Instituto de Investigaciones Jurídicas, UNAM
sept. 2022 - ago. 2023
Throughout my many years in graphic communication design, I have learned that this discipline can be a powerful political tool when it successfully conveys the right message. However, answering the critical question of "what to communicate?" is not as simple a task as one might think. I believe that to create graphic work that is critical of Power, one must first understand its philosophical foundations. This conviction, among other reasons, is what led me to pursue a second degree. Initially, I was considering Political and Social Sciences, or perhaps Philosophy. I ended up in the School of Law, as there is no better field for understanding the "reasons of State" than the philosophy of law (Hegel, Kelsen, Schmitt, Bobbio, etc.). I consequently completed my law degree, and I am now—finally—pursuing a Master's in Political and Social Sciences, also at UNAM (where else?). For my law degree's Social Service requirement, I worked at the Legal Research Institute, which has a small design department. The renowned academics who gather there for major legal debates saw that, given my background in design, my time at the institute would be more productive if I supported them in that noble endeavor.
Datavision Digital
oct. 2018 - may. 2022
I joined Datavision as support for the company's Senior Designer. He made the decision to hire me after observing that my experience and performance demonstrated I could handle a significant volume of projects independently. The expectation was for me to execute and develop these projects seamlessly—in other words, to deliver high-quality results with minimal oversight from my superior. A few months later, the COVID-19 pandemic began, and with it came company-wide cuts. Management ultimately decided to retain my services, offering me the position previously held by the Senior Designer I reported to.
Unilever [Ad Libitum]
mar.2007 - jun. 2007
My involvement with a small Mexico City agency called Ad Libitum was relatively brief, and I believe the agency is no longer in operation. However, during that time, I had the opportunity to contribute to its most significant project: the editorial design for Unilever Mexico's monthly corporate magazine. As you know, Unilever is a company of major global importance. In this sense, I consider my work on their publication—though carried out through the agency—as indirect collaboration with the multinational itself. After repeated efforts by our dedicated team, we successfully consolidated the publication's editorial and visual identity for a magazine whose name, frankly, escapes me.
Publicis Arredondo de Haro
oct. 2002 - dic. 2002
I never fully understood the relationship between the in-house design "department" and the external agency, which functioned as an external studio for Publicis. This entity was called "Artimaña." The key point is that our meetings with the creatives took place in the conference room next door. I generally say I worked for Publicis, as it adds a note of prestige to my professional background. There isn't much to say about my time at the famous agency, except that I resigned after two months due to an extraordinary workload. Now, in 2025, when I compare the practices of an "advertising agency" with other experiences—like my time at Datavision—I see a clear difference between selling creative services as a product and simply offering them as part of a company's internal communications. In the first case, creativity is the product; in the second, it's just one aspect of the internal culture.
Cinépolis - [Pepsico México]
nov. 2000 - dic. 2001
A few ambitious advertising colleagues and I had the opportunity to secure the account for the prestigious exhibition company Cinépolis. This success was due in part to the slogan we proposed in our pitch materials: “La Capital del Cine” (The Capital of Cinema), which immediately won over the hearts and imaginations of the company's owners and executives. An agency was quickly formalized to provide the creative services, though it lasted little more than a moment—taking longer to set up than it did to close its doors. This is why I include the experience here as a "work" engagement, one in which I served as the sole Art Director and, later, the only creative on the project. You could almost say the service was provided as a one-man show. Incidentally, the legal entity that paid for our services was PepsiCo. In a way, the experience gave us a front-row seat to the inner workings and practices of a major multinational corporation.
Alazraki Publicidad
oct. 1997 - dic. 2000
The heyday of the great Carlos Alazraki—at least, the advertising mogul—are long gone. I can't seem to find his agency anywhere. Not at its old address, not online. All that remains are the memories and a few materials I kept from clients that were, in theory, major accounts. Among them: Uniroyal, Levi's, Sanborns, and others. These materials are primarily sketches and mock-ups for campaigns that, back then, felt like grand ideas. But as any Art Director or creative who has worked in advertising knows, those supposedly brilliant concepts are invariably "corrected" by the clients, leaving behind only mediocrity. In other words, exactly what we see everywhere today.