A bitabout me.

As a kid I was a loner with a huge inner world. I drew, painted figures and tinkered with the console and the PC for as long as I can remember. Art and video games weren't a hobby, they were how I made sense of the world.

It took me a while to realise you could make a living from this. I studied computing, then graphic design, and slowly drifted back to art until I landed on traditional illustration, which I loved. But the day I walked into an open day at an animation school, a teacher spoke about his work with such passion that I thought: that's how I want to live.

So I bet everything on it. I took out a loan to enrol and spent more than 10 hours a day at the school, from open to close, even though classes were only four. The school ended up giving me a scholarship for the advanced year. I had job offers before I'd even finished. After that I kept collaborating with them on short films and, for a while, worked for free wherever I could just to stack up experience.

First I listen. I make sure I'm crystal clear from the start on what the client, director or lead expects from me, and I gather as much information as I can to adapt quickly to their way of working, their studio and their pipeline. I settle into any person and any flow fast.

Before animating, I want to understand. To know everything I can about the project, the character and the intent behind the shot: the why of things takes you much further than animating blind. References are vital, except on moves I've done a thousand times or more artistic ones, where I can sometimes go without and reach for them only if I get stuck.

I'm almost obsessive about detail. I like whoever watches it to notice that I took the time to animate even the thing that barely shows, the bit someone else would have left out, always with my priorities clear and an eye on the time I have. And I try to give back to the team in any way I can: knowledge, tools, a tip, or just lending a hand.

I've spent years working remotely for studios and teams in different countries, so distance isn't an obstacle, it's my everyday. It all rests on communication: I share versions of my work early, from the idea stage, so the lead can see where I'm heading and steer it sooner. I'd rather get fast, early feedback than run a long way down the wrong path. That way we iterate as little as possible and nothing slips through.

I'm very organised: I take notes on absolutely everything (every review note, every decision, every change) so nothing gets lost between versions. And I'm available. If someone needs something from me, I'm easy to reach and I answer fast.

A technically flawless animation that doesn't say anything is no good to me. What matters is that every character, every shot, has personality: something to say, something to show. Solid technically, nothing that jars the eye, yes, but it also has to make you feel something.

That lives in the details. It's the small nuances that turn a plain "movement" into something far bigger than shifting a body from one point to another. That's why I care about understanding why a character moves the way it moves and what it's saying with that gesture. When you grasp the intent behind it, the thing truly comes alive.

That's where my "every frame is a decision" comes from: no frame is filler. Every one is there for a reason.

I've been getting feedback for many years and I've always taken it well, because I see it for what it is: necessary. I never take it personally, because it isn't. Whoever gives you a note is trying to push your animation up a level. Maybe something slipped past you from the visual fatigue of hours on the same shot (it happens to all of us), or maybe that person has an idea that's perfect for it.

So I listen, I analyse what they're proposing and, if it's technical feedback, I learn from it and add it to my way of working and to my running list of things to watch for from then on. I also know how to tell a note from a critique, and which department each one comes from: knowing where you stand at any moment is what tells you what to keep and what to apply. And if something needs redoing, it gets redone, no drama.

After all these years, I'm looking for a team more than a specific project. A team that lets you take part and makes you feel like one more. Being comfortable wherever I work, clicking with the people, a creative place with artists as passionate about this as I am. And, like everyone, decent conditions that let me balance this thrilling job with real life.

If the project happens to be something that excites me from the start, even better. But the truth is I always end up finding something in every project that hooks me and makes me want to be part of it.

I work from just outside Madrid, somewhere quiet and far from the big-city noise. Available remotely worldwide, and on-site or hybrid if it's in or around Madrid. Freelance, contract or full-time all work for me. What matters is the team and the project.