Clutter Magazine Issue 30 - James Groman

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GROMANJAMES

KEARJUN / JASON LIMON / QUICCSRADIOACTIVE UPPERCUT / IAN ZIOBROWSKI

ALSO FEATURING

OCTOBER 2015ISSUE 31

ARTTOYS

101

Living’ the Nugg LifeArticle by Nick Curtis

JAMES GROMAN48

The Crasstaceous PeriodArticle by Nick Curtis

31

ARTTOYS

101

KEARJUN

QUICCS

IAN ZIOBROWSKI

MUTANTOLOGY

JASON LIMON

On The Cover

“BC Blasters” by James Groman

38

64

9076

26

BulletpunkArticle by Nick Curtis

Happy Little TreesArticle by Marc DeAngelis

Tales from the CryptidbitsArticle by Travis Lykins

Freaks, Finks, Spazzes by Radioactive Uppercut. Article by Rich Montanari

The Dead are Among UsArticle by Nick Curtis

THE MONTHLY DIY

DESIGNER TOY DICTIONARY 12

WHAT IS BLIND BOXED? 60

WHAT IS KAIJU? 70

WHAT ARE DESIGNER TOYS? 18

WHAT IS A CUSTOM? 34

WHAT IS KESHI? 82

44

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Miranda O’Brien [email protected]

Josh Kimberg Managing [email protected]

Nick Curtis Associate [email protected]

Nick Carroll Art Director [email protected]

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AABS, or Acrylonitrile Butadiene Styrene, is a form of rigid plastic from which toys can be produced out of at the factory level. Known for its hardness, toughness, and glossy sheen, ABS has a smooth surface that typically does not lend itself to showing intricate details. Due to the plastic being injected rather than poured into molds, pieces cast in ABS maintain more consistency in production than those made out of PVC. A recognizable example for this material being used are LEGO building blocks.

An accessory is an additional piece that comes with a Designer Toy, either to be placed on or near the figure for display purposes. Called an omake, or extra, in Japanese, these elements aren’t usually essential to the figure’s design but rather serve to compliment and supplement the piece.

An Artist Proof (or AP) is one of several copies for a mass-produced Designer Toy release that the designer receives from the manufacturer or producer. Typically limited to 10 to 25 copies,

the artist embellishes these pieces in some manner — from simply signing & numbering them to turning them into a micro edition of custom pieces — before selling them as artist proof copies.

BBlind box and blind bag are terms used to describe a series of Designer Toys, with multiple designs, that are sold packaged in either a box or bag, respectively. The packaging completely obscures the contents from view, causing the purchased design to be random and not decided by the buyer. (For more information on blind boxes, please see the article What Does Blind Boxed Mean? on page 60 of this magazine.)

CChibi is a Japanese slang term for a short person or small child, though it is used within Designer Toys to indicate either a smaller rendition of previously released figure or an original piece that conforms to the chibi style. Chibi releases tend to be cute and simplistic, though the latter in not a required element. (See also kawaii.)

Custom figures, also known as hand-painted (or HP) Designer Toys, are those that have been treated like a blank canvas by an artist. Through a variety of methods, most commonly painting, the artist applies their own design scheme onto the figure. Usually unique pieces of art, a micro edition of a custom can be made using the same design scheme, though each one is still individually hand-crafted and/or painted. (For more information on customs, please see the article What Is A Custom? on page 34 of this magazine.)

D

A Deluxe (or DX) figure is version of a Designer Toy which either indicates that: it includes additional extras, like accessories, or it has been completely re-sculpted to be larger and/or more detailed.

The following is basic primer of terms that you might commonly uncover while reading further regarding the Designer Toy movement.

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Designer Toys, also known as Art Toy and Urban Vinyl works, are lowbrow or pop art pieces. Typically sold primarily on the basis of the artist or designer’s name, these emulate the production methods of traditional toys though Designer Toys are usually intended to be display collectibles rather than pieces that emphasize functionality or playability. (For more information on Designer Toys, please see the article What Are Designer Toys? on page 18 of this magazine.)

A D.I.Y. (Do-It-Yourself, or DIY) figure is a Designer Toy that is sold unpainted with the primary intention that the piece will be customized. (For more information on D.I.Y. figures, please see the article What Is A Custom? on page 34 of this magazine.)

EThe edition or colorway denotation on a Designer Toy is used to indicate one of several things in regards to a previously released figure: the piece being cast in a different color of production material, the piece having the paint application scheme applied in different colors, the piece having a completely new paint application scheme applied, or any combination of these. Frequently limited to a set number of pieces produced, a micro edition of customs can be considered a new edition or colorway, though this is not common. (See also open edition and original colorway.)

