Oh, god, so many. I'll cover them all in more detail below, but for now, I'll mention the basics. I draw my art, first with pencils on bristol board, then go over the lines with brush and ink. Sometimes I also letter with a pen, but not always. Afterwards, I scan the black and white artwork on my all-in-one scanner/printer, and import it to Clip Studio Paint, where I digitally color and sometimes letter the piece. That's the main stuff, but there's also plenty of other tools that aren't necessarily part of the medium, but directly aid in the creation of the artwork, such as my drawing table, rulers, lettering guides, desk lights, lightbox, cutting board, and plenty of others. I'll try to cover as many of these as I can in sections after this one, so go check those out for a more complete answer on each individual tool!

My tool setup is constantly changing, but there are some constants. I generally have two pencils on me at a time, both mechanical. One with either a harder graphite, such as H or 2H, or non-repro blue graphite. This is for layouts, roughing in my pencils, or gridding out my perspective. This pencil also tends to use bigger graphite. 2mm or so. The second pencil is softer, darker, and narrower. This can be anywhere from HB to 2B, and the diameter is usually .5 or .7. I try not to go any smaller than .5mm, since I have a tendency to go crazy on the details if I'm given the opportunity. All in all, I never stray too far from "HB" on the hardness spectrum, and sometimes I just use the first pencil and forget about the second one. This is just what I've found works for me, and you may find that you absolutely hate my setup. Every artist is going to prefer different tools. I used to be very picky about my pencils. in high school, I would carry around a big pencil case with every hardness from 9H to 9B. As ridiculous as that was, it did show me how few of those you really need for comics. Another thing I should note is that the paper you use, the size you work at, and the humidity of your workspace (yes, really) will affect the kind of pencils and graphite you should use. As well as how hard you press. As for the exact pencil/lead holder I use, I have never had an issue with the Staedtler Aluminum series pencils. They're sturdy, have great weight, and feel good to hold. I used to use the Pentel Graphgear 9000. The ones that would retract the point completely. Those things are cool and have really nice grips, but every single one I've had has broken in my hands. Not worth it for how expensive they can be. The best advice I could give here is to just try out a bunch of different pencils, and see what works for you.

I always have three at a time one is a "Vanish" four-in-one eraser, which is super versitile, the second is a regular kneaded eraser, and the third is a Tombow Mono Zero 2.3mm eraser pen. The Vanish eraser is the big guy. I use it for erasing big chunks of pencil. It's also good for lightening up lines before inking or doing a second run of pencils, but its main purpose here is to brutally eradicate graphite on the page so I can try again. Any white-vinyl eraser will do in place of this guy. The kneaded eraser is mainly for lightening. A lot of new artists use it like a regular eraser, and it doesn't go super well, because that's not what it's for. To properly use one of these, you roll it over the page to pick up some, but not all of the graphite. I use this after I rough out the general area of my pencils, or right before inking. This way you can still see where the lines are, but they'll sort of fade away as you draw over them, since they're so much lighter. This is also good for erasing lightly over inks to make the pencils harder to see and the ink lines stand out more. Be careful erasing over ink with anything, though, as it will strip the inks and make them much lighter if you're not careful. Your best bet will always be to lighten your pencils before inking, and then get the remaining noticable pencils lines with your next tool. The eraser pen is for tiny edits, or even "drawing" reductively, by removing graphite . It's never going to be as precise as a pencil, since erasers are soft and don't retain a point, but it will help you fix those tiny spots without having to redo everything around 'em. This isn't the most necessary tool, but it sure is handy.

