Cosmic Color and Cat Cuddles
Inside Jack Hughes' World
Jack Hughes isn’t your typical illustrator. Based in London, his work is full of bold colors, dreamy vibes, and a touch of theatrical magic. He’s worked with some of the biggest names out there—Google, Disney, and Entertainment Weekly—but his creative journey is deeply personal, shaped by late nights, fantasy books, and the occasional cuddle with his cat.
In this interview, Jack shares what it’s like juggling big-name clients while staying true to his artistic voice, why he dreams of designing a video game, and the songs that play on repeat in his head while he draws. Warm, honest, and a little cosmic—this is Jack Hughes, unplugged.
1. Where are you based?
J: I’m based in London. I grew up in South London, and, since moving out, I’ve lived in almost every corner of the city. I’m currently in Spitalfields, East London. The first thing that springs to mind when I think of my city is its multiculturalism. I love nothing more than walking down the street and seeing people from all different walks of life—it enriches London’s culture and should be celebrated at every opportunity!
2. From Google to Disney Star Wars, your client list is a veritable who's who. How do you maintain a consistent artistic vision while adapting to the diverse demands of such major brands?
J: I’m always at war with myself over what I want to draw versus what I should draw. My clients are usually pretty chill and give me enough creative freedom to produce work that suits the brief. The conflict is internal—I'm always trying to hone my style, but the goalposts seem to keep shifting, so it’s hard to fully understand what makes a "Jack Hughes" illustration truly mine. What helps is when clients refer to past work of mine; it allows me to adapt and incorporate elements from those illustrations into the current project.
3. What would be the perfect big project for you to be involved in?
J: I’d love to be involved in something big where I feel like part of a team. Illustration is often a very solitary vocation—it can be quite transactional. I’d love to work on something open and collaborative. In terms of the type of project, I’d love to art direct and develop a visual concept for a video game. It feels like something deeply connected to me, yet entirely new. I’d absolutely relish that kind of experience.
4. Your illustrations often feature bold colors and a sense of theatrical glamour. If you were to design a set for a stage production or musical—or maybe for a singer—who would it be?
J: Oh gosh, what a lush project that would be. There are artists I’d jump at the chance to work with, but I also know my artistic vision might not always align with theirs. Björk always has such groundbreaking visuals—she’s a prime example of someone constantly evolving while keeping a recognisable visual language. Another artist I adore is Joanna Newsom. Though I may not be the right fit for her (I imagine her music pairs better with more traditional mediums like watercolours or oils), I still find her music visually inspiring.
If I could design or art direct a stage production, I would absolutely froth at the mouth if Jeff VanderMeer’s Southern Reach trilogy were adapted for the stage and I could be part of it. It’s one of my all-time favourite trilogies—Annihilation, the first book, was beautifully adapted into a film by Alex Garland. I’d probably have to ask permission from my friend and fellow artist Jock, who art directed the movie, to pass the chalice and let me reimagine that world through my own lens.
5. You've worked across various mediums, from editorial to advertising to animation. What’s the most unexpected creative challenge you’ve faced, and how did you overcome it?
J: The most challenging (but rewarding) time in my career was when I created the cover for Entertainment Weekly’s Pride issue during the summer of COVID. The sheer volume of work in such a short time was one thing—mostly handled through a severe lack of sleep, lots of coffee, and brief but vital cuddles with my cat for moral support.
But the real challenge was navigating the traction the piece got online. It was peak lockdown, people had a lot of time to spend on Twitter, and the trolls were very active. I definitely learned a lot from that project—mainly, not to care too much about what strangers on the internet think.
6. The “fever-dream” aspect of your work suggests a strong connection to the subconscious. What role does intuition play in your creative process, and how do you tap into it?
J: I grew up reading fantasy and sci-fi books, watching the same kinds of films, and playing games in those genres. I love escapism. Anything ethereal or mythical gets me excited when it comes to illustration. I am the sum of all my inspirations, and they subconsciously bleed into my work—whether I like it or not!
7. If your illustrations were a soundtrack, which three songs would be playing on repeat, and why?
J:
"Hairy Trees" by Goldfrapp – I’m often drawn to melancholic music, but this track is so gorgeous, joyful, and loving. It creates such vivid imagery—it feels like a big, warm hug.
"Odi Et Amo" by Jóhann Jóhannsson – Remember what I said about melancholic music? This one might top the list. It feels cosmic and vast, like a lost astronaut drifting through glittering nebulae, searching for home.
"Valerie" by Broadcast – I listened to Broadcast constantly during my university years and cited them in so many projects. Their music gives me this nostalgic, childlike wonder. Whether it's the lyrics, the dreamy sounds, or the lo-fi charm, they're deeply tied to my roots as an artist.
8. What’s the one piece of advice you wish you’d received when you were starting out?
J: Don’t be afraid to make more mistakes! As artists, we grow and learn through trial and error. Embrace your failures—they’ll teach you more than your successes ever could.
