#veronicahuacuja Archives - Veronica Huacuja

Sculpting Interesting Characters

History research pays off when we use it in our artwork.

Welcome! My name is Veronica Huacuja (pronounced wu-a-koo-ha). I’m a plastic artist, and an online art teacher of business and school groups.

On this occasion, I’m sharing with you the dynamic of an online art session I had with a very talented group of people. Hope you enjoy our experience.

HISTORY CAN HELP US IMAGINING INTERESTING CHARACTERS.

I’m convinced historical research triggers our imagination. It provides us with information that helps us make new associations in our artwork.

We studied Alphonse Bertillon’s (1853-1914, France) body of work. As we may know, he was a police officer and researcher who applied his knowledge to law enforcement. In this way, he created an identification system based on human physical measurements.

So, we used a frontal and profile view of one of his studied individuals. With these two images, we can build the bust of almost any character. That being said, we sculpted our character and contextualized it in another environment. This is by adding an eccentric piece of garment, such as the enormous hat he wears. It was like constructing our own edition of Lewis Carroll’s ‘mad hatter’.

I’m presenting my work.

Title: Man with Hat 3
Artist: Veronica Huacuja
Medium: Clay
Size: 9 (W) x 22 (H) x 9 (D) cm
Year: 2023
Collection: Sculptures

From a personal standpoint, this art experience gave me the idea of making up a series of busts of extraordinary characters casting them in resin.

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Art & Mindfulness for Business Groups. A Virtual Program for Creativity and Well-being at https://veronica.mx/artprogram

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Reuse Your Canvas And Achieve Good Results

Welcome to another Art Blog. My name is Veronica Huacuja (it is pronounced wu-a-koo-ha). I’m a plastic artist, and an online art teacher. I’ve some good practical tips for your painting process.

LET’S TALK ABOUT SOMETHING IMPORTANT REGARDING OUR ART MATERIAL.

Don’t throw away the paper or canvas on which the results we achieved were not what we expected. Keep them and use them for a better try…, but this new use must be a strategic one.

My recommendation for an additional work (made in the same material we have kept) is to leave some elements of this original work. This means, not cover with paint the whole original failed artwork, but to integrate it into the new one. This will improve the expression on our second try. To exemplify the above, I add the data sheet of the work I’m presenting:

Title: Woman 10
Artist: Veronica Huacuja
Medium: Acrylic on paper
Size: 61 x 48.3 x 0.1 cm
Year: 2022
Collection: Women

Woman 10 results from my second try on an unsatisfactory work.

Material.

An unsatisfactory work on paper or canvas.
Acrylics paintings.
3 brushes. The size of the paper or canvas determines the size of the brushes. When we paint on a small surface, the brushes must be small and vice versa. For this work, I used rectangular brushes less than an inch thick.
Water.

Visit my patron’s feed. You’ll find images that describe the process of Woman 10 using a failed painting on paper I made some time ago: https://www.patreon.com/posts/61243765

A SECONDARY TOPIC. I’d like to talk about the relevant use of physical models in our artwork. If, on the contrary, we use a photograph as an initial resource, we’d be working on interpreting another artist, in this case, the photographer. If so, we’d be copying the gesture or other elements he already solved. And I add something relevant, we’d be working on a two dimensionality (height and width), not on a three dimensionality (height, width and depth). So, the recommendation is to use a physical model and to make our own interpretation out of it. Also, by doing the latter, we improve the coordination of our sight, brain activity and physical capacities (our hand skills). This training will help us achieve rhythm, dynamism, character and gesture in our work.

LET’S DEDUCE A SIGNIFICANT MEANING FROM THE ABOVE. Besides taking care of the costs of our painting materials, second tries (even third ones or more) increase our capacities as painters.

Visit any time:

I offer Art & Mindfulness for Business Groups. A Virtual Program for Creativity and Well-being at https://veronica.mx/artprogram

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How About Turning Our Art Interests To Other Fields?

Hi there! I'm Veronica Huacuja, an artist and an online art teacher. I have some good practical tips for your art process.