Well, that depends on what I'm making! That being said, there are a few main types I always have handy. For print comicbooks in the U.S., your go to will usually be 11x17 inch bristol board, and that's what I use for a vast majority of my sequential art and prints. Since I ink my own work traditionally, I use at least 300 series paper to prevent or reduce warping. If you're just penciling, this really doesn't matter all that much. The exact paper I usually get is Strathmore, for no particular reason other than I've been doing it so far with decent results. Bristol comes in a few varieties though. Besides "series" which is essentially just how thick it is, you also need to know the difference between amounts of "tooth", which is how rough the texture is. Usually, the only ones that will matter are smooth/plate, or vellum, which is rougher. These both have different uses, and I find myself switching between them based on what I'm making. I've heard in the past that "smooth" is for sci-fi, and "vellum" is for fantasy, but I find it's a lot more complicated than that. I rarely ever work with a nib/dip-pen except for when I'm lettering, but I've had exclusively bad experiences when doing so on vellum paper. The nib can catch very easily, causing ink to splatter ever so slightly, or making it difficult to move the pen in a certain direction. If you're going to be using nibs a lot, I cannot at all recommend vellum paper. As for a brush, vellum presents some pros and cons. On the pro side, it gives a lot of really pretty texture to your brush strokes. Great for grittier looks. I've also found it easier for making small details, as the friction with the tip of the brush gives you a bit more control. It makes dry brushing really easy, too. I've also found that white-out goes on smoother, and hides itself better, but there's lots of different types of white-out, so that may not be your experience. The problem with brushes on vellum, is that sometimes it fights with you. The friction it causes can make your lines start to dry brush very easily, even when you're not trying to. Longer strokes will start to look scratchy if you're not careful with exactly how much ink you've got on your brush. I've often found it frustrating to try and ink on vellum bristol because of this. I will mention, however, that this will not always be the case. Sometimes brush inking on vellum can be a dream, and it depends entirely on the temperature and humidity of your workspace. Unfortunately, since I can't control the weather, I tend to reserve this kind of paper for special occasions. Generally grittier pages with lots of dry brushing. Smooth paper is much easier to work with in my experience, though the unnatural feel can be off-putting to some. I'd normally chalk that up to autism, but my partner has the same experience, so I'll just say your mileage may vary. Since there's so little friction on smooth bristol, rough penciling is made extremely painless. I've also found it's easier to erase on. Another thing of note about smooth bristol is that pencils will appear lighter on it, as less graphite comes off due to the relatively smaller amount of friction. It tends to make a bit less of a mess, if that matters to you. Brush inking has a give and take, here, too. Since there's less for the tip to catch on, you'll get smoother, cleaner lines, but the brush can also be a bit harder to control. Basically the exact opposite of the vellum. I'm barely scratching the surface of this whole paper tooth topic, but as a conclusion here, I carry both types for different occasions. I also have handy plenty of 9x12 inch bristol, since I use it for commissions, smaller illustrations, and cut it into quarters (4.5x6" each) for my daily warmup doodles. Another thing I should mention is that you can get your bristol with printed blue line guides for drawing comic pages. I tend not to do this, and just print my own guides onto blank paper at home. It saves me money, and I get to customize it to look just how I want. As for other papers, I always have some tracing paper on hand, for trying out details or copying panels for match-cuts which I then lightbox back onto the page. Though, sometimes it's easier to just print blue line copies of the panel back onto the page, especially if you'd have to draw it more than twice. I also carry a watercolor block, which I use if I wanna paint with guache, which is rarely. Lastly, a sketchbook for sketching. I'm not super picky about what kind. As long as you use a pencil that works well with the paper inside, most sketchbooks you can find at an art store will suffice.

