In that open newsroom of the cultural weekly magazine founded in 1984 by Joaquín García Cruz, it was there that, on a day more chaotic than usual, she decided to lend a hand by sitting at the computer. And that’s how it all started. The next morning, she joined the photocomposition company Interlid, practicing the craft and learning it at the same time. Later, she worked at Compomur, where she refined her typographic knowledge under the guidance of Raúl and Jorge García Antolinos, thanks to the teachings of José Luis Giménez del Pueblo.

Her career during this time is linked to her friend, the also designer Ángeles Portillo, with whom she would work extensively in later years, now in Madrid. In this first encounter, she transitioned from digital to analog, cutting and pasting on the panels and catalog of Vicente Martínez Gadea’s first exhibition at the College of Architects of Murcia in 1985.

In 1988, Teresa moved to Madrid where she took advantage of the opportunity of the arrival in Spain of international fashion, beauty and trend magazines such as “Marie Claire”, “GQ” and “Dunia”, in which she was head of layout for four years. Armed with Letraset sheets, scraps, scissors, photolithographs and waxing machines. During this time, she worked for some of the best European publishers of the time: G+J, Condé Nast, Sarpe, Alfaguara, Santillana, and Grupo 16. Also for La Casa de América and Roberto Turégano’s studio, where he took over from another third colleague linked to Murcia, Pilar del Sol.

These were times when the three designers used their vacations to travel to Murcia and take care of the design and layout of the Semana de Cine magazine, a newsletter that was created and printed overnight with the collaboration of the companies Formato and Novograf, which allowed them to provide film enthusiasts with the latest updates from the festival alongside the day’s movies.