GGolden Ticket is the name given to any special win notification included with a blind box series, typically for an additional Designer Toy or piece of art that is exclusive to Golden Ticket winners. Sometimes there are Instant Golden Tickets, meaning the additional piece is already included inside the blind box(es).

HA header card is a common form of packaging for Designer Toys. Typically printed, though sometimes hand-drawn, a header card is a piece of folded thick stock paper that is attached — usually stapled — atop the plastic bag which contains the piece.

KKaiju is a Japanese term that means strange creature, though it specifically indicates any of the Japanese movie monsters. While a truly accurate kaiju Designer Toy would be an artist’s interpretation of one of these classic cinematic terrors, the term is often used to indicate neo-kaiju Designer Toy releases. A recognizable example of this style would be Godzilla or Mothra toys. (See also sofubi; for more information on kaiju, please see the article What Is Kaiju? on page 70 of this magazine.)

Keshi, or keshigomu, is the Japanese term literally for eraser, but within Designer Toys it refers primarily to micro and mini figures cast in a colored hard gum. A recognizable example of these rubber-like figures is the M.U.S.C.L.E. toy line of the ‘80s. (For more information on keshi, please see the article What Is Keshi? on page 82 of this magazine.)

Kitbashing is derived from the term for using parts from various garage and/or model kits to make one single piece. Similarly, in Designer Toy terms, it denotes one piece made from the parts of several figures, the resulting work being used either for a custom or as the prototype for molding and casting.

LA lottery or raffle in Designer Toy terms primarily indicates a free-to-enter drawing from which the winners will be given the chance to purchase a limited, typically micro edition, figure. Principally used for high demand pieces, this system is generally considered a more fair manner in which to sell figures that would normally sell out within a minute or

Kawaii is a Japanese word meaning cute. It is used within Designer Toys to indicate any pieces that are inherently cute looking, specifically ones with minimal details and including elements such as hearts, flowers, stars, or rainbows. Kawaii pieces are commonly either super deformed or chibi. A recognizable example of this style would be Hello Kitty.

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Lowbrow art, or pop surrealism, is a form of pop art that derives inspiration from underground cultural movements, such as comix, punk music, and hot-rod detailing, and usually conveys a sense of humor through the work.

A lucky bag is derived from the Japanese tradition of Fukubukuro, a customary New Year’s grab bag filled with random contents at a discounted price. The Designer Toy version, rather than being comprised of leftover stock, is typically a blind bag that usually contains test pulls, exclusive micro editions, and other rarities.

MMarbled indicates an edition of a Designer Toy figure has been cast in two or more colors of material, resulting in swirls or patches of differing coloration that have not been painted onto the piece.

Micro edition denotes an extremely limited edition of a Designer Toy. Typically is signifies that less than 10 pieces were produced in this variation.

A micro figure is any Designer Toy that is less than, but not equal to, 3” in height.

A mini figure is any Designer Toy that is roughly 3” to 5” in height.

Mixed parts indicates an edition of a Designer Toy figure that has multiple, individually cast parts — such as head, body, arms, legs, etc. — and that one or more parts have been cast in different colors of the material. Typically each and every cast part is in a different color, though that is not a requirement.

NNeo-kaiju is a term meant to indicate new kaiju, or Designer Toys inspired by the Japanese movie monsters but not actually directly interpreting any of them. (See also sofubi; for more information on neo-kaiju, please see the article What Is Kaiju? on page 70 of this magazine.)

O Open edition indicates an edition of a Designer Toy release that is not limited to a specific number. Though open edition releases aren’t strictly limited in quantity, there is no guarantee of unlimited availability; frequently self-produced open edition pieces will become no longer available after a set period of time or when the mold is no longer usable for casting the pieces, while production pieces will not necessarily have more made after the initially ordered quantity is sold out.

Original (or OG) colorway is typically the debut edition release of a Designer Toy or, in some instances, the first mass-marketed version of the figure available.

P A paint master refers to a copy of the figure that has been hand-painted as the baseline for the factory or other specialist to replicate the paint scheme from on a micro edition or mass-produced release.

Plush or soft sculpture are Designer Toys made mainly or completely out of fabrics and other materials typically associated with stuffed animals.

A point of articulation on a Designer Toy is the jointed area between two cast pieces that is capable of being rotated, such as the head, arms, legs, etc. Some Designer Toys are cast as a single piece or have been designed so that the multiple pieces interlock together and are unable to be rotated, thus they have no points of articulation.

Pop art is a movement that emerged in the 1950s which is noted for including imagery from popular culture, such as advertising, comic books, and other familiar ‘modern’ designs. A recognizable example of this style is the works of Andy Warhol, especially his “Campbell’s Soup” pieces.

A prototype is the base Designer Toy figure sculpted out of clay or wax before being molded for production.

