Manuel Guerrero

My journey in design started with a deep fascination for functional aesthetics and applied creativity. I was always drawn to how everyday objects could have a significant visual impact without compromising their utility. This interest gradually transformed into a true passion for graphic and industrial design, a field that allowed me to combine my love for form and function. I didn’t always know I would become a designer, but I’ve always been interested in creative disciplines, particularly architecture, industrial design, and graphic design. My transition into design felt like a natural evolution of my diverse interests and curiosities, and as I delved deeper into industrial design, I realized it was the perfect way to channel my creativity into something both practical and meaningful. The ability to transform abstract ideas into tangible products was what ultimately defined me as a designer.

I am currently a part of Bluetypo, a design studio and creative consultancy based in Mexico since 2000. We specialize in the development of typography, posters, editorial design, and interaction design. The studio is led by Eréndida Mancilla and myself, Manuel Guerrero, and we have always been passionate about creating designs that combine aesthetics, functionality, and innovation. At Bluetypo, we approach each project with a multidisciplinary mindset, allowing us to blend different design fields seamlessly. Whether we are crafting custom typefaces, designing compelling editorial layouts, or developing engaging interactive experiences, we strive to create designs that are not only visually striking but also meaningful and sustainable. In addition to my work at Bluetypo, I am also a researcher at the Universidad Autónoma de San Luis Potosí (UASLP), where I focus on typographic studies and visual communication. I currently lead a project called DataDesign, a database dedicated to mapping and preserving typographic production in Mexico. This platform aims to document and analyze the evolution of Mexican typography, providing valuable resources for designers, researchers, and educators.

For me, design is a way of thinking—it’s about understanding the world, finding solutions to problems, and creating meaningful experiences. It’s a process of transforming ideas and concepts into something tangible, functional, and impactful. It’s not just about aesthetics, although aesthetics certainly play a key role; it’s about creating value through thoughtful decisions and purposeful actions. Design is a tool for communication. It helps convey ideas, emotions, and stories in a way that resonates with people and shapes their understanding of the world around them. Whether through a product, a typographic composition, or a visual experience, design has the power to influence behavior, inspire connection, and even change perspectives.

I’m particularly drawn to generative design, typography, and poster design. Generative design excites me because it allows for experimentation with algorithms to create innovative, efficient solutions. Typography is a passion of mine because it blends technicality and artistry, enabling me to express mood and identity through letterforms. For instance, my typeface Optica Normal explores geometry and perception, pushing boundaries between readability and visual experimentation. It earned international recognition with the Type Directors Club Award in 2009. Similarly, my poster designs have received awards like the Silver A’ Design Award in Italy (2016), reflecting my focus on integrating bold messages with aesthetic minimalism.

One of my favorite design influences is the work of Josef Müller-Brockmann, especially his minimalist grid-based designs and approach to typography. His mastery of structure and visual clarity resonates deeply with me. Alongside him, Dan Friedman and Herb Lubalin have shaped my view on how type can be expressive and dynamic, transforming communication into a visual art form. Wolfgang Weingart’s experimental typographic work and Niklaus Troxler’s iconic music posters, with their balance of movement and simplicity, also have a lasting impact on my design thinking. In the realm of visual art, Victor Vasarely’s use of geometry and color in Op Art has influenced my interest in the intersection of design and perception, while Omar Rayo’s vibrant geometric abstractions in Latin American art inspire my exploration of shapes and patterns. These designers and artists helped shape my understanding of how structure, typography, and visual elements can come together to communicate not just ideas, but emotions and experiences. The work I admire most blends aesthetic simplicity with conceptual depth, much like the design philosophy of Felix Pfäffli, where design becomes both functional and emotionally engaging. This passion for typography also extends to my academic work. At the UASLP, I’m involved in a project that maps and documents Mexican typographic production, highlighting its cultural and historical significance. Through this research, I aim to preserve and promote the rich heritage of Mexican type design, while providing tools and insights for future generations of designers.

