Hi, I'm Judith Monsálvez Sánchez, a graphic designer and illustrator with over a decade of international experience across the UK, Japan, and Spain. I specialize in narrative-driven design, visual identity, editorial illustration, and creative direction, delivering bold, human-centered work for branding, packaging, education, and cultural projects. I love crafting stories through visuals; combining precise craft with a warm, accessible tone. My process blends research, mood-boards, and iterative storytelling to create assets that perform across print, web, and social media. _Website not available. Sign in: https://www.twine.net/signup_

Judith Monsálvez Sánchez

Hi, I'm Judith Monsálvez Sánchez, a graphic designer and illustrator with over a decade of international experience across the UK, Japan, and Spain. I specialize in narrative-driven design, visual identity, editorial illustration, and creative direction, delivering bold, human-centered work for branding, packaging, education, and cultural projects. I love crafting stories through visuals; combining precise craft with a warm, accessible tone. My process blends research, mood-boards, and iterative storytelling to create assets that perform across print, web, and social media. _Website not available. Sign in: https://www.twine.net/signup_

Available to hire

Hi, I’m Judith Monsálvez Sánchez, a graphic designer and illustrator with over a decade of international experience across the UK, Japan, and Spain. I specialize in narrative-driven design, visual identity, editorial illustration, and creative direction, delivering bold, human-centered work for branding, packaging, education, and cultural projects.

I love crafting stories through visuals; combining precise craft with a warm, accessible tone. My process blends research, mood-boards, and iterative storytelling to create assets that perform across print, web, and social media.

Website not available. Sign in: https://www.twine.net/signup

See more

Language

Spanish; Castilian
Fluent
Catalan; Valencian
Fluent
English
Advanced
Korean
Intermediate
Italian
Intermediate

Work Experience

Graphic Designer at CELSYS, Inc.
January 1, 2019 - Present
Worked for a Japanese graphics software company that develops Clip Studio Paint, creating graphic design tutorials for illustration, comic, and design software in both written and video formats.
Graphic Designer at Han-A Association
December 31, 2021 - July 29, 2025
Served as president of the Catalan branch and was responsible for graphic design and social networks. Also worked as a graphic designer and photographer for the association. Han-A is a non-profit promoting Korean culture in Spain.
Graphic Designer at MoYou-London
December 31, 2018 - August 14, 2025
Started as an intern and later worked full time as a Graphic Designer and Illustrator for a Nail Art company. Produced vector illustrations for nail art image plates using Adobe Illustrator and created illustrations of 'pin ups' for packaging and advertising. Designed packaging in Adobe Illustrator and Photoshop, conducted product photography and editing for website and social media. Also served as a hands model and 'model' for nail art video tutorials. Created banners and managed the company's community on Instagram, Twitter, Pinterest, YouTube, blog, and monthly magazine. Occasionally performed copywriting tasks and handled web design and management with Magento and WordPress.
Graphic Designer (Intern) at Tha-One.com, London
April 30, 2012 - August 19, 2025
Internship focusing on designing flyers and various leaflets for a company responsible for advertisements in leisure, entertainment, and music sectors.
Graphic Designer at MoYou-London
December 31, 2018 - August 23, 2025
Worked initially as an intern, later as a full-time Graphic Designer and Illustrator for a Nail Art company. Responsibilities included vector illustration for image plates, pin-up illustrations for packaging and advertising, packaging design, product photography and editing for website and social media, modeling for video tutorials, hands modeling, banner creation, community management across multiple social platforms, occasional copywriting, and web design and management using Magento and Wordpress.
Graphic Designer (Intern) at Tha-One.com, London
April 30, 2012 - August 23, 2025
Internship involving design of flyers and various leaflets for leisure, entertainment, and music advertisements.
Graphic Designer at CELSYS, Inc.
January 1, 2019 - Present
Created graphic design tutorials for Clip Studio Paint illustration, comic, and design software in both written and video formats.
Graphic Designer / President of Catalan branch at Han-A Association
December 31, 2021 - August 23, 2025
Worked as graphic designer and photographer for a non-profit association promoting Korean culture in Spain; later became president of the Catalan branch, managing graphic design and social networks.
Graphic Designer / Illustrator at MoYou-London
December 31, 2018 - October 2, 2025
Vector illustration for image plates for Nail Art; illustration of 'pin ups' for packaging and advertising; packaging design in Illustrator and Photoshop; product photography and editing for website and social media; model for video tutorials; hands model; creation of banners; community management (IG, Twitter, Pinterest, YT, blog, monthly magazine); occasional copywriting; web design and management of Magento and Wordpress.
Graphic Designer (Intern) at Tha-One.com, London
April 1, 2012 - October 2, 2025
Intern designing flyers and other leaflets for leisure, entertainment and music.
Graphic Designer at CELSYS, Inc.
January 1, 2019 - Present
Graphic design tutorials for Clip Studio Paint in written and video format.
Graphic Designer at Han-A Association
December 31, 2021 - October 2, 2025
Graphic designer for a nonprofit promoting Korean culture in Spain; served as president of the Catalan branch and managed graphic design and social networks; also worked as a photographer.
Graphic Designer at MoYou-London
December 31, 2018 - December 31, 2018
Graphic designer and illustrator at Nail Art company. Responsibilities included vector illustration for nail image plates, pin-ups for packaging/advertising, packaging design in Illustrator/Photoshop, product photography for website and social media, modelling for nail-art tutorials and hands, banner creation, community management (Instagram, Twitter, Pinterest, YouTube, blog, monthly magazine), occasional copywriting, and web design/management of Magento and WordPress.
Graphic Designer (Intern) at Tha-One.com
April 30, 2012 - April 30, 2012
Intern designing flyers and leaflets for leisure, entertainment and music; contributed to visual direction and layout.
Graphic Designer at CELSYS, Inc.
January 1, 2019 - October 29, 2025
Graphic designer creating tutorials for Clip Studio Paint in written and video formats, supporting illustration, comics and design software.
Graphic Designer at Han-A Association
December 31, 2021 - December 31, 2021
Graphic designer; president of the Catalan branch; in charge of graphic design and social networks; photography work.

