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It is with enormous joy that we share the news: Illustrator James Yang is officially entering American philately history!
A few years ago, Yang’s 8-foot Clockman sculpture graced the Smithsonian’s National Museum of American History. Not long after, the NYC MTA tapped him to design a subway poster and the interiors of 220 subway cars. But his latest achievement might be the most iconic of all: a set of U.S. Postal Service Forever stamps for the 2026 LOVE series, which will be available to purchase in February 2026.
For an illustrator whose career has spanned museums, public transit systems, and countless publications, this project is, in his words, “the cherry on top.” The 4-LOVE series is the culmination of years of work, patience, and creative evolution.
Below is our full conversation with James about the origins, delays, and emotional impact of creating artwork that will soon become part of American culture.
For more of James’ work, check out his Workbook portfolio.
James is represented by the David Goldman Agency.
The 4-LOVE series has been years in the making. Can you tell us about the creative process behind these stamps and how the concept evolved from the initial approach to the final artwork? Specifically, who was the mystery Maryland woman who contacted you?
JY:
Ethel Kessler, the art director for USPS stamps, called me out of the blue. Fun fact: Ethel is a rock star designer who ran one of the top award-winning studios in Washington, D.C., when I was just starting out. She was one of the first art directors to hire me and essentially launch my career. We’ve always had a great relationship, but we hadn’t worked together in over 30 years—so her call was the best kind of reunion.
Ethel told me I was selected to create a LOVE stamp because my strength is coming up with ideas and unexpected solutions. She said they normally do a lot of birds or hearts, and she wanted me to explore other metaphors for love. She also told me that although I was officially commissioned for one stamp, I should let my imagination run wild and pitch a series, because you never know. They’re very open to unexpected proposals.
I sketched out several possible series knowing they might only choose one stamp. Presenting a series is still a great way to show variations on a concept. Most of the ideas involved two characters interacting, because when I think of LOVE stamps, I think of relationships. I purposely avoided hearts and birds at first, but at the last second, I threw in a few ideas with hearts and birds, because again, you never know.
Normally the second round of approvals involves color sketches, but instead I decided to go for it and create four completed stamps that would look good together on a sheet. Creating color sketches takes me almost as long as creating final art, so I figured it would also be easier for the committees(there are several) to evaluate. Visually, I wanted the birds to communicate a relationship, with the hearts as metaphors for connection. I’ve always thought of stamps as tiny posters.
After working on so many prestigious projects—from your Clockman sculpture at the Smithsonian to your NYC MTA commission—why does this U.S. postage stamp milestone feel like “the cherry on top”?
JY:
I think it’s because everyone has a relationship with stamps, even in our digital age. Creating a stamp means you’re part of cultural history, something people notice and appreciate. I knew it was a big deal, but I didn’t realize how big until my messages blew up with congratulations from childhood friends and people I hadn’t heard from in years.
Ethel explained that when you’re chosen to create a stamp, you’re selected by a committee made up of professionals, professors, citizens, and scholars, which blew my mind. Many of my friends have designed stamps, so at first it didn’t seem like an enormous milestone. But it’s slowly dawning on me that it really is a very big deal. It feels like a dream-bucket project checked off in the best possible way.
The word “LOVE” has appeared on U.S. stamps for decades. How did you approach interpreting such an iconic theme in a way that felt true to your personal artistic style?
JY:
Quentin Tarantino has that great quote about misremembering movies, and that’s basically how I approached the LOVE stamp. Luckily, I didn’t fully realize what a big deal it was to be creating a LOVE stamp. If I had, I think the pressure might have frozen my brain.
For me, love is about relationships, and I love illustrating two characters interacting. So two birds interacting with hearts as metaphors for connection felt natural and ripe for ideas. I’m heavily influenced by Eastern European matchbox designs from the Cold War era, mid-century design, and the simplicity found in Japanese illustration and children’s books. My goal was to create a stamp I would personally love to buy.
I was very excited about the idea of creating four stamps as a series, and I wanted them to work beautifully together as a pattern on a sheet. The final images are really a mix of everything I love about art, filtered through my own way of misremembering influences.
This project faced several delays before the official release date. How did you stay patient and motivated, and what did you learn from that long wait?
JY:
You never know if or when your stamps are going to be released. These were created seven years ago, and after a couple of years passed, I assumed they had been lost in the shuffle, which happens all the time in assignments. I had almost forgotten about them when I finally got the call saying they would be coming out the following year.
In retrospect, they couldn’t have been released at a better moment. The vibe feels right for where we are now. The biggest lesson I learned is that sometimes the best things don’t happen on your schedule, and if they did, they wouldn’t work out as well.
Having your work become part of American history is no small feat. What do you hope people feel when they see and use these stamps? And what are your thoughts on becoming a philatelic collectible?
JY:
I hope people feel the stamps are eye-catching and more than just pretty images, that they’re the kind of stamps people have always wanted to buy.
I’m one of the few creatives who does not struggle with imposter syndrome, but this project has made me realize that my journey as an artist has been an even bigger deal than I thought. That realization has made me even more excited to keep creating.