As part of Bluetypo, one of the first projects I worked on for a company involved creating visual identities and web design for several local businesses in the early 2000s. This included designing websites and interactive CDs for companies such as Naplas, Policonductos, Cendi, and Iminox. These projects were an important milestone for us, as they allowed us to blend creative design with interactive technology at a time when the web and multimedia were rapidly evolving. Our work focused not only on building strong, cohesive brand identities but also on crafting user-friendly and engaging digital experiences, laying the foundation for Bluetypo’s approach to design across both print and digital mediums.

My favorite platform is digital interaction because of its endless possibilities for cross-platform experiences. The ability to design interfaces that can seamlessly function across different devices and environments is incredibly exciting. Digital interaction allows for creating more dynamic and engaging experiences that respond to users in real-time, whether it’s on websites, mobile apps, or interactive installations. The challenge and beauty of working in digital design is its ability to adapt and evolve quickly, providing opportunities for constant innovation.

Working with cross-disciplinary teams, where different viewpoints and expertise come together, also sparks a lot of creativity. The exchange of ideas and the challenge of rethinking a design from multiple angles can lead to unexpected and exciting outcomes. Sometimes, creativity strikes in the quiet moments, when I allow myself to step back and reflect on the bigger picture, but I also find it thrives in the energy of collaborative brainstorming and hands-on exploration.

I tend to focus on minimalism and procedural or generative design when working on a project. I believe in stripping away unnecessary elements to let the core idea shine through, which is why minimalism plays a significant role in my design process. I also enjoy working with procedural and generative design, where I can explore systems and algorithms that generate patterns, structures, or forms. I also focus on context and cultural relevance, especially in my research projects at the UASLP. Through the DataDesign database, I explore how typography reflects identity and history, ensuring that design is not just functional but also serves as a tool for documentation and preservation. This process has strengthened my approach to design, making it more conscious and intentional.

Designing comes with a mix of curiosity, excitement, and satisfaction. At the start of a project, there’s always a sense of exploration as I dive into research, looking for ideas and connections that will shape the design. It often feels like solving a puzzle—challenging but also rewarding when everything starts to fall into place. As the process moves forward, I usually get into a flow state, where everything just clicks and I’m completely focused and immersed in the work. Whether I’m sketching by hand, refining layouts, or experimenting with code, there’s a lot of joy in seeing ideas take shape. Of course, there are moments of frustration, especially when something doesn’t work as expected. But those challenges often lead to breakthroughs and new discoveries, so I’ve learned to embrace them as part of the process. What I enjoy most is that every project teaches me something new—whether it’s a technique, a tool, or insights about a different industry—and that constant learning keeps the process exciting and fulfilling.

Most of the time, I feel a deep sense of satisfaction when a design is completed and comes to life. Seeing an idea go from a concept to a finished product is always rewarding, especially knowing the amount of thought, effort, and creativity that went into it. That said, there are also moments—especially with tight deadlines—where I’m left wishing I had more time to explore ideas further or refine certain details. It’s a mix of feeling proud of what was accomplished and curious about what else could have been done with a bit more time.

A successful design is one that communicates its message clearly and effectively. It relies on quality in the message, ensuring that the core idea is conveyed without confusion. It also involves using the right signs—whether through typography, symbols, or visual elements—that resonate with the intended audience and enhance the communication. Lastly, it’s about minimalism: using only what’s necessary and avoiding visual noise. By stripping away unnecessary elements, the design becomes more focused, impactful, and easier to engage with. Success lies in simplicity, clarity, and purpose.

When judging a design as good or bad, I first focus on clarity, functionality, and emotional resonance. Clarity ensures that the design effectively communicates its message without confusion, using visual hierarchy, typography, and layout to make the content easy to navigate and understand. Functionality is equally important, as a design must serve its intended purpose—whether it’s a typeface that maintains readability across different sizes and mediums or an interface that provides a seamless user experience. Emotional resonance is what makes a design memorable; colors, shapes, and typography should create a mood or provoke a reaction, connecting with the audience

I believe designers have a big responsibility—not just to society, but also to the environment. The work we do shapes how people experience the world, influencing the way they think, feel, and make decisions. That’s why it’s so important to approach design with ethics and accountability in mind, making sure what we create is inclusive, accessible, and respectful of different cultures. When it comes to the environment, designers can make a real difference by promoting sustainability. This might mean reducing waste, choosing eco-friendly materials, or creating products and systems that have less impact on the planet. Whether it’s designing reusable packaging, streamlining digital interfaces to use less energy, or developing adaptable designs that last longer, we need to keep sustainability at the center of what we do.

