The Clueless

INTUITION/IMAGINATION

?: How does intuition present itself to you – in form of a suspicious impression, a spontaneous visualisation or whatever - maybe in dreams?

Rubén: Intuition often appears as a sudden connection between ideas that, at first glance, had nothing to do with each other. It’s not really a mystical moment, but rather a mental click that happens after you’ve been observing something unconsciously for a while.

Diana: For me, intuition comes through visuals. I can see a scene, a color, or a texture and feel there’s something there.

?: Will any ideas be written down immediately and archived?

Rubén: I rarely write ideas down immediately.

Diana: I usually jot it down, take screenshots, or make quick sketches.

?: How do you come up with good or extraordinary ideas?

Rubén: I let them rest. If they’re truly good, they come back on their own.

?: Do you feel that new creative ideas come as a whole or do you get like a little seed of inspiration that evolves into something else and has to be realized by endless trials and errors in form of constant developments until the final result?

Rubén: Ideas never arrive fully formed—they appear as small puzzle pieces that only make sense once you start building.

Diana: The initial idea is never the final result; it’s more like a seed that evolves through trials, conversations, and mistakes.

?: What if there is a deadline, but no intuition? Does the first fuel the latter maybe?

Rubén: When there’s a deadline and intuition hasn’t shown up, pressure acts as a catalyst—the brain organizes itself and eventually finds the way.

Diana: Deadlines, even when they hurt, help give form—without them, ideas could go on forever.

INSPIRATION

?: What inspires you and how do you stimulate this special form of imaginativeness?

Diana: I’m inspired by people who create from honest places, even if their work isn’t perfect. I stimulate my imagination by stepping away for a bit: traveling, observing fashion, architecture, or cinema.

Rubén: For me, inspiration lies in obsessive observation—watching how things work, how they’re built.

?: How do you filter between ideas that are worthwhile pursuing and bad ones that you just let go of?

Diana: Filtering ideas is about coherence—I only follow the ones that align with our vision or trigger something emotionally.

Rubén: I usually filter ideas based on whether they can actually be executed, because a good idea that can’t materialize just becomes noise.

?: Does an idea need to appeal to you primarily or is its commercial potential an essential factor?

Diana: I rely more on instinct than on commercial potential, though both have to coexist.

Rubén: Personal appeal matters more than commercial viability; if it doesn’t move you, it won’t move anyone.

?: Do you revisit old ideas or check what colleagues or competitors are up to at times?

Diana: Yes, I revisit old ideas; some age poorly, others get better with time.

Rubén: I sometimes look at what others are doing, but mostly to understand context, not to copy directions.

CREATIVITY

?: What time or environment best suits your creative work process — for example, a time and place of tranquility or of pressure?

Rubén: I work best under a bit of pressure, in spaces where there’s a creative buzz.

Diana: I need silence and visual order to create.

?: What’s better in the realization process — for example, speed and forcing creativity by grasping the magic of the moment or a slow, ripening process for implementation and elaboration?

Rubén: My process moves from chaos to structure: I let everything explode first, then analyze and organize. I believe in moving fast at the beginning and refining slowly at the end.

Diana: The process usually starts with loose intuitions and ends with an obsession for detail.

?: How important are self-doubt and criticism by others during such a process?

Rubén: Self-criticism is constant; external critique necessary.

?: Is it better to be creative on your own, to trust only your own instincts, or to work in a team?

Rubén: Creativity thrives when shared—ideas grow in contact with other minds.

Diana: I enjoy working in a team because that’s where unexpected perspectives emerge.

?: In case of a creative block or, worse, a real failure, how do you get out of such a hole?

Rubén: When I hit a block, I disconnect or change formats.

Diana: I overcome creative blocks by moving, by changing my surroundings.

?: Should a creative person always stay true to him- or herself, including taking risks and going against the flow, or must the person, for reasons of commercial survival, make concessions to the demands of the market, the wishes of clients and the audience’s expectations?

Rubén: Staying true to yourself is essential, even if the market pushes the other way.

?: How are innovation and improvement possible if you’ve established a distinctive style? Is it good to be ahead of your time, even if you hazard not being understood?

Rubén: Innovation doesn’t always mean changing style—it can mean finding new forms within the same universe. Being ahead of your time is uncomfortable, but necessary.

?: When does the time come to end the creative process, to be content and set the final result free? Or is it always a work-in-progress, with an endless possibility of improvement?

Diana: I believe it’s important to know when to let a piece go: perfection doesn’t exist, but there is a moment when an idea is ready to live on its own.

?: How does artificial intelligence change human creativity? And do you? Would will you use it at all?

Diana: Artificial intelligence doesn’t replace human creativity—it amplifies it. It allows us to go further, but the true value still lies in the vision, not in the tool.

SUCCESS

“Success is the ability to go from one failure to another with no loss of enthusiasm.” Do you agree with Winston Churchill‘s quote?

Diana: I agree with Churchill: enthusiasm is what keeps the process alive.

?: Should or can you resist the temptation to recycle a ‘formula’ you're successful with?

Diana: You shouldn’t recycle formulas, even if the temptation is huge.
Rubén: There’s always something new to learn—or unlearn. I’d rather move forward with curiosity than keep repeating what once worked.

?: Is it desirable to create an ultimate or timeless work? Doesn’t “top of the ladder” bring up the question, “What’s next?” — that is, isn’t such a personal peak “the end”?

Diana: Success shouldn’t be a summit, but a platform from which to keep exploring.

MY FAVOURITE WORK:

Diana & Rubén: One of our creations that best represents our work is Aitana López, the first influencer in Spain created entirely with Artificial Intelligence. Not just for the media impact, but because she embodies what drives us most: the intersection of technology, narrative, and humanity. Aitana wasn’t born to replace, but to reimagine what it means to exist in the digital world.