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In 1950 he traveled to various parts of Mexico, especially the [[Isthmus of Tehuantepec]]. From this trip, he wrote a script for a radio documentary on the region's music, customs and legends, produced by [[Canadian Broadcasting Corporation]].<ref name="nugalde">{{cite book |author=Nadia Ugalde Gómez |title= Arnold Belkin: La imagen como metáfora |trans-title=Arnold Belkin: Image as metaphor |year=1999 |publisher= CONACULTA |location= Mexico |language=Spanish |isbn=970-18-2322-2 |pages=1–31 }}</ref>
In the same year, he met [[David Alfaro Siqueiros]], forming both a personal and professional relationship.<ref name="nugalde"/> He was an assistant on two murals from that time ''Patricios y Patricidas'' at the [[Old Customs Buildings, Mexico City|former customs building in Santo Domingo]] along with the ''Cuauhtémoc'' mural at the [[Palacio de Bellas Artes]] from 1950 to 1951.<ref name="nugalde"/><ref name="sigloxx">{{cite book |title= Siglo XX Grandes Maestros Mexicanos |trans-title=20th Century Great Mexican Masters |year=2003 |publisher= Museo de Arte Contemporaneo de Monterrey |location=Monterrey, Mexico |language=Spanish |isbn=968 662356-6 |pages=339–340 }}</ref> The experience not only influence his style but also taught him the level of quality expected in Mexican muralism.<ref name="rogallery"/> In the early 1950s he joined the Taller de Ensayo de Materiales y Plásticos run by [[Prof. José L. Gutíerrez|Prof. José L. Gutíerrez]] at the [[Instituto Politecnico Nacional]], participating in the creation of various collective murals.<ref name="33años"/>
From 1954 to 1956, he studied [[engraving]] in metal with [[Lola Cueto]] at [[Mexico City College]] and [[lithography]] from the [[Escuela de Artes del Libro]] with [[Pedro Castelar Baez]].<ref name="33años"/><ref name="nugalde"/>
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