I think the design field is evolving at an incredible pace, driven by advancements in technology, changing social values, and a growing awareness of sustainability. Design is no longer just about creating visually appealing products—it’s becoming more interdisciplinary, blending art, science, and technology to solve complex problems and enhance human experiences. One of the most exciting shifts is the rise of digital and interactive design. With AI, virtual reality, and augmented reality becoming more accessible, designers are exploring new ways to create immersive and personalized experiences. At the same time, generative design—where algorithms and data drive the creative process—is opening up endless possibilities for innovation.

My last exhibition took place in November 2024 at the Universidad Iberoamericana Puebla, as part of the International Day for the Elimination of Violence Against Women. It featured the collection "30 Alertas contra la Violencia de Género", a series of visual messages addressing gender violence. Earlier in 2024, this collection was also exhibited at the Faculty of Architecture of the BUAP in Puebla, Mexico. I’m always looking for opportunities to share my work in different contexts, especially when it can spark dialogue about important social issues. For my next exhibition, I’d like to explore themes related to typography and perception, possibly integrating interactive installations or generative design elements to engage viewers in new ways.

The inspiration for my work comes from a combination of art, culture, and everyday observations. I’m deeply influenced by geometry, patterns, and visual structures, especially those found in architecture, urban landscapes, and nature. Artists like Victor Vasarely and Omar Rayo have shaped my interest in optical art and geometric abstraction, while designers such as Josef Müller-Brockmann, Herb Lubalin, and Wolfgang Weingart inspire my approach to typography and visual clarity. I also draw inspiration from Mexican culture, particularly its rich history of graphic design, posters, and typographic experimentation. Being part of exhibitions, such as the Bienal Internacional del Cartel en México and the Tipos Latinos Biennials, has exposed me to diverse styles and techniques that fuel my creative process.

I would describe my design style as minimalist, geometric, and experimental, with a strong focus on typography and structure. My work often blends precision and simplicity with conceptual depth, exploring how form and function can coexist to create visually striking and meaningful designs. What drew me to this style was my fascination with visual systems and patterns—how grids, symmetry, and repetition can create order while still leaving room for creative exploration. I’ve always been inspired by the works of Josef Müller-Brockmann and Wolfgang Weingart, whose approaches to typography and layout emphasize clarity, balance, and rhythm. At the same time, artists like Victor Vasarely and Omar Rayo encouraged me to experiment with optical effects, geometric abstraction, and perception. The main characteristics of my style include clean lines, modular structures, and carefully balanced compositions. I often integrate typographic experimentation with algorithmic or generative design processes, allowing randomness and systems to influence the final outcome. This approach creates designs that feel both mathematical and organic, pushing the boundaries between order and spontaneity.

I live in San Luis Potosí, a colonial city with over 400 years of history. It’s a place where four distinct regions—Altiplano, Centro, Media, and Huasteca—come together, creating a rich cultural and gastronomic heritage. This diversity undoubtedly influences how we approach design, as it provides a constant source of inspiration rooted in tradition, art, and craftsmanship. Mexico, as a whole, is incredibly diverse, and I’ve been fortunate to travel extensively throughout the country. Places like Oaxaca, Puebla, Querétaro, León, Monterrey, Sonora, Mexicali, Veracruz, and Yucatán have exposed me to different cultural expressions, artistic traditions, and architectural styles. These experiences have expanded my perspective and allowed me to incorporate regional identity and cultural narratives into my designs, blending modern techniques with historical influences. One of the advantages of designing in Mexico is this cultural richness—it offers endless sources of inspiration, from pre-Hispanic art and colonial architecture to contemporary crafts and popular culture. It encourages experimentation and provides opportunities to create designs that resonate with identity and tradition. However, a challenge is that design in Mexico is still highly centralized in Mexico City, where most of the major design studios, agencies, and projects are concentrated. For designers working outside the capital, this can sometimes mean fewer opportunities for large-scale projects or international exposure.

