I came to product design through typography.

I started in art. Graffiti, letterforms, and an early obsession with how visual systems hold together. My degree was a Bachelor's in Arts with a major in Graphic Design, and the first half of it was almost entirely analogue — we spent a long time on the point as the oldest graphic resource there is, which sounds academic until you realize it's where every system starts. The second half moved into digital: composition, logotypes, type design, full brand manuals.

I loved it, and then I hit its limit. Almost everything I produced felt static. A manual sits on a shelf and communicates; it doesn't respond to anyone. I wanted the work to react. So I started designing websites at my first job, and something clicked that hadn't before — design stopped being about meeting an aesthetic standard and started having a purpose it could be measured against.

This was before UX and UI were words people used casually. Companies hired web designers to build apps, and nobody thought that was strange. When I moved to Argentina I found the discipline had a name, a method, and a market that was expanding fast. I went back to studying — courses, Sketch, then Figma — this time with a foundation in composition and systems already underneath me. The direction got very clear very quickly.

My first real UX role was at Labs, on an internal fashion commerce product. Screens, components, and feeding the design system. More importantly, it was where I learned how software actually gets built: sitting next to developers, watching a design meet a technical constraint, and finding out which of my decisions survived contact with reality.

Then the project was cancelled, and I got moved onto Salesforce. That turned out to be the most formative accident of my career. I couldn't design anything until I understood the CRM itself — its data model, its limits, what was genuinely impossible versus merely expensive. I spent four years there and led the UX team for three of them, working across discovery, kick-off and delivery for clients including Claro Brasil, Izzi México, Digital TV and Mercantil Andina. Telecommunications, insurance, media, in four countries. Every engagement started with a business I knew nothing about and a team that had been living inside it for a decade.

I joined Cactus in 2022 to build the design function for a multi-vertical POS platform, and today I lead a visual designer within it. Around 150 merchants run on it and roughly 46,000 people use it to get through a shift. The scope covers hardware POS, admin dashboards, payments, the design system holding it together, and a reporting layer that turned the platform into something merchants open to make decisions rather than to check a total. Platform work at that size gets decided with other people: engineers who know what the architecture will and won't carry, commercial teams who know what a merchant will actually pay for, and a design system that has to survive all of it. I spend real time in the venues, because a payment flow that works in Figma and a payment flow that works during a rush are not the same design.

Eight years in, the thing I'd bet on isn't a vertical. I've had to learn how a CRM data model works, how a payment actually settles, why a kitchen falls apart at nine at night, and each one made the next one faster. I work best with a developer telling me what something costs and another designer arguing with me about whether it's right; approval has never made anything I made better. AI is part of how I work now, not as a claim but as a method: design system and documentation loaded as context, Figma MCP writing straight into the file, which means I get to more versions of a hard idea before I commit to one. It hasn't changed what I consider good. It changed how much I can put in front of people before I have to.