Education

Bachelor's at BAU, escola superior de disseny, centre adscrit a la Universitat de Vic
January 1, 2005 - December 31, 2010
BA at BAU, escola superior de disseny, centre adscrit a la Universitat de Vic
January 1, 2005 - January 1, 2010
Design at BAU, Escola Superior de Disseny (Centre adscrit a la Universitat de Vic)
January 1, 2005 - January 1, 2010
Design at BAU, escola superior de disseny, centre adscrit a la Universitat de Vic
January 1, 2005 - January 1, 2010

Qualifications

Add your qualifications or awards here.

Industry Experience

Media & Entertainment, Non-Profit Organization, Retail, Software & Internet, Education, Consumer Goods, Professional Services
    paper Corporate Identity Manual of Han-A

    Project Description

    A Corporate Identity Manual developed to unify and standardize the visual branding of Han-A, an association operating across Spain through autonomous communities. The manual ensures consistent application of branding elements while allowing regional adaptations when necessary.

    Initial Problem

    Han-A needed a cohesive branding system to address inconsistencies in visual identity across its autonomous communities. While operating independently, the communities required a unified brand to present a professional image nationally, especially for shared resources like the website or social media.

    Process

    Audit: Reviewed past logos to identify design flaws (e.g. inconsistent fonts, poor hierarchy).
    Color Palette: Defined red, blue, black, and white based on Korean flag for cultural coherence.
    Typography: Explored modern, readable typefaces fitting for formal and informal use.
    Sketches: Developed multiple layouts (icon, horizontal, vertical) for flexibility.
    Icon Design: Created a unified symbol merging tradition and modernity.
    Feedback: Collected input from community leaders to refine the design.
    Final System: Built a modular identity adaptable across formats and regions.

    ![2](https://www.twine.net/signin

    Solution

    The final manual provided Han-A with a cohesive branding system that reinforced its identity as a unified association. By offering clear and actionable guidelines, the manual ensured consistency across autonomous communities, strengthening Han-A’s visual presence both locally and nationally.

    ![3](https://www.twine.net/signin

    **[Portfolio: Identity Manual](https://www.twine.net/signin

    paper Minimalist Book Covers

    Project Description

    This project consists of a trilogy of minimalist book covers, each visually distinct but connected through a consistent style and format. The designs combine bold symbolic imagery with a restrained color palette, using black as a base paired with a key accent color (red, yellow, or green) to reflect each book’s unique identity. The goal is to create modern, elegant, and thought-provoking covers that stand out individually while forming a unified collection.

    Initial Problem

    Many book covers today lack visual impact because they are either too generic or overly detailed, failing to convey the book’s atmosphere and core themes effectively. Often, covers rely on overused visual clichés or cluttered compositions that do little to spark curiosity or offer a unique identity. This project aims to break from those norms by using refined symbolism and minimalism to highlight the essence of each story.