We have worked with a select number of companies, and our relationships with them have been long-lasting, built on trust and collaboration. Typically, the process begins when a client reaches out to discuss their needs and objectives. We then arrange a meeting—either over the phone, virtually, or in person—to better understand their expectations and scope. After this initial discussion, we prepare and present a proposal outlining the project’s timeline, deliverables, and costs. Once the details are agreed upon, we move forward with the project, maintaining open communication with the client. We usually schedule check-in meetings at key milestones to review progress, address feedback, and make any necessary adjustments. Most of the projects we handle involve website maintenance, development of new digital platforms, or the creation of editorial designs such as books, magazines, or promotional materials. Our focus is always on delivering high-quality, functional, and visually compelling solutions, ensuring that the final outcome aligns with the client’s vision and goals.

I think the best way for companies to work with a designer is by building a relationship based on trust and open communication. Designers are natural problem-solvers, so it’s important for companies to be clear about their needs, goals, and expectations right from the start. Sharing detailed information about the project—like its scope, target audience, and objectives—helps designers come up with solutions that truly match the company’s vision. When it comes to choosing the right designer, companies should look beyond just the portfolio. While it’s great to see past work, it’s just as important to understand the thought process and approach behind those projects. A good designer is someone who can explain their decisions, collaborates well, and is adaptable to different challenges and styles.

My design process usually starts by analyzing the problem or need I’m trying to solve. I like to take time to really understand the context, who the audience is, and what the project’s goals are. This helps me get a clear idea of the main challenge and what elements I should focus on. Once I have that foundation, I often create concept maps to explore different ideas and connections. It’s a great way to organize my thoughts, find patterns, and set a clear direction for the project. From there, I dive into research and references. I look at similar projects, visual trends, and styles to spark ideas and start shaping the concept. When it’s time to start creating, I still enjoy sketching by hand—especially for typography or layouts. Sketching helps me explore ideas quickly and freely before moving to digital tools to refine them. Depending on the project, I might also experiment with programming exercises or photography tests to play with patterns, structures, or visual effects. These explorations often point me in the right direction and help me make sure the final design is both thoughtful and cohesive.

Five of my favorite design items at home reflect both functionality and aesthetics, as well as my passion for typography and timeless design: 1. The functionality of my kitchen design – I appreciate how well-organized and efficient it is, combining practicality with clean aesthetics, making it a space where design meets everyday life. 2. The Butterfly Chair (Silla Mariposa) – Designed by Antonio Bonet, Juan Kurchan, and Jorge Ferrari, this piece is a perfect example of modernist furniture design. Its elegant simplicity and lightweight structure make it both iconic and versatile. 3. A set of tables with drawers – I designed this set during my specialization in furniture design, and it holds a special place as a personal project that reflects my exploration of form and function. 4. Bialetti Moka Espresso Maker – I’m fascinated by its timeless design and the story behind it. It’s a piece that combines industrial design with practicality, proving that even everyday objects can be beautifully designed. 5. Chemex Coffee Maker – Its minimalist design and simple elegance make it a standout object. It’s a perfect example of how form and function can come together in a single product. Finally, although it’s not a functional object, I also treasure a small Elzevir book. As a typography enthusiast, this book represents an important milestone in the history of design and typography.