A platform, or platform figure, is the term for a Designer Toy figure’s unique shape and form. While it can specifically refer strictly to figures intended for paint schemes by a variety of designers, such as Dunnys and Androids, the term has also been used for any figure that has multiple editions.

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PVC, or Poly(Vinyl Chloride), is a soft form of plastic that toys can be produced out of at the factory level. Often referred to simply as Vinyl, this material is known for its relative cheapness, resilience, and malleability. While this plastic lends itself to showing high levels of details, the pliancy of the material results in each pulled piece having a slight distortion to the shape of the figure as opposed to ABS’s consistency. A recognizable example for this material being used are plastic dolls, such as Barbie. (See also sofubi.)

R

Resin, within Designer Toy terms, primarily references a synthetic two-part liquid compound that, when mixed together, self-cures into a cast form. Ideally suited for self-production

Sofubi, or soft vinyl, is a wasei-eigo (an English word coined in Japan) derived from the Engrish of Softu Binyl. An exceedingly pure form of PVC, sofubi is uniquely made through a variety of molding and production techniques by Japanese master craftsmen. While sofubi denotes the material a Designer Toy is made of, some people use the term interchangeably with kaiju or neo-kaiju styles. A recognizable example for this material being used are vintage Godzilla toys. (For more information on sofubi, please see the article What Is Kaiju? on page 70 of this magazine.)

Sprays is a slang term for paints applied to a Designer Toy by airbrush.

Super deformed (or SD) is used to indicate a design with an oversized head disproportionate to the body.

use, resin has a similar hardness to ABS and the high level of sculptural detail retention of PVC. Resin is soft enough to sand and cut as well as sturdy enough to hold weight, though the finished pieces require primer for painting and are more brittle than the other mentioned materials. A recognizable example for the material being used are the bootleg garage and model kits that gained popularity in the early to mid-’80s.

S

Whether an original piece in this style or a rendition of a previously released figure, typically these versions are small and chubby with stubby limbs, though these are not required elements. (See also kawaii.)

TThe test pull or test shot is the first singular copy or group of pieces successfully cast for a production piece. Standardly cast in whatever colored material is cheap and on-hand, these are sent to the artist unpainted for approval.

To-Scale Figures are Designer Toys produced in true ratios to what they represent if it existed in real life. Thus terms like 1/6th Scale Figure and 1/12th Scale Figure are used to indicate pieces that are one-sixth and one-twelth, respectively, the size the real life figure would be. Typically to-scale figures feature many life-simulating points of articulation and come with sewn clothing as well as various accessories. A recognizable example for this style of figure being used would be scale model kits.

V Vinyl is a common slang term for PVC.

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Countless times in the past, I've begun some sort of romantic relationship with a girl and — eventually — the topic of my passion for "Designer Toys" would emerge. The majority of the time, mention of this is met with a blank stare behind which the gears of her mind are churning and pondering: "He's into what now?" This, of course, is followed by a lengthy attempt to explain this scene and I've always wished there was a more concise information source for new comers; a "Designer Toys 101," if you would…

We’re going to start extremely simply: What are Designer Toys? The two words, separately, surely are recognizable: A “Designer” being any person who takes artistic inspiration & applies it to practical subjects, such as producing the cover image for a book, outlining the structure of a piece of furniture, or sketching the appearance of a piece of clothing, while “Toys” are those things we played with as children, whether it was G.I. Joe action figures or Barbie Dolls. So, in the most broad strokes, “Designer Toys” are toy-like pieces created with modern art sensibilities; think of them as utilitarian art sculptures, if you will.

“Designer Toys” can be confusing because it is a term used to define an entire industry rather than one specific product. Typically “Designer Toys” are limited in the amount made, anywhere from a couple of thousand copies all the down to only one piece produced. The term doesn’t even denote a specific material that the piece is crafted in, as “Designer

Toys” can be made out of just about anything, though the two most common materials are: Plastic, known as Vinyl, and Resin, a synthetic liquid that hardens once set. What compounds the problem of understanding Designer Toys is that these are the same materials commonly used in making ‘traditional toys.’

This immediately begs a singular question: What makes Designer Toys art while normal toys are not? The short and sweet answer would be emphasis on the artist. Most people would be pressed to remember that Hasbro released G.I. Joe, let alone that Don Levine was the original driving force behind the concept, or that Mattel released Barbie and that Ruth Handler is commonly credited with their creation. But, in the world of Designer Toys, the artist’s name can be as much — if not more — of a selling point than the actual toy itself.

