Hugo Gonzalez

Vibrant, bold and eye-catching, Hugo Gonzalez’s work doesn’t just look good – it also speaks volumes. The Mexican-Colombian-American creative draws from the visual languages of the past to both challenge dominant narratives and think up better futures. We spoke to him about building a values-led practice, navigating career uncertainty and learning to trust your creative vision throughout the process.

What I do

How would you describe what you do?
I use design and visual storytelling through a critical framework to create connections beyond colonial borders and imagine alternative futures.

What are the main influences and inspirations behind your work?
I’m inspired by the visual language of social movements – especially the graphic work of the Black Panther Party newspaper, Chicano protest art and queer liberation zines. These are powerful examples of design as a tool for resistance, education and community.

Screen Printed poster for tenant’s rights

Would you say you need any specific training for what you do?
The most technical barrier to entry is probably learning design software, but I’d say studying the history and theory of art and design has been just as crucial to my practice. Understanding where design comes from helps me better imagine where it can go.

What’s been your favorite project to work on from the past year, and why?
I’ll say one I made for fun: a zine I made about New Jersey Transit and the commute I had to endure before moving to Brooklyn. I stumbled upon the 1981 NJ Transit Graphics Standards Manual and paired it with my own photography, as well as snippets of conversations I’d had on or about the train. It became a humorous but honest way to process the frustration of feeling stuck, both geographically and with the expectations I had for myself at the time.

What does a normal day-to-day usually look like for you?
I try (emphasis on try) to start the day with a run or some movement. Then I log on for a morning check-in with my team. Most of the day is spent conceptualizing, sketching, designing, or managing project logistics, usually with coffee close by. After work, I’ll be rock climbing or yapping with friends.

If there was a starter pack for your job, what would be in it?
Illustrator artboards. Moka pot. Ergonomic mouse. Muji pen. Meme of cat.

How I got here

What was your journey like when you were first starting out?
It was honestly confusing and a little scary. I knew I was passionate about art and storytelling, but I struggled to see how those interests could translate into a sustainable career that aligned with my values. There wasn’t a clear roadmap for the kind of work I wanted to do, especially work grounded in cultural research and community-building. I had to carve out my own path by experimenting, saying yes to unexpected opportunities and learning to trust that my voice and perspective had value. All of this was exacerbated by my working-class upbringing. I had to find the answer to these questions by myself.

Open call for digital alter for reconnecting BIPOC

How did you go about landing your first few jobs, clients and/or commissions?
A lot of my early opportunities came through word of mouth and referrals from professors. Relationships were incredibly important early on – and still are!

What has been your biggest challenge along the way?
One of the hardest parts has been navigating the tension between staying true to my values and meeting the practical demands of making a living. It’s an ongoing negotiation – figuring out how to say yes to work that aligns with my ethics, while also recognizing that sometimes compromise is necessary to sustain myself. I’ve learned that integrity doesn’t always mean perfection; it often looks like setting boundaries, asking hard questions and being intentional about where I invest my time and energy.

What skills from your creative work have you found helpful – and vice versa?
Teamwork has taught me that feedback isn't personal. Everyone’s working toward a shared vision. Learning to communicate with clarity and care – while also not taking things personally – has made me a better collaborator and designer.

How important are social media and self-promotion to your work?
Somewhat important. I’m not a freelancer or content creator, so Instagram isn’t a major source of work. But it’s useful to keep your network updated and reminded of your creative practice.

What are three things that you’ve found useful to your work or career, and why?
Curiosity is at the foundation of my practice. It sparks the research, exploration and experimentation that shape my creative process. It’s what leads me to unexpected questions and opens up new ways of thinking. As a result of this, I’ve found history and archival materials to be especially rich sources, offering insight, inspiration and context that place my work in the broader conversation of art and design.

What have been your greatest learnings with making money and supporting yourself as a creative?
Organization and assertiveness go a long way. Be clear and confident when talking about rates, timelines and expectations. In the beginning, I just pretended to be a seasoned professional – and since then I’ve come closer to actually becoming one.

Flyer for Hugo's artist talk at NYU-Tisch

My Advice

What’s the best career-related advice you’ve ever received?
No more than 75 characters per line in printed collateral.

What advice would you give to someone looking to get into a similar role?
Let your curiosity lead. Take note of the subjects that ignite something in you and use design as a way to explore them.

Where do you go to feel connected as a creative?
New York has a vibrant creative community with so many multi-hyphenates who want to connect with each other and organize meet-ups. Independent design communities have helped me feel like I belong somewhere – especially art book fairs!