A typical day in my life starts with getting ready and heading to the university, where my mornings often begin with a cup of coffee and a quick catch-up with colleagues. This time is great for sharing updates on academic or research projects we’re working on, discussing progress, and planning next steps. Some days are more focused on research and advancing projects, especially those related to typography and design documentation, while others are dedicated to teaching and interacting with students. I enjoy balancing these responsibilities, as it keeps my work dynamic and allows me to connect with different aspects of design. In the afternoons, I shift gears and focus on professional projects at Bluetypo, where I work on typographic development, editorial design, and interactive platforms. These hours are often spent refining ideas, experimenting with layouts, or preparing deliverables for clients. Evenings are usually more relaxed, but I often spend some time reading, sketching, or gathering inspiration for future projects. Whether it’s academic work, client projects, or personal exploration, each part of my day is connected by a passion for design and creativity.

For young designers, my biggest piece of advice is to stay curious and keep learning. Design is a field that’s always evolving, so it’s important to be open to new tools, techniques, and ideas. Experimentation is key—don’t be afraid to try new approaches, make mistakes, and learn from them. Another important tip is to build a strong foundation. Master the basics of design principles, typography, and composition before pushing boundaries. These fundamentals will always serve as your anchor, no matter how experimental your work becomes. I also recommend never settling for your first idea. Always explore at least three possibilities before deciding on a direction. Sometimes the most interesting and unexpected solutions come after pushing yourself to think beyond the obvious. Experimenting with techniques and materials can also lead to discoveries you hadn’t imagined. Trying out new processes—whether it’s working with physical materials, digital tools, or even combining both—can completely change how you approach design and solve problems.

One of the best things about being a designer is that every project is a chance to learn something new. Each client and challenge opens the door to different industries, tools, and ideas, which keeps the work interesting and engaging. I remember working with a heavy machinery company, where we didn’t just focus on their branding—we actually learned about their equipment and even had the chance to operate a small forklift. Experiences like that make the job incredibly rewarding because design allows you to explore different fields while solving problems in creative ways. Another great aspect is the variety that comes with the job. No two projects are ever the same, and that keeps things exciting and fresh. Whether it’s experimenting with typography, designing editorial layouts, or developing digital interfaces, there’s always room to grow, experiment, and push boundaries. Of course, there are challenges too. In my country, design has often been seen as one of the last steps in developing a product or project. It hasn’t always been given the importance it deserves, partly because the economy has focused more on manufacturing than on design innovation. This sometimes means designers have to convince clients that good design isn’t just a finishing touch—it’s something that should be part of the process from the very beginning. That said, I’m optimistic about the future. With the rise of startups and freelance opportunities, I’ve noticed a positive shift in how design is valued. More companies are starting to see that design isn’t just about how things look—it’s about strategy, usability, and communication. It’s exciting to see design being recognized as a key driver of innovation and growth.

My golden rule in design is a combination of "less is more" and embracing the possibilities that technology offers. I believe in simplicity and clarity—stripping away anything unnecessary to let the core idea shine through. At the same time, I’m always looking for ways to experiment and innovate by exploring new tools, techniques, and technologies. This balance between minimalism and exploration allows me to create designs that are both functional and visually impactful. For me, good design isn’t just about making something look beautiful; it’s about solving problems, communicating effectively, and pushing boundaries to create something memorable and meaningful.

I think the most important skills for a designer go beyond just technical abilities—they’re also about creativity, problem-solving, and communication. First, creativity and problem-solving are at the heart of design. It’s not just about making things look good; it’s about finding innovative solutions to challenges and communicating ideas visually in a way that resonates with people. Of course, technical skills are also essential. A strong understanding of typography, composition, and color theory provides the foundation, but it’s equally important to be comfortable using design software. And as design becomes more digital, knowing a bit about coding, generative design, or interactive platforms can be a big plus. Another key skill is the ability to research and analyze. Good design doesn’t happen in a vacuum—it’s shaped by understanding the audience, trends, and context. Whether it’s branding, editorial work, or interface design, research is what ensures the design hits the mark. Finally, adaptability and curiosity are what keep a designer growing. Design is always changing, so being open to learning, experimenting with new materials, or exploring emerging technologies is what helps designers stay relevant and innovative.

