A three-book poetry collection at the intersection of typography, photography, and illustration.

Mente Ruidosa ("Noisy Mind") is the thesis project developed for my Bachelor's in Design & Creative Technologies at UPV Valencia. The project explores the visual translation of internal emotional states — anxiety, introspection, and mental noise — through an editorial triptych that functions as both a poetry collection and a visual art object.

Each of the three volumes represents a different emotional register, unified by a cohesive visual system while maintaining a distinct visual language per book.

How do you give visual form to the feeling of a noisy mind?

The core challenge was designing a book system that felt emotionally true rather than merely illustrative. Poetry already carries its own cadence and imagery — the design needed to amplify without overwhelming, to create space for the reader's own interpretation while maintaining a strong authorial voice.

This required developing a custom typographic system, shooting original photography, and creating hand-drawn illustration elements that could coexist across three very different tonal registers.

From concept to three-volume object.

The process began with extensive research into artist books, zine culture, and typographic poetry — from Emil Ruder to Anne Carson. I developed a moodboard system that mapped emotional states to visual variables: texture, contrast, spacing density, and image treatment.

Photography was shot and directed entirely by me, working with a limited color palette and controlled studio conditions to maintain cohesion across volumes. Illustration elements were created in Procreate and integrated as overprinted layers in InDesign.

Grid systems were designed per-volume: Book I uses a rigid typographic grid that gradually breaks down; Book II introduces organic, asymmetric layouts; Book III returns to order — fragmented but resolved.

A published, physical triptych presented as final thesis work.

The three volumes were printed, bound, and presented as the final thesis deliverable. The project received strong feedback for its cohesion across disciplines — merging graphic design, original photography, illustration, and literary content into a single unified body of work.

Beyond the academic context, Mente Ruidosa demonstrates a capacity for long-form, concept-driven design: the ability to sustain a visual idea across hundreds of pages and multiple formats without losing its emotional core.

A music & culture magazine designed from the ground up — grid, identity, and photography.

SYNC is an editorial project exploring the intersection of music, subculture, and visual identity. Designed as a full magazine from cover to final spread, the project involved developing a masthead, establishing a modular grid system, and creating a distinctive photographic visual language that could carry across editorial features, interviews, and reviews.

Building a magazine identity that feels alive — not like a template.

The challenge with editorial design is maintaining a strong, recognizable visual identity while giving each section and article room to breathe as its own thing. SYNC needed a grid system flexible enough to handle short-form reviews, long-form interviews, and full-bleed photographic features without losing coherence.

Grid systems, type hierarchies, and photographic direction.

The design began with the masthead: a tight, condensed typographic treatment that reads equally well at cover scale and as a small running header inside. A modular six-column grid underpins every layout, enabling structured variety across sections.

Photography was shot to match the magazine's aesthetic — high contrast, intimate framing, a mix of environmental and studio conditions. Color grading was developed as a consistent treatment across all photographic content.

A full magazine edition — print-ready and editorially coherent.

The final output is a complete magazine edition, designed to print specifications. The project demonstrates full editorial pipeline capability: from concept and grid development through to photography, typesetting, and print production.

Product photography and social media content for food and hospitality clients.

During an internship at Estudio Goloso, a communication agency specialising in food and hospitality brands, I led product photography for multiple clients while managing social media content strategy and publishing. The work ranged from controlled studio setups to on-location shoots at restaurants and food production spaces.

Making food look like it tastes: appetising, honest, and brand-consistent.

Product photography for food requires technical precision — lighting, colour temperature, styling — but also an instinct for what makes something genuinely appetising versus merely well-lit. Each client had a distinct brand register, requiring adaptation between shoots without losing photographic consistency.

From shoot to feed: content strategy and publishing.

Beyond photography, the role involved planning and executing content calendars, adapting imagery to platform specifications, and developing visual identity assets for use across Instagram, Google, and client websites. Managing multiple brand accounts simultaneously required systematic organisation and a consistent eye for brand voice across formats.

A fashion film directed and edited for emerging designer Arantxa Jiménez.

This project was a short-form fashion film created for independent fashion designer Arantxa Jiménez, produced to present a collection in a format that goes beyond lookbook photography. The film combines movement, atmosphere, and precise color grading to communicate the collection's aesthetic — structured, sensory, and feminine.

Translating a garment collection into a moving image with emotional coherence.

Fashion films live or die by the quality of the visual atmosphere. The challenge was creating a clear aesthetic direction — choosing locations, directing movement, and developing a color grade — that felt integral to the collection rather than incidental to it.

Grading as design: how color builds atmosphere.

Color grading was developed to reinforce the collection's material qualities — warm shadows, desaturated skin tones, and controlled highlights that preserve fabric texture. The grade was applied consistently across all scenes to create the sense of a single, continuous visual world.

A complete brand identity for Renowatio — from naming logic to full visual system.

Renowatio is a brand identity project developed as part of my studies at UPV. The brief called for a complete visual identity — logo, colour system, typography, and brand guidelines — for a company in the sustainability and renovation space. The name itself (from Latin: renewal, restoration) shaped the entire visual direction.

Sustainability without the clichés: no leaf, no green gradient.

Branding in the sustainability sector is saturated with familiar visual shorthand — earth tones, circular marks, organic shapes. The challenge was building an identity that communicated renewal and precision without defaulting to those conventions. Renowatio needed to feel considered and modern, without sacrificing warmth.

From logo to guidelines: a complete, deployable identity.

The final deliverable included logo variations (primary, monochrome, reversed), a colour palette, typography pairing, application mockups across stationery and digital, and a brand guidelines document. The identity was built to work at every scale — from a business card to a building sign.

A hand-crafted poster series for Venezuelan band Los Mesoneros — merging digital illustration with traditional printmaking.

This project was a personal and academic exploration of calcography (intaglio printmaking) applied to contemporary music poster design. Los Mesoneros — a beloved Venezuelan rock band — provided the cultural subject; the project challenged me to develop an illustration system that translated meaningfully between digital and physical print processes.

Making a print process feel contemporary without erasing its craft character.

Calcography is a technique defined by its constraints — pressure, plate depth, ink viscosity. The challenge was developing an illustration approach that worked with these constraints rather than against them, producing work that felt genuinely printmade rather than digitally simulated.

From sketch to plate to printed edition.

The illustration was developed digitally in Procreate, refined to work within the tonal limitations of the intaglio process. The design was then transferred to copper plate, etched, and hand-printed in a limited edition. The result is a series of posters that carry the texture and presence of a physical artefact — which no digital file can replicate.

The project demonstrates a discipline increasingly rare among digital designers: the ability to move fluidly between screen-based and physical production processes, and to understand how each medium shapes the work.