    Process

    The design process was comprehensive and iterative, involving several key phases:
    Research & Concept Development: In-depth research into themes, genres, and visual references, focusing on emotional tone and symbolism.
    Sketching & Ideation: Multiple hand-drawn sketches explored layouts, symbols, and typography, refining ideas to find the strongest concepts.
    Color & Typography Selection: A simple yet impactful palette (black with accent colors) paired with clear, artistic typography for balance and legibility.
    Digital Execution & Refinement: Designs were digitized, with careful adjustments to geometric and symbolic elements for harmony and balance.
    Feedback & Final Adjustments: Feedback led to final tweaks in imagery, color, and presentation to align with minimalism and audience appeal.

    Solution

    The final result is a striking series of minimalist book covers that address the initial problems by using clear symbolism and a clean layout. Each cover integrates a distinct, meaningful icon with a bold pop of color that draws attention and sparks curiosity, all while maintaining a unified visual language across the series. This approach ensures the covers are modern, memorable, and reflective of the book’s core identity, offering a refreshing alternative to conventional, crowded designs.

    ![2](https://www.twine.net/signin

    [Portfolio: Minimal Book Covers](https://www.twine.net/signin

    paper Lettering MAMASONS poster.

    Project Description

    This poster was created as part of an exercise in composition, custom lettering, and illustration. It centers on a fictional campaign for MAMASONS, a restaurant and ice cream shop in London known for its Filipino-inspired treats. The piece captures the playful identity of the place while showcasing one of its signature flavours: Ube (purple yam). Though it presents itself as a promotional poster, the focus lies more in the craft of the poster itself — from layout to typography — than in marketing strategy.

    Initial Problem

    Posters in the food industry often rely heavily on photography or branding consistency. This project approached it differently — using illustration and custom type to create a more expressive and editorial-style piece. Rather than focusing on a cohesive brand, the aim was to experiment with the personality of the poster: its voice, tone, and visual rhythm.

    Process

    Initial sketch explorations for layout and type hierarchy
    Colour palette testing based on the Ube theme
    Style development with soft textures and rounded type
    Experimentation with typographic voice and playful copywriting
    Final composition with balanced illustration and lettering elements
    ![1](https://www.twine.net/signin

    Solution

    The final piece combines a retro editorial layout with pastel shades and hand-drawn textures to reflect the charm of the place. Type choices echo diner-style signage with a twist of modern playfulness. The star of the piece — the Ube shake — is framed with strong geometry and fun visual cues, inviting the viewer in through a warm, illustrated story rather than a corporate tone.

    ![2](https://www.twine.net/signin

    **[Portfolio: Lettering Poster](https://www.twine.net/signin

    paper Redesign of "Vienen cuando hace frío"

    Project Description

    This project involves redesigning the cover of “Vienen cuando hace frío”, a horror novel by Carlos Sisí. The story follows Joe Harper, who, after losing his job due to the economic crisis in the United States, moves to a cabin inherited from his grandfather in Sulphur Creek, Canada. There, he discovers that the town’s residents flee every winter to escape mysterious entities that appear with the cold. The goal of this redesign is to create an illustrated book cover that intrigues the viewer before reading the book and reveals its full meaning afterward.

    Initial Problem

    The original cover features a photographic image of a solitary figure in a snowy landscape, emphasizing isolation. However, this approach may not fully capture the supernatural threat and mystery that permeate the story. The challenge is to design a cover that, through symbolic elements and an illustrative style, hints at the unknown and piques the reader’s curiosity, offering a deeper understanding after they finish the novel.

    Process

    • A deeper dive into the novel’s plot and themes helped identify key symbols, such as the isolated cabin, the surrounding forest, and the entities that emerge with the cold.
    • An illustrative style was chosen for a more abstract and symbolic interpretation. Key design elements include:
    • Suggesting hidden systems beneath the surface, representing the unknown lurking in Sulphur Creek.
    • Symbolizing impending danger and the visceral connection to the protagonist’s fear.
    • A cold color palette evokes the winter setting, contrasted with red elements that highlight urgency and danger. Minimalist illustrations of the cabin and forest create an atmosphere of mystery and isolation.
    • A bold sans-serif font was selected for the title, incorporating red gradients to reinforce the sense of threat and capture the reader’s attention.

    ![1](https://www.twine.net/signin

    Solution

    The final cover design successfully intrigues potential readers through its use of symbolism and an illustrative aesthetic that suggests more than it reveals. The graphic elements invite curiosity about their meaning, offering a deeper understanding after reading the novel. This approach not only makes the book stand out on shelves but also enhances the reader’s experience, aligning with the atmosphere of mystery and supernatural horror that Carlos Sisí conveys in “Vienen cuando hace frío.”

