseter says in one of the Pixar documentaries: "Software is not the most important thing; the stuff you create and communicate with it is."

And last, but not least: any advice for aspiring 3D artists just starting up their careers?

Well, I'm starting up my career myself, so I don't know if I can give any advice! But I always tell myself to be positive and work day by day to reach your own goals.

Even when it seems impossible to achieve and success seems far away, you will get your reward through effort and sacrifice. What I'm going to say won't seem new, but it is pure truth: the most important thing is not to reach success, but to maintain yourself on it. And that you will only get with daily work and effort.

Don't lose faith in yourself and keep working, I keep doing it myself to win over new challenges. The 3D art world is very broad and there are plenty of opportunities to create cool stuff aside from an animated film.

Failure is not an option! Thank you again!

Thank you, Alberto!

New template gallery and scroll to top button

11 Jan 2016

We keep working to improve Drawfolio, and many times that means paying attention to small details that make easier your daily use. Today we bring you two of that kind of features:

New templates gallery: We already have 10 templates for your portfolio websites, but choosing it in the "Template" Tab of the "Appearance" section was becoming frustrating and difficult. We redesigned that tab entirely. Now finding about the current selected template and changing it is way more easy, just a couple of clicks.

New template gallery

Scroll to top button: In most of our portfolio templates, when your visitors have scrolled down a gallery to its end, they have to scroll all their way up again if they want to navigate to other sections of your website. If you want to make their life a bit easier, you can enable "Show scroll to top button" in the "General" tab of "Appearance". This way, a button will show on the bottom right corner to help them go back to the top navigation menu in no time.

Scroll to top button

For any doubt, question, suggestion or problem, please contact us at uservoice or write us at

January Sales: 30% off in your first year

07 Jan 2016

2016 is here! And honestly, we cannot think of a better way to begin this new year with you than.. a discount sale! So until 28 February you can have a 30% off discount on your first year of PRO plan.

You don't need to do anything special: the first year of all PRO plans will just cost 50,82$ instead of 72,60$.

 UPDATE  If you are already on PRO Plan, we are also running a sale on STORE plan: pay 6 months for advance and you get one more month for free. Contact us and we'll tell you the details on how to benefit from this promo.

Tell all your creative friends and colleagues, and help us reach more people!

January Sales: 30% off in your first year

For any doubt, question, suggestion or problem, please contact us at uservoice or write us at

Drawfolio during 2015

31 Dec 2015

Just like we did last year, we want the last post from 2015 to be a little summary of what we achieved during this year on Drawfolio.

Happy New Year, and thank you for helping us to make all of this possible!

1.166.691pages viewed
4.452registered users
1.265twitter followers
887facebook followers
214PRO users
88posts in our blog
12pitches and talks
7stands at fairs & events

New template: Lempicka

21 Dec 2015

The end of 2015 is near, and we don't know a better way to close this year than releasing a new template for your portfolio website. This new template is named after Tamara de Lempicka, polish painter who became one of the 20th century most influential artists, and the leading representative of the Art Deco movement.

On this template, we focused to give the maximum space to the images while preserving their original ratio and their own individual space.

New Template: Lempicka

For any doubt, question, suggestion or problem, please contact us at uservoice or write us at

BLACK FRIDAY: -50% during 24 hours

20 Nov 2015

Save this date: 27 November. Why? Because we are going all BLACK FRIDAY Crazy!

During that day, PRO plan will have a 50% off: 35$ instead of 70$.

Tell all your creative friends and colleagues, and help us reach more people!

BLACK FRIDAY: -50% durante 24 horas

STORE Plan improvements: sorting and pictures in products

17 Nov 2015

Even after releasing STORE plan, we are working to improve it bit by bit. We already got some PRO users who also subscribed STORE plan, and through conversations with them we keep working on improvements such as the ones released today.

We also enabled all PRO users to try STORE plan for free. If you are in PRO plan, you will see now the "Store and Products" section in the left bar menu. You can setup your store and manage your products there. In order to start receiving orders and your online store to show at your website, you still have to subscribe STORE Plan (only 5$ per month).

And now, the improvements we have been working on:

  • Sorting products: You can now sort products in the same way you can sort galleries, pictures and pages.

  • More pictures in products: In addition to the product main picture, you can now upload any number of pictures you want to a product and sort them out, just like you do in galleries.

More pictures in products

For any doubt, question, suggestion or problem, please contact us at uservoice or write us at

Interview with Artists: Oliver Villar from

05 Nov 2015

Following our interview series, we talked with one of the most important personalities in the Spanish Blender Community: Oliver Villar. Oliver is a 3D artist with deep experience in the industry, but also a teacher, founder of and author of Learning Blender, published through Addison-Wesley. We met Oliver at Blendiberia 2015, where he was one of the speakers, and couldn't miss the chance to interview him.

Oliver Villar Blendtuts

How did the road began for you to get into 3D art?

Drawing was my passion since I was a kid. While the other children were playing football, I would be sitting in a corner drawing on my sketchbook. I loved animation, special effects and videogames: 3D art felt like the next logical step to bring my art further, but I was clueless on where to start.

One day, I read a magazine with some tutorials on creating some awful 3D models with 3Ds Max. I loved it! But it was 2004-2005 and I didn't have an Internet connection at home, and didn't know where to get 3Ds Max. That didn't stop me: I put all my savings together (about 50€) and happily went to a computer store to buy it. My happiness didn't last long, as I found a 3Ds Max license was worth 3500€ (also, I was invited at the store to get it through "alternative channels"). Luckily, I got an student license shortly after that, and could start learning 3Ds Max.

After overcoming the initial frustation with 3D complexity, I was totally hooked. I've been learning since then, and I've been jumping among software suites because of personal and professional reasons: 3Ds Max, Maya, XSI... and finally, in 2009, Blender.

Through, you became a reference on Blender teaching. You also recently published your first book, "Learning Blender". Could you tell us the origins of, and how did you grow it into your own personal business?

It all began by accident, really. In 2009-2010 I was part of a team working in Valencia. We worked with XSI, but Blender was already around and with each new version it became more and more interesting. And of course, a lot cheaper! My teammates were not into it, but I began to work with it and I loved it.

Shortly after that, version 2.5 was released. I was one of the first people to use it for production projects. Honestly, it was a bit risky: Blender was still a bit unstable and there were options that didn't work as expected. But I got used to 2.5 earlier than most of the people, and as it was a brand new version, there wasn't any online tutorials or classes about it.

My teammates became interested: with the brand new version, Blender looked more serious and professional. I decided to record some video tutorials to teach them. Then I thought I could post those videos on a public blog, to help the Blender community to adapt to the new interface. Then I had another crazy idea: I could record the tutorials in English, in order to reach more people and improve my english speaking.

I managed to create a blog myself, and began making my first tutorials. I was surprised to learn two things: First, my tutorials were attracting a lot of people! On the other side, I discovered that I had a passion for teaching and sharing my knowledge. I kept making videos, and at a certain moment I tested if people were willing to pay for a more extended course (Hologram Project), and they did!

Everything has been evolving bit by bit since then, and I'm working on the third version of the website, on new contents and on some surprises.

The way I see it, it always was something that grew organically with the project. I didn't decide to create a business from the very start. The book was another surprise, too: I was reached by an American publisher through my website, and was offered the chance to be the author.

There's still people who don't see Blender as an option for proffesional productions. What would you say to them?

Get your vision checked by a doctor! Hahaha. Ok, seriously: Blender is a software that got started at the early 90s, and has only recently approched the professional sector, since version 2.5. A growing number of studios and freelances are finding out its potential, but this is a slow process that won't happen overnight. Also, it does not depend of Blender entirely. One of the reasons to choose a software suite for 3D is the ecosystem around it: render farms, plugins, rendering engines... Blender has been around the professional field for a short time, and lacks this kind of support. But the change is already happening!

Another obstacle is the belief that a free software suite can't be as good and flexible as the commercial ones. It is not entirely a false belief: this happens a lot on open source projects, but Blender is a clear exception to that: it really is a well managed project, resources are thoughtfully spent, and has a great community of users and developers.

There's still a long road ahead, but the Blender Foundation is doing a great job with projects like "Cosmos Laundromat" to show what Blender is capable of. A lot of freelance artists and small studios are successfully using Blender with great results (just watch the demos of Cycles engines), which is changing Blender's perception as something amateurish.

Which are the artists or productions that influence you the most when animating, modelling or illustrating?

That is quite a difficult question to answer! I get inspiration from a lot of diverse sources. Movies, books, videogames, music, comic-books. I find it difficult to name artists, but I spend time browsing art at sites like Artstation, Game Artisans, Blender Artist, etc. One of my favourite theme is anything related to the universe, and I love the work of Blizzard (creators of Warcraft and Starcraft) at all levels.

We see a lot of startups and projects appearing lately around the world of 3D art and illustration. Do you think this will continue to grow, or is it some kind of "heat of the moment"? Is there room for the "businessman/woman artist"?

I don't thinks it's a temporary fashion: as a society, we care more about everything related to design, and new technologies need design as much as ever. We move ourselves now in a totally visual territory. It's not enough to have a good product: it has to be attractive and have a good marketing because competition is now global. Years ago, a headline in newspapers would be enough, but nowadays sharing images and video is so easy that you really have to work on these aspects. The entertainment industry has grown a lot, too: games, movies, mobile apps...

I don't know if it's a bubble, but if it is, it's still growing. Design will always be key in any business: we have become accustomed to it, and won't accept everything that is presented to us. Visually prototyping products or architectural projects without phisical costs has made much more easier to sell a product in its early stages.

About the "businessman artist".. everything is possible now if you are able to attract people willing to consume an idea.

And last, but not least: any advice for aspiring 3D artists just starting up their careers?

3D is a complex world, and very technical at the beginning. I've seen a lot of people giving up in early stages out of frustation, and because of not being capable of making a Lord of the Rings Orc or a Matrix special effect on the first day. My advise would be to see it as an enjoyable, long-term journey that doesn't happen overnight.

One of the common mistakes is comparing your early work with the last blockbuster movie you've seen. Those projects were made by hundreds of experienced professionals with a lot of resources at hand.

Don't give up and enjoy the learning process.. results will show eventually, and it will be worth the effort.

Thank you Oliver!

Sketchfab and Artstation Integration

02 Nov 2015

As you know, most of our users are into illustration, but the number of 3D Artists among our PRO customers has been growing lately. Illustration and 3D Art have a lot in common, but 3D modellers usually struggle to transmit their skills with just static renders or some videos.

Luckily, there are already some platforms out there working to solve that problem. With both Sketchfab and Artstation, you can upload 3D models and make them displayed and navigable with just a web browser. Many of the 3D Artists in Drawfolio already have some of their models uploaded in these platforms, and we worked to allow embedding them in their current Drawfolio websites in just a few seconds.

