Meet Antonio Alcalá, USPS stamp designer

Credit: Cade Martin Photography

by Mike Rhode

Early this fall, I got a press release about the US Postal Service’s Holiday Joy stamp, which noted, "Antonio Alcalá, a local DMV artist, is being honored by having his work featured on the Postal Service's upcoming Holiday Joy stamps. This is a rare and prestigious recognition that celebrates Antonio's unique contribution to art and Americana." What made this of interest here is that he was a designer on two stamps by cartoonists, Charlie Brown Christmas (2015) and Message Monsters (2021) with art by by Elise Gravel. Mr. Alcalá has a studio in Alexandria, VA, and answered a version of our usual questions.

What type of artwork do you do?

Most of what I do is traditional graphic design. On rare occasion, I will create some simple brushwork art, or will create some hand-lettering. Of course, when I’m generating ideas, I will do simple pen sketches in my notebook or on a piece of loose paper.

When (within a decade is fine) and where were you born?

Ha! I was born in the 1960s!

Why are you in Washington now?  What neighborhood or area do you live in?

When I was still in graduate school, I was offered a job working as a design for Time-Life Books in Alexandria, VA. After graduation, I moved there and have stayed there ever since. I live and work on Old Town, with my office six blocks from my house.

Do you have any training and/or education in cartooning?

I have an MFA in graphic design, which, unfortunately, did not include any education in cartooning. But I did follow some underground publications like RAW and learned about people from R. Crumb to Art Spiegelman to Linda Barry and so on.

Who are your influences?

My graduate school education was shaped by twentieth century modernists—both American and Swiss. But when I started teaching, I learned about a much larger range of important designers. I learned a little bit from all of them.

 

 
How did you begin working with the USPS? Is this your full time job?

I began working with USPS, in a way, almost 14 years ago. I was appointed to the Citizens Stamp Advisory Committee (CSAC)—the group that selects subjects to be made into commemorative stamps. After a year, an art director was retiring and USPS asked if I would be interested moving from CSAC to the art director position. I accepted without a second thought!

Working with the USPS is not a full-time job. Most of my day is spent running my graphic design studio, Studio A, Inc.

You've worked on at least 2 issues featuring cartoonists - Peanuts' Charlie Brown Christmas and Message Monsters. Can you give us an idea of the process involved when it's another artist's work being featured?

With Peanuts, I was working with probably the most iconic and beloved comic in history! No pressure! For that project I watched and rewatched the television special making screen shots of scenes I thought would work at stamp-size, reflect the highlights of the show, and make sure each individual stamp would be something the public would want to put on their envelopes.

With Message Monsters, I approached the artist (Elise Gravel) about the project and explained what I was looking for. She figured it out immediately! She sent sketches and there were a few small adjustments needed. But after that, it mostly became a layout question. She sent a bunch of options for the extra stickers, and I figured out which ones worked and how they best fit on the sheet. I also ended up creating the lettering for the title “Message Monsters.”

The artists almost always understand it’s a collaborative process and I’m doing my best to preserve their vision. But it is a long process from start to final stamp with a lot of review by various parties and sometimes, adjustments need to be made.

Do you have direct contact with the artist if they're still alive?

Yes.

Are you a Peanuts reader? If so, did working on these stamps have any resonance for you?

Yes, I am. I still have several Peanuts books from my childhood including the Peanuts Treasury and others. It’s always a thrill to work on subjects where I have a personal connection. I also had the opportunity to design “Snowy Day” stamps using the original artwork by Ezra Jack Keats. Another favorite!

If you could, what in your career would you do-over or change? Or rather, how are you hoping your career will develop?

I wouldn’t change anything because things both good and bad are what got me here today. I’m pretty happy with where I am. As for the future, I hope to continue what I’m doing now.

What work are you best-known for?

I’m best known for my stamps, but I don’t know which one is most well-known. It probably depends on the audience being asked.

What work are you most proud of?

Probably my daughters. But of my design work it is hard for me to say.

What would you like to do or work on in the future?

I’d like to have a little more “free” time to be creative and spend a little less time on the “business.” I’ve also become interested in learning letterpress printing.

What do you do when you're in a rut or have a block?

Sketch. Go for a walk. Doing something/anything different. Try not to worry too much as something will turn up.

Designed by Alcalá, art by Michelle Muñoz

What do you think will be the future of your field?

Wow. Good question. I wish I knew. My sense is it will bring some challenges to some and creative opportunities for others. I know, not particularly original.

What's your favorite thing about DC?

That there are so many FREE cultural events and institutions that are available to anyone!

Least favorite?

Traffic.

What monument or museum do you like to take visitors to?

Snowy Day

I’m a big fan of the National Gallery of Art and the Smithsonian (especially the National Postal Museum)!

How about a favorite local restaurant?

So hard! Maybe sitting outside at Ada’s on the River on a beautiful day!

Do you have a website or blog?

www.studioa.com

How has the COVID-19 outbreak affected you, personally and professionally?

My wife and I were in Northern Italy when the outbreak happened. That was eerie. We would be the only diners in the restaurant each evening. What we didn’t know!

But back home I was extremely lucky. My employees could work from home. I could walk to my office so my routine didn’t need to change. USPS and museum work continued. We got a PPP loan. The biggest change was learning to adapt to client meetings on Zoom.