I began my carreer a year before graduation working in an animation cartoon studio, while getting my degree at Syracuse University.
After graduation I decided to move to New York City, to expand my professional possibilities.
I got my first job in the comic book industry around 1997.
Early during this time I worked as a Ghost (uncredited work) and after a relative short time I managed to get my work credited in Marvel's X-Force.
It didn't bother me not to get credited for some of my work, to this day I undestand it to be part of the relation of master apprentice in the renaissance tradition so I found ways around it. For example, perhaps semi-consciously, I began peppering a few subtle Basque winks and tags. Well, some not so subtle at all: there were iconic Basque symbols, letters, words, even phrases and names of Basque Rock and Rap bands, etc. Things I thought would not be recognized by anybody.
I figured no other Basques were likely to be working as artists in the comic book industry. I never thought I was getting away with anything. If any of the camouflaged, incomprehensible Basque "winks" I drew in the background would have jumped out as any kind of red flag to an Editor, the worst that could have happened was that I would've simply erased them and drew them over. But that never happened. On the contrary, I think that my when some of the books I worked on in America got published back in Europe, the "Basque winks" that I thought I had concealed so inconspicuously were eventually discovered. This led to some very considerable attention until finally the University of Nevada got news of my "affairs".
I began assisting with background pencils X-Force in 1997 with #75 and continued until #81 in 1998.
Along with other such as Image's Nosferatu 1922 and Withcblade INFINITY titles as well as DC's Big Daddy Danger.
Here are some samples during my genesis in my carreer.