Welcome to my workshop
I work out of Madrid, in whatever format breathes best.
I've spent years on branding, ads, identities, illustration and websites. Each piece asks for its own language and its own rhythm.
I'm a visual artist. My desk shifts between sketchbook, paper, screen and code — without a strict order. If an idea looks better in pencil, it starts there; if it asks for motion, it goes to motion; if it needs a site, it gets built.
I've done a bit of everything: identities for small brands, campaigns for bigger clients, editorial pieces, art direction, illustration, animation, websites tailored to the brand. What ties it all together is how I enter the project: start from the idea before the aesthetics.
Madrid is the base, but the work travels. I'm interested in what happens when a brand lets itself have real personality — voice, weight, contradictions — and dares to show it.
I don't have a fixed style, I have a method: listen to the brief, find two or three possible paths, drop the obvious one and push the route with the most life.
Craft before tool. Idea before craft.
I studied art and design, but the part that really matters I learned working: tight budgets, defending an idea to a client who can't see it yet, throwing away twenty versions to get to the one that breathes.
I bring the same curiosity whether the brief is a brand identity, a print campaign, an editorial illustration or a website. The tools change, the method doesn't.
I lean on the classics — composition, type, colour, hierarchy — and mix in whatever the project actually needs: motion, code, photography, 3D. Picked case by case, not as a default.
Before the screens, the paper.
My training started with drawing, painting and illustration. That manual base is still there in everything I do — even when the final result lives on a screen, the visual decision usually starts on paper.
It shapes the way I work: I prefer simple solutions over elaborate ones, look for a clean hierarchy and never feel lazy about cutting things until only the elements that carry weight remain.
Madrid feeds a lot of that — posters, exhibitions, shop windows, the visual noise of the street. There's a quiet pride in making work that can live alongside that intensity without being one more in the pile.
Then came the web. And code turned into another brush.
I learned to code looking for a way to defend my designs down to the last pixel. Today I use code like another tool: HTML, CSS, JavaScript, animations, interactions, motion. Just enough so the result has actual personality, not the flavour of a template.
When a project asks to push further — a site with serious motion, an interactive piece — I'm in. When it doesn't, I don't force it. Complexity is a decision, not a flag.
Tradition and precision. Curiosity and play.
Some people lock themselves into one discipline — only branding, only web, only illustration. I don't. Disciplines contaminate each other: illustration sharpens how I compose, identity work sharpens the web, animation forces me to think in time, not just in image.
I work with small brands looking for a real voice and with studios and agencies that need an extra pair of hands. I'm a good collaborator and a better sparring partner: I ask a lot, propose more, and don't hand in anything I wouldn't defend myself.
Each piece is trying for the same thing: to feel obvious by the time it's finished — as if it couldn't have been any other way — even if behind it there are weeks of trial and error.
Design shifts every year, and that's part of what I like about it. I don't have nostalgia for the tools, I have respect for the principles. That something looks good, says something clearly, and doesn't embarrass whoever wears it.
If you have a project in mind — small, big, weird, urgent — drop me a line.
Recognition
Work with JMWEB
Let's build something with personality.
It all starts with a conversation. Bring a brief, a reference, a half-baked idea — I'll take it from there.
Start a project
Frequently asked questions
Anything visual. Brand identity, ads, campaigns, editorial illustration, art direction, web design, motion, packaging. If it has shape, colour and a message to land, it's in. I don't lock myself into a client type either: I've worked with small brands just starting out, with studios and agencies that need an extra pair of hands for a specific piece, and with bigger clients looking for a distinct voice on a campaign.
Both. I run full projects on my own when the scope allows, and I assemble a team when the project asks for other specialities — copy, photography, production, heavier development, specific motion. For studios and agencies I work well as an extra pair of hands: come in with a brief, propose direction, defend decisions and deliver without needing line-by-line oversight.
It depends on scope. A basic identity isn't the same as a full visual system, and a five-page site isn't the same as a piece with bespoke animation. I don't quote off the shelf because I don't deliver off-the-shelf work. What I always do: a free first call to understand the project, then a quote broken down by phases. Drop me a line with what you have in mind and I'll come back with a ballpark before we even get into details.
For simple identities, 2 to 4 weeks. For full systems or integrated campaigns, 4 to 8 weeks. For tailored web, 4 to 10 weeks depending on the degree of customisation. Timelines depend heavily on the client's feedback rhythm. The cleaner the communication, the shorter the timeline. Tell me how urgent it is and we'll see how to fit it.
Yes, no problem. Madrid is the base but a big chunk of the work happens remotely. I've worked with clients in different Spanish cities and abroad. For kick-off meetings or big presentations I prefer face-to-face if distance allows; the rest is video calls and shared files.
Whatever the project needs, in editable and final formats. For identity: brand guidelines, SVG/AI vectors, palette, typography, mockups. For campaign: final pieces per format + working originals. For web: code + access to the CMS if there is one. No files locked to a specific tool when it can be avoided. You walk away with everything.
Four phases, no mystery. 1. Brief and discovery — understand the brand, the audience, the references, what's off limits. 2. Exploration — two or three distinct visual routes, not variations on the same one. 3. Development — push the chosen route all the way to detail. 4. Delivery — final files + a closing session to walk through everything. There are feedback rounds in between, and I never go dark for weeks at a time.
Yes. Small projects done well are often the ones I enjoy the most: identity for a business just opening, a poster, an ad, a single editorial piece. The only thing I ask is solid confidence in the brief — if the client knows what they want to say, the size doesn't matter.
Those are my favourites. If you have a visual idea that doesn't fit a category — a piece for an event, an installation, a strange book, a site that has to feel different — write to me. The more creative freedom, the more interesting it gets.
