In Conversation: Joe Perez
Joe Perez is a creative director and graphic artist behind some of the most acclaimed records of our time. After working with Kanye West for eight years, including his notable contribution as a creative director at DONDA, he launched his own design studio. The cover he designed for The Pinkprint album by Nicky Minaj ended up on Billboard’s list of The 50 Greatest Album Covers of All Time, amid other iconic designs such as The Beatles’ Abbey Road, Pink Floyd’s Dark Side of the Moon, Joy Division’s Unknown Pleasures, and Nirvana’s Nevermind. Besides producing artwork for the biggest artists in music, Perez has worked with Louis Vuitton, Off-White, Versace, Nike, Jordan Brand, Converse, and Google Play.
KELLY KORZUN: Recently, you created a tie dye concert tee to be sold as a part of the Biden campaign merchandise collection, which enlisted the talents of America's top designers. What’s your take on the connection between fashion and politics these days?
JOE PEREZ: Fashion is a platform to which we all subscribe to. Whether it inspires you, or you just wear it for function, it’s a platform where the designers have a voice. In taking art history I realized that the political landscape of the world affects fashion, art and design to a degree – the seismic shifts in world viewpoints have an impact on us all, especially those who are in touch with their creative voices. Today, contemporary designers have the freedom to make very strong statements and use their platforms to be heard. This upcoming election is a massive turning point for our country as our paths to the future couldn’t be more different. When you have a group of some of the most celebrated designers in the world stand together to voice their political views, it creates a strong statement.
KK: There’s a great quote by Paul Rand from his book Design, Form, and Chaos: “Good design adds value of some kind, gives meaning, and, not incidentally, can be sheer pleasure to behold; it respects the viewer’s sensibilities and rewards the entrepreneur”. In my opinion, one of the reasons your work resonates with the audience on so many levels is because you focus on the narrative in addition to its form. When tackling a new project, how do you transition from ideation to implementation?
JP: It’s a process of trial and happy mistakes. I’ve always heard trial and error, but when you create, there are no errors. You can have all your references, all your ideas, the story you want to spin, but at some point you need to put pen to paper and create. When it comes to my process, I need enough time to properly digest all the research so that I can be the blender, funnel, and the filter of those ideas. Then, I like to create an overabundance of work to discover “happy mistakes” everywhere, which I either curate or let them guide me to the final version.
Pusha T King Push – Darkest Before Dawn: The Prelude | Art Direction: Justin Saunders, Nate Brown, Joe Perez | Photography: Fabien Montique | Graphic Design: Joe Perez @DONDA
KK: What I like about design is that it goes hand-in-hand with humility. As a designer, not only you need to make sure your ego doesn’t overpower your sense of design, but you also need to constantly learn and educate yourself. What advice would you give to aspiring designers who want to keep their skills razor-sharp?
JP: During the upcoming technological transition of power, I think it will be more important to keep your conceptual mind razor-sharp as opposed to your skills. Eventually, many of the menial tasks designers perform in Illustrator or Photoshop will be automated. The future will be about ideas and having a unique creative voice. Ultimately, I implore young designers to get away from their computers and visit libraries that are rich with art books and research the history of their profession, as well as other creative disciplines – I speak from experience of having visited the RISD library for over a year, researching and scanning over 200,000 pages, which had a profound impact.
KK: While some of the artists have a clear concept in mind, such as Kanye, who’s extremely invested in the end product, others typically try to achieve a compromise between their personal taste and the opinions of other stakeholders involved in the decision-making process. As a creative director, what challenges do you have to overcome when working with music artists?
JP: Besides navigating the music labels, other challenges are typically associated with getting to know your clients, their expectations, and then delivering a product that upholds a certain standard of excellence. Personally, I prefer to work with clients one on one as it ensures a more refined final product that best represents their vision. Asking the right questions and crafting a good working relationship with your clients tends to alleviate many creative hurdles.
Janelle Monáe Dirty Computer | Art Direction: Jenna Marsh, Free Marseille, Abdul Ali | Photography: JUCO | Creative Direction: Joe Perez | Cover Design: Free Marseille @Joe Perez Studios
KK: Let’s go back to the day you finished Cruel Summer – you’re in your bed with ice packs on your ankles, taking naps while waiting for feedback. Considering its mental and physical challenges, was there ever a moment when you thought it wasn’t worth it?
JP: At the end of Cruel Summer, all I could think about was catching up on sleep and going out, and by “going out” I mean leaving my computer – I was in front of the screen from May to September, sometimes up to 18 hours a day. However, I never thought it wasn’t worth it as I learned a lot about design and crafted an integral working relationship with my art director Guido Callarelli. Above all else, I viewed it as a badge of honor of successfully surviving a Kanye West production.