Sketchfab and Artstation Integration

You can go to "edit" on any picture you uploaded and the enable "Show a 3D Model in this picture detail". Then, choose the 3D Platform where you uploaded your model. Here's what to put on "Link to the 3D Model":

For any doubt, question, suggestion or problem, please contact us at uservoice or write us at

We are launching STORE plan

19 Oct 2015

After some months of Private Beta, we are glad to announce we are launching the STORE Plan of Drawfolio. For 5$/month plus 2% of the payments received, you can have your own e-commerce cart, products and order management in the portfolio website you built with Drawfolio, and receive payments with paypal. STORE Plan is the most simple way to sell your original work, prints, or anything you want through you current website.

We are launching STORE plan

As you need to already be in the yearly PRO plan, you can subscribe and cancel your STORE plan whenever you want, and pay only for the months you really need an e-commerce cart in your site.

If you were one of the users invited to the Stores Beta, your settings and products remain unchanged, but the store won't appear on your site. Just subscribe to the STORE plan with a couple of clicks, and everything will be working again as usual.

We also wrote a page in our help section with the most common questions and doubts about the Stores. Make sure you checked it!

We are launching STORE plan

For any doubt, question, suggestion or problem, please contact us at uservoice or write us at

Illustrator Interview: Marina Gonzalez Eme

05 Oct 2015

We found out about Marina González Eme through her booklet+badge published through Art Treats, and we were instantly amazed by her work and unique style. Marina graduated in Fine Arts from Complutense University Madrid, and besides working on illustration projects has exhibited personal work at galleries in London.

Marina González Eme

Tell us a bit about yourself: how did you get into art and illustration?

Since I was a kid, the thing I enjoyed the most was drawing and creating. I always knew the path I wanted to take, so I studied Fine Arts and then Illustration.

Where do you find inspiration for your work, and how do you melt your sources of inspiration to create a unique style like yours?

Expressionism has been always my biggest source of inspiration. I'm interested in anything related to the expression of the human as an emotional, irrational and intense being. Since my degree, I got great influences to which I come back again and again, such as Picasso, Schiele or Klimt. I also keep discovering other great artists like Kati Heck or Rick Bartow, among others.

You really blur the borders between fine art and illustration in your work. Is it hard trying to get those two worlds together?

When I finished my degree, I was making drawing projects in big format, always around woman's representation in society and media. I was trying to generate explicit and controversial images to try breaking beauty stereotypes. My interest kept moving from women's body to self-portraits. While I still think and work on these matters, I had to tune down that when entering illustration, in order to communicate other people's text and stories. At first, it all felt a bit alien to me, after indulging myself in purely personal projects.

I think there's a bit of both illustration and fine art in my pieces right now. There will always be more illustration on pieces where I have to tell an outside story based on a briefing. On the other side, I feel totally free when doing personal work, and there are also professional opportunities happening there.

Marina González Eme

What good (and bad) things do you feel the Internet and the new technologies have brought to illustration?

The most positive thing is how easy sharing your work has become. Making your work visible creates a lot of opportunities. All my work-related opportunities came through Internet and the profiles where I show my work: Facebook, Instagram or Behance.

Most negative aspect to me is the indispensable need of constant presence in the Internet. It takes a lot of time to be constantly updating, creating that feedback loop between showing off and inspirating yourself, to be aware of what others are doing and show what you are making everytime. As every other matter in life, I think finding a balance is key.

And last, but not least: any advice for aspiring artists just starting up their careers?

Be persistent and enjoy the creative process, even if it becomes a fight many times. And be honest with yourself when creating. That helped me to improve, learn, communicate and being overall happier.

Thanks a lot Marina!

Delivery prices setup on Stores

29 Sep 2015

We are happy to say that will be launching our Stores feature soon. With it, you can have an online shop and order management on your own portfolio website.

As you know, we had Stores on private beta during the last couple of months, with 30 of our PRO users testing them. One of the most requested features has been the ability to setup different order delivery prices for different countries of the world. We've been working on that, and here it is!

We focused on making this extremely easy to use, as always. Just click "Configure Delivery Prices" in the "Store and Products" section. You can setup your delivery prices there, and the one most suiting your customer delivery country will be applied.

If we can't find a delivery price for your customer country, we will apply the delivery price set for 'All countries' by default, so we recommend you to have set a delivery price like that. This way, your store can always have a default delivery price for your customers. Just as we did in the following example:

Delivery prices setup on Stores

For any doubt, question, suggestion or problem, please contact us at uservoice or write us at

See you at Blendiberia and Ilustrafic!

15 Sep 2015

Just a quick post to tell you that, if you happen to be in Valencia during this month, you've got two great events to attend to. And not just because we sponsor them!

First comes Blendiberia, the spanish convention of the Blender community. Blender is the free, open-source alternative to the big 3D modelling and animation software suites. This year, the spanish convention is happening in Valencia, at Barreira Art + Design during 14-20 September. On Friday 18 we will be talking about Drawfolio, and also will be hanging out the rest of the days.

Ilustrafic is the International Illustration and Visual Arts Congress organized from the Fine Arts Faculty of Valencia Politechnic University. This year edition will have a great set of conferences by artists such as Alvaro Pons, Ben Newman, Miguel Noguera and many others. It will happen during 1+2+3 October, and we will have a stand there so you can try Drawfolio, talk with us and get free badges and discount coupons.

Blendiberia Ilustrafic 2015

See you at Blendiberia and Ilustrafic!

New template: Pyle

07 Sep 2015

It's been a while since we released a new template for your portfolio website, so let's fix that!

This time we named our new template after american artist, illustrator and writer Howard Pyle. Pyle is known for his young people novels and illustrations, but also for pioneering tecniques such as color printing and photoengraving.

On this template, we exploit space for images as much as we can, and we put an extended header on the home page so you can get maximum impact communicating your value proposition.

Nuevo diseño: Pyle

This template does not come alone, we also made some improvements on the overall product:

  • Images from a gallery at home page: Until now, you could choose to show a gallery index, a single picture or random pictures at your home page. Now you can also get to show the images from a chosen gallery.

  • Even more social icons: On "Information" section, you can set up links to any of your social profiles on the web. We made that even more flexible adding a series of more generic icons so you can properly link any other site you got on the web.

For any doubt, question, suggestion or problem, please contact us at uservoice or write us at

Interview to Publishers: Art Treats (Chucherías de Arte)

17 Aug 2015

Time to keep on with our interview series, right? But this time we didn't talk with an illustrator, but with a unique, very special publisher.

Ceferino Lopez is the founder of Chucherías de Arte (spanish for "Art Treats"), a publishing micro-firm that produces small illustration gems: illustrated badges with booklets, photocollections and unique illustration sketchbooks. He has published work from illustrators such as Paula Bonet, Enrique Flores, Laura Castelló and many more.

Chucherias de arte

Tell us a bit about yourself: how did you end up doing proffesional photography and later publish with Art Treats?

I've always worked on photography, but since new technologies began becoming more affordable, I got into editing, graphic and web design to add more value to my current customers with a competitive edge. This was on the 80s-90s (last century, actually!)

Photography helped me to understand the visual foundation about compisition, color, perspective, etc; graphic and web design broadened my visual language getting me more close to the publishing world in the design and layout phases.

Finally, with this experience background I began crafting at home unique formats with illustrations and photography from a variety of authors. The resulting work seemed to fit in the publishing world, hence see me becomed a publisher without knowing a lot about it.

We know you do everything in the production process (printing, packaging, ). Could you tell us about the craftmanship behind Art Treats?

When I get the digital files with the author's work, I begin with layout and share the process with the author, until we both are satisfied with it. Then I begin with the printing process, which I do on a Xerox Workcentre 7232. It gives me a superb quality over Fedrigoni special paper.

Once a series is printed, is time to cut, (guillotinar, plegar, alzar, grapar, repelar), make the badges, package, label and store. Then I made photos and videos to the final product, upload them to our website and spread them through email and social networks.

And the process is far from complete. Now is time to contact the "real world". Through all the year I travel to art fairs, festivals, markets and everywhere I can show to people our publications.

Fancy a bit more? At the same time of all previous work, we have to research and design the stuff that comes along with the publications, such as packaging, publicity, stands designs, events research, etc.

And aside all that there's still room to manage your stock, sales, make repositions, support online sales, invoicing, shipping, etc.

What do you seek on an illustrator to work with her/him on a project?

I want to see her/his work talking about personal, complex, intimate matters. I'm not interested in posing or appealing the market.

We see a lot of startups and projects appearing lately around the world of illustration. Do you think this will continue to grow, or is it some kind of "heat of the moment"?

The worst thing that can happen is that the one thing you most love becomes fashionable. I'm quite concerned with that.

And last but not least: any advice to aspiring illustrators who seek to work with publishers?

Be sure and clear about the road they want to walk and know as precisely as possible where is the food and where are the emotions.

Thanks Ceferino!

Meet the first users in our Stores Beta

13 Aug 2015

Some weeks ago, we launched our Stores Beta. Most of the first users who were invited to it have already set up their shops and products, and we made a little selection of some of them so you can experience what can be done with the stores in Drawfolio.

If you want to give it a try, we still have room for you!. Just fill in this survey and we will send you an invitation.

Paula García

On Paula's shop you will find undead bags, prints where the winter is coming, y and mugs featuring the most fabolous four from Britain.

Bolita de pelo

Susana sells postcards and posters where nature is illustrated. You will find from whales to dogs!

María Arencibia

Maria has everything: bags, mugs, badges, bookmarkers, bag hangers... Her Geisha-Cat is among our favourites.

Carlos Hebles

Carlos sells original art pieces where he visually explores his home city of Granada with a unique style.

La Chica de la cinta

Lara, better known as La Chica de la Cinta (spanish for The Ribbon Girl) sells illustrated bags and notebooks. The perfect combo to start a journey in search of inspiration!

Subpages and store improvements

03 Aug 2015

Even in August, we made time between visits to the beach to keep improving Drawfolio. This time we bring small featues which arised from conversations with you, specially from the users who are trying our stores beta right now.

By the way, if you are still interested on trying out our Stores Beta, we still have room for you! Fill in this survey and we will send you an invitation.

So, without further ado, here are the improvements:

  • Subpages: Now pages support a two-level hierarchy, just like Galleries do. Go edit a page and select its parent page, easy!


  • Enable and disable store products: Some times hiding a product temporarily without deleting it can be useful. Actually, when you have order data with that product, making a "hard delete" of that product can be dangerous. That's why all products can be disabled and enabled anytime.

Enable and disable

  • Generated SKU: The SKU, or Stock Keeping Unit, is an internal code most e-commerces use to identify a product, so the name or description of it can change in time. You can set the SKU you want for the products of your store in Drawfolio, but if you don't want to think one for each product we will automatically generate one from the name of the product.

  • Optional stock control: Until now, all products in a store had stock control, but we found out that some users on our stores beta are using their shop to sell services or comissions that have to be payed up front. Stock control does not make sense for this kind of items, so now you can enable or disable stock control for each product whenever you want.