My toolbox is a mix of software, hardware, and resources that support different stages of the design process. For software, I rely heavily on Adobe Creative Suite—especially Illustrator, InDesign, and Photoshop—for vector design, layouts, and image editing. When working on typeface development, I use Glyphs, and for generative design and visual experiments, I often turn to Processing, P5.js, and Python. On the hardware side, I use a Wacom tablet for drawing and sketching, but I also like to work with pencils, markers, and sketchbooks early in the process to quickly explore ideas before refining them digitally. For inspiration, I keep a collection of design books, including Grid Systems by Josef Müller-Brockmann, Thinking with Type by Ellen Lupton, and Typographie by Emil Ruder. I also look to online platforms like Pinterest, Behance, and Fonts in Use to discover new trends and ideas. I’m often inspired by art, architecture, and patterns in nature, as well as cultural traditions and travel experiences. I think combining digital tools with hands-on exploration keeps my process flexible, fresh, and creative.

Design can definitely be time-consuming, so I try to stay organized and focused by breaking projects into smaller tasks with clear deadlines. This helps me keep track of progress and avoid feeling overwhelmed. I also prioritize tasks based on what’s most urgent and schedule checkpoints to review progress and gather feedback. At the same time, I make sure to take breaks when needed—sometimes stepping away for a bit helps me come back with fresh ideas and a clearer perspective.

It really depends on the complexity of the project. For something like branding development or designing a simple user interface, it usually takes about 3 to 4 weeks—including research, design, feedback, and final adjustments. But for larger projects, like the typography database I’m working on, the process is much more involved. It requires extensive research, data organization, and system design, so it could take at least 3 years to fully develop. Every project is unique, so I always adjust timelines based on the scope and goals to make sure the final result is high-quality and well thought out.

The question I get asked the most as a designer is, “What is your inspiration process?” I usually explain that inspiration comes from everywhere—from art, architecture, and nature to travel, books, and everyday observations. I also draw a lot of ideas from history, cultural traditions, and technology, blending them to create something fresh and meaningful. My process often starts with research and concept mapping to organize ideas and explore connections. From there, I gather visual references and experiment with sketches, materials, or even coding to see how forms and patterns develop.

I’ve had the chance to work with a variety of clients, including Iminox, Cineteca de San Luis Potosí, and Bandanas, where I’ve developed projects in branding, editorial design, and interactive platforms. I’ve also collaborated with academic and cultural institutions, such as the Universidad Autónoma de San Luis Potosí (UASLP), the Universidad Complutense de Madrid, the Asociación Mexicana de Tipografía, and the Universidad Autónoma de Nuevo León. Many of these projects have focused on typography, research, and visual communication, blending design practice with academic exploration.

I really enjoy typography development and typographic posters because they let me combine precision and creativity. With typography, I love exploring how form and function come together to create typefaces that are both beautiful and practical. It’s fascinating how small details—like the shape of a letter or its spacing—can completely change the way a design feels. Typographic posters, on the other hand, give me the freedom to experiment with layouts, scale, and patterns. They’re bold and expressive, which makes them a great medium for telling stories visually.

One of my most important job experiences has been working on research projects that combine design and data analysis. These projects have pushed me to learn new tools and techniques, like processing data with Python and creating visualizations to better understand and communicate complex information.

It really depends on the project and how complex it is. For smaller or more focused projects, I usually develop the designs myself, especially when they need a personal touch or are closely connected to my research and experimentation, like my work on generative typography. For larger or more complex projects, I often collaborate with a team. At Bluetypo, we take a collaborative approach, combining different perspectives and areas of expertise

One of the main projects I’m working on is a research initiative focused on building a comprehensive database of Mexican typography. This project aims to create a systematic map of commercial typographic production in Mexico from 1990 to 2025. The goal is to identify trends, styles, influences, and key contributors to Mexican typography during this period. I’m also working on the technological update of two of my previously designed typefaces—Optica Normal and Miniblock. This involves refining their features, expanding their functionality, and preparing them for licensing through different distributors. In addition, I’m developing a generative typeface, which combines elements of my past generative design projects with typographic experimentation.

