FRANCISCO ROSALES

I was born in Huixcolotla, Puebla and came to Mexico City at the age of 22 with the goal of becoming a professional cartoonist. After two years of waiting, I finally contacted someone in the middle who would allow me a foray into a comic book publisher. After a first dialogue with the owner of the publishing company, I concluded that on a scale of 1 to 10 it was 0.5. At that frustrating moment, I also had my first success: not letting go of contact with the medium that I had come looking for.

On the recommendation of this person, I came to a studio where five cartoonists were working in a very advanced process of learning under the direction of an Oaxacan teacher. In a short time I felt completely integrated into the environment, I felt like a fish in water. It was only a matter of time and a lot of practice of the technical elements of the specialty. It was a journey of almost 9 years to assimilate everything necessary, to be my own boss. And so it happened. I do not have exact dates since they were not important for me. I will add that all this time my contributions were always well paid in multiple titles that were published in that golden age.

I met almost all the masters of the specialty and below I will mention a few: from Novaro publishing house; Galán, Santillán, Cardoso, Fausto Buendía and José Hernández. With the latter, I collaborated on the Sunday morning papers for El Halcón Negro, Héroes del Oeste, among other titles, all for the newspaper La Prensa. In Vid, as an independent cartoonist, I met Juan Alba, creator of El Pantera; Sixto Valencia, creator of Memin and Opposite Destinations; Fausto Buendía Morales, creator of El Chicano; Rubén Lara, who drew Fantomas; Rafael Merino and José Cabezas Merino.

However, and as nothing last forever, the comic completed its cycle and everything ended with the digital era. This happened and after a long break I decided to dabble in color and so I started with "Estampas Mexicanas" doing social criticism at the same time with very colorful illustrations of very poor Mexicans.

So I began to exhibit my material, having Carolina O'Farril's Gallery in the city of Puebla as my starting point. These exhibitions were very successful due to the originality and color they applied. In 2013 I was a participant in a group exhibition in which 19 countries, including African exponents, participated. From that experience I concluded that I was on a good path since my works were highly praised and I sold 6 out of 15. Later, I presented eight more exhibitions. The eighth was in the Casa de Cultura of the City of Puebla in the Héctor Azar hall with great success by presenting innovate techniques predominating the contrast of blacks. This presentation was attached to social criticism with 100% revolutionary Mexican images having excellent acceptance by the public. In this way I find myself 100% involved in the plastic arts.

This is a brief sketch of my trajectory until today.