For any doubt, question, suggestion or problem, please contact us at uservoice or write us at

See you at Ilustratour 2015!

17 Jul 2015

Ilustratour 2015 is next week, and we are super excited! Ilustratour is the most important illustration event in Spain, and has a strong international projection. This year the venue will be Matadero Madrid, and we will be there since Friday 24th with a stand on Ilustratour Market. We also will be advising illustrators about their personal brand on Ilustratour Network

If you come visit at our stand, you got yourself a nice badge! We also will be meeting a lot of our PRO customers in person, so we also got an exclusive badge for them.

We will happy to talk you about Drawfolio and answer all your questions. You can also bring your work in an usb pendrive and we will help you to build your portfolio website live. See you at Ilustratour!

See you at Ilustratour 2015!

Summer sale: -30% until August 31

10 Jul 2015

We are always kind of jelous of malls when it is summer. Sales and people buying everywhere, we could use some of that too! That's why we decided to launch a summer sale with a 30% off on your first year of PRO plan. Don't miss the chance, it will only last until August 31.

Summer sale: -30% until August 31

Stores now in private beta

02 Jul 2015

One of the things that would appear again and again on our conversations with our PRO customers was the chance to have a personal shop on the portfolio website they had built with Drawfolio. You are may using already some services like etsy or bigcartel to sell your illustration originals or prints, but profiles on these sites are not customizable at all, and your competition is just actually a few clicks away from your profile. Having your store and portfolio in the same website, with your our own .com domain can help to boost sales, make your personal brand stronger and save you time.

Stores now in private beta

That's why we put some weeks of work on this, and we are happy to announce we are launching Stores in private beta. As we usually do, we worked on a minimal prototype to have people work with it as soon as possible, and fit our solution to your specific problems.

We are going to accept invites to the private beta on a regular basis, and you can request one filling this survey. We are designing different combinations of a monthly fee + % of each order for the stores services, but as long the beta endures we will only charge you a 2% from each order you receive.


For any doubt, question, suggestion or problem, please contact us at uservoice or write us at

Illustrator Interview: Pablo Manuel M.R.

29 Jun 2015

On our next interview, we travelled to Murcia to talk with Pablo Manuel. Pablo works as illustrator for the publishing field, and also founded and managed Ilustrafun, a series of workshops & leisure events around illustration. He is also a PRO customer of Drawfolio, so we couldn't wish any better!

Pablo Manuel M.R.

How did you get into illustration and design?

I studied Fine Arts at College, and tried a bit of everything: design, photography, or sculpture. I did a subject on illustration and got interested from there. Two years after I finished my degree, I got on second place of the Badajoz Adult Illustrated Tale Award with "Extrañas mujeres de Azul", and that really made me see I had to devote to illustration.

How do you deal with clients and projects on terms, deadlines, etc?

I work with two main premises: deadline and budget. These will shape the nature of the project. A few days project is highly different from one supossed to be months long, as a three-figure budget looks different from a four-figure one. Aside from that, there are more elements to manage and discuss on a project: concept art, illustration application, etc.

What qualities does a client and project need to have for you to feel comfortable and motivated?

Above all things, I seek that our terms and roles are well defined and understood by both parts. A lot of clients want to dictate changes without an informed opinion, and will stick to them even if you try to reason or argue. That is quite bad for both client and the illustrator. You wouldn't tell a surgeon how to do this job, so why you can do that with illustrators or designers?

You are founder of manager of Ilustrafun, a great initiative looking to add value to illustrators with events and workshops. How did it began, and how was the journey until here?

Ilustrafun tries to bring illustration workshops and events to Murcia and its region, just like the ones who happen at big cities. We tried to bring relevant illustrators to teach workshops, and combine that with leisure activities to make the environment fun and enjoyable. We have done workshops so far with artists such as Malota, Sr. López, Adolfo Serra, Luis Demano, etc.

Everyone, from the teachers to the students and team, were very happy with the results. Nowadays, Ilustrafun is on hiatus due to finance matters: running the whole thing without sponsors or public helps has proved very tough.

Pablo Manuel M.R.

We see a lot of startups and projects appearing lately around the world of illustration. Do you think this will continue to grow, or is it some kind of "heat of the moment"?

Illustration has been for a long time in our life, it's not something new. But it definitely has more visibility now, and it's sort of "fashionable". But I don't think the mass public know what illustration is, the reach and different kinds of it, or what fields it is applied to. They see it as a mixture of "artsy stuff" and "knowing how to draw". I don't know if it will continue to grow, but it will stay for sure.

And last, but not least: any advice for aspiring illustrators just starting up their careers?

I had to learn a lot of things lately, and one of them is learning not to compare yourself with the rest of the world. We see facebook, twitter and other social networks and people are making wonderful things. Everyone seems happy, and there is a lot of "awesomeness" around us that does not really reflect reality. Working on an artistic field (be it acting, music, illustration or any other kind of creativity) is not easy at all, and you need to have that in mind.

Every person willing to be an illustrator has her own style, language and path, and my advise would be to follow it. Don't be afraid of making mistakes, keep walking forward and ask for constructive critiques. And above all, be at peace with your work, as I see it as part of ourselves.

Thanks a lot, Pablo!

Illustrator interview: Littleisdrawing

22 Jun 2015

Our next interviewee is Carla Fuentes, better known as Littleisdrawing.

Carla is a freelance illustrator from Valencia, and has worked on a wide range of projects and clients: illustration work with publications such as Forbes, Union Magazine or Squire; projects with brands such as Coca-Cola, Nike, Seagram's or Honda; and work for music bands and festivals such as Pollock, Deleste or Festival de les Arts. She also puts a strong focus on personal projects.


Where did the road to become a successful illustrator began for you?

It was a bit of an accident. I wanted to work professionally on fashion and be a fashion designer. But I began to upload dooddles and small drawings to my fotolog, and work began arriving from there, each time more interesting and professional, until today.

What inspirations sources do you take from for building a unique, personal style like yours?

I get inspired by contemporary artists like Freud, Hockney, Peyton and Eduardo Arroyo. I love how they deal with portraits and the human figure. I take all my inspiration from them.

You worked with big brands like Coca-Cola, Pull & Bear, Nike or Women's secret. How is working with them? How can aspiring illustrators get to work with this kind of customers?

Brands seek exposure through a number of disciplines, and it is great to see them betting on art and illustration as a more creative way to get to their customers. I like working with brands, they trust a lot on your work and usually give you a lot of freedom.

My advise would be being always open to any proposal and let yourself go and find what the brand inspires to you.


We know you never leave home without your tablet, and you are one of the most "technological" illustrators we know. How do you use technology on your day-to-day? Does it play an important role when managing work and clients?

Technology is something essential to me. I'm always connected to the world through Internet and my computer, and the work I get is always because of the exposure I get from the net. I use the computer as a work tool to scan, refine, etc, and I use my tablet for all the other of tasks, like updating social networks, sketching, etc. In my opinion, technology is indispensable.

And last, but not least: any advice for aspiring illustrators just starting up their careers?

Create something new, with its own personality.

Thanks a lot Carla!

15 Artists, 15 Interviews

15 Jun 2015

We already interviewed 15 illustrators and artists on our blog, and we thought it would be a good idea to link them all in a single post so you can review them. You will find great insights on a variety of fields and markets, and most importantly: great advise to make your career successful as an illustrator and artist.


Español | English

Pere Devesa

Español | English

Alex Mathers

Español | English

Luis NCT

Español | English

Laura Pérez

Español | English

Marina Muñoz

Español | English

David Belmonte

Español | English

Iban Barrenetxea

Español | English

Thomas James

Español | English

Mario García Arévalo

Español | English

Ramón Mascarós

Español | English

Daniel Gordillo

Español | English

Neil Swaab

Español | English

Paula García

Español | English

José Rosero

Español | English

Illustrators interview: Jose Rosero

28 May 2015

We are back to America once again for our interviews to illustrators, but this time we are heading to Colombia. We had the great pleasure to talk with Jose Rosero, one of the most active illustrators in Colombia and also part of the team behind CasaTinta and Congreso FIG. As you will see, the interview got highly interesting and Jose does not bit his tongue when expressing his views on the illustration and publishing sectors.

How did you got into art and illustration?

Since I was a kid I had some inclination towards art, but I oficially began studying Visual Arts at Universidad Javeriana at Bogotá-Colombia. I liked the syllabum because it opened the art field a lot and had a graphic emphasis, which I was very interested in. During the degree I began distancing myself from plastic arts, which I consider a bit obscure and disattached from everything. My interest is definitely on communicating.

Jose Rosero

My approach to illustration was a bit of an accident, as it happens with all good things: on my second year at college I made a big format anatomy drawing. I liked a lot the process of creating this particular piece: while my peers where creating nature studies of bodies and gestures, I spent time on reading and investigating how to communicate something more. That's why I decided to base my image on a Jorge Luis Borges tale called "La trama": a short, two-paragraph story that talked about 19 centuries of treasons between human people.

When the jury looked at the piece, they said the bad thing about my piece was that "it looked more like an illustration". That made me think about the creation process that I had enjoyed so much, so I decided to get into every illustration subject my degree had and also to attend to illustration workshops from out of college. I got myself into the illustration world that way, and I made my final degree thesis on illustration to solidify all the concepts I had learned. I also want to say that it was a spanish proffesor who ultimately got me into illustration with his book "Illustration as category": Juan Martinez Moro. He is a brilliant, but little known in his home country. Years later, I would invite him to the first International Illustration Congress we organized in Bogotá.

You got some experience on the publishing world, but we know you have kind of a love-hate relationship with it. Which is, in your opinion, the problems of this sector?

That's right, I have worked with a number of publishing firms, magazines and newspapers. And I felt deeply dissapointed most of the time. They see illustration as a decorative "nice-to-have" and not as a complex thought process that ends on a series of pictures. I had many problems with publishing firms because of thoughtless, absurd changes requests, low retributions and unfair terms. After being in conflict with most of them, I got to the conclusion that most of publishers or art directors don't have enough knowledge about visual arts to make precise or informed requests. That's why they will demand unpaid concepts from you, or may think a black & white image is less valuable than a full-colour one. These and other ignorant attitudes make them to impose their own taste and remove artist's own voice. This way, a vicious circle of low-risk publications is born, with little or no creativity, that drives illustrators to become plain replicators of styles (we are now in the bad-drawing and expressive-stains era). Of course, there are brilliant exceptions to all of this, who maintain the ship afloat.

What qualities does a publisher and project need to have for you to feel comfortable and motivated?

There's a beatiful quote from Angeles Mastreta: "books are conversations". Both publisher and illustrators need to have the gift of dialogue and understanding. A project has to have some challenge and risk of failure. Easy things becomes boring, don't you think?

Aside from your work as illustrator, you act as coordinator of two great projects: FIG Congress and CasaTinta. For our readers outside Colombia, could you tell us more about them?