WOULD IT BE INTERESTING TO APPROACH DIFFERENT TOPICS IN OUR ART? I carried out this new approach to my work, and what I discovered is intriguing, mysterious, absorbing. The artwork I'm presenting results from one of those cases where art and sickness (a medical condition) gather. This is its data sheet:

Title: The Deaf Man 7
Artist: Veronica Huacuja
Medium: Acrylic on paper and digital painting
Size: 10,000 x 10,000 px, 300 dpi
Year: 2021
Collection: Human Body

SICKNESS IN ART. As I've said in some other posts, I’m an artist interested in abnormality, deformity and its effects on human life. The persons that lose one of their five senses or were born missing one of them call my interest. I explore and investigate their lives. This initial information helps me to develop my work. I created this piece with deep respect and empathy for these people.

So, following these criteria, deafness is a fearsome sickness that isolates the people that suffer it because it affects their spoken language comprehension and communication with others. Hearing loss disables a person to understand speech, reality, which cause on them–in some countries and environments–, social isolation, loneliness and stigma. (1)

"In a medical context, deafness is defined as a degree of hearing difference such that a person is unable to understand speech, even in the presence of amplification.[...] In profound deafness, even the highest intensity sounds produced by an audiometer (an instrument used to measure hearing by producing pure tone sounds through a range of frequencies) may not be detected. In total deafness, no sounds at all, regardless of amplification or method of production, can be heard." (1)

The initial challenge in this work, as a figurative artist, was to express the latter. That is to embody in a character this drama.

LET’S DEDUCE A SIGNIFICANT MEANING FROM THE ABOVE. Definitely, blending information from different fields stimulates our imagination and creativity, which reflects in the original results we might accomplish.

IMAGES OF THE TECHNICAL PROCESS OF THE ARTWORK. I’m adding some images that describe the creative process using traditional and digital techniques. You'll find them at https://www.patreon.com/posts/47080432

Visit any time:

I offer Art & Mindfulness for Business Groups. A Virtual Program for Creativity and Well-being at https://veronica.mx/artprogram

Visit any time:

My Body of Art

My Art Shop

Other Art Blogs

Art Blogs at Fine Art America

Art Posts and Videos at Patreon

Instagram: veronicahuacuja

TikTok: veronicafineart

Youtube: Veronica Fine Art

Email: art@veronica.mx

Thank you for visiting.

1 https://en.wikipedia.org/wiki/Deafness

Let’s Get Inspired By Great Artists For Free

Welcome to another Art Post! My name is Veronica Huacuja. I'm a plastic artist, and an online art teacher. I have some good tips for your painting process.

As an artist or art practitioner, have you ever started your day not knowing what your next project might be? It occurs to most of us, and while this circumstance happens, we can turn to study the work of prominent artists, and practice with their work.

SOME PREVIOUS QUESTIONS.

Do you explore the work of other artists from different genres (photographers, sculptors, filmmakers, etc.)?
Do you find useful for your own work to do this research?
Do other artists’ artwork influence your own work?

I do these activities, and I recommend you to practice them. It enriches our work.

A PERSONAL ART EXPERIENCE. This time the oeuvre of the photographer John Coplans (1920-2003, United Kingdom) amazed me. I based the following artwork on his photograph, Self Portrait: Torso With Large Upper Arm II, 1985.

To exemplify the above, I add the following data from the piece I'm presenting:
Title: Body Study 62
Artist: Veronica Huacuja
Media: Oil on paper
Size: 28 x 21.3 x 0.1 cm
Year: 2019
Collection: Human Body

ACTIVITIES.
- Let’s explore and learn from the eminent artists of all times, and permit their influence on our work.
- Self-practice the art procedures I accomplished in "Body Study 62", which I describe in a video (1:42 min.) you can find at https://www.patreon.com/posts/practicing-our-30744058

MATERIAL.
-An oil paper will do the job just fine. I recommend the brand Fabriano, an Italian paper of at least 300 g/m2, which is a thick paper prepared for oil painting, or else a canvas. Always use material of excellent quality for your work. The size I recommend is the same as I used in this artwork: 28 x 21.3 x 0.1 cm.
-Thin, circular and rectangular brushes (half an inch wide, at the most). The size of the brushes depends on the size of your paper or canvas: bigger brushes for bigger areas and vice versa.
-Turpentine
-Oil paints

LET’S DEDUCE A SIGNIFICANT MEANING FROM THE ABOVE. Would searching and studying the prominent artists’ body of art be a worthwhile experience whenever the ephemeral “goddess of inspiration” is not around? Oh, yes, great masters can teach us so much!

