Études
Where I come from and how I work. A line in the hand, saved as a picture.

On my own: Escriba for writing, Umbra for RAW photos, Fastrack for fasting.

2026 to nowA writing app for prose and poetry, in Spanish and English. Not released yet. 2026 to nowA RAW developer for the Mac, built for how I edit. Not on the App Store yet. 2026The plate generator for Víctimas de la Cultura. An internal tool that runs locally. 2025 to nowMission control for working agents. Open source, macOS.

Right now I’m turning Uwazi, a human rights database, into a research and OSINT tool.

2025 to nowEvery fact says who said it. A researcher's questions, answered on one screen. 2025 to nowA fasting tracker on the watch. The logo fills as the fast runs. 2025 to nowOff the card, into folders I can find. No library, no cloud. 2025 to nowOperations for restaurants and bars. Running live in Quito. 2025 to nowA wine garden in Quito. Brand, room, and the app that runs it.

Led design for Uwazi, the open-source human rights documentation platform used by 150+ organizations. Evidence that has to hold up in court, and machine learning that researchers train themselves.

2021 to 2025Rebrand and platform redesign for Huridocs, in four tracks. 2021 to 2025The database reads its own documents. You accept or reject. 2021 to 2025Not a screenshot: a page captured with its provenance. 2021 to 2025Eighteen months rebuilding the interface without stopping the work it carries.

Enterprise software for Fortune 500 companies across logistics, fintech, and healthcare, when Lumenalta was still Clevertech.

2018 to 2021A rail yard ran on paper. I replaced the printout with a screen.

Product design and workshop facilitation for consulting clients across Latin America. Quito, Santiago, São Paulo, Porto Alegre.

Websites, brand identities, and print for clients in Ecuador, the UK, Spain, the USA, and Mexico, from pitch to delivery.

Redesigned the full interface of a collaborative productivity startup. Before that, art direction for a cycling brand: video, photography, print, and the campaigns that grew it online.

Interactive sites, CD-ROM presentations, Flash experiences, brand systems, and commercial video and sound for ad clients.

Some of it survives in the interfaces and graphics archives.

The experiments, themes, and games that did not fit on the line are in the lab.

The longer writing, each piece on its own page. Vocabularies and guides, for talking to people and to models. Email, or the other doors. Quito hours.