Various Artists Kanye West Presents: Good Music Cruel Summer | Art Direction: Guido Callarelli | Photography: Fabien Montique | Graphic Design: Joe Perez @DONDA
KK: When reflecting on your experience working with Kanye, you compared it to getting an art degree and majoring in many disciplines at once. How did it impact the way you evaluate your work today as a designer? Considering all the history you have together, what do you think is the biggest misconception people have about him?
JP: Yes, working with Kanye was like going through a training or getting a second education, which has prompted me to reevaluate my abilities as a designer and an artist. Kanye pushed everyone to an extreme with the intent to extract the very best of the people around him. It had a positive impact on me and pushed my work ethic and output to a new level. From my standpoint, the biggest misconception about Kanye is that he’s an outspoken loudmouth that is driven by ego, but I think he’s just frustrated with our current social structure. He wants people to be their best selves, and he wants the world to be a fair place where the best ideas are rewarded.
Kanye West The Life of Pablo | Art Direction: Joe Perez, Mark Seekings | Photography: Ryan Dwyer | Artwork Design: Peter De Potter @DONDA
KK: A film is a massive collaboration of multiple art disciplines that synergize to create a mini universe that we get to explore. Being a big movie fan, as well as having a background in film/editing, how often do you draw your inspiration from the movies and what specifically attracts you to Nicholas Winding Refn’s work?
JP: Filmmaking taught me the importance of a narrative thread, which is the soul of good content that makes it accessible or relatable. Refn’s films are centered around larger-than-life characters; he understands classic character arc development, and he’s a master of cause and effect on a grand, operatic scale. Many artists such as Kanye, Lady Gaga, The Weeknd, or Madonna apply the same tools to create music personas when releasing a new album and touring.
KK: As technology keeps expanding, many design trends subsequently end up looking dated. Unless trends transcend ideas, they can be potentially harmful. How do you feel about incorporating trends in your work? When evaluating a design concept, do you think about whether it’s gonna stand the test of time?
JP: In terms of technology, trends are inevitable to a certain degree simply based on how commercial graphic design is consumed. However, I have an awareness of this and I do think at length of the longevity of a design – that’s why a lot of my work is rooted within art history. There will always be parts of your work that will age as trends change. My hope is to create content that stands the test of time even though a 3D render may eventually end up looking dated.
Billie Eilish When We All Fall Asleep, Where Do We Go? | Photography: Kenneth Cappello | Design: Joe Perez | Assistant Design: Elijah Chauvin @Joe Perez Studios
KK: As new design roles and methodologies continue to evolve, is there anything you’re particularly excited about?
JP: Certainly, we’ll continue witnessing changes in design methodologies as technology evolves. I’m excited about the work that artists like Sam Rolfes and Andy Rolfes are producing. They’re pushing the boundaries of design, VR, AR, and real-time performance capture.
KK: Now that you work outside DONDA and have your own studio, do you find yourself missing that collaborative energy? In the light of the current situation, where do you think communication within teams is going?
JP: The energy at DONDA was definitely special for its time, and I still collaborate with other designers and creative directors – both The Lion King: The Gift and The Pinkprint covers were co-directed with Jenna Marsh. In our current environment, I see more teams utilizing video chat apps, so communication within creative teams is definitely going more digital. When I was working for Kanye, six out of eight years we mostly communicated through emails, texts, Skype, and calls.
Beyoncé The Lion King: The Gift (Deluxe) | 3D & Art Direction: Hedi Xandt | Creative Direction: Joe Perez, Jenna Marsh @Joe Perez Studios
KK: “I’ve always found inspiration in the change of seasons. In a single year, one can see the entire spectrum of life. To me, it’s a constant reminder and motivator to keep creating as we’re all on a limited cycle ourselves”. When I read that in one of your interviews, I thought about Spring Summer Fall Winter...and Spring, a South Korean film directed by Kim Ki-duk, which uses the changing of seasons as a metaphor for life (childhood, adolescence, adulthood, and senior years respectively). How do you feel about where you’re at right now and have you ever thought about what you wanna do once you hit Winter?
JP: I’m grateful for all the talented and amazing people I’ve had the honor of working with through the years. But most of all, I appreciate my parents for always supporting me on all my creative endeavors – I don’t know if I’d be here without that level of support. Well, once I hit Winter, I hope to be at a point where I can pass on my experience and knowledge through lectures and classes.