Visit any time:

My ART SHOP: https://veronica-huacuja.pixels.com

My BODY OF ART: https://veronica.mx

I offer an ONLINE PAINTING PROGRAM in traditional or digital techniques: https://veronica.mx/online_painting_course

Other POSTS AND VIDEOS: https://patreon.com/veronicahuacuja

Hope you enjoyed the post. Thank you for dropping by.

How to Manage the Light in Our Artwork

Welcome to another Art Post. My name is Veronica Huacuja. I’m a plastic artist and an online art teacher at an Art Program I've designed. I have some good tips for your painting process. Hope you find them useful.

This is a very true principle. One of the major topics we artists deal with every time we begin a portrait is where should the source(s) of light might be. In other words, where the lights and shadows will take place in our work and the effects on our character (s), atmosphere, palette, etc.

To exemplify this, I add the following work:

Title: Study Head 29 

Artist: Veronica Huacuja

Media: Oil, acrylic on paper

Size: 24 x 32 x 0.1 cm

Year: 2018

Collection: Portraits

Previous thoughts. Let’s learn from the great masters how they deal with this topic. One of these painters is Rembrandt (1606-1669, Dutch Republic). He used a standard lighting technique for some of his portrait’s studios.

Getting to know... That Rembrandt’s lighting is “(…) characterized by an illuminated triangle (also called Rembrandt patch) under the eye of the subject on the less illuminated side of the face. We achieve this by "using one light and a reflector, or two lights. (This way to solve the illumination is) popular because (it can produce images) which appear both natural and interesting with a minimum of equipment." (1) Study the cited elements of this technique in Image 5 of 5.

Material I used to make up the wok.

A physical model (a relative, neighbour, etc.)
One or two sources of light
A reflector (A mid-size white cardboard will make the job just fine.)
Oil paints
Gesso
Medium format white paper: 37.4 W by 26.7 H by 0.1 in. I use and recommend the Italian Fabriano paper, which is very thick (300 g /m2) and has a wonderful performance for oils and acrylics.

My experience while making up this artwork. Some things that we have to decide in our work regarding the light(s) are: its color (white, yellow or other), number of lights (1 or 2), intensity, closeness to the model(s), etc.

In "Study Head 29 ", I used Rembrandt lightning technique, which illuminates one of the model’s cheeks immersed in shadows as we can appreciate in Image 2 of 5 and Image 4 of 5. This technique also projects a subtle light to the face contour (the one in the shadows) and helps differentiate its outline from the background color (Image 2 of 5).

Let's reflect on the above. Taking the time to consider the various lighting options to illuminate our subject while planning a portrait can yield significant results in the end.

If you find this work interesting and helpful, please LIKE it, FOLLOW my Patreon feed, or BECOME MY PATRON. Thank you.

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Thank you for reading.

1 https://www.google.com/search?q=what+does+rigged+measn+in+blender&oq=what+does+rigged+measn+in+blender&aqs=chrome..69i57j0i13i30j0i390l5.8512j0j4&sourceid=chrome&ie=UTF-8

3 Ways To Know A Great Painter While Drawing The Human Body

Hello, my name is Veronica Huacuja. I am a plastic artist and online art teacher. I've created this content for a group class and I hope you enjoy it.

PREVIOUS COMMENT. As artists or art practitioners, we must use all the resources we have at our disposal. Following these criteria, this time we explored the work of the painter Lucian Freud (1922-2011, Germany), one of the most important portraitists of the 20th century–and Sigmund Freud's grandson, the founder of psychoanalysis–. We focused on one of Lucien Freud's portraits of Leigh Bowery (1961-1994), an Australian artist.

THE EXERCISE. I developed a plasticine model based on one of Freud’s portraits of Bowery, “Nude with Leg Up (Leigh Bowery)”. In this way, we had endless poses of the model, to which I applied different lights. We worked with the ones we found the most interesting, and drew them with crayon on paper.

I'm adding some sketches that I made in the session, and an image of the plasticine model.

This is a sketch based on Lucien Freud's portrait “Nude with Leg Up (Leigh Bowery)”. — Sketch 10Sketch 11

Plasticine model I made for the session.

OUR ART GOALS.
- We had to achieve the gesture of the human figure, considering the volume delineated by the lights applied to the plasticine figure. Gesture, as we may know, is a “movement” of the body that expresses a feeling, a sensation.