Of course I can: CasaTinta is placed on Bogotá, and is a space devoted to illustration and graphic arts. It goes up three storeys with gallery, library, design shop and workshops, which we use for a whole events agenda. A component of thought development, critique and profession is always found on what we offer. We have been growing steadily and this year we are on a new building, which evolves our ability to launch things, but also comes with greater responsabilities. We recently won the independent spaces award given by the Ministry of Culture at Colombia, and that gave us a lot of fresh air to go on.

Jose Rosero

Nothing was free or easy, though: this is an space slowly built step by step. We began on a small apartment room teaching illustration workshops, and with a lot of persistance and work from the team (Miguel Bustos on the graphic area and Diana Arias, the other project support) we achieved to grow and evolve.

At the same time, we've been feeding the International Illustration Congress FIG wich has reached its fifth edition this 2015, and where we had forty illustrators from fifteen countrys and hundreds of attendants. They are four days each year full of conferences, talks, workshops, contests and more. What I love from this event is how much value we were able to give. Something unmeasurable.

We see more and more business and projects appearing around illustration. Do you think this will continue to grow, or is it just "the heat of the moment"?

I do believe there is a "media boom" around illustration and design. Internet has helped a lot to this, and there are more events trying to approach it from different perspectives. I attended some of them myself: three in Spain, and one in Italy, Argentina, Chile, Mexico and Brazil.

Democratizing illustration is great, but I found a dangerous edge on it: a lot of events are born with a kind of shallowness or triviality, trying to fit on something easy and new to reach more public and get better results on networks. But such events end being a series of plain activities, an appetizer of sorts for less demanding consumers. Conferences can be reduced to a walk by the portfolio from a fashionable illustrator (who will probably have a lot of likes on facebook) with some anecdotes and no real value; workshops become light creation spaces with lots of mutual applause; and the rest of activities are very social but not challenging at all.

This can be found also on new spaces: decisions are taken in favour of appealing to a more broad public, and little is offered in the end aside from free beer.

Spanish illustrator Pablo Auladell, in his conference on last edition of the FIG Congress, told us that students from a workshop of him in Spain had complained about his rude critiques and his tough, demanding attitude. Then I asked myself: Would I want to attend a workshop where the teacher is indulgent with everything I make? There's nothing better to improve than a space where your views are shaken, and you are filled with doubts and discomfort. Let me tell you these spaces are possible: I did got that at Albarracín with Isidro Ferrer and Grassa Toro.

Jose Rosero

I know first-hand how difficult is to achive this, though. At FIG Congress we try to push authors to be critic and propose things beyond easy exercises. Sometimes we achieve that, and sometimes we don't. But if attendats write back to us complaining about the harsh critique they got from the workshops, I feel a great satisfaction. We also know that "rockstar" illustrators are not always the best ones, and I think we took good decisions briging creators with great experience but not such a big presence on networks, such as Enrique Alcatena, Javier Saez Castán or Fernando Vilela. But people tend to prefer the famous ones, that I have to admit.

Is there a real opportunity for the "businessman" illustrator who is not 100% devoted to create art?

I have to admit that, from my experience, managing a project and developing personal creations at the same time can be quite complex. It is a conflict between to equally valuable lovers, and sooner or later you will have to choose and devote fully to one of them. That decision will be given by which one gives you more health and stability. Right now, we are young and we can cope with that. My days are split in two: from 9am to 5pm I manage CasaTinta, and from 6pm to 3am it is time for illustration, drawing and painting. It's not always like that, I have also a girlfriend!

The business side was definitely an empty field that now is being filled more and more, and that makes spaces stronger in the path of building a cultural industry. It is dangerous to seek the attention of the public at all costs, but work is giving results.

And last, but not least: any advice for aspiring illustrators just starting up their careers?

Just one: take it seriously.

Thanks a lot Jose!

Get clients while enjoying the beach. -50% discount for first 10 people.

25 May 2015

Summer is coming and we are already eager to go to the beach and enjoy some sun! We are sure you are too, and we believe the best way to enjoy is knowing you got a great portfolio website getting clients while you relax and enjoy the sun.

That's why we are launching a special -50% discount code TOTHEBEACH on our PRO plan. But it is limited to the first 10 people who use the discount code, so hurry up or you will lose this chance!

Get clients while enjoying the beach: -50% discount for first 10 people with TOTHEBEACH coupon code

Instagram Integration

04 May 2015

As you know, we are planning to integrate Drawfolio with other platforms so you can save time and create yourself more opportunities via Internet.

This means working with social networks, and we decided to first work with Instagram, one of the most used by all our users. Instagram is the perfect place to grow expectation and show the daily process of creating your illustrations.

Connecting your Instagram account to your portfolio website in Drawfolio is easy-peasy: just go to "Synchronization" > "Instagram", fill in your Instagram username, save changes, and a new gallery with your latest Instagram pictures will appear on your site.

Default name on the navigation menu for this gallery is "My Instagram", but you can change it on the "Menu and Navigation" section.

Instagram Integration

Instagram Integration

This integration is only available for users in our PRO Plan. Don't wait more and upgrade your account now!

For any doubt, question, suggestion or problem, please contact us at uservoice or write us at

Illustrator Interview: Paula García

28 Apr 2015

In today's interview, we talked with Paula García. Paula is a designer and illustrator, and a PRO customer from Drawfolio. Paula has developed a unique style that easily connects with the public, and she sells a lot of products with her designs and illustrations on a variety of online platforms. She will be giving us some advice on how to be successful on that.

Paula García

How did you got into design and illustration?

I always liked drawing since I was a kid, and although it seemed I would end studying Fine Arts at College, I really got into computers that finally got me into Graphic Design.

During my degree I got in contact with illustration but didn't discover that it could become a profession for me until years later.

You achieved something very difficult, which is having a unique style while keeping it versatile and accessible. How did you got there? What does inspire you?

To achieve that style I had to walk through tons of different ones! Pieces by me from two or three years ago seem like they were done by a different person.

The way I draw now it's a mix brewed from trying a lot of different styles for a long time, and sticking to one where I was comfortable and didn't feel like changing (a lot).

TV shows (more even than films), music and videogames are a great inspiration for me and got into the way I illustrate for sure.

Paula García

We know heavy metal is an important part of your life and work. How do you think music and illustration are related to each other?

Music is definitely very important to me, as it is for a lot of people. In the end, this always influences you in some way. Sometimes you are listening to a track while drawing and you can't help evoking a scene that ends into your illustration, counciously or not. A lot of the illustrations from my final degree project were made that way.

Besides doing freelance work, you sell products with your designs (shirts, badges, etc) on a variety of online platforms. Is it possible for an illustrator to earn extra income that way? Any advise to illustrators beginning their way with that business model?

It is definitely a great opportunity to earn income that way. I would recommend to have profiles on the main online platforms such as Redbubble, Camaloon, T-agged, Society6 and constantly updating them with new projects. It can be months until you get your first sales, but if you keep pushing they will grow eventually.

Paula García

Which role do social networks and personal projects play when building your own personal brand

Social networks are a must for getting yourself known and create job opportunities. It is a job itself because you really have to invest a lot of time on promoting yourself, but it really pays off. Working on personal projects when you got downtime helps make your portfolio better and improving your style.

And last, but not least: any advice for aspiring illustrators just starting up their careers?

I'm a bit pessimistic sometimes, and the best advice I was given was to be patient and don't feel down if I didn't see inmediate results. If you think your work is good, be confident and start showing it everywhere. Build a website, a Facebook page, a blog... you don't know where the great opportunities are going to come from!

Thanks a lot Paula!

Exclusive 30% discount on Thrive Solo

21 Apr 2015

Aside from working on improving Drawfolio, we always try to find good deals for you on stuff than can make your career success: workshops, events, other products, etc. This time we talked with the great team at Thrive Solo to get you this exclusive 30% discount for 1 year coupon code:


Based on United Kingdom, the great guys at Thrive have built Solo (and its version for agencies: Team) with a mission in mind: to help freelance artists to stop undercharging their clients. To achieve this, they built a web application where managing projects, clients, invoices, expenses, quotes is extremely easy, and where you can measure the time you devote to each client and project.

With Solo, all the difficult tasks involving invoicing and clients become painless. We really think the Thrive team has built a great, unique and nearly artistic user experience that gives you a bird view on the day-to-day state of your personal freelance business.

Thrive Solo

You can try Thrive Solo during 15 days for free, and also get a 30% discount with our coupon code above. Start getting your freelance work profitable!

Illustrator Interview: Neil Swaab

16 Apr 2015

Time to continue with our series of interviews! This time we talked with Neil Swaab. Neil is a freelance illustrator, art director, cartoonist, and writer based in Brooklyn, NY. He works on a great range of illustration and design projects, specially on the book and publishing sector. He has worked with clients such as Algonquin Books, Fleishman-Hillard, HarperCollins, AdultSwin/Comedy Central or Cartoon Network. He also runs Business of Illustration, a blog we just love, where he writes about the business side of things to teach aspiring illustrators how to kick-start their career successfully.

Neil Swaab

Where did the road to become a successful illustrator began for you?

I studied illustration in college and then began pursuing it immediately after I graduated. It took a long time (7 years) before I was able to do it full-time for myself. In the meantime, I worked as a designer and illustrated on evenings and weekends.

A big chunk of your work is on book covers. How did you end specializing on that? What does a project need for you to be comfortable and happy with it?

Soon after college, I landed a job as a designer at HarperCollins, a large US publisher. That gave me a good understanding of the inner workings of the publishing industry and also provided a lot of contacts and education. When I left HarperCollins, I started to do freelance cover design for other publishers as well as illustrating the occasional book. Eventually, I started to get known in that area and book covers ended up being my bread and butter.

For me to be happy with a project, I need to feel like I’ve exhausted all of my options and truly settled on the one thing that I feel is the best. I like to explore a lot when I’m working on a project and never feel right about it if I haven’t looked at every variation.

You run a blog, "Business of Illustration", where you stress the importance of the bussiness side of things when building an art/illustration career. Do you think illustrators tend to neglect this, and why?

Not successful illustrators. You can’t be successful without knowing all of this stuff and all the best illustrators do. The blog is really more for aspiring illustrators and people at the early stages of their careers who are just trying to figure this all out. There’s not a lot of information about the business of illustration out there, so I wanted to create a resource that would have all the basic things an illustrator should know.

Neil Swaab

You just released a middle-grade book you both wrote and draw. Can you tell us more about this project, and where does it come from?

Yes, it’s a book that teaches kids how to get through middle school by doing some…let’s just say “dubious" things. It’s part novel and part guidebook, with tons of illustrations and comics. The book will be published on September 1st, 2015 through Abrams Amulet. I’m so excited for it. I’ve poured every bit of myself into it and think it’s such a cool, unique book. There will also be a follow-up to the book in 2016!

And last, but not least: any advice for aspiring illustrators just starting up their careers?

