so that the sheep symbol shone without distractions. The result is something that customers no longer define as “an oil bottle,” but simply “the Sheep”: a piece that unites craftsmanship, territory, and narrative. Can you mention any other packaging projects? Rabitos Royal, a line of chocolates for which we created cases that enhance the gourmet personality of the product. Also, the new Los Silvestres bottle (upcoming launch), a striking container consistent with the wild essence of the brand. For Fierro (a Michelin-starred chef in Valencia), we created packaging for a special gift that the restaurant gives out at the end of the menu. Regarding visual identity projects, we would highlight Malak (a Michelin-starred chef from Jaén). This brand was developed before he earned the star, so it was a very satisfying evolution. Another notable project is Aventura Hernán Pelea, an identity based on an iconic image of mountains and sun that captures his adventurous spirit. Do you think the design sector in Spain is healthy? I would describe it as an ecosystem with exciting progress, but still fragile. Awards like Arcapack are exciting, confirming that big brands already understand the strategic value of design and are partnering with professional studios to revamp their packaging; just look at recent cases at chains like Lidl, Alcampo, and Ahorramas. But the many incidents in which design work ends up damaged or dismissed without transparency are worrying. The most notorious example in recent months is the logo of the Spanish Space Agency: after an impeccable competition—75 agencies entered, a professional jury, and a clear winner (the proposal by CruzmásCruz and Rubio & Del Amo, paid €6,000)—the identity was shelved and replaced, without public explanation, with a second logo commissioned directly by management. If this happens to such renowned studios, what can't happen to ordinary designers? A solid culture that respects and protects the profession is still lacking. Design requires research, simplifying the complex, and conveying clear values to the general public; when budgets or deadlines aren't met, that quality suffers. In short, the talent and opportunities exist; now we need more education, transparency, and respect for all professions dedicated to image, design, and art, so that both established studios and independent professionals can work with stability and recognition. Your portfolio includes several projects for ecofriendly brands. How do you implement sustainability criteria in your projects? The first thing is to choose materials consistent with the brand's values: recycled paper, lightweight glass, water-based inks, vegetablebased glues... When branding is born with sustainability as a pillar, the rest flows: the final product ends up being responsible almost naturally, because every decision—from packaging to logistics—is filtered through that criterion. In other words, if the brand is sustainable from the heart, sustainable design emerges naturally. What are your short- and long-term projects? In the short term (this year 2025), my agenda revolves around two major brand projects. This is RK ACM – Real Estate Management, and I'm committed to continuing to position it as the number one real estate reference in Jaén, strengthening both its identity and its presence in digital and local channels. And Lo Viajo and Aventura Hernán Pelea, both promoted by Yolanda Vircaena, a mountain native, are pure entrepreneurship, travel, and humor. I've been involved from the ground up— strategy, naming, visual identity, and digital marketing—and I'm confident they will become the success stories of the year. In the long term, I want to continue creating brands and products that excite me; reaching the end of each project and being able to say "it was worth it." My measure of success is that the client—who almost always ends up being a friend—sees their dream come true and grow thanks to design and creativity, while still remaining their project. 16ENTREVISTA I INTERVIEW
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