    ![2](https://www.twine.net/signin

    [Portfolio: Project- Redesign of Book Cover](https://www.twine.net/signin

    paper Redesign of Asiana Airlines' pizza box

    Project Description

    This project is a conceptual redesign of Asiana Airlines’ in-flight pizza box, guided by an Anti-Branding approach. The goal was to strip away excessive branding and visual clutter, opting for a minimalist, almost generic aesthetic that challenges conventional airline food packaging norms. This direction reframes the product as elevated yet unbranded, making a subtle statement through restraint rather than excess.

    Initial Problem

    The original packaging relied heavily on traditional food marketing conventions—featuring a photo of the pizza, fast-food-style typography, and an overloaded layout. While this might work for a convenience store, it felt visually outdatedand cluttered, especially in the context of an airline meal. The dense design made key information hard to read, and the aesthetic didn’t align with the more refined, premium tone expected in air travel. The challenge was to modernize the design by stripping it back to its essentials, offering something more elegant, clear, and suitable for an airline setting.

    Process

    The redesign followed a clear, Anti-Branding-driven process where each step informed the final outcome:
    · Research into Anti-Branding and minimalist packaging led to the rejection of traditional food marketing in favor of neutrality and clarity.
    · Pharmaceutical and utilitarian layouts inspired a structured grid system, emphasizing function over visual flair.
    · A moodboard defined the visual tone as sterile, corporate, and design-first.
    · A limited color palette (black, white, and red) referenced Asiana’s branding while maintaining a muted, impersonal aesthetic.
    · No food imagery was used, shifting the focus entirely to typography and layout.
    · Minimalist typefaces reinforced the instruction-style approach.
    · Mockups were tested in real contexts to refine spacing, hierarchy, and overall clarity.
    Each decision reinforced the Anti-Branding concept, resulting in a design that is both functional and conceptually bold.
    ![1](https://www.twine.net/signin

    Solution

    The final design removes the commercial appeal of the original packaging and instead embraces a neutral, instruction-like aesthetic, resulting in:
    A highly functional layout that prioritizes clarity over branding.
    A subtle yet bold statement—the packaging feels intentionally generic, aligning with the Anti-Branding philosophy.
    A cleaner, more premium feel that contrasts with typical in-flight meal designs.
    A departure from traditional food packaging norms, making the design stand out precisely by not trying to stand out.

    ![2](https://www.twine.net/signin

    paper Milkshake Label

    Project Description

    The Milkshake Label is a packaging design created for a fruity, sweet, and fun-flavored milkshake product aimed primarily at a young audience. It combines vibrant colors, bold typography, and playful illustrations to communicate the freshness and flavor of the product while making it visually striking and market-ready.

    ![1](https://www.twine.net/signin

    Initial Problem
    Many milkshake labels in the market are either visually dull, overly cluttered, or fail to connect with their target audience. These designs often lack a clear message, struggle with hierarchy, or don’t evoke the playful, energetic nature of the product they represent. The Milkshake Label addresses the need for a design that feels dynamic, clear, and flavor-forward — standing out both on the shelf and in branding impact.

    Process
    The creation of the Milkshake Label followed a structured design process:
    Visual direction: Establishing a moodboard with color inspiration based on flavors (like strawberry, banana, etc.).
    Color palette: Selecting bold, appealing colors to reflect fruitiness and freshness.
    Typography: Combining expressive fonts for the logo or product name with legible typefaces for product info.
    Layout: Designing the label with a clear visual hierarchy and balance, ensuring both aesthetics and functionality.
    Illustration elements: Integrating fruit graphics and splash motifs to emphasize flavor and movement.
    Mockup: Applying the final design to a bottle to visualize the product in a real-world setting.

    ![2](https://www.twine.net/signin

    Solution
    The final Milkshake Label solves the earlier design problems by creating a label that is:
    Visually engaging, thanks to its use of color and playful graphics.
    Targeted to its audience, appealing to children and teens through fun, energetic design choices.
    Informative and well-structured, using clear hierarchy for easy readability of product details.
    Brand-friendly, as it establishes a distinct identity while remaining adaptable for other flavors or variations.
    It’s a cohesive, flavorful packaging solution that enhances both the product’s appeal and shelf presence.

    ![3](https://www.twine.net/signin

    https://www.twine.net/signin