Talent only gets you so far. You’ve got to have drive and ambition. Keep working and putting in the hours and eventually you’ll get there.

Thanks a lot Neil!

Project index view in galleries

13 Apr 2015

The templates you can choose for your portfolio website in Drawfolio always show pictures from a gallery in a grid layout, because it's for sure one of the easiest ways for a visitor to view your work in a glance. But there are some works that look way better showing picture after picture, as projects in your behance profile do. A lot of our users where asking us to incorporate this, so: here it is!

Now every gallery has two index styles: Grid (the default) and Project. You can change it Editing a gallery, setting up your prefered view the Index style selector and saving changes.

Galerías en modo proyecto

For any doubt, question, suggestion or problem, please contact us at uservoice or write us at

New design for our home page

01 Apr 2015

It has been a year since we ended our private beta and launched the public version of Drawfolio, and we felt like revamping the design of our home page to communicate our brand and values more effectively. Check it out and tell us what you think!

New design for our home page

Artist interview: Daniel Gordillo

13 Mar 2015

We are going to America for our next interview, o maybe not that much. Daniel Gordillo is a Mexican artist now based in our home city, Valencia. He has worked on multiple fields: art, illustration, 3D modelling and animation, and web development. He is also one of the organizers behind Societat Valenciana de Blender, where he promotes the use of open source software among 3D artists.

Daniel Gordillo

How did did the road began for you to get into illustration and 3D art?

I've been drawing since I can remember, and it seems my interest on the less orthodox ways of art came factory-installed: when I was 5, I was already shocking the nuns from the catholic school I was at with my drawings. When I was 18 I began studying graphic design at Iberoamerican University, but I changed to Plastic Arts on Guanajuato University. I got my PROMOE grant there to come to Valencia and study at the Fine Arts School at Universidad Politecnica.

I've been in diverse art exhibition and projects since then, but I moved away from the art world in 2005, mainly because of my work at publicity and design. I'm now trying to get back to a more art-focused line of work, combined with my humble open-source software "evangelism" efforts.

I think the reason I ended on 3D art is that I needed to do more creative work than design and web development, but I didn't want to fully go back to the ART (with capital letters) circuit and galleries.

You work on diverse fields: art, illustration, 3D modelling and Web Development. Is it easy to combine the creative side with the technical side? Do you think that more artists should do that?

Nowadays, a lot of tasks on computer packages of animation, modelling or digital illustration can be automated via code, or you can create shapes and forms with parametric design that would be insanely hard to create "by hand" (well, if you can say "by hand" when talking about digital art).

It is not an imperative, but the artist who is not afraid to use maths and formulas has a terrific advantage from the rest.

Daniel Gordillo

You were born in Mexico but you have been working for years in Spain. What differences did you find between this two markets for an artist to earn a living?

I've been lucky enough to be both in the art gallery world and the "industrial art" world (publicity and enterntainment). Spain has got exceptionally high level artists on animation, 3D modelling and illustration, and the CGI and videogame industry worldwide has noticed that. There are a lot of spanish studios designing videogames or making apps, and despite the economic crisis these have seemed to keep up.

But, it seems to me that to be this kind of "applied" artist is the only path in Spain to be respected and valued as an artist. Despite the "shocking" prices on events like ARCO, which the TV news remember us year after year, I always felt that in Mexico the artist was a lot more valued in society than in Spain. I can't say it happens everywhere in Latin America, but the plastic artist is even sometimes seen as a short of "shaman". But even if in Mexico the traditional art is quite a stable market, it has entered too late on the digital entertainment industry: most of the product is "imported", and there are barely news from mexican studios or companies working on that. But that is slowly changing!

What good (and bad) things do you feel the Internet and the new technologies have brought to your profession?

The good side is the biggest, no doubt: access to information, both the one you can get and the one you can offer. 20 years ago, Internet was just beginning and there were only a bunch of crazy people uploading their stuff on Angelfire, Xoom or Geocities. Nowadays, the amount of information you can get and the people that can see your work worldwide is just incredible.

The bad side: you sometimes forget about pencil and paper! You begin neglecting the things that are far from the screen, and this does not only happen to digital artists. The whole world is paying more attention to a small screen that lookin where they are walking. You have to disconnect from time to time.

And last, but not least: any advice for aspiring artists just starting up their careers?

Yes: don't stop learning. It is a fast evolving world and what is standard today can be obsolete in a year or a few months.

Thank you a lot, Daniel!

Save money and get your website ready to impress at Bologna Fair

09 Mar 2015

If you work on illustration, you know Bologna's International Book Fair for sure. If you are coming this year, you already spent one or two months on preparing all your interviews you'll have there with editors and book publishers.

Having a professional portfolio website is the best weapon you can have to make those interviews become client work. Editors and publishers are going to talk with hundreds of illustrators during 3 days, and having a professional website where you can communicate a professional image and differentiate from others is key. With editors looking at so much illustration in such a short time, it is urgent to be remarkable.

But it's less than a month for Bologna's fair! If you are going and don't have a portfolio website yet, do not worry: you've got enough time. With Drawfolio you can build your own portfolio website in a few minutes, with no programming skills and with your own .com domain name. And we are doing a 20% discount in our PRO plan until Bologna's Fair begins.

Even if you are not coming to the Fair this year, we are doing you the discount anyway. Now it's the perfect time to begin building your portfolio website, create opportunities and conquer the Fair next year.

20% discount

For any doubt, question, suggestion or problem, please contact us at uservoice or write us at

Bring your friends and save money in your PRO plan

02 Mar 2015

At Drawfolio, we strongly believe that the better publicity we can get is from a happy PRO customer. But we also want our PRO users to win when giving us that word-to-mouth, and that's why we are launching our Affiliates Program.

If you are a PRO user, you get a 20% discount for each friend referred by you that upgrades to PRO plan, and they get a 5% discount in their first year. If you bring 5 friends to PRO plan, your next year in Drawfolio is free.

Affiliate program

You got all the info you need a the "Affiliate" section. There's two ways for you to bring your friends to PRO plan:

  • If your friends are not registered to Drawfolio, give them your unique registration link and we'll know they were referred by you. Bear in mind that they won't compute as a referred for you until the upgrade their accounts to PRO plan.

  • If your friends are already registered to Drawfolio, tell them to your unique referral code in the 'discount coupon' field when upgrading to PRO plan, and we'll know they were referred by you

For any doubt, question, suggestion or problem, please contact us at uservoice or write us at

Bring your friends

Illustration by Beatriz Adela

Illustrator Interview: Ramón Mascarós

23 Feb 2015

If you know us a bit, you could guess that we were eager to interview Ramon Mascaros. Ramón is one of our first customers, and a great artist that works on illustration, 3D modelling, character development and a bunch of things more. He currently works at Frame Over Studio, where he also teaches at the studio's owned school, Primer Frame. One of the latest 3D projects Ramón worked on was virtually reviving George Harrison for this music video

Ramon Mascarós

How did did the road began for you to get into illustration and 3D art?

I began purely as a painting artist, and focused on producing paintings, portraits, and making my way through exhibitions, contests and competitions. But I always had an interest on technology, and as a hobby of sorts I learnt about digital creation methods, including 3D modelling. Actually, the first proper job I got (through Leonardo Grant Program) was on the 3D industry, and I learnt a lot about the sector there.

When the crisis struck, I got to seriously re-think what I wanted to be and what I always was. I realized that I always had been doodling characters and I decided to focus on that, from character concept to their 3D sculpting. I didn't know back then if I would be able to make a living out of it, but I slowly discovered an exciting new world.

You moved from doing freelance projects to work on a studio and now teaching on a animation and modelling school. How was this journey? What did you learn from each stage?

As a freelance, I learnt to challenge myself and keep working even if I didn't got client projects, just to attain visibility and keep myself active. When you work on a bigger team, challenges come by themselves and that teaches you to finish every kind of job, even if you are not totally happy with it. I see this as a great way to becomer more efficient and going out from your comfort zone.

I have to admit that being a teacher has surprised me a lot. I ended doing it as a bit of an accident, but I have learnt way more teaching that when I was studying myself! There's quite a difference between knowing something to use it and knowing it to teach it.

This world gets bigger and more complex everyday, and you alone cannot get over much. It is not imperative to be in a team or group, but being connected to other professionals for help, ideas and support is what I value most nowadays.

Ramon Mascarós

What role does social media and personal projects play for you when trying to build a personal brand?

I think social media is a must, it is the easiest way to make yourself visible around the world. It may not be the only way, but it is the most affordable for sure. Wether you are looking for clients or willing to work at a studio, you have to sell your product, and that product is you! I was once told that you need to work a lot, but also to make that work visible.

Personal projects will allow you to show your skills before having comissions, they will keep you active and, most importantly, you will shape the image you want to communicate. This will attract more paid projects and comissions related to your personal work: you will be shaping the market to your skills, and not be shaped yourself for the market (at least, not so much!).

What good (and bad) things do you feel the Internet and the new technologies have brought to the illustrator profession?

I'm very fond of technology, I've made my way far and fast with Internet and the democratization of tools it brought. Internet gives you access to instant information, new tools, trends or inspiration sources. It can make you more independent as a professional, giving you a distribution and communication channel.

But the same thing can be a disadvantage: there's so much information that it can be difficult to make yourself remarkable. There's not a lack of information, but disinformation because of the excess of it. News last shorter each time, you need to create more content to be truly relevant, but your audience also expects quality.

Ramon Mascarós

And last, but not least: any advice for aspiring illustrators just starting up their careers?

I don't think I'm good at giving advices, but I will try! There are no magic tricks: pick up an idea, ask yourself what you really want to achieve (this is a difficult) and let everything you do get yourself closer to that goal. Don't dispair, this is a an endurance race. If you don't fight for your dreams someone else will. You probably are who you want to be already, so let the world know. First is knowing what you want to do, second is realizing who you are already, and third is working to make it.

Thanks a lot, Ramon!

Illustrator interview: Mario García Arévalo

12 Feb 2015

Time to keep interviewing great illustrators! This time we had the great pleasure to talk with Mario García Arévalo, based in Valencia (Spain). As you will read through the interview, Mario has a powerful international projection, and has worked with brands such as Moët Chandon, Coca-Cola, Wacom, Warner Bros or Lipton UK.

Mario García Arévalo

How did you get into illustration? Where did the road to become a illustrator began for you?

I began drawing when I was a kid, but I got everything too diffuse in my life at that time. I enjoyed making all kind of drawings, from comics to portraits which I did never got right. I got into graffiti when I was 12 or 13 years old, I loved that way of expressing myself on the streets. After that, I began looking what happened around me and discovered other forms of expression, artists, exhibitions.. until I got to what I really like doing, illustration.

To be honest, I can't say when I got serious with illustration. It is said that your first paid project becomes a milestone in your life and career, and in 2012 I got to work on my first big publicity project for Moët Chandon.

