puro emprendimiento, viaje y guasa. Estoy involucrada desde los cimientos —estrategia, naming, identidad visual y marketing digital— y confío en que se conviertan en los casos de éxito del año. A largo plazo, seguir creando marcas y productos que me entusiasmen; llegar al final de cada proyecto y poder decir “ha merecido la pena”. Mi medida de éxito es que el cliente — que casi siempre termina siendo amigo — vea cómo su sueño funciona y crece gracias al diseño y la creatividad sin que deje de ser su proyecto. What led you to become a designer? Chance—or perhaps causality—has been my compass. As a child, I was fascinated by TV commercials and spent hours poring over any printed piece I could get my hands on: from the El País Semanal supplement to supermarket flyers. Later, I studied artistic photography and then video; both disciplines taught me how to frame stories and understand light. When the opportunity to pursue a degree in Design presented itself, I simply took it. Since then, I have continued to educate myself to understand where brands come from: programs like Branding Pro, Masterbrand, and Master Expert in Visual Identity have helped me delve deeper into brand strategy and expression, and I am convinced I will never stop learning. This entire journey fuels a continuous process of exploration to discover what kind of designer I want to be and what I can contribute to each project. Who are your role models? Chema Madoz, for his ability to transform the everyday into visual poetry. Javier Jaén, because his intelligent humor shows that the idea is king. Pati Núñez, a master of the balance between elegance and functionality. Local talent I greatly admire: Cabello × Mure and Superfluido, studios from my homeland that show how far Andalusian design can go. Working from Jaén, is that a handicap? Since the pandemic, I've been working 100% online, so Jaén is simply my physical base: thanks to videoconferences, I collaborate seamlessly with brands from all over the world. I enjoy remote work, but if the project is born in Jaén, I'm happy to come; that proximity always helps. When is a brand consultancy necessary? Simple: when there's no one dedicated to the brand daily, it's the time to do it. This isn't the first—nor will it be the last—time a client comes asking for "new packaging" and the project ends up turning around because I advise them to review some details of their identity. Sometimes we've even had to rethink the naming because it didn't fit with the rest of the proposal. A brand must be cared for and nurtured; it must be crystal clear at every point of contact with the consumer. What's the most important thing when designing a product's packaging? The key is to thoroughly understand the project: where it came from, what it is, and what it aspires to be. Only by respecting that essence can I translate it into an image that ends up becoming the banner and symbol of the business. You recently won an Arcapack award for La Oveja. Tell us about this project. La Oveja is the result of a 7-8 month process in which each piece fit together like a collective work. First, the idea and the client. It all started when I proposed to Javi, from Vida Transhumante, the idea of their oil literally "becoming" a sheep: the animal that takes care of the olive groves within the natural park where no chemicals are allowed. Second, the sheep-bottle. Finding the right glass took time; we needed a flat, small, and reclining shape that, when placed on its “legs,” evoked the animal. I hadn't seen an oil bottle like that before, and many buyers use it as a decorative piece. Third, the wool on top. The meeting with Ana and Francis was decisive: they created an exclusive fabric made with unspun, only washed wool from the transhumant sheep themselves. The touch is like stroking fleece, and it turns the cap into the animal's “head.” Fourth, the legs and logo. A local carpenter carved the wooden legs, which when joined together form the Vida Transhumante logo, completing the silhouette. Finally, fifth, design and minimalism. In the graphics, we reduced everything to a minimum 15 ENTREVISTA I INTERVIEW El talento y las oportunidades existen; ahora necesitamos más educación, transparencia y respeto para las profesiones dedicadas a imagen, diseño y arte The talent and opportunities exist; now we need more education, transparency, and respect for the professions dedicated to image, design, and art ‘
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