Nick Curtis

MC Supersized by Ron English and Secret Base

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By comparing and contrasting the 'traditional fine art' world with that of Designer Toys, perhaps the similarities will become more clear. We'll start with a fine art piece, maybe Edvard Munch's The Scream, something so iconic everyone can relate; an original painting that has such broad appeal that it has been reproduced in a variety of formats, from inclusion in books to being emblazoned on cooking aprons. Now that single piece of art, as I said before, can be placed on a variety of things, though they aren't all "art":

Now let's parallel those concepts into the toy world. And, in doing so, hopefully we'll answer the question of what is and isn't art as well as why.

Functional ItemsYou can easily find images of The Scream on just about anything, including coffee mugs, cooking aprons, and other functional items. And I mean functional in the sense that being viewed as art is not their primary purpose. No one mistakes a coffee mug with a painting printed on it as a piece of art, right? Most of the items in this category are relatively inexpensive and meant for mass consumption and use.

Display ItemsThis would be your poster or desktop display reproduction of The Scream. While still mass-produced and available readily at an affordable price, these items start to blur the lines regarding whether they are art or not. While you’d certainly laugh at someone that invited you over to view their art collection when all they had was a series of $10 posters on their walls, those displayed images serve no purpose other than to be looked at and enjoyed for the art they reproduce.

Limited Edition ItemsThese are items with The Scream on them that have a higher production value and, thus, higher perceived resale value. Things in this category could be Giclée (a very specific form of inkjet printing technology) posters or screenprints, though these are usually produced in set limited quantities and are sometimes even signed by the artist. While they are not art in the sense that they are an original painting, they are considered high-end display items and they have historically even been resold at art auctions.

The Original PaintingThere’s no two ways about it, the original painting of The Scream is art. It is a one-of-a-kind hand-made piece; and if the painter did do multiple copies of the same image, which certainly did occur, they varied slightly because they were completely done by hand. This is, without a doubt, art.

Functional ItemsThese would be your “normal” toys, like G.I. Joe and Barbie. Do people collect them and display them? Sure, but they are intended to be played with. Just like those coffee mugs with the painting printed on them are meant to be used though I’m sure some people display them. Display ItemsHere are where a lot of the mass-produced Designer Toys would reside. They are intended to be displayed, viewed, looked upon like highly affordable art. The main difference would be that Designer Toys tend to have a much better resale value than traditional art display items would.

Limited Edition ItemsSmall run production pieces, hand-made resin figures, and the sort would all reside here. Most have a set quantity being produced and some do come signed. More care and attention is typically taken in the making of these, producing higher quality Designer Toys.

The Original PaintingThe only real correlation that can be drawn would be to custom figures, pieces that literally treat the figure like a canvas and the artists crafts a new piece on it. Most are one-of-a-kind and are sometimes even used as the blueprints for production figures.

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So now that we’ve hopefully shown that Designer Toys truly are pieces of art, what exactly attracts an artist to want to produce them? Designer Toys — to me — are the logical progression of the reaction against the classical institution of art… Think about Pop Art, specifically the work of Andy Warhol: to understand his work, you didn’t need to have studied art theory for half your life or read some dissertation on his intent, you merely had to know what a Campbell’s Soup Can was. Art for the masses, art that every average Joe could comprehend...

No one questions whether Andy Warhol’s works are art; they might question the validity of that art, but it’s commonly accepted that he was an artist who created art. So why would Designer Toys be regarded any differently? They are a format that keys into a childhood nostalgia that almost everyone shares (having toys) while elevating the design to something far more artistic and inspired.

To the right we have a variety of versions of Frank Kozik's "PoTaMuS" design, each manufactured in a different material. There are two versions cast in traditional sculpture mediums (Porcelain and Metal) as well as the exact same design in Vinyl. So why would some be considered art and the other not?

In fact, for this design, the vinyl format almost seems more appropriate, embracing the playful caricature nature of the piece while still twisting the nostalgia with the inclusion of the cigarette and anarchy symbol. And while it's wonderful that high-end materials can be used to produce the same design, Kozik has crafted a cultural commentary that almost begs to be owned by the common man… who might not be able to afford the Porcelain or Metal versions but can surely splurge on the Vinyl format if he so desired.

A truly modern art for the masses medium: Designer Toys.

“Historically, Designer Toys take mass manufacturing techniques, usually reserved for producing high volume runs of product, and applies the sensibilities to producing higher end multiples of an art object. The artist works within the constraints of the process to create a beautiful and collectable piece, turning the purpose of these methods on its head.

“More recently artists have started to use more home grown and DIY techniques to produce similar effects; Less mass market techniques, but the same ethos.

“I believe that ultimately Designer Toys will continue to evolve as a medium for artists. However, a danger stems from commercialization with a focus on profit and mass production, which is at odds with the roots of this industry. Ultimately this scene is driven by and supported by the collectors. I think sometimes the artists forget how important not only direct to collector sales are, but also the secondary market, without which there would be no industry.”