You went through a lot of fields and diverse projects: illustrated albums, ads for big brands, and even apps and videogames. How was this journey, and what did you learn from each stage?

I sometimes feel amused with the reach of illustration myself, it has got into a lot of fields. We got illustration all around us, and I only noticed that when I began working as a professional. I began as visual developer for TV ads, and then I began to broaden my range to other fields like illustrated albums, text books (where I'm working right now), and the videogame world. The latter I can't now live without! I had never worked with such a team of great professionals, and I feel I now got and advantage from that.

I have felt comfortable in all the fields I've worked on, but I think publicity/advertising can be the toughest one: everything is so fast, deadlines are really tight, and projects are big to develop. But they are also the best paid works, although I prefer to be comfortable working and not dying from trying to reach a deadline (laughs).

Mario García Arévalo

You worked in Switzerland and you also know very well other markets outside Spain, specially USA & UK. What are the differences, and what advantages and disavantadges have these markets?

When you work for other countries you always tend to do comparations between them, but you also have to bear in mind that one country brings different budgets and different ways to see the job. You can really notice that when comparing Spain to USA & UK. Spain may have lower budgets but also wider timing and deadlines, and you'll be more close to your client, to the extent of becoming friends with people in agencies and publishing firms.

In other countries budgets are higher, your effort is much more valued, but deadlines are also way more tighter. I'm very fond of working with clients from UK & USA, they have always been there for me and they always bring new challenges to the table. It's always a pleasure to work with them as they value a lot my style and the effort I put into projects.

What good (and bad) things do you feel the Internet and the new technologies have brought to the illustrator profession?

New technologies keep my work steaming! Internet is key for everything today, the 80% of projects I work on I got through email. We illustrators are also a big family and support each other on social media, which is a a great help.

And last, but not least: any advice for aspiring illustrators just starting up their careers?

I got asked a lot how can I bear with so much and diverse work, and I always like to quote Roosevelt: "Whenever you are asked if you can do a job, tell 'em, 'Certainly I can!' Then get busy and find out how to do it."

You cannot be idle in illustration: promote yourself in social media, do every kind of project you can, and build a great portfolio. It's the only way to make yourself remarkable among a large competition. Feeling related to what you are working on is the key to enjoy yourself when working.

Thanks a lot, Mario!

Pages, PDF download and social icons

09 Feb 2015

When new PRO users arrive to Drawfolio, we always try to get to talk to them so we can improve. As usual, some common places arise from these conversations and end up becoming a reality, like the ones we are launching today.

  • Pages: You can now create pages and have text or links without the need of being attached to a gallery or pictures. In Pages you can create as many as you want and format their content with colors and styles. Your new pages will appear on your website navigation menu right after galleries.


  • More social icons: We made a lot more icons available for your social links, including deviantart, behance or patreon.

    Social links

  • PDF download: You can now upload a PDF document with further information about you in the "PDF Download" tab of "Information". This document will be available for download to your visitors in the "About" section of your website.

    PDF Download

For any doubt, question, suggestion or problem, please contact us at uservoice or write us at

New template: Frazetta

26 Jan 2015

New year means: new templates! Last template we have been working on is named after huge artist Frank Frazetta, american painter and illustrator who changed the fantasy and science fiction genres forever.

On this new template we focused on achieving a minimal and elegant look with a compact image grid that preserves image's original aspect ratio. Hope you like it!

New template: Frazetta

For any doubt, question, suggestion or problem, please contact us at uservoice or write us at

Illustrator Interview: Thomas James

19 Jan 2015

Ok, fair enough, it is time to get abroad for our interviews! We had the pleasure to talk with Thomas James, a great California-based illustrator with clients such as The New York Times, WIRED Magazine, Pentagram, Wall Street Journal or Billboard Magazine. Thomas also is Editor and Creative Director at successful websites like Illustration Age and Illustration Friday.

How did you get into illustration? Where did the road to become a illustrator began for you?

Like many illustrators, I grew up with a passion for drawing, painting, and many other forms of art. I chose to pursue illustration because I liked the idea of working with magazines and newspapers to create art for public consumption. I went to art school for a couple of years but was unhappy with the education I was receiving, and plus I was already starting to get work as an illustrator, so I decided to quit and just dive in.

Thomas James

Where do you find inspiration for your work, and how do you melt your sources of inspiration to create a unique, original style like yours?

I'm into all kinds of art, whether it's illustration, music, building things, or whatever. I thrive on anything creative, and since I tend to bring creativity to all aspects of my life, they all feed into each other in one way or another. I also look at a lot of art as the Creative Director of Illustration Age and Illustration Friday, so everything just kind of rolls around in my brain and becomes a nice hearty stew.

We see a lot of startups and projects appearing lately around the world of illustration. Do you think this will continue to grow, or is it some kind of "heat of the moment"?

The internet opens so many doors for artists to create their own projects and share it with the world in a way that was never possible before, or at least very difficult and expensive. I do indeed think this will continue to grow now that it has become accessible to artists all over the world.

What good (and bad) things do you feel the Internet and the new technologies have brought to the illustrator profession?

Adding to my previous thoughts about accessibility, the internet also brings a seemingly infinite community of support for any artist looking for answers, assistance, or simply inspiration. One drawback of the internet is that some companies tend to take advantage of artists by stealing and selling their work without any credit or compensation for the artists. There's just so much art out there for the taking that it's hard to protect yourself from it.

Thomas James

And last, but not least: any advice for aspiring illustrators just starting up their careers?

Two main pieces of advice:

1) Do as much research as you can about ALL aspects of being an illustrator. Read books, listen to interviews, ask questions, read blogs, etc. Learn everything you can about not only the skills and techniques of art, but also the business side of things.

2) Persistence and endurance is really key. Sometimes it can take a few years or more to really get your career going on its own. You have to accept that fact from the start and be prepared to work as hard as you can and as often as you can for little or no reward until you start to notice things starting to happen.

Thanks a lot, Thomas!

Illustrator Interview: Iban Barrenetxea

05 Jan 2015

In the first interview of this year 2015, we had the pleasure to talk with Iban Barrenetxea, extremely talented illustrator from Basque Country, who after more than ten years devoted to graphic design changed his focus to books illustration, achieving great success. Iban is also a PRO user of Drawfolio and you can view and enjoy his work at

You worked a lot on graphic design before focusing on illustration, and you are also the author of the texts of some of the books you illustrated. How was this journey, and what made you start it?

Books have always been very important to me, but I suppose I saw graphic design as a more realistic way to build a professional career. I always thought it as something "temporary", but it turned out to be more than 10 years! I took my time, but changing to illustrating books was a very natural step. I shared some work on my blog from time to time and began to receive proposals from editors. I gave the final step four or five years ago and.. here I am!

Iban Barrenetxea

How is working in the publishing sector? What is that you like the most or the worst about it?

It is a highly complex world, but I think I'm slowly getting the grasp of it. I love finding people who are passionate about publishing books and dare to do something different. Working with the calendar always in sight, that I like less: deadlines and terms are crazy nowadays. But without deadlines, I think I still would be polishing my first book.

What qualities does a client and project need to have for you to feel comfortable and motivated?

I never see editors and publishers as "clients", but as people with whom I work with a common goal: to make the best book possible. The editors and publishers I like the most are the ones who are passionate and get involved in the project as much as I do.

Iban Barrenetxea

What good (and bad) things do you feel the Internet and the new technologies have brought to the illustrator profession?

The positive: the communication opportunities and spred of our own work. The negative: with a daily overload of information, we are consuming everything faster and in a more superficial way.

And last, but not least: any advice for aspiring illustrators just starting up their careers?

Work a lot, read a lot and always keep learning.

Thanks a lot Iban!

Drawfolio during 2014

31 Dec 2014

2014 was a busy year for Drawfolio, and we want to share with you some figures that tell what happened to us this year. During 2014, we had:

366.932pages viewed
17.452images uploaded
1.621registered users
858twitter followers
537facebook followers
75PRO users
60posts in our blog
17media appearances
8pitches and talks

We could have not achieved all of this without your support, so we want to wish you a Happy New Year and give you the most important figure of all of them:


Illustrator Interview: David Belmonte

29 Dec 2014

Let's carry on with our interview series! We really want to interview illustrators from other places in the world, but our home city Valencia has got so much talent that we are still sticking there for our interviews.

This time we talked with illustrator and comic author David Belmonte. Among other things, David has published the comic book 1840: La Rosa Secreta.

How did you get into the world of illustration comic books?

Like most of people in our profession, I had an early inclination for watching and creating images. Step by step, I learnt the techniques and work process on my own but also on schools, academies or faculties. I discovered the different professional fields there and slowly began to choose where to focus.

David Belmonte

You work in client projects and national-published personal projects alike. Which are the pros and cons of dealing with both dedications?

When a company, agency, or publisher is interested in one of your personal projects and supports it, getting involved in its production, that project has already become "work". Until then, that project is in a seed stage where is a child of yours of sorts, and that "love" side makes you to put a lot more hours into it than it would be reasonable.

Aside from that, both personal projects and client work are similar in terms of the work process, technique domain and achieving goals.

Do you think it's important for an artist to find a well-defined and unique style, or it's better to be versatile? Is it possible to find an equilibrium between these two?

Both options can work, the real important thing is achieving your goals and enjoy of what you are drawing and the way you are drawing it. If your goal is to become a professional you can choose both ways. If you find yourself in the need for a unique style, you'll have to work hard to find that graphic language with which you tune in, feel comfortable and find a market niche (I'm thinking of authors like Paco Giménez or Ian Miller).

What may be not easy is having your unique style with a graphic personality that stands out from other artists, and then at the same time work on more anonymous, standard kind of pieces. It can be difficult, but not impossible!

David Belmonte

What good (and bad) things do you feel the Internet and the new technologies have brought to the illustrator profession?

On a company and personal level you can contact with authors and companies from all over the world, and have the chance to make your company reach people far from your country.

As a work tool, you can document yourself in no time with information that would be really hard to find using traditional sources.

One problem can be the lack of hi-res pictures to get documented, preventing you to get into detail. Printed documentation (books, magazines, photography or carvings) is still essential on a lot of illustration workshops specialized on history or technical works.

And last, but not least: any advice for aspiring illustrators just starting up their careers?

My advise would be knowing, contacting and building relationships with other proffesionals on the illustration sector and others (publishing) via talks, festivals, interviews, associations, etc.

This contacts will provide you experience and knowledge, and can help you focus your ideas and solve problems. Let things flow and don't be too boresome or try to be funny: let others transmit you what they feel like, and don't discard anything they tell you: it may not be interesting today, but tomorrow that advise can be essential.

Thanks a lot David!

Help Center and Frequently Asked Questions

22 Dec 2014

We are steadily growing the number of our PRO customers, and we always try to talk to most of them! Some common questions and doubts have been arising from that conversations, so we decided to build a Help Center where you'll find answers on the most common questions about subscriptions, domains and portfolio websites.