Ah, my favorite part. Okay, so inking is super important to me, because of how fun I find it to be. There are plenty of ways you can go about doing it, most of which are way easier and faster than how I choose, but they're definitely not as fun for me. I'd like to stress here that this is just how I do things, and won't necessarily be the best for you. That out of the way, let's talk about brushes. I tend to use the Winsor & Newton Series 7 #2 kolinsky sable hair brush. Now, don't go running off to buy one just because I went and said that, cause this comes with a few caveats. The Windsor Newton Series 7 #2 can be one of the best brushes on the market. It was the gold standard for inkers for years for a reason. The problem is in quality control and maintenance. If you don't know how to ink with a brush or take care of one, do not buy this brush. This should not ever be anyone's first brush. First of all, it's expensive for a watercolor brush, and as a sidenote, these things get increasingly more epensive with each size number. Secondly, it's really tempermental, even in the best of conditions. Real sable hair brushes are horribly fragile, and if you don't treat them correctly, they'll be irreparably damaged. If you get any ink past the ferrule (that's the metal part right behind the bristles) it'll clot there and start to push the hairs apart. Worse yet, ink bleeds backwards after you dip, so you have to be extremely careful how much ink you get onto it. Not to mention that dry brushing will hurt the bristles, and the brush will just deteriorate over time no matter how well you take care of it. Ink is just not great for brushes, so no brush will last forever, but if you don't know what you're doing and don't have practice with cheaper brushes, you're gonna go through them weekly. This is completely ignoring the biggest flaw with these brushes, though. Sometimes you buy them, and as soon as you get the gum arabic off, they'll fray and stay that way. Winsor & Newton, in my experience, has had an abysmal ratio of quality control. roughly a quarter of the brushes I've bought from them have come out crappy, and had to be returned. If you can, buy them in person and pay close attention to the bristles. This won't solve this issue, as more often than not, they'll look good on the shelf, but it'll at least help you avoid the worst ones. The brush I used when I was learning was a Pentel pocket brush. It's great training wheels for figuring out how to even make strokes effectively, and you won't have to start out worrying about dipping. If you're looking for an actual brush, however, until you are fully comfortable, I'd pick up a Raphael #2. It's not quite up to par with the Series 7s, but it's very close, a bit cheaper, and is more consistently not terrible out of the gate. That being said, the most important note I can make here is that if you are going to buy a brush, buy brush cleaning soap along with it, and learn how to properly clean it, because it'll save you a lot of money and headache in the long run. Another thing I'd like to mention is that it isn't a hard rule to use a #2 brush. I've found myself using #3, #4, and even #6 brush's in the past, and larger sizes do have their benefits. Larger brushes will generally make cleaner strokes and hold much more ink. Additionally, the extra length of the brush will actually sort of act like a stabilizer, cushioning the tip when your hand shakes slightly. The problem with larger brushes, in my experience, is just that it's easer to ruin their bristles, and since they're more expensive, it can feel really crappy if you damage one. Personally, I couldn't go lower than a #2, though. #1 brushes don't hold enough ink for me, and they're just so small and difficult to control. With brushes covered, I'm just gonna quickly mention a few other tools, not going into very much detail at all, since I rarely ever use anything else. I always have tech pens on hand, since they're good for help with lettering and straight, mechanical lines from time to time, as well as panel borders. I also like to have some Kuretake Disposable pocket brush pens. They're felt tip, unlike the synthetic Pentel Pocket Brush, which emulates an actual brush. It gives them a bit of varience in their line weight, without being hard to control. Good for small details or sketching.

Digitally! I use Clip Studio Paint. I switched over from photoshop early in 2021, and I couldn't be happier with the change. Adobe kinda sucks, and I hate their programs and policies. Clip Studio runs way smoother than Photoshop ever did for me. It has tools that I find more useful to my workflow, and is missing very little that I can't accomplish in other ways. As for my process, I've found the "convert brightness to opacity" button to be the biggest lifesaver. It's allowed me to do color holds (when the lineart in a space is given a color instead of being left black) super easy to pull off, and it's cut the setup time in half.

Short answer, by looking at art I like, and trying to make art I like. The long answer, however, is a bit longer, but it starts with ADHD. In school, I essentially did no work. I had absolutely horrendous grades, and to this day I'm still not certain how I made it out at all. All I would do is just doodle on every piece of paper I was given. As I said before, this was largely in part due to a case of extremely obvious, yet undiagnosed ADHD, and a good helping of ASD. I also have my mom to thank, at least in part. She got me a copy of How to Draw Comics the Marvel Way by John Buscema when I was very young. She also took me to New York Comic Con before I was able to go myself. I was actually able to go almost every year, since we lived in New Jersey at the time. Being able to meet and talk to all the artists in Artist Alley was definitely eye-opening, and it's something I miss. Living in New Jersey also afforded me the opportunity of attending the Joe Kubert School after I miraculously graduated high school. I learned quite a bit there, but I left after my first year. After a gap year, I transferred to the Savannah College of Art and Design. After a year of that, I gave up on going to art school. I'm not saying there's nothing to get out of going. I learned a lot in my two years in college. But art schools are designed to make money first and teach students second, and anyone considering going would do well to remember that. The honest truth of it is that the way I learned to make art was to draw a lot, and consciously try to improve. Get good at taking criticism, find your flaws, and keep making the kind of artwork you want to see. if you enjoy doing it, eventually you'll get better. No book or school is going to make you a better artist. Only you can do that. How to Draw Comics the Marvel Way and art colleges are just tools for your improvement.