People usually contact me through recommendations from clients who have worked with me in the past. Word-of-mouth has been a great way to build trust and long-term relationships. In addition, I’m also reachable through digital platforms where I showcase my work, such as Bluetypo’s website and social media profiles. These platforms allow potential clients to explore my portfolio, learn more about my design philosophy, and see examples of my past projects.

I’m part of BlueTypo, an independent graphic design studio and creative consultancy, focusing on typography, poster, editorial design and interaction. This studio is owned and run by Eréndida Mancilla and Manuel Guerrero, based in Mexico since 2000.

In the 90’s I become to study design, at that time I don’t know what kind of design discipline take, for one hand, I had interest in Architecture, and the other hand, I liked the Industrial Design and Graphic Design. So I start to study Graphic Design in the Universidad Autónoma de San Luis Potosí, Mexico, when I finish the Graphic Design program, I take the Design furniture program as complement. Years later, I take the Master’s Graphic Design program and recently I take the PhD Architecture, Design and Urbanism program at the Universidad Autónoma de Morelos, Mexico. I think that let me the opportunity to view the design from a multidisciplinary perspective.

May priorities are focus on the premise “Less is more” by Mies van der Rohe, because I consider the function is the reason to be of design. I don’t have a style in particular, I think we are the result of the time and context in we grow, so, sometimes the design style in my work remains to the early works from the Bauhaus or 60’s Ulm design.

As student I was influenced by the postmodern design with David Carson, Ed. Fella, Neville Brody and the mexican design tradition like Lopez Castro, Vicente Rojo, German Mantalvo and recently Gustavo Amezaga and the mexican culture that you can see in the handcrafts, architecture, candys and food.

Learn to do any thing you interest and try to know how the things work. I thing the curiosity is the source of the innovation.

Never work with the first idea, ask why more than five times and you will find very interesting things to work with.

I have a background in graphic design with a strong focus on typography and visual communication. I earned my Bachelor’s degree in Graphic Design and later pursued a Master’s in Typographic Design, which allowed me to deepen my understanding of letterforms, composition, and visual systems. Over the years, I’ve also completed specialized studies in furniture design and PHD in Architecture, Design and Urbanism which have broadened my perspective and introduced me to multidisciplinary approaches to design. In addition to my professional work, I’m an academic researcher at the Universidad Autónoma de San Luis Potosí (UASLP), where I focus on typography, design systems, and data-driven design tools. My academic work, including the development of a typographic database, has allowed me to combine theory and practice, bridging research and design in meaningful ways

I’ve always been fascinated by how form and function can come together to create something both useful and meaningful. I became a designer because I enjoy the process of exploration and discovery—turning abstract ideas into tangible solutions. Design allows me to experiment, learn, and push boundaries, whether it’s through typography, layouts, or interactive tools. I’m also motivated by the idea that design has impact—it can influence behavior, tell stories, and even spark conversations about important topics.

I definitely chose to become a designer. I’ve always been drawn to creativity, problem-solving, and the way visuals communicate ideas. Early on, I was fascinated by architecture, industrial design, and typography, which led me to explore design as a way to bring together form and function. Over time, that curiosity grew into a passion for turning abstract ideas into visual solutions.

I design typography, editorial layouts, and interactive platforms. I also work on generative design projects that combine programming and visual exploration to create dynamic patterns and structures. I’d like to design more experimental typefaces and generative typography, exploring how data and algorithms can influence the design process. I’m also interested in working on publications and visual systems that focus on cultural preservation and storytelling.

Young designers should stay curious and keep experimenting. They need to explore ideas, test new tools, and push boundaries without being afraid to fail or start over. It’s important to master the basics—typography, composition, and color theory—before trying to break the rules. They should study great designers, but also look outside design for inspiration in art, architecture, and technology. Building a strong portfolio with work that reflects their style and thought process is essential. They should also collaborate, ask questions, and keep learning from others, whether through workshops, exhibitions, or conferences.