Miranda O’Brien

Editor-in-ChiefClutter Magazine

Vinyl by Toy2R

Frank Kozik’s “PoTaMuS

Porcelain by K.olin tribu

Metal by Fully Visual

Forest Warlord by Bigfoot x Kuso Vinyl Painted by Skinner

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Back in the late ‘90s, I noticed, during trips to Japan, something new emerging. I collected Ultraman monsters, Doraemon, Ampanman, and anything else that interested me. But when I saw the first Michael Lau and James Jarvis toys, I knew there was something going on outside the usual merchandised toys from cartoons, films, etc. I tried to hunt down a Lau figure but soon realized that they were like gold dust and other people, like me, were desperate to get their hands on this new wave of toys from artists and illustrators.

This led me, in a roundabout way, to creating sculptures inspired by these figures that put my work under the noses of Sony Creative Products. This meeting started me on my way to designing toys myself, firstly with SCP then to the company I ran, Playbeast. My Monsterism range was fun to

design and creating a world where my characters existed was unlimited room for my imagination to roam.

For me, Designer Toys should be something that avoids the big companies and should be done for the art and creative ideas. Obviously, these need to be financially viable, but I think the balance between art and commerce is being rebalance here and there and that can only be a good thing for the scene and the collectors and fans of it.

I think it’s about the artist’s vision and what they can create within the constraints of the material and I for one, salute the indies for bringing back the art and ‘garage’ side to toys which I feel is greatly needed in a world of licensed characters and brand collaborations.

When I first opened the very first Kidrobot store in San Francisco, Huck Gee and I used to sit behind the counter cleaning the glass, hoping someone would eventually come in and buy one of our toys. Eventually a person would walk in from the street, look at the toys in the glass cases for a while, and finally ask, “what are these things?”

I’d carefully reply that they were Designer Toys, created by artists in limited editions. Very special, very beautiful things. Then they’d say, “Yes — but what are they from?” I’d patiently explain that they weren’t from anything — not from TV shows, cartoons, movies, video games, or comic books. Just works of art that someone had made up.

“Then why would I want one?” they’d ask, and stomp out of the store.

Over time more people have got used to the idea that things can be beautiful just for what they are, as opposed to what they are related to. I think that’s what’s most wonderful to me about Designer Toys — they only rely on themselves for their appeal. In order for a toy to work, it has to stand on its own. That challenges us, because when we see something new, we are forced to stretch a little, and make the world a bigger place.

By Pete Fowler

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By Paul Budnitz, founder of Kidrobot

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TALESFROM THE

CRYPTIDBITSBY TRAVIS LYKINS

Would you mind telling us a little bit about yourself and what first inspired you to create?

I was born and raised in San Antonio, Texas, the second youngest to a large family of nine kids. Almost each one of us showed some sort of creative side, whether it be with art, music, or writing. Some of my older brothers enjoyed drawing so as a kid a part of my inspiration came from watching them.

Growing up, I recall a lot of simple things having an impact on how I feel about art, things like product

packaging, books, magazines, comic books, cartoons, and movies. All those things still linger in my head and eventually make their way out onto my art. Most of that which I reflect on can come out as strange or humorous, stuff most kids would be attracted to.

The thing is, by the time I was in high school, I saw art in a totally different light, feeling more serious about it — absorbing all types of art, digging through books, and visiting the local art museums. I feel those two sides of how I felt when I was real young and as a young adult are constantly

ripping away at each other looking for a way out.

You have been creating original paintings for many years. Would you tell us a bit about your early work? And talk about how your style has evolved over time?

Painting didn’t become a consistent thing until 2005. I was working full-time as a designer and, once in a while, did an illustration for some projects. A lot of that work I did then was heavily influenced by the design work I was doing. My paintings then involved more typography and had a

Mostly known for his many original paintings and great character designs, artist Jason Limon has, in the past couple of years, transitioned many of these characters into three-dimensional resin releases. But now, at this year’s New York Comic Con, Limon has teamed up with Martian Toys to launch his first vinyl figure: the Abominable Snow Cone!

We took some time to talk with Limon about what inspires him, his art, and this new release. So hold on to your snow cones, we’ve got an ice cream truck to chase!

Opposite:“Abominable Snow Cone,” 2014

This Page: Abominable Snow Cone (Cherry Flavored), 2015

Clutter 31 | 29

more technical feel. It has really been about me slowly loosening up and not being so rigid when painting.

I’ve tried hard to maintain the same feel or look as I‘ve gone forward. What causes things to shift most is my mood; sometimes it is really jovial and other times it’s super dark. Some of the stories or series I draw from will contain that whole feeling through. So for a year or two things may feel dark with a somber narrative, then abruptly the next series will be totally on the flip-side with more vibrancy and humor. I know for some these may look like different “styles,” but really it all just comes down to how I am feeling. Maybe you can call it a bipolar technique?

