Creative Director: José Reyes
Thursday, October 26th, 2006
Some might call José Reyes a designer. They wouldn’t be wrong. His diploma from SCAD reads “BFA in Graphic Design.” He’s spent 12 years crafting arresting visuals for both print and web, serving clients from Delta to Dixie Crystals to Paste Magazine (his art-direction for Paste earned him a 2003 Utne award nomination as well as recognition in Communication Arts). Upon successful infiltration and trade-secret-pilfering of such major ad agencies as BBDO South, Tausche Martin Lansdorf, and Puckett, he began his own firm in 2002: Metaleap Design. But the term “designer” doesn’t quite capture what Jose does. Not exactly. He is the visual-arts equivalent of a soundtrack composer; taking words, information, ideas and underscoring them with musical accompaniment that can only be heard by one’s eyes. Ok, you can stop laughing now. Seriously.
How do you decide on using illustration vs. photography?
So much of what I have to do with every project is tell a story very quickly. Sometimes photography is great for that, and others, illustration. I usually find myself going to illustration for editorial, portraits and tough conceptual work. Oftentimes, illustration can capture a certain ephemeral ‘now-ness’ or energy that photography simply cannot. Many people fancy themselves photographers and can pose as a decent one if they’re great with photoshop even if their technical ability is lacking, but an illustrator must be a true artist at heart and that comes through quickly when you look at their work. In both cases, a discerning eye will be able to tell the imposter from the true artist.
How do you go about finding an illustrator?
Usually from postcards, sifting through books and magazines, websites, competitions and word of mouth but none of them hold court over another, though. I love it when a designer turns me on to a new illustrator because designers can hold captive what they think they have discovered, so in sharing their find, they get to take part in proliferating great art, and thats always a good thing.
When looking at an illustrator’s website what type of presentation do you like?
Honestly, I think an illustrator’s website could be straight html on white with their work presented quickly and not hidden behind over-used flash transitions, and work just fine. An Art Director doesn’t need to know that you can build a killer website, that’s not why we want to work with you—it’s all about the work—and no flash magic will make a weak portfolio look any better.
What can illustrators do to make the experience positive for an art director?
First, and most important: do not take the job if you are unwilling to or don’t have the time to push yourself. My job as an art director is to mine the creative basin and sift the ideas to get to the great one. Nothing will sour an art director more than if you accept the project, then complain about either time, money or creative. A good art director is reasonable and will work with you on any of those issues.
It is also important to know that we are on the same team and want to produce—corporately—great work together. The experience can be soured if an illustrator is strong-willed about giving up on an okay idea because they are being asked to go back to the drawing table for new ideas.
I love an illustrator who will send me at least three sketches, if not more. Sketches are fast and easy and I am amazed at how many illustrators want an art director to buy into their first sketch. It doesn’t take that long to draw a thumbnail and oftentimes, I just want to see what you’re thinking. If I get shown a range of ideas, I’ll be more inclined to listen to the ‘why’s’ of a more edgy approach than if I get sent one idea and am told that that’s all you have time for.
Who are some of you favorite illustrators and why?
Yuko Shimizu, John Hendrix, Rick Sealock, Pablo Lobato, Melinda Beck, Ryan Heshka, Travis Lampe and Olaf Hajek. All of these great talents are first and foremost—humble and just a pleasure to work with. They each exude a professionalism and creative curiosity that has turned many a lemon of a project into something wonderful. I can’t say enough about them and how much they have made my job easier and made the projects I’ve worked on better than I could have made them myself.
Do you illustrate in addition to designing?
If you consider doodling on the corner of a piece of paper while on the phone, illustrating.
What are the latest Metaleap projects you are excited about?
Each issue of Paste or byFaith magazine that comes around the bend is exciting as they always involve getting to work with illustrators. We’re also currently working on redesigning all of the collateral material for a music hall of fame, a website for an architecture firm and much more.