A good designer focuses on solving problems and creating work that is both functional and visually appealing. As Massimo Vignelli once said, "Good design is a matter of discipline. It starts by looking at the problem and collecting all the information about it." A great designer, however, goes beyond solving problems—they ask new questions and challenge conventions. They see design as a tool to shape culture and evoke emotions. Paul Rand captured this idea perfectly when he said, "Design is so simple, that’s why it is so complicated."

A good design becomes a really good design when it’s clear, functional, and emotionally engaging. I look at clarity first—whether the design communicates its message effortlessly and guides the viewer naturally. Elements like visual hierarchy, typography, and composition play a big role in making information accessible and easy to understand. A design that achieves this feels intuitive and purposeful without overwhelming or confusing the audience.

Good design is valuable because it’s more than just aesthetics—it’s about functionality, communication, and connection. It helps make ideas clear, accessible, and memorable, turning complex information into something people can easily understand and engage with. In areas like typography and visual systems, design also serves as a tool for documentation and preservation, helping capture cultural narratives while pushing innovation.

If I had the time, I’d focus on designing editorial and typographic projects that help document and preserve Mexican visual culture, especially in the area of typography. I’d love to create designs for cultural and educational institutions or social projects, aiming to produce work that is both beautiful and functional—a balance Félix Beltrán emphasized when he said, "Good design is a combination of beauty and utility."

One dream project I haven’t had time to fully realize is a large-scale typographic exhibition that combines physical installations with interactive elements. It would highlight the evolution of Mexican typography, showcasing historical influences alongside contemporary designs, including pieces from the typography database I’m currently developing.

I think my secret ingredient in design is a combination of curiosity, experimentation, and attention to detail. I’m always looking for ways to learn new techniques, explore different materials, and push boundaries through research and creative exploration. I also focus on simplifying ideas to their essence—following a "less is more" approach while leaving room for unexpected discoveries during the process.

I draw inspiration from Josef Müller-Brockmann for his grid-based designs and visual hierarchy. Herb Lubalin and Wolfgang Weingart influence my approach to experimental typography and expressive letterforms. Felix Beltrán inspires me with his minimalist designs and ability to create impactful messages through simplicity. Victor Vasarely and Omar Rayo fuel my interest in geometry, patterns, and optical effects. Dan Friedman brings a postmodern perspective, while Niklaus Troxler’s music posters showcase simplicity and rhythm in design.

I admire Josef Müller-Brockmann’s posters, especially “Musica Viva”, for their clarity, structure, and use of grids. Herb Lubalin’s typographic compositions, like his work for Avant Garde magazine; Felix Beltrán’s logos and posters impress me with their minimalism and efficiency like the "Click" poster

Optica Normal is one of my greatest designs. It’s a typeface inspired by optical art, particularly the work of Colombian artist Omar Rayo. The design uses orthogonal lines arranged in a fixed order to create patterns that reveal readable text when viewed closely. What makes it great is its ability to blend art and typography, turning letterforms into visual experiences. It’s a typeface that works best at large sizes, where its intricate details and optical effects become most visible.

To become a better designer, I believe the key is to stay curious and be experimental. Always be open to learning new tools, techniques, and ideas. Don’t be afraid to step outside of your comfort zone and try things you’ve never done before. Explore different mediums, whether that’s generative design, hand-drawn sketches, or interactive experiences—the more you experiment, the more you’ll discover new ways to approach problems and create innovative solutions.

If I hadn’t become a designer, I likely would have pursued a career in architecture. For me, Architecture offers a way to blend art and function, much like design, but on a larger scale. It involves problem-solving, aesthetic thinking, and technical knowledge, all of which resonate with how I approach design today.

For me, design is a process of solving problems through creativity and communication. It’s about transforming ideas into visual or functional solutions that are both practical and aesthetic. Design isn’t just about making things look good—it’s about understanding context, purpose, and the needs of the people you’re designing for.

I’ve been fortunate to have many supporters throughout my journey, but if I had to pinpoint the biggest influence, it would be Eréndida Mancilla, my collaborator at Bluetypo. Her insight, guidance, and shared passion for design have been instrumental in shaping both my creative process and career path. Together, we’ve pushed each other to experiment, grow, and always strive for innovation in our work.