- We experienced the powerful use of a black, thick crayon on paper.

- For those who didn’t know the painter’s work, got to know it, and also we got to know some facts about Freud’s biography, such as the relationship established with his model. When I introduce a new artist to my students, I always refer to the man (in a comprehensive sense, referring to men or women) and his work. I believe that’s the most complete way of approaching an artist and his work.

THE DYNAMIC OF THE SESSION. Everyone, including me as a teacher, made the exercise. As we did so, I gave guidance, according to the needs of the participants. And, meanwhile, we worked, I displayed and commented on my progress on the screen.

To know the plasticine model and some other sketches of the work, please visit https://www.patreon.com/posts/67831359

MATERIAL.
· A thick black crayon.

· Sketch paper. Size and type: 29.7 x 42 cm, 95 g / m2 (it’s a thin paper).

EXERCISE DURATION.
2 sessions of 60 mins.

LET’S MAKE A REFLECTION FROM THE ABOVE. Getting to know the oeuvre and life of the artists of all times expands our artistic and personal experiences. So, the comprehensive study of these artists is something we must continually do.

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Some more info and images of the work: https://www.patreon.com/posts/67831359

My ART SHOP: https://veronica-huacuja.pixels.com

My BODY OF ART: https://veronica.mx

I offer an ONLINE PAINTING PROGRAM in traditional or digital techniques: https://veronica.mx/online_painting_course

Other POSTS AND VIDEOS: https://patreon.com/veronicahuacuja

Thank you for reading.

Using Chiaoscuro In A Painting

Let’s learn new techniques from the masters of painting and include them in our art flow.

Welcome to another Art Blog. My name is Veronica Huacuja. I'm a plastic artist, and an online art teacher for individuals and groups. I have some good tips for your painting process. Hope you find them useful.

SOME CONCEPTS TO START. Chiaroscuro is an Italian word that refers to the lighting and shadows in painting. Who used this interesting technique were the great painters of all times, such as Leonardo da Vinci, Rembrandt, Velázquez, among others.

This technique emphasizes light and dark, making out stand the most important figures in an artwork. “It was originally used while drawing on colored paper though it is now used in paintings and even cinema. It is very commonly seen in religious art, especially with the light emanating from the holy figure being painted. This process is used because it naturally draws the eye toward the focus point which the artist intends in a very natural way.” (1)

CHIAROSCURO AND TENEBRISM. I’d like to approach an interesting difference between these both techniques. Tenebrism comes from the Italian word “tenebroso”, which means dark. In this technique, shadow undergoes to black, there’s no intermediation between light and shadow. One of the great exponents of tenebrism is the Italian painter, Caravaggio (1571-1603, Milan, Duchy of Milan, Spanish Empire). On the contrary, chiaroscuro uses light and shadow to create depth behind the figures.

SOME COMMENTS REGARDING THE WORK I'M PRESENTING. As an artist, I’m concerned with abnormality and its effects on human life. To create this work, I read and watched testimonials of persons that have had the experience of an epiphany, which as we may know, is “an experience of a sudden and striking realization” (2), that can be mystical, religious, philosophical, etc.

In the work, I tried to embody this strange human experience using the chiaroscuro technique to add drama and three dimensionality to the piece. The data sheet of the work is:

In the work, I tried to embody the strange human experience which is an epiphany. The last by using the chiaroscuro technique, which adds drama and three dimensionality to the piece. — Epiphany 5

Title: Epiphany 5
Artist: Veronica Huacuja
Medium: Digital Art
Size: 9,448 x 8,740 px, 300 dpi
Year: 2020
Collection: Portraits

LET’S DEDUCE A SIGNIFICANT MEANING FROM THE ABOVE. We can study the body of art of the great masters of painting, learn their techniques and use them in our work, in whatever genre we manage. Also, we can keep in mind that our production, as artists, mostly come as if from dreams, where our experiences overlap in a delicate, ephemeral relationship.

1 https://artsandculture.google.com/usergallery/the-use-of-chiaroscuro/1AJCCI6Py2rgLA

2 https://en.wikipedia.org/wiki/Epiphany_(feeling)

Reuse Your Canvas And Achieve Good Results

You’re welcome to another Art Blog. My name is Veronica Huacuja. I'm a plastic artist and an online art teacher for groups and individuals. I have some good practical tips for your art process. Hope you find them helpful.