In 2014, you embarked on a massive painting project called Cryptidbits. Would you mind telling us a bit about this project and what it was like creating so many original designs each month?

That was a super fun series that I enjoyed working on. This is a perfect example of a change in mood. A few of the prior years to this, most of the art I made was on a really dark note. It wasn’t because I just wanted it to be dark, but that is the way I was truly feeling, [I was] in a stretch of time of being down. My lows play a serious role in whatever is coming out, but at a point I just know that it is time to force myself to make a change in how I feel overall.

The Cryptidbits were a way of lightening my mood and to bring myself to a positive state. It was a challenge to force a smile out and laugh. That is the root of the project, but it also reflects on an interest I have had for a long time: the world of cryptids and the supernatural. The goal was to create new creatures that wander our planet unseen, like Bigfoot or Nessie except a bit more strange. I wanted each character to interact with things we see on a daily basis or somehow take a real animal’s

appearance and change it up in an unusual way.

I spent a lot of time writing lists of random objects and tried to pair them with a creature that seemed to fit or just imagined how one character might react to an everyday item, like a furry worm that eats Alkaseltzer so it can float around, or a glob that eats marbles to keep its eyeballs in its head. It was a really good challenge to keep new ideas flowing. This project also made me realize that I tend to work better when focused on a series. Thinking about this series once they were completed encouraged me to start up a new one called Refusuffix, which is a bit similar to the Cryptidbits.

Switching gears a bit, what was it like creating your 8” Dunny design, Atropa, in 2012?

It was an honor and I was fortunate to be able to work with Kidrobot on the Dunny. Prior to them releasing

“Cryptid No. 52, Wooly Felachnid,” 2014 “Berrytop Swirlpaca,” 2014

“Cryptidbit No.16, Capped Hermit Crab,” 2014

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it, I had only done a few three-dimensional pieces. The process and the results gave me much insight into the designer toy world. It also triggered me to want to see some of the other things I do come to life in dimensional form.

In recent years, you have transformed many of your two-dimensional designs into three-dimensional resin sculptures…

I paint so many characters and most of the time I try to also visualize them all the way through to a 3D form. I still spend most of my time painting, but the way I see things now is that it makes a lot of sense that a drawing becomes a painting, then a painting becomes a sculpture. Each of those ways of creating all feed off of each other. And, in a way, switching back and forth between drawing, painting, and sculpting helps me to go into each way of working with a fresh mind like I learn a little something new each time. For me, seeing a finished sculpture of one of my characters is very fulfilling, like the final step in the process has been completed.

Sometimes I try to include other elements that are within a painting beside the character. I often need to figure out the best way to create those elements because they make more sense being made from the actual materials of that object, like glass or paper instead of resin. I created sculptures of a few of the Cryptidbits in 2014. Some of them required me to design and put together an

authentic looking product package to accompany the sculpture so that it could properly emulate the original painting. I do enjoy that technical side of how to make everything connect with the right balance.

Would you mind telling us a little bit about your Abominable

Snow Cone release with Martian Toys for New York Comic Con? What did you draw upon for inspiration?

The Abominable Snow Cone was part of 2014’s Cryptidbits series. I did that painting toward the end of summer in mid- to late August. In central Texas, where I live, that is the time when it is most unbearable outside. You walk out there and it just feels like everything around you is melting. So, it is usually around that time that my kids and I crave icy treats, which you can find abundantly around town and in the streets. I don’t usually reflect on the seasons to provoke ideas, but because I do love a snow cone under the blazing sun this one just kinda came out.

While sketching it out, I had recalled as a kid that some snow cones came with a gum ball at the very bottom of the paper cone cup. That little thought gave me the idea that it had to have gum ball like eyeballs. Throughout that whole year I had also been reading a lot of supernatural stories, most about monsters and

“Mix-Tape Mummy,” 2014

Abominable Snow Cone(Blueberry Flavored),2015

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“Light Rider,” 2015

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cryptids, so the thought then came to combine the abominable snowman or yeti with this whole idea: a large, big hairy snow cone chasing an ice cream truck and spilling its gooey sweet mess all around the neighborhood.

Last year at Designer Con in Pasadena, Aaron [Hulsizer] and David [Whittington] from Martian Toys came into my booth and started talking about some of the ideas they had about producing designer toys. They are both collectors and have given much support to this industry. In the short time I have known them, they have been real aggressive in getting out their ideas and working with artists, and keeping the artists in the forefront of the projects. They showed a lot of interest in making some of my Cryptidbits into figures and wanted to start with the Abominable Snow Cone.

