Bracho began his art career working with artists such as Pablo O'Higgins and Leopoldo Méndez under the direction of Diego Rivera on the Abelardo L. Rodríguez market in Mexico City in 1935. He painted various ceiling sections including his first mural called “Vitamins.”[ In 1936, he painted the fresco “El Agua” at the municipal palace at Tezcatlán, Oaxaca, since destroyed. In 1938, he painted the mural “Libertad sindical" at the Federación Sindical in Los Mochis, Sinaloa. He also painted “Las luchas socials del estado de Puebla” with Alfredo Zalce at the teachers’ college in Puebla . Another aspect of his career was that of an art teacher. He began this in 1936, joining the cultural missions project of the Secretaría de Educación Pública. From then until 1939, he traveled to Oaxaca, Sinaloa, Nayarit and Baja California to give classes. Then he taught art at primary schools in Mexico City. From 1945 on, he continues as an advisor to primary school art education programs.[Bracho’s most famous work was political as a member of the Liga de Escritores y Artistas Revolucionarios starting in his last year of college studies, and then as a founding member of the Taller de Gráfica Popular .He founded the Taller with artists such as Leopoldo Méndez, Alfredo Zalce, Pablo O’Higgins and Luis Arenal . He remained a member of the latter organization for over fifty years. His role in the organization was both artistic and political, with exhibitions of the group’s work as well as activism.[ His graphic arts production includes well-known posters such as the one celebrating the victory of the Allies over the Axis powers in World War II and one protesting the execution of the Rosenbergs in 1954, who were convicted of espionage. These and other works became classics of the Taller de Gráfica Popular He also wrote publications such as Cuauhtemoc, the Fall of Tenochititlán, the Peasant's Situation for The Massachusetts Review in 1974. His work with this and other groups would make him one of Mexico’s most outstanding engraving artists,[ with work exhibited in Russia, France, Italy, the United States and parts of South America. In addition to politically themed work, he did portraits and landscape works including “El Puente” (The Bridge) in 1955 and a portrait of Heriberto Jara Corona in 1952, both considered to be prime examples of linoleum engraving work. He created an album about the economic importance of agriculture and petroleum to Mexico in the 1930s. In 1966, he was named a honorary professor at the Academy of Design and Engraving in Florence, Italy, with an engraving called El Chiclero winning a prize from the same institution.[ He won first place at an engraving contest organized by the then Secretaría de Recursos Hidráulicos.The Casa de la Cultura of Michoacán hosted a large exhibition and homage to him in 1970 and in 1992, the Asamblea Legislative del Distrito Federal of Mexico City also honored him with a retrospective of his art and teaching work. Shortly after his death in 2005, the Instituto Nacional de Bellas Artes and the Talleres de Gráficas Populares paid homage to his work with an exhibition.