Help Center

This is just the first step to have the most complete help center we can build. Aside from adding new answers to problems, we are planning to include:

  • Videos on the answers relating Drawfolio features.
  • Search box to be sure you find answer to your problems as fast as possible
  • CSS Recipes for advanced customization of your portfolio website.

What do you think? If you have suggestions or ideas for things to be included on the help center, please contact us at uservoice or write us at

Interview: Marina Muñoz

02 Dec 2014

Even more interviews, did you think we were going to stop? On this new instalment, we interview Marina Muñoz, an hiper-creative artist from Valencia who combines diverse disciplines like graphic design, photography and, of course, illustration!.

Marina Muñoz

How did you get into the world of graphic design and illustration? Was it what you wanted to do in the first place?

Drawing was kind of a compulsion since I was a kid, as was sculpting. My mother would find me sculpting classes (thanks to Ximo Moroder, potter, to treat me like a proper person even if I was 3!). They also would tell me that I could study Fine Arts when I was a grown up, and I didn't doubt to do so when the time was right. I discovered graphic design by luck: I found out that it was an interesting profession to channel my creativity (I didn't feel like teaching and illustration did seem impossible to me at that time) and pursued a master course in Barcelona to get more experience on that area. I always enjoyed studying, and would like to pursue more studies in illustration, as I now know it is the foundation of my passion in visual creation.

You combine diverse types of work: photography, graphic and identity design, lettering and illustration, personal projects.. Do you think is important to diversify, o would you like to be able to focus on one of these activities?

This comes mainly for my love of learning new things and my own unfocused nature! Some people find my profile interesting while others will say I'm too creative and not "commercial" enough. I think this is better for freelancing rather than having a secured employment position at an agency, so I'm determined to focus on my main strength: creativity. I'm betting on developing my personal or "arty" (I've been also called this) side.

How do you find client and work? What role does the Internet and social media play in this process??

I mainly get clients by contacts and word of mouth, people who has seen my work through other people or friends who recommended me. I'm glad because this way I'm doing a lot of illustration work that I will be able to show soon.

Internet is a pending matter to me. Having a portfolio website is key, but getting clients through it takes time and work, and I want to focus on that right now. I learnt a lot from a serigraphy experiment I did on etsy with some friends (MariMariPi), and now I want to apply all that experience on social media for myself. I see it all like a long distance race.

Marina Muñoz

How do you deal client work, projects and deadlines? What qualities does a client and project need to have for you to feel comfortable and motivated?

I try to set clear deadlines and terms from the very beginning, as projects usually tend to extend themselves over time (usually due to clients). I learnt this the hard way: not having this matters set up front can make the project a total mess.

I feel comfortable when there is good communication and I feel respected as a proffesional (and the client does not waste my time). If you add creative freedom, good fees and an interesting project, you got the perfect work!

And last, but not least: any advice for aspiring illustrators just starting up their careers?

Don't make the same mistakes that I did! Draw a lot, build a portfolio and promote it on the right platforms, social channels, agencies, etc. Start charging for those "cute drawings" that your friends like, try to auto-publish yourself. Don't get overwhelmed by fears and insecurities! There are thousands of great illustrators but you've got your unique voice: work it and improve it, if you show it to the world something awesome can happen!

Thanks a lot Marina!

Interview: Laura Pérez

12 Nov 2014

We are back with our interview series with more great artists from our home city, Valencia. This time we had the great pleasure of interviewing Laura Pérez, in our humble opinion one of the most important figures in the spanish illustration scene, who works regullarly with clients such as The Washington Post, The Wall Street Journal o National Geographic (among others).

Laura Pérez

How did you get into the world of illustration? Was it what you wanted to do in the first place?

Everything started with me getting in the Fine Arts Degree at University (my other option was psychology). Being there I saw clearly that drawing was what I could do best. I learned more about color theory later, and illustration was the field where I could combine both subjects. I had found what I wanted to do!

I decided to send my work to a lot of free and paid platforms on the Internet, and on one of them the Anna Goodson Illustration Agency (Canada) did notice me, and I haven't stopped working since then. I also work with Pencil Ilustradores (who are based in Spain), so I can mix work from Spain and abroad, as well as personal projects.

I just didn't know whant I wanted to do, just drawing, but I didn't know how this passion would become a profession. It looks it did!

Laura Pérez

You have worked for clients in UK, USA, Canada.. Are there many differences between those markets and the Spanish market? What is the best way for illustrators to reach this kind of clients?

The main differences are budgets and deadlines. Most companies from USA have really long instalments, so the artists can develop better their work. But there also spanish companies working this way now. I used to generalize more in the past, but now I see good and bad things in all markets. Organization and planning is key to make everything work as good as possible, wherever you are.

The best thing an illustrator can do is to internationalize her portfolio (english is better) with topic variety (but not style variety). And always be aware of the trends out there.

What qualities does a client and project need to have for you to feel comfortable and motivated?

It needs to "click" with me, the ideas I have to express have to be aligned with what I would do. Coherent instalments and deadlines are very important to make me feel comfortable.

Early this year you organized Valencia Illustration Circuit first edition. How did it all start, and how was the experience? What new things are coming with the next edition?

It all started small with a collective exhibition, and then it all grow quickly to other venues. The results overexceed any expectations I had, and this year we've got a lot of novelties coming: the team behind is bigger and the agenda will be broader. More news coming soon!

Circuito ilustración Valencia

What good (and bad) things do you feel the Internet and the new technologies have brought to the illustrator profession?

With the Internet you can reach any place if you are really determined to. Emails, links, access to information: it's so huge that is very easy to reach but very difficult to get focus.

The negative side is that the huge overload of information can be overwhelming for some: it can block your imagination rather than inspiring it. You have to use it as a tool to reach your objectives, and not a time-wasting black hole.

And last, but not least: any advice for aspiring illustrators just starting up their careers?

Don't give up if your are really passionate about it. If you are tired from drawing and it gives you more pain than joy, then give up. The passion is really what makes a difference.

Thank you Laura!

PRO users area

10 Nov 2014

It was nearly a year since we got our first PRO users, and we have been working to make the whole process of getting the current status of your subscription a lot easier.

If you are one of the PRO customers, now you got more things to see and do at "My account". For starters, you can change all your invoicing data on the "Invoicing data" tab. If you became a PRO user during our private beta period, please be sure to fill in all your data in this tab.

All the information about your subscription is in the "Domain and Subscription" tab. There you can see the start date of your current subscription, and its expiry date.

Subscription info

When the time comes to renew your subscription (as we hope you will do!), the are two scenarios you can be in:

  • If you paid via credit card, you don't have to worry about anything. Unless you tell us not to renew your subscription, we will automatically renew and charge our fee on your current expiry date. If you want us to charge you to another credit card, you can update the credit card data on the "Update credit card data" link.

  • If you paid via bank transfer or paypal, you can contact us to deal with your renewal payment. And if you now have a credit card available, you can pay for your renewal with it click on the link "Pay now for your subscription renewal with your credit card.". Please be aware that, as it will be the first time you give us your credit card data, we will charge for your renewal on that moment, but a full year will be added to your subscription expiry date.

In either of two situations, please remember to deal with the renewal of your subscription with time ahead. As domain registries are involved in your subscription, we recommend you have everything set up at least 30 days before the expiry date.

For any doubt, question, suggestion or problem, please contact us at uservoice or write us at

Interview: Luis NCT

03 Nov 2014

Next in our interview series is another great artist from Valencia, Luis NCT. Luis is illustrator, comic-book artist and writer: he published Sleepers on 2012 and has worked on RPG and videogame projects, collaborating with very known productions as The Legend of Five Rings RPG or Fantasy Rivals.

Luis NCT

How did you get into the world of illustration/comic books?

I knew I wanted to work on this since I was in school. I made my first comics, illustrations when playing RPG's with friends, etc. I was also attracted to the art world, not just the nerdy stuff, but I thought it could be profitable (and enjoyable) to work on sci-fi and fantasy illustration. I'm afraid I was wrong, because in these kind of projects the time spent and the retribution are not always aligned. And above all, my first and last passion are comic-books.

Which type of project makes you feel most comfortable and motivated?

Aside from personal projects and post-apocalyptic stuff, the two fields where I'm most comfortable is illustration around musical or medieval fantasy themes. Anyways, there are always those times that you got to hate your own work and feel like changing careers to something more useful, forestkeeper for example! Nature illustrations are also very relaxing, by the way.

You have worked in editorial projects both in Spain and in United States. What is it like? Are there many differences between both markets?

You can find both good and bad stories in both places. Outside Spain everything is a bit more professional and cold, and money & contract stuff is way more transparent. In Spain there are many legal vacuums in the illustration profession, no regulation, and the State even forbids Proffesional Associations from publishing recommended fees for the most common works. Is not a matter of markets, but of having serious government and laws.

Luis NCT

We know you are a great lover of Science Fiction: do you think comic is in better position to connect with this genre than other formats?

I believe comic is the format with most possibilities for narrative duties. There are infinite ways of telling a story through comic, and so few limitations, that any genre can become a masterpiece in a comic.

What good (and bad) things do you feel the Internet and the new technologies have brought to the illustrator profession?

The Positive side: easy communication between authors, editors, managers, etc. Also, you can find information and document yourself on any subject you need. Internet breaks the wall between author and public, and gives you the chance to be aside from the industry without stopping your production (webcomic, crowdfounding)

The Negative side: the oversaturation of information and the repetition of the common places. How many more illustrations of the Ninja Turtles does the Internet need?

And last, but not least: any advice for aspiring illustrators just starting up their careers?

Never stop working on personal projects (and I mean real personal projects, not fanart to give free promotion to Marvel, Disney or HBO), because every person is unique and if she is able to communicate her vision through art, something is lost to everyone if she doesn't.

Another advise: on work matters, always keep the distance between artist and client. That can save you from a lot of dissapointing situations or wasting time.

¡Thanks a lot, Luis!

Little fixes and what's next in Drawfolio

20 Oct 2014

After releasing two new templates last month, (Pollock and McCay), we have been working on fixing little details that improve the experience of using Drawfolio:

  • Mark pending messages as read: If you got a lot of pending messages and you already looked them up at your email inbox, now you can batch-mark them as read with the "Mark messages as read" link in the "Messages" section.

  • Better protection against image saving at browsers: We also prevent picture saving by dragging from the browser, if you had "Forbid copying pictures with CTRL+C and right button click" enabled at your portfolio website.

  • Better anti-spam protection: We used some non-intrusive techniques on your portfolio's contact form to prevent spammers, whithout having your visitors to fill one of those infamous Recaptchas!

  • Better blog support: We improved the blog feed integration to support more formats.

  • Progress bar on background picture upload: The upload process of a background picture to your site is easier and finally has a progress bar of its own.