What is it like to have a piece from your year long Cryptibits project transformed into 3D vinyl? It must have felt rewarding after taking on such a massive project.

Yes, it is pretty amazing to see one of those characters come to life in the three-dimensional world. It makes me want to do more with all of those characters that I established. My wife set up a wood display at the entrance of our house with a good batch of the Cryptidbits and my older daughter has combined all sixty 5”x7” prints and put them up on her wall. So sometimes I’ll stop there for a second to take it in. I’m glad they have them up, because seeing them does help

to remind me of what I was trying to do then and that there is always a bit of room for humor and cheer in my art. I’ve been fortunate to work with Martian Toys on this piece and I’m hoping we get to do more in this series together.

Are there any words of

encouragement or advice that you might give to an aspiring artist that may be just starting out on their artistic journey?

I feel, the most important thing about what I do is patience. Not only does it take some time to get people to know what you are doing, but you also need patience in finding who you are as an artist and what it is you are really trying to say. Your feelings, techniques, and your tools may evolve as you go so don’t confine yourself or be afraid of change. As long as you are making art in your own way people will recognize it’s you no matter what story you are trying to tell. The internet is an amazing promotional tool. If you share what you are doing on your website and social networks on a constant basis people will begin listening, enjoying and also share what you do. It just takes time.

For more information onJason Limon, please visit:limon-art.com

“Digging for Light,” 2015

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Before we tackle what a custom is, let’s discuss one specific platform — or basic toy design — that ties in directly to this: the Munny. Created by Tristan Eaton and Paul Budnitz, the latter of which founded Kidrobot the company that releases these vinyl figures, talking about Munnys can become difficult as one might actually be talking about any of five designs that are part of “Munnyworld”: the “Munny” proper is made to resemble a man, the “Bub” is a stylized hippo, “Trikky” is a cat, the “Raffy” is a giraffe, and “Rooz” is meant to be a baby kangaroo. But they are all part of Munnyworld, a series of solid color vinyl figures that are called Do-It-Yourself (or DIY) Designer Toys, meant to be a blank canvas upon which any artist can express themselves using almost an unlimited number of mediums.

Now let’s put terms like ‘Custom’ and ‘Munny’ over to the side and instead talk in general art terms: anyone can go into an art store and buy a blank canvas, and while its form and texture might be interesting, it’s still simply a blank canvas. But when someone paints on that blank canvas, it magically becomes art, yes? Obviously, the skill of the artist determines certain things, but even a child’s finger painting is still technically art. In these terms, the Munny is the blank canvas and the term ‘Custom’ denotes the painted form. And just like there are countless ways for an artist to express themselves on a conventional canvas, the same holds true to those “customizing” a Munny…

Above we have what the blank Munny looks like, but opposite are other pieces by artists using their skills and crafts to modify — or customize — that base form into something entirely new. They’re creating a three-dimensional painting, if you will. By using everything from intricate line drawing to detailed painting, sculpting or sewing additional elements, the artist reforms the vinyl figure into whatever they want.

A customizer can even make a series of the same custom — or “multiples” — hand-crafting the same base design several times to sell a limited edition quantity of their work. So a custom is a unique piece of art that is handmade, hand-painted, hand-sculpted, hand-whatevered; even when “multiples” are made, each one is an individual ‘painting.’

Munny DIY by Paul Budnitz + Tristan Eaton & Kidrobot

Nick Curtis

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Customizing is the practice of an artist reinterpreting a shape or form and modifying it, resulting in a new piece of artwork that conveys the sensibilities of their individual style as well as retaining elements the original platform’s design. These new artistically melded pieces are commonly referred to as “customs.”

There are two common subcategories in the customizing world. One subcategory is D.I.Y. (Do It Yourself), where stripped down, basic, and blank forms are made available to be customized through painting, sculpting, and mixed media. Common platforms include Kidrobot’s array of Munnyworld offerings and Toy2R’s Qee line. The other subcategory is customizing existing collectibles, where an

artist will take a fully realized idea by another artist, and then do their own version. These are commonly one-off collectibles or showcased in “custom group shows,” art shows where a multitude of artists are asked to do their take and vision on one artist’s platform so that an array of interpretations and styles are presented.

Metaphorically speaking, I consider customizers and customizing to be akin to the practice of a cover band doing a rendition of another band’s original song with the results being the novelty of hearing a new version of a familiar or existing tune. The original song has its fans but these new interpretations allow for versions that can appeal to a multitude of fans spanning other genres.

Artist: 64 ColorsArtist: Kathie Olivas Artist: Luke Chueh

“Good Night, Sweet Dreams... XO” by JéRYU

“F.A.D 20”Dunny” by JéRYU

“So Goff”by JéRYU

By JéRYU (Best Customizer, 2nd Annual Designer Toy Awards)

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What’s your background as an artist? Are you formally trained or self-taught?