A GOOD RECOMMENDATION REGARDING OUR ART MATERIAL. Don’t throw away the artwork you consider at the moment unsatisfactory. Don't throw away the paper or canvas on which the results were not what you expected. This is because there’s still a good use for it. Let’s keep these materials and use them for a better achievement…, but this new use must be a strategic one.

One interesting thing we can do in our next work is to leave some elements of the original painting. This means, not cover with paint the whole original failed artwork, but to integrate it into the new one. This will improve the expression on our second try.

To exemplify the above, I add the data sheet of the work I’m presenting:

Title: Woman 10
Artist: Veronica Huacuja
Medium: Acrylic on paper
Size: 61 x 48.3 x 0.1 cm
Year: 2022
Collection: Women

Visit any time my patron's feed where you'll find images that describe the process of "Woman 10" using a failed painting on paper I made some time ago: https://www.patreon.com/posts/61243765

A SECONDARY TOPIC. I’d like to talk about the relevant use of physical models in our artwork. If, on the contrary, we use a photograph as an initial resource, we’d be working on another artist's interpretation, in this case, the photographer (copying the gesture or other elements he already solved). And I add something relevant, we’d be working on a two dimensionality (height and width), not on a three dimensionality (height, width and depth). So, the recommendation is to use a physical model and to make our own interpretation out of it. Ask your friends or relatives to pose for you. It'll be worthwhile.

By doing the latter, we improve the coordination of our sight, brain activity and physical capacities (the hand skills). This training will help us achieve rhythm, dynamism, and gesture in our work.

MATERIAL
- An unsatisfactory work on paper or canvas.
- Acrylics paintings.
- 3 brushes. The size of the paper or canvas determines the size of the brushes we have to use on the work. When we paint on a small surface, the brushes must be small and vice versa. For this work, I used rectangular brushes less than an inch thick.
- Water.

LET’S MAKE A MEANINGFUL REFLECTION FROM THE ABOVE. As with everything in life, our art materials are resources that are limited, so let's use them creatively... and by doing so experimenting and finding new expressions in our work.

MY SOCIAL MEDIA

Visit any time:

My Body of Art

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TikTok: veronicafineart

Youtube: Veronica Fine Art

Email: art@veronica.mx

Thank you for visiting.

Clay Sculpting Our Painting Models

Welcome to another Art Post. My name is Veronica Huacuja. I’m a plastic artist and an online art teacher. I have some good tips for your painting process. Hope you find them helpful.

PREVIOUS COMMENTS. Have you ever had the experience of not having access to a physical model to practice your drawing skills with? Well, this is an easy need to be solved. I do the latter by sculpting clay models, pose them and draw them on paper. But to do so, I need at least two photos of a character to work with: a frontal and profile view. I usually find these two photos in official mug shots where law enforcement photographs the offenders. A good thing is that these images are in the public domain. This is one of these cases.

MY INITIAL SOURCES. Having the latter in mind, I searched on the Internet, and I found the two mug shots I required, and a very interesting story: the true chronicle of Bob Addison (1913-unknown, U.S.), inmate No. 35074, from the Virginia Penitentiary archives. So, I made up the clay bust and sketched the following artwork:

Title: Inmate #35074

Artist: Veronica Huacuja

Medium: Ink on paper

Size: 10.1 x 20.3 x 0.1 cm

Year: 2022

Collection: The Relentless

BOB ADDISON’S TURBULENT STORY. This man began his criminal career at a very young age: 19 years old. In 1932, he “was convicted in Tazewell County of assault with a knife and sentenced to four years in the Virginia Penitentiary. He served 2 1/2 years and was released.” (1)

After, he got into trouble again. This time in Russell County, where he, too, badly cut a man with a knife, and prior to his trial, he escaped, never to be found until thirty years after. In between, he used another identity, Elbert Roy Clark, got married, and had six children.

This time, when caught–now being an elderly man–, he did not serve his time because “after an outpouring of letters recommending clemency, including one from the Governor of West Virginia, Virginia Governor, Mills E. Godwin, Jr. pardoned Addison on 27 January 1967.” (1)

MAKING THE ARTWORK. There are several advantages by making up our models with clay:

- We exert our artistic skills by perceiving and representing the volume of the figure (wide, tall, and depth). This doesn’t happen when we practice with a 2D model, such as using a photograph or a screen shot from a video. Our brain, sight and hands work altogether when we use a real-life model.