No. I'm just kidding, it's really not that simple. Let me explain. So, first off, art schools are a scam. Private institutions, even non profits such as the SCAD are always going to put profits first. They may try and educate you in the process, but their priority will always be to save money and get more of it, usually from the pockets of students. Now you may be thinking "well, that's just how capitalism works" and while you're right, that sucks and I cannot in good faith recommend anyone attend these predatory institutions, at least within the United States. Now, this isn't a completely one sided issue. Just because the institutions are horrible vampiric machines that wring every dollar and drop of blood out of their victims, doesn't mean the people within them are. I have found that teachers, for the most part, can be caring and helpful guides in your journey learning to be an artist. Even more valuable are your peers. Art schools, under certain circumstances, can create an environment where students can learn from each other and grow together in exceptional ways. There is no better way to grow as an artist than to be around other artists. There's also the fact that some people have trouble motivating themselves to grow outside of a school environment. We spend the first twenty-ish years of our lives within the school system, and being in school teaches you some things really well. The main one being how to go to school. Learning outside the structured environment provided by an art school can be extremely difficult for some, and for many neurodivergent artists, it can be nigh impossible. Not to mention that learning art alone can be dangerous, as you can find yourself forming a lot of bad habits, with no one to stop you. But that can also happen at college. it's very easy to go to art school and passively do the work, not getting much better as an artist. Often schools will let these students fall behind, as teachers have lots of other things they need to devote their attention to. Many students even start going to art school unprepared. They aren't as skilled as most of their peers and probably need more help than anyone, but are just funnelled into the same programs as artists who are much farther ahead. The school won't refuse them, of course, because they have money. But they won't help them once they're there either. it's also not all about art. College does create an very useful in-between after leaving the school system but before entering the economy-mandated workforce. You are given more independence, responsibility, and freedom, but with a bit of a safety net. it may even be your first time in a brand new place and around new people. It helps you grow a person and figure out who you want to be. You can meet the people that you will be with for the rest of your life. That's all very powerful. So, now we've got a bit of a problem, huh? "Art school bad" isn't really a sufficient answer. The answer is really more along the lines of "it depends". And I know that's a bit of a cop out. Unfortunately, in the end it's going to be up to you. Your financial situation, your current skill level, the speed at which you improve, the environment that you are best suited to learning in, as well as how you learn best. if the question was "is art school worth it?" my answer would still be and enthusiastic "no", but since that isn't the question, I don't have an answer for you. I can only give some advice. No matter what you choose to do, what path you choose to take, you have to put in the effort yourself. Art school will not make you good at art if you don't try to get good while you're there. Take as many opportunities as you can to learn from your assignments. Push yourself to get better, but also remember to take care of yourself. These places are notoriously abusive in their workloads. Sleep, rest, eat, and stay hydrated. Learn when to meet your deadlines and when to take a break. There's no honor in hussling yourself to death. I wish I could be more helpful.

Honestly, I wish I could. I just don't have the time to do art critiques. I mean, you can send me a piece on the off chance that I'll have the time to respong and do a draw over, but I wouldn't put much hope in that.

Actually, I am making one. It's just going really slowly and it's pretty far from being complete, so I haven't shared anything of it. When I do finish, I'll definitely make announcements on my Newsletter, Instagram, Patreon, and probably somewhere here, too. in fact, patrons on Patreon will probably know about this thing a few months before anyone else, so if you wanna be in the loop, that's where to go.

Well, that question has a few answers. First one being that I really love to draw. I would do it every single day if I could, but that wouldn't be a good idea. Mainly because overworking yourself can lead to burnout, both physical and emotional, but also because of my second answer. Medication! Yeah, so I have some pretty bad ADHD. I've had it for a really long time, it's been disastrous for me, hurting basically every facet of my life, and nobody noticed until I was twenty two years old. Point is, now I'm medicated for that, and it helps me keep to my third answer. A schedule! A very strict one. I know when I'm gonna wake up every morning (6:30 am) when every meal is, and when I go to sleep. My partner and I help keep each other in check throughout the day, and it works for me. Last but not least, I am fortunate to be in a position in which I can devote a majority of my time to my craft.

