Paul Joshua Martinez Calderon

When I was 9 years old, I used to watch my father paint murals on his bedroom walls for my mom. That’s when I first realized that drawing could express more than just aesthetics—it could also carry a message. Years later, when I was in my last year of high school, I was given the chance to design my class’s graduation jacket. It was the first time something I created was celebrated by 90 of my classmates and the entire school board. That moment made me want to feel it again—to see my designs come to life, be mass-produced, and serve a purpose.

Right now, my design studio is still in development, growing from my personal brand. I envision it as a space where people can trust their projects will be handled with the right mix of aesthetics and functionality. More than just a studio, I want it to be a place of friendship and confidence, where everyone in the team feels free to share ideas without fear or insecurity.

Design is the balance between aesthetics and communication. It’s the tool we use to convey messages—whether for a service, product, system, company, or people.

I especially enjoy projects where I can combine my illustration skills with graphic design. Whether it’s creating complex, illustrated compositions or minimalist visuals, I always aim for a balance between beauty and the client’s needs.

One of my favorite designs is the artbook collection from the animated Spider-Man movies. Those books deeply inspired me—they revealed everything behind the scenes: concept art, editorial layouts, character and graphic design, and illustrations used for the film’s development and marketing. That inspiration pushed me to create the very project that won this award.

Professionally, the first complete design I created was a rebranding for a Peruvian NGO called Ecoceánica. But the very first project I designed under the supervision of a larger institution was my high school’s graduation jacket. Since it was for a Salesian school, the design had to follow specific visual and institutional guidelines—which I learned to follow at just 16 years old.

The iPad. My first experience with digital illustration began when my parents gave me an iPad at age 20. I knew the effort it took them to afford it, so I committed myself to mastering it completely. That decision eventually led me to give my first Procreate workshops at university—those workshops laid the foundation for the project that earned me this award.

Right after meaningful, unforgettable experiences. It could be after watching a film, spending time with my parents, or even going through painful and emotional moments. Somehow, my mind transforms those feelings into a need to create visual or audiovisual content.

The concept and the research. The visual part becomes much easier once I fully understand what I’m creating and why.

All of them. My emotions often shape the tone and communication style of each design. It depends entirely on how I’m feeling.

Pride. I know how much work it takes to bring an idea to life and polish it. When I see people left speechless, my mind says, “You did it. It was possible.”

A strong concept and the perseverance of the designer or team behind it. Always seeking to improve and being open to different ways to reach the ideal outcome.

I focus on what the design communicates—its tone and message—and whether that aligns with the project’s goals.

To communicate effectively in a way that helps people better understand the products and services they interact with.

Design is becoming essential across all fields—business, entrepreneurship, services. In a world that demands immediate audiovisual stimulation, people are investing more in how they present their ideas. With AI on the rise, design is evolving into something indispensable. Everyone needs designers—we are the architects of communication.

The last time my work was publicly seen was about a year ago, through the project that earned me this award. Now, I’d love to share everything I’ve been creating this year, applying to more competitions and exhibitions so that my work can reach a broader audience.

Inspiration comes from the simplest things in life and the emotions I experience daily—love, joy, fear, anxiety, stress. I try to channel all of that into something creative and meaningful. I always draw from my context to create.

My style reflects my current situation and environment. I’m influenced by urban visuals, street art, the movies I watch, and the music I listen to. Sometimes it’s minimalistic, sometimes overloaded—it all depends on how I feel. My approach is always emotional and intuitive.

Absolutely. Sadly, in the city where I was born, design still isn’t fully valued. There are no university programs in design, and many people don’t even understand what I do. This has pushed me to seek references from the capital and abroad. Still, I try to find ways to integrate my local culture into my work and elevate design within this context.

I always study who I’m working with and what their goals are. I try to understand their team and adapt like an anthropologist—analyzing their environment to design in a way that truly fits.

Companies should understand what a designer is truly capable of—knowing their strengths and weaknesses helps build a better working relationship and unlock their full potential.

I always start by studying and conceptualizing, depending on the design service. Then I begin sketching and brainstorming ideas. Only after that do I move on to digital execution, refining the best concepts.

I wake up at 4:30 AM to go to the gym and return around 7:30 AM. After breakfast, I get ready for work, usually starting at 9 AM and finishing at 5 PM, with two breaks in between. In the evenings, I spend time with friends, family, or work on personal projects.

Study design history and trends from the past. Understanding how design evolved helps you grasp why it is the way it is today—and how to adapt for the future.

The positive: you can bring creativity into almost any field and enjoy the process. The negative: constantly fighting perfectionism and unrealistic standards often set by agencies or social media. That’s why I live by the phrase: “Perfection is the enemy of good.”