The cloud under control

We also want to tell you about the big features we are woking on next. We really think one of the most important things we can help you on is getting more control of the cloud:

  • We are working to integrate Drawfolio with other services like Facebook, instagram, flickr or pinterest, so you can save time uploading works to Drawfolio and automatically get them uploaded to your other profiles on the Internet. This is interesting the other way around, too: having your portfolio website synced with a folder in your Dropbox, for example.

  • We are going to improve the analytics section a lot more, so you can have a quick glimpse in a very visual way of which of your works is getting more attention, and through which channels.

For any doubt, question, suggestion or problem, please contact us at uservoice or write us at

Illustration: Hallie Bateman

Interview: Alex Mathers

14 Oct 2014

Next in our series of interviews is Alex Mathers, awesome illustrator from UK who has worked with clients such as Google, Sony, Washington Post or Wired Magazine. He also runs Red Lemon Club, a quite known blog where he writes business and marketing tips for professional illustrators.

Alex Mathers

Where did the road to become a successful illustrator began for you?

Contributing stock illustrations to a stock website for pocket money. It began attracting client work and I went freelance a couple of years after adding my first stock illustration!

How did you end specializing on vector map and landscape illustrations?

Specialising was something I was aware that I needed to do based on what I was seeing around me in the work of other illustrators and designers. I ended up focusing on map and landscapes because I love to do them. This coupled with my awareness of needing to stay focused on a speciality, meant I honed my skills in this area above anything else.

Did you see a niche market opportunity there, is it a personal preference, or maybe both?

It's a bit of both!

Alex Mathers

You have worked for big clients like Google, Wired, or Washington Post. What is it like? Any hints for illustrators who are trying to reach this kind of clients?

Yes, it was great fun working with bigger name clients. Work on this balance: creating work that is considered 'cool' yet different at the same time. Create your unique take on what is 'hot' or 'cool'.

What qualities does a client and project need to have for you to feel comfortable and motivated?

For me, a great client is one that allows me to work on something that contributes to some positive change in the world, especially projects that will be seen by large numbers of people. A good client is also one that allows for plenty of my own creative input.

What good (and bad) things do you feel the Internet and the new technologies have brought to the illustrator profession?

Modern technology has made illustration more high profile than ever before. The Internet is what got me into illustration in the first place, and the access it gives you to a global audience and global clients is amazing. The web has allowed me to live a flexible and nomadic lifestyle, earning good money doing what I love to do.

The biggest issue with the net is distraction. It's the responsibility of the illustrator to avoid distraction. The competition it creates keeps you moving forward.

And last, but not least: any advice for aspiring illustrators just starting up their careers?

Yes, work hard building up a solid, beautiful portfolio that demonstrates you understand what is sought after, but in your own highly unique way.

Thanks a lot, Alex!

Interview: Pere Devesa

06 Oct 2014

Here we bring you another installment of our illustrator interview series. This time we interviewed Pere Devesa, a great artist from Valencia and one of the first paying customers of Drawfolio.

Pere has worked for editorial projects for the children and young adult publics, but as we'll see in the interview, he is capable of a wide range of work.

Pere Devesa

How did you get into the world of illustration/comic books?

My first payed illustrations were for a school editing their own children text books. I put a lot of effort and didn't have as much as pressure with a big publishing project, but it would become my entry to the professional world.

As for comic-books, I only have developed some short ideas for contests and won some recognition. If I get into a comic-book project in the future I'd go straight to publishing firms.

You worked in a lot of children illustration and illustred album projects. How is working with publishing firms? Is it your main focus, or do you work on other types of projects?

Like in other proffesions, deadlines are the main headaches. In my second project I spent six months making five or six illustrations a day (two in a day felt like "holidays"). The client was glad with the outcome, but I wasn't at all, although I learned a lot in the process.

I recently started workign with an US agency focused on the publishing market, but I'm also trying to broaden my portfolio on other fields like animation and videogames, where I had some collaborations lately.

Pere Devesa

How do you manage deadlines and stages for a project? Which type of client and project makes you feel most comfortable and motivated?

Deadlines are given by the client and you seldom have the time you'd like to accomplish the project. But aside from this, I don't need very much to feel comfortable with client work. A percentage of changes and corrections given by the client is usually in the terms of the deal, and as long as these changes don't mess up with deadlines or budget, everything will be fine.

What can be a real stopper is the client forcing you on a graphic style which is totally opossed to yours, but this doesn't happen very much.

What good (and bad) things do you feel the Internet and the new technologies have brought to the illustrator profession?

I can't think of any bad side about new technologies. They make the market bigger and open new paths where a lot of graphic artists can find their place.

Internet gives you a lot of inspiration and knowledge to feed yourself on, and allows you to build your own visibility in virtually any country. Obviously, you have to see it as a tool and not a way of "working", or then you'll find yourself spending all day finding new artists or watching video tutorials, instead of working on your own productions!

And last, but not least: any advice for aspiring illustrators just starting up their careers?

The best advice I can give is a really simple one. You really have to think where you want to be in the future, what others have done to get there and dedicate yourself full-time to achieve that. Constant work and focus is essential, but also is giving that work visibility and promotion.

Thanks a lot Pere!

Illustrator interview: Jotaká

30 Sep 2014

Hi there! We have been busy interviewing some illustrators from Spain and abroad, to bring you their perspectives on the profession and its relations to Internet and technology.

Today, we are opening this series with Jotaká, a great artist from our home town, Valencia.

Illustrator interview: Jotaká

How did you get into the world of illustration?

Since I was a kid, I always knew I wanted to draw and that I enjoyed doing it. I took courses on academies to help me get better at drawing and being creative. I studied Fine Arts at college and illustration later on. I actually didn't know that what I wanted to be was called "illustration" until I got to university!

Which type of client and project makes you feel most comfortable and motivated?

Character design is what motivates me the most in a project. Also, I look for projects where I can get better as an artist and where I can learn new things every day.

You have recently worked with startups such as Neonmob, who try to give a twist to traditional business models around illustration. Do you think this is a trend and more and more business and projects are going to appear around illustration, or is it just "the heat of the moment"?

There is an "illustration heat", as you say, but I don't think is just a timely fashion, it will probably get bigger! Each day more illustration is used in publicity projects, even becoming a substitute for traditional photograpy. The illustration boom is here to stay!

Illustration interview: Jotaká

Where do you find inspiration for your work?

I find inspiration everywhere: blogs, websites, shopwindows..

I always loved Picasso and his work has been a great influence on the way I build charaters. But there are great versatile artists nowadays, like Steve Simpsons. His work is just faultless.

What good (and bad) things do you feel the Internet and the new technologies have brought to the illustrator profession?

It's way more easier to get your work visible, and that's great. I think social networks and the Internet are some of the reasons behind the "illustration boom" becoming a reality. You can work for clients in other countries with just a few clicks.

The bad side? Well, there's a lot more demand and more illustrators than work! Just joking, I think Internet and technology are overall positive.

And last, but not least: any advice for aspiring illustrators just starting up their careers?

My teachers used to say to me: work and work again. And I would go: "Great, but I already know that, tell me something new!"

But it comes down to that: working, reinventing yourself, trying thousands of ways to draw a head, a hand, a flower pot, being different from the rest, and observe how the big ones and the little ones are working.

The tools or software that you are using is not going to make you win if you don't have talent and work every day. So thanks to my teachers!

And thanks to you, Jotaká!

New template: McCay

22 Sep 2014

If you thought that we were finished with new templates for your portfolio websites.. well, you were wrong! Our new template is named after Winsor McCay, cartoon pioneer from the beginnings of the 20th Century who had enormous influence on comic, illustration and animation.

Just like the big newspaper pages where McCay's "Nemo in Slumberland" was first published, the home of this template is a true landing page that brings together galleries, personal information and contact form. Aside from customizing colors, the title background image can also be setup to your linking.

Nuevo diseño: Mccay

For any doubt, question, suggestion or problem, please contact us at uservoice or write us at

New Template: Pollock

01 Sep 2014

Enjoyed your holidays? We can't deny we did go to the beach once or twice, but we have also been working on new templates for your portfolio websites. This time we bring you a dark-coloured and minimalistic template that looks great on any device and is named after one of the pioneers of abstract expresionism: Jackson Pollock

New template: Pollock

We also worked on a new feature that a lot of you have been demanding: the ability to sort children galleries. Just click "sort children" on the gallery list, and you can sort the children galleries for that parent gallery as usual.

Sort children galleries

For any doubt, question, suggestion or problem, please contact us at uservoice or write us at

New Template: Escher

21 Jul 2014

We have been working on new templates for your portfolio websites during the last weeks, and first one is ready! As we always do, we named this template after one the most influencing artists of the 20th century: Maurits Cornelis Escher.

This new template has horizontal scroll and gives maximum power to the images in the portfolio, so you may want to have high resolution images when using it. Hope you like it!

New template: Escher

We also improved the aspect of modal windows for this and the other templates, to make sure people visiting your portfolio website with tablets or mobile devices have the better experience possible.

New modal window

For any doubt, question, suggestion or problem, please contact us at uservoice or write us at

Thumbnail crop editing and better video support

08 Jul 2014

Hi there! It has only been a week since the last time we added new features to Drawfolio, but we didn't stop there! This week we are making live two small but useful features that a lot of users have been demanding us:

  • Edit picture thumbnail cropping: After uploading a picture to a gallery, now you can edit the thumbnail cropping area to make sure it looks great when listing the pictures of a gallery in your portfolio. Just click the link "Edit Picture Thumbnail Crop" when editting a picture, or in pictures you can upload in the "Information" or "Appearance" section.

    Edit thumbnail crop

  • Better video support: We are supporting more web video providers apart from youtube. Now you can link a picture to videos from vimeo, blip, hulu, sapo, qik, metacafe and a bunch of other sites, in addition to youtube. Remember that you can link a video to a picture enabling "Show a video in this picture detail" in the Edit Picture form.

For any doubt, question, suggestion or problem, please contact us at uservoice or write us at

New features and more storage space for free accounts

01 Jul 2014

Hi everyone!. As usual, we keep working to improve Drawfolio. This week we bring you new features and also we are giving more storage space for the free accounts:

  • Social links management: Until now, you could add facebook and twitter links to your portfolio, but we have been working to make this more flexible. Now you can add and remove links to your profiles on other social sites under the tab "Social Links" of the "Information" section.

    Social Links

  • One picture as portfolio's home: For your portfolio's home, you can set up things to show a list of your galleries or a random list of pictures. Now you can also choose one picture to be home for your portfolio. Just go to "Appearance" and set "In portfolio home, show..." the option "One picture from the ones uploaded in the portfolio". Then, choose your prefered home picture in the "Picture to show at portfolio's home" dropdown.

    Home picture

  • More storage space for free accounts: Free accounts had 10MB storage space, but from now on we are giving 30Mbs, more than enough to get a grasp of what Drawfolio can do for you.

For any doubt, question, suggestion or problem, please contact us at uservoice or write us at

NEED HELP? Visit our help center or contact us at