There are plenty of artists that influence my work, far more than I could name in one sitting, and almost certainly even more than I can name at all. That being said, I'll try to name a few with some reasons for each. I'll start with an easy one: Jack Kirby. Kirby is hugely influential for me, not just for his artwork, but his creativity. Kirby was a master at worldbuilding on a deadline. Single panels would introduce and then drop huge ideas that could be the premise of a movie. His impact on the art form of comics can't be understated either, pioneering storytelling tools that are used to this day. The man was a powerhouse of ideas and techniques that we all take for granted today. And that's ignoring the actual lines on the page. Kirby's linework is masterful in a way that's hard to comprehend without a deep dive into his artwork. His use of line weight, hatching, spot blacks, and the famous kirby-krackle give his storytelling an energy that's difficult to immitate without just straight-up copying him. The figures in his comics have a weighty feel that's kinda jarring for how cartoony it is. All in all, a crazy good artist who changed the medium. Another cheap shot is Mike Mignola. This guy is such a good storyteller, and the way he does it is all in the tone of his work. Mignola's use of spot-blacks throughout his work is unique to say the least, and his way of depicting images is stylish and beautiful. His crooked people made of the stranges shapes you could think of don't ever feel wrong or out of place because of how good of an understanding he has of form. I would never think to draw things the way he does, because everything is paired down and simplified more than it would ever make sense to do, and it's genius. I'm gonna cheat now, and I hate to lump artists together, but I'm gonna do it anyway. Alex Toth, David Mazzuchelli, and Chris Samnee. Artists like these don't come around very often, and we're so lucky when they do. Obviously they all have unique styles with their own individually brilliant strengths, but what I'd like to talk about is what they don't draw! These guys are the best at not drawing. I'm always pushing myself to simplify my artwork, and they're always who I look to. The ability to put down fewer details while making each one say more as a result is something I will always strive for. Bone is not a part of my childhood that I'd be fair to ignore, and because of that, Jeff Smith has to be on this list. I absolutely love how cartoony and expressive his work is. Kinda like Carl Barks and his famous work with Scrooge McDuck, but with a touch of realism that is so perfectly balanced. Not to mention his backgrounds. I am consistently astonished by how simple his backgrounds are while still telling you everything you need to know. But while I could gush about his art for a year, I just gotta talk pacing. Bone is possibly the best paced comic I've ever read. I don't mean overall story pacing across the entire run. I mean panel to panel. Page to page. The scenes in Smith's Bone are so captivatingly drawn. it's like animation on a page. Okay, this is going on a bit too long. Let's speed things up. Dave Gibbons is such a good draftsman that it's unfair. Cory Walker constantly shows an understanding of anatomy and character design that doesn't seem achievable. Andrew Maclean has a style so unique and clean that I suspect he may have made some sort of deal with an eldritch diety. His action sequences are so impressive. Herge's artwork is dripping with so much character and is insanely fun to read. Moebius creates worlds and characters that feel real. And I do mean feel. Look at all that texture! John Buscema is a master of anatomy and posing, and that makes his expert level storytelling even better. James Yusufi is a bad person who is leaving out some of the greatest artists of all time. That should scratch the tip of that iceberg!

Dawg, I can barely draw my comic. You gotta offer me a ludicrous amount of money for me to draw you anything as time consuming as a comic. No offense, but I am not the fastest of cartoonists, and I really wanna be able to tell all the stories I've got in me before I die.

Yes! There's an extra charge for international shipping, though. Sorry :/

Almost always within a week! I wish it could be faster, but this is a very tiny operation, and we don't really have the man power to speed it up much more than that. Also with Covid and stuff, things may take a bit longer than usual.

That probably means we haven't shipped out your order yet or we forgot. in either case, I'm sorry. if the order seems like it's taking too long, contact me on the contact page and I'll try my best to help you.

Orders can take awhile to ship sometimes, but if you haven't recieved your order in over a couple of weeks, contact me in the contact tab and I'll try to give you a hand!

Maybe! if there's a little sign at the top of the site that says "commissions open", then I almost definitely am!

Like, you want me to make you art for free? Um, no. I kinda need to be compensated for my labour, and artwork very much is labour. Not even easy labor. if what you're asking is for digital files of my artwork, you can find a bunch of those on my Patreon to download. I really do wish I could make more art free, but unfortunately, the economic system in which we live requires I earn my existence by producing value in the form of currency. I know, it sucks. if you want that to chance, vote left and throw bricks at cops.

