Born and raised in Portugal, Miguel knew he wanted to be a comic book artist at the age of eleven when he found American comics.
At 17, Miguel moved to the United States as a foreign exchange student and stayed there for one year to study graphic design.
On his return to Portugal, he attended College - but only for a brief period, as he soon felt compelled to start working full-time as a freelance illustrator and storyboard artist due to the fast-growing number of clients and assignments.
Miguel's first serious publishing venture came with Trisan Editors, with whom he signed a contract to produce a collection of nine illustration books, which he wrote and illustrated.
Accomplishing his job ahead of time, he proposed the graphic novel "An Adventure With Santa Klaus", which eventually sold over 11 thousand copies in December of that year; a record in his country.
Not wanting to be typecast as a children's artist, Miguel went back to work in the advertisement industry. For the next three years, he illustrated over 260 storyboards, working for just about every production company and ad agency in Portugal, as well as some of the biggest ones over Europe. He also tried some art direction for commercials, but soon stopped as his interest was mostly in storytelling.
In 2001 and 2002, he won the 12th and 13th Annual Contest of the Comics International Festival of Amadora.
In September of that same year, he finished his work on two short film animations: 'The Cherry Flower', which he wrote the screenplay for, and 'Bones', a short 3D film based on a story by celebrated African writer Mia
Couto, in which he did the art direction for the earlier stages.
In 2003, at 26, Miguel started being represented by Glasshouse Graphics in the US market and has done work for several publishers, including MVCreations (Triklops: Icons of Evil, SpookShow) and Comeuppance Comics (Miranda).
2004 saw Miguel embark on a new venture, publishing a weekly funny comic page for the best selling TV magazine in Portugal. Unfortunately, the job only lasted two months, as the strip was censured for being too risqué for the common audience of the magazine.
During the summer, his first work for a major publisher came to live in the form of a cover for X-Men #51, Marvel Portugal. He has since then been working on several other projects for this publisher, which include several other cover.
Currently, Miguel also works as a free-lance assistant director on TV Commercials in between publishing jobs.
Miguel is a very determined, hard-working and committed young man when it comes to his career as a storyteller. He has earned a lot of credit as a commercial illustrator and gained a reputation for being a dependable professional who meets his deadlines. Miguel can also draw two pages a day, a rare thing these days, and that might turn out to be his greatest asset.

Publishing Credits:
 
2004
- X-Men #51 (Marvel/Devir)
- Nucomix 15-20 (Swan Graphics)
- Miranda 5 (Comeuppance Comics)
- Spookshow International 4 (MVCreations)
2003 (first year working exclusive as a professional comic book artist)
- Spookshow International 4 (upcoming) (MVCreations)
- Nucomix 14
- Tri-Klops: Icons of Evil (up-coming) (MVCreations)
- Miranda 3 (Comeuppance Comics)
1998-2002 - Several short stories for contests catalogues, commercial magazines, small press publishers and fanzines;
1998 - A Tale with Santa Klaus (writer and artist) for Trisan Publishers;
1998 - A collection of nine classic tales for children, including: Pinnoquio, Peter Pan, Tom Sawyer, The Treasure Island, The Three Musketeers, Robin Hood,  Five Weeks In a Balloon, 20,000 Leagues Under the Sea and King Solomon (writer and artist) for Trisan Publishers.

 INTERVIEW
 
What was the first comic you read?
  Something from Disney. My first super-hero reading was Captain America #253-254 (a compilation of both issues), where Cap fights Baron Blood, by Roger Stern and John Byrne. That’s the one that got me hooked.

 Who where the first artists to influence you?
The first ones were definitely John Byrne, John Buscema, John Romita and George Perez. Jim Lee and Scott Campbell where also important influences, although they came a little later. Overall, I get influences from everywhere. That’s why my style is always developing in the most varied directions.

Who influences you now?
Alan Davis, Adam Hughes, Neal Adams, Frank Cho, Albert Uderzo (Asterix) and Regis Loisel (Peter Pan).

What comics do you currently read?
I follow artists and writers, and not characters or books. I read Jim Lee, Bryan Hitch, Alan Davis, John Romita Jr, Eduardo Risso, David Lapham, Frank Cho, Carlos Pacheco, Mike Mignola, John Byrne, Will Eisner, Frank Miller, and Mark Millar. I buy the comics they are working on at the moment.

Tell about your working habits. How fast do you work? How long does it take you to pencil a page, on average?
  It takes me between three and five hours to pencil a regular page, so I can draw 2 pages per day if I have to. The fewer panels, the faster. Close-ups are also faster to draw. I never missed a deadline in 7 years working as a free-lance illustrator.

Which work are you most proud of?
If I have to single out one piece work, "A Tale with Santa Klaus" is on the top of the list, mostly because of the way it was done - 22 pages in 10 days, from plot to printing job, all done by me and a couple of assistants.

How was it like to work on the cover of The X-Men?
It was a great feeling, being able to draw characters I grew up loving. A dream come true. It was my first work done for a major publisher and the reception of it was really good.

How do you feel about the digital age of comics? Do you think innovations such as computer lettering and colouring, and digital inking in particular, has enhanced the comic industry? 
A computer is just another tool. The greatest advantage it brings is that now we can press Ctrl+Z or Apple+Z and undo mistakes in a much cleaner way.

If you could pick one writer to work with, who would it be?
David Lapham.

Have you ever thought in writing your own stories?
I have written a few already that have been published. I also write screenplay here and there.

If you could pick one comic character to work on, which would it be and why?
I want to work on many characters. It’s hard to single one out.

Can you ink?
Sure, although at the moment I'm trying to focus on my pencils. When required, I can do tight pencils and digitaly ink them.

How do you see yourself in the next 5 years?
Ruling the world, of course.

For which achievement do you want to be remembered?
I want to be remembered as a great storyteller.