Gabrielle Uy grew up in Manila making everything — paintings, clothes, crafts — rarely leaving the studio. That obsessive, joyful relationship with making never left her. It just found a name. She studied at Yale, spent summers at Bode and Special Offer, and arrived in New York with a practice that resists the algorithmic in favour of the hand-made and the deeply felt. Today she freelances and works as a designer and strategist at 2x4. Her work is guided by a simple principle: if something looks painted, it was painted. The warmth, the humour, the willingness to let design feel like a party — that, she'll tell you, has a lot to do with where she grew up.
Can you tell us a little about your first few steps in your career. Was there a moment or experience when you realised this was what you'd do as a career?
I was an art kid growing up. I used to spend all my summers and weekends making art — paintings, clothes, crafts, you name it. I never left the studio; I was such a nerd! It runs in the family — my mom designs clothes for kids, and my dad is really creative too. They taught me to love design.
You could say I picked up graphic design specifically in college. I went to Yale for undergrad knowing that I wanted to be a graphic designer, which is funny looking back because I had done fine art all my life and never studied graphic design before — and yet for some reason I was sure. Yale was one of the best things to ever happen to me; my professors always encouraged me to pursue graphic design as an art practice — something more personally meaningful than just a job or service. They made my education what it was and continue to be important mentors in my life.
Outside the classroom, I designed just about everything I could get my hands on. I worked a student design job at the Yale Center for British Art, designed countless gig posters for a college record label I founded with my friends, and led the graphic design club. You could say I was (and still am) a little obsessed! I also spent my college summers working at Bode and Special Offer — I’m really lucky to have worked alongside and have been mentored by some of my favorite designers, and those experiences continue to influence my work today.
These days I freelance, and I’m a designer and strategist at 2x4. I love doing both — doing my own thing, and learning from a team who inspires me constantly and whose company I really enjoy. I wouldn’t have it any other way.
So in short, no: I can’t say there was a single moment of realization. I’ve loved design for as long as I can remember, and with every new client and project I think I fall in love with it all over again! I also hate it sometimes (we all do) but mostly I love it. Designing is like brushing my teeth; it’s just something I have to do every day.
What lessons from your career have most shaped your style and approach?
It’s really cheesy, but just be yourself — be the designer you want to see in the world! Don’t let anyone tell you what you’re doing isn’t “real” graphic design! I never thought anyone would be interested in the analog, gridless, experimental side of what I create but these days it’s what most clients come to me for. The work that you think is too weird to show anyone often ends up being the strongest, because the weirdness is what makes it your own.
Designing Laufey’s album and tour merchandise was such an important lesson in trusting my creative instincts and doing my own thing. I’m lucky to have a wonderful client who lets me get a little weird with it — I was using all kinds of strange materials, from vintage valentines to real cake icing and sprinkles. This project felt like a really pure expression of the work I want to see more of in the industry, and I'm really proud of what we put out.
Tell us about the core values or philosophies that guide your creative practice.
I believe in integrity of process, especially for analog stuff. Process carries meaning. If an element in my work looks painted, it was made with real paint. I’m often interested in the analog precisely because it tends to be so slow — I like to think that deep sense of care is evident in the final product.
I also believe in having fun with it. I personally tend to create from a place of joy. There’s a Paula Scher quote I think about a lot — it goes something like, “you have to be in a state of play to design.” I think when a designer is genuinely having fun with what they’re making, it shows and it’s infectious.
What needs to change, so emerging and under-represented creative professionals have more opportunity, are seen and heard?
How important is it that creative professionals find their unique voice?
Looking ahead, what do you think are the key factors that will influence change for creative professionals?
How much does your city influence your work?
How much does your culture influence your work?
Tell us some of your favourite, creative professionals and inspiring places in your city!
What should emerging creative professionals keep in mind as they begin their design career?
You do you. My advice would be to follow the projects and opportunities you’re personally interested in and design like nobody’s watching — as a creative, the best thing you can invest in is a strong personal voice and sense of self. Fame and fortune will come.
Also, design is a relational process. People also say you shouldn’t meet your idols, but I think the opposite is true. Try to get in a room with them, work with them if you can. Design with your friends, too — I often say my work is the expression of everyone and everything that’s ever happened to me. I wouldn’t be the half the designer I am without the friends, loved ones, mentors, bosses, professors, clients, collaborators and muses in my life.