Good question! There are a few options. For one, you can donate money to my Patreon, so that I can spend more of my time making art. You can also buy stuff from my shop on this very site. if you want to support me but don't have the means to do so financially, you can like my work on instagram, reddit, and wherever else I may post it, comment across the afformentioned platforms, share my work, or throw bricks at cops!

I have an instagram and a patreon linked at the top of my site. @jamesyusufi on instagram, and I think just James Yusufi on patreon. You can also find me on reddit, where I post art and get into arguments with people who thought the Matrix was for white supremacists or something.

No, but you can print em out yourself. I have all my print files in high resolution up on my patreon. They're free for personal use to all my supporters.

it's not, really. My rates are based on how long it takes for me to do something, as well as how much the materials cost for it. Most of them hover pretty close to a standard living wage. Trust me, I also wish they could be lower. if I could, I'd make all my art affordable to everyone, but the amount of time it takes me to produce artwork is too high for that. if you want my rates to be lower, you can help by throwing bricks at cops.

Okay, for legal reasons don't throw bricks at cops. that would be bad for you. you will probably go to prison, be beaten, or just shot. Cops are notoriously bastards, so throwing bricks at them is a very bad idea that you should not do. They're basically thugs that enforce property laws and maintain the hegemonic power of the upper class, and it is very dangerous to get on their bad side, because they can essentially do anything they want to you with impunity, and it is a privelege they use liberally. I repeat. Don't throw bricks at cops. especially if they can see it's you throwing the brick. Seriously, don't throw bricks at cops. don't.

Woah. That's, like, five questions in one. I dunno if I have a favorite of each category, but I can go over a few I really like. Some of my favorite movies include the Wachowski Sisters' masterpiece "Speed Racer", "Kung Fu Panda", Boots Riley's "Sorry to Bother You", Bong Joon Ho's "Snowpiercer", Peter Jackson's "The Lord of the Rings" trilogy, and the 2005 "Fantastic Four" (yes, I know it's terrible). For videogames, I tend to lean towards fantasy action/adventure games. My favorites are "Divinity: Original Sin 2", "Outward", "Legend of Zelda: Breath of the Wild", "Sea of Thieves", and I have a love/hate relationship with "The Elder Scrolls V: Skyrim". (The love part being about the open world adventure aspects, character customization, and modability, and the hate being literally everything else.) Comics are a tough one, because I personally gravitate towards individual creators' works, rather than complete runs, but some that I really love are Jeff Smith's "Bone", Jack Kirby's Fourth World titles, especially "The Demon" as well as his run on "Fantastic Four", and Jason Aaron's "Thor" run (the Jane Foster one). Ooh, I also really liked the Slott/Allred Silver Surfer run. And most things with Chris Samnee. This could go on for awhile, so I'm gonna cut it off. My favorite book is the Hobbit. That one I can always answer. I also really like Niel Gaiman's "Norse Mythology", and "the Witcher" series. For TV shows, I really love "Avatar: the Last Airbender", "Community", "Star Trek: Deep Space Nine", "Bojack Horseman", and "Breaking Bad" Wow, that was exhausting.

I'm agender, which is a type on non-binary, which is a type of transgender. it essentially means I do not identify with either male or female, or anything on the gender spectrum. Basically the social construct of gender is not something I associate with, and I identify as an idividual instead of a collection of unrelated characteristics assigned to an arbitrary category, and therefore I don't much care what pronouns I am called. Basically just use whatever pronouns you wanna go with for me. it does not particularly matter which. This information applies to me and is not a blanket statement for any other nonbinary, transgender, or agender person. Just try not to misgender people and ask their pronouns please.

No. in fact, nobody can. inaction and silence is not aploticial, it's just support for the status quo. if you want me to stop talking about politics, vote left, get rid of rich people, take care of those who need help, and throw bricks at cops.

Most likely not. I just need to take breaks sometimes. Sometimes I just get burnt out. Sometimes I get depressed. Sometimes I'm even just too busy to make any posts. But probably a no on the dead thing.

What?

Because it's overdesigned. I thought that one was pretty obvious.

Because I have ASD and ADHD and at one point my brain said "what if I updated the website" and before I knew it, a year had passed and hours of my life had been spent typing answers on an F.A.Q. that literally no one will read.

the first one is more something other people deal with. My partner seems to be doing okay, though. As for the ADHD, I take medication and follow a strict daily schedule.