Being able to express your ideas clearly—with a pencil and paper, through writing or drawing.

I mainly use my computer and iPad. On my computer, I work with Adobe Creative Cloud. On my iPad, I use Procreate and Adobe Fresco for illustrations. For resources and inspiration, I rely on Instagram, artbooks, and basic design books—especially for layout and composition ideas.

I try to stay organized and respect my schedule. I allocate time for research, design, exercise, family, friends, clients, video games, and alone time. Keeping balance is essential for me to function well in all areas of life.

It depends on the project and the feedback process with the client. If everything flows smoothly, my research takes 2–3 weeks, design execution another 3 weeks, and final files and post-production take 1–2 weeks.

People often ask, “What exactly do you do?” or “Do you earn enough?” These questions reflect the lack of awareness in my hometown, where design still isn’t part of university education.

Working at the first studio that believed in me—Caracola Studio. Thanks to Carolina, the director, I learned everything that design school doesn’t teach—from how to navigate the professional world to how to find new clients.

Most of my clients are in the food and beverage industry—coffee, chocolate, and gastronomy-related products. I handle everything from visual identity to packaging design. Some of them are Renacer, Etno Inteligencia, Florencia & Fortunata, Bitezilla, Pinta Draft Bar, and Magia Piura.

I enjoy projects that require deeper research—non-traditional work like unique packaging or branding for emerging brands. I like challenges that push me out of the ordinary.

I’m planning to apply for a master’s scholarship in Europe. Unfortunately, I haven’t found any programs in Peru that match my professional goals. That’s why I’ve been building my portfolio—to help me get there.

I believe designs always benefit from multiple perspectives. Most of my projects are done with help from more experienced professionals or talented friends who can add value to the process.

One of my latest projects is my portfolio. Since I started in this field, I’ve seen many types of portfolios, but never one that truly expressed what I wanted to communicate. That’s why I created “POLFOLIO”—an extension of my creative universe. It’s my personal and professional introduction to clients, collaborators, and friends.

They can reach me on Instagram: @pauljoshua_07 or through my website: thepolfolio.com

I studied Art and Business Design at Universidad San Ignacio de Loyola in Peru, graduating in 2024 with a specialization in Brand Management and Illustration. That same year, I completed my bachelor’s degree with the project that later won me the award. Throughout my university years, I took several courses to deepen my knowledge in typography, design software, advanced illustration, and more.

Knowing that even my simple childhood drawings could make people feel something. That feeling stayed with me — I wanted others to feel what I feel when I create.

I believe design is one of those careers that no one is forced into. In my case, I knew I wanted to create things ever since high school, but I didn’t even know that “design” existed as a profession at the time.

I’d love to design more projects where I can blend traditional design with illustration — combining both disciplines into a cohesive creative process.

I’m still a junior designer, but my advice to those just starting is: follow your instincts and learn from every professional you meet. Listen first — only then will you be able to choose what to apply to your creative journey.

A great designer dares to break patterns, to create something that connects emotionally. Beyond talent or technique, it's about being able to communicate with honesty and personality.

When a design solves a need while also generating an emotional or cultural impact. A great design not only works—it resonates.

Good design brings clarity, identity, and connection. It makes ideas more memorable and more powerful. That’s why it’s worth investing in—it transforms.

I’d love to design a children’s book for Peruvian kids. One that includes characters and messages rooted in our culture, told through a bold and emotional visual language.

A visual identity for a Peruvian brand that wanted to be colorful, honest, and memorable. It included packaging, illustration, and a typographic system tailored to their tone of voice.

If the design doesn’t give me goosebumps, it’s not ready. Before presenting something, I look at it over and over again until I feel something. That’s when I know it’s close to being done.

I don't follow specific designers, but I’m deeply inspired by artists like Tyler, the Creator, J. Cole, Kid Cudi, and illustrators who work for studios like Riot Games and Sony Animation Pictures.

My favorite pieces are my Spider-Man art books. I love how they combine layout, concept, and storytelling into one cohesive object. They feel like a museum you can hold.

My thesis project, which won an award. It’s the result of everything I learned: illustration, branding, project management, typography, editorial work, research, and creative direction. It feels complete.

Create like a 10-year-old and study like a specialized doctor. That balance between curiosity and discipline made all the difference for me.

I would’ve loved to be a film director. I think it’s a discipline where you can connect deeply with people through emotion and storytelling—just like design.

When your work genuinely connects with others. For me, success isn’t about big agencies or massive clients—it’s about creating something meaningful that people remember.

My parents, with their advice, long talks, and infinite patience. Also, my boss Carolina Maldonado and my professor Juan Pablo Aponte — thanks to them, I had many opportunities to prove what I’m capable of.