- We can pose the model in different positions: foreshortening, profile, frontal view, bird's-eye view, low angle view, etc., and add diverse sources of light to it. Doing the latter we can practice the chiaroscuro, high contrast, among other light treatments.

- We can make up a silicone mold out of the plasticine bust and begin our sculptor's trade!

TECHNICAL PROCEDURES. I used the frontal view and a profile image to make up the plasticine cast. It’d have been great if I could have found both sides of the character’s head (left and right). (2) This is because our facial features aren’t symmetrical, as we may know. Anyway, I managed to make up the clay model avoiding symmetries. Then, I developed several sketches in ink. In this article, I included the one that I think reflects the once fierce personality of Bob Addison.

LET’S MAKE A MEANINGFUL REFLECTION FROM THE ABOVE. As artists, we can use of our creativity to solve whatever needs we might have to accomplish our work.

1 https://uncommonwealth.virginiamemory.com/blog/2011/10/24/mug-shot-monday-bob-addison-no-35074/

2 Alfonse Bertillon (1853-1914, France) was a police officer and biometrics researcher who created and applied an anthropological technique to law enforcement. He invented an ID system based on physical measurements and the use of mug shots to classify the offenders. Some of these mug shots had 3 views: frontal, and both sides of the head.

Should We Include Social Issues To Our Artwork?

You’re welcome to another Art Blog.

I’m Veronica Huacuja, a plastic artist, and an online art teacher. I have some good and practical tips for your painting process. Hope you find them helpful.

REGARDING THE TITLE OF THIS BLOG. Should we include into our art social problems we watch and read about in our everyday lives? I think it’d be a natural thing to do for some artists, but I’d like to add that this inclusion has to be subordinated to art itself, not to any other topic or field. If our work is a piece of art, it has to be free of any usage (e.g. political topics, trends, etc.).

So, that been said, I made up a collection I entitled The Relentless, where I picture historical characters that suffer social malfunctions and disorders that drive them to commit crime. The tragedy of their lives and their cross paths in the lives of others are elements that impulse me to create this collection.

In this series, I dedicate my work to the victims of the perpetrators I work on, and to the multidisciplinary law enforcement team that pursues these offenders.

This is the data sheet of the work I’m presenting:Title: Robert Stroud, The Birdman of Alcatraz

Artist: Veronica Huacuja

Medium: Digital Art

Size: 6,614 x 10,422 px, 300 dpi

Year: 2021

Collection: The Relentless

As we may know, Robert Franklin Stroud (1890-1963, U.S.) was a convicted criminal with significant contrasts in his lifetime. These contradictions prompted me to create his portrait, in which I tried to capture the tumultuous events of his tragic life.

A PERSONAL EXPERIENCE. One more thing that triggered in me the creation of this work is that I’ve visited the public museum of Alcatraz Federal Penitentiary during my lifetime on several occasions. I’ve read about the everyday routines that the inmates had to perform, the established relationships among them (their hierarchies, their groups), the roles of the guards, etc. I’ve seen the small cells in which these dangerous men lived for years.

SOME OTHER THOUGHTS. Regarding the aforementioned, I’d like to talk about the differences that some European prisons have compared to other countries, where the inmates have better conditions for redemption. This last, if it’s the case. I believe, besides a matter of finances, overpopulation, etc. the concept of man is different in diverse countries, and in different historical periods. Some countries use their resources to reintegrate the offenders into society–when they’re sure these men won’t relapse–, and others to punish them. I believe Alcatraz was one of the latter prisons where most inmates were meant to be broken. This statement has to be seen as a historical phenomenon.

LET’S MAKE A MEANINGFUL REFLECTION FROM THE ABOVE. I believe the answer to the question of this blog’s title is, for some artists, a categorical yes. Do you agree?

Visit any time:

My ART SHOP: https://veronica-huacuja.pixels.com

My BODY OF ART: https://veronica.mx

I offer an ONLINE PAINTING PROGRAM in traditional or digital techniques: https://veronica.mx/online_painting_course

Other POSTS AND VIDEOS: https://patreon.com/veronicahuacuja

Thank you for reading. Hope you enjoyed the post.