I was seven when I first got my hands on a pencil and began doodling. I was self-taught throughout middle school, and in high school I began researching styles and experimenting with mediums. Towards the end of my

high school years, I got into realism and portrait work, which I would submit into contests and shows in my local neighborhoods. In 2003, I received an award through my high school for my artwork. I continued my studies at the Fashion Institute of Technology and, after 5 years of illustration and extending my knowledge in the business of art, I

began freelancing and started putting my mark out there.

Working for a gallery, I came across Flying Fortress and the Teddy Trooper. I began curating vinyl toy shows and did that for almost three years, bringing vinyl not to just Long Island but putting together some of the top customs toy shows on the east coast.

The 420 friendly artwork of Ian Ziobrowski is a true smoker’s paradise: uniquely sculpted and hand-painted vinyl art collectibles that reflect a bud-laden universe known as Nugglife. Far from the slacker stereotype most indulgers are saddled with, Ziobrowski regularly brings his Mary Jane loving world to life through art piece after art piece. And regardless of if he is detailing the growers, the grow houses, and the quote-unquote righteous authority figures, Ziobrowski always imbues his vision into all his work.

By Nick Curtis

“NUGSnNUGGS,” 2012

What attracted you to turning vinyl toys into original works of art?

I thought Teddy Trooper was so badass that I had to customize one of my own. My first vinyl toy show was in December ‘08 and I designed Smoky the Bear. After that, a buddy of mine who owned a small internet designer toy store had me come by to see his collection and I was super stoked.

What got me in was I was already a big follower of the Juxtapoz and Hi-Fructose scene, and around that time

most of the big guys like Ron English, Mars One, Dalek, and so many more were all being featured on the regular. So when I saw what they were doing with their characters, and making them into designer toys and custom versions, I knew this was what I had to do.

Where does the name Nugglife come from? Is it your artist identity? the world you’ve created? both?

I was always told in school, don’t pursue the weed art. And I would

create personal pieces when I could squeeze them in. Once I graduated, I said “fuck this, I don’t wanna be a general illustrator. I wanna be me, and create a story based on the people I knew growing up and their lifestyles.” Just happened to be they all sold and grew weed.

In 2008, I took a Dunny, cut the ears off, and made Nuggs. And from there Nugglife began. Everyone asks me, “Who is Nuggs? Is he my alter ego?” This is something I can’t say, although he’s a very good friend of mine. Some identities just have to remain a secret.

Is there a backstory to the Nugglife world? How does the reoccurring character of Nuggs fit into it?

The concept of Nugglife is “Living the American Dream without society standards.” It takes place in 2420, where society has already destroyed by corporations and they world has been stripped of its technology. Nugglife was created by a movement of nomads led by Nuggs, a botanist/inventor/hustler using his skills to provide work and medicine for the people in Nugglife, the world he has created. Without him and his guidance, this world and these characters would have no purpose.

Why did you start making the grow room and greenhouse sets? Were you actively trying to evolve the Nugglife story beyond the characters and to create the setting?

Yes, exactly! After creating the five main characters — Nuggs, Smoky, Thugz, Crook Ed, and the Nuggyeater — I wanted everyone to visualize how this world was building in my mind. The Growrooms put Nuggs in his environment, which he grows and is

“Crook ED the Cop,” “Agent Biff,” “Agent Dick,” “Nuggs,” “Agent Ox,” “Thugz,” and “Smokey,” all included with the

“Nugglife Grow-Op #2 with DEA Headquarters,” 2012

“Nugglife Grow-Op #2 with DEA Headquarters” (detail), 2012

For more information onIan Ziobrowski, please visit:nugglifeny.com

the main source that keeps Nugglife operating.

Can you tell us a bit about the other main characters in your Nugglife universe?

Smoky is your typical useless hippy. Heavy nug consumer and a great buyer. Thugz is Nuggs right-hand man, known for his top hustling skills and keeping the streets moving. Crook Ed is the old skool dirty cop, you just gotta pay him off and no one knows. The Nuggyeater is the worst damn living creature alive. Consuming large amounts of greenery in fast rates interfering with Nugglife’s production. Everyone including the random guests serve an important role in the world of Nugglife. Another reoccurring cast member in your Nugglife universe is Agent Dick. What is the story of this questionable character?

Well, what’s a world without authority corrupting it? He’s the main obstacle in Nugglife. Operations would be better without him. Sometimes I regret creating him. (Laughs)

How does your process work? Do you design your works out carefully on paper first? Your pieces seem extremely methodical, with highly detailed sculpted elements and pristine paint applications…

Everything starts off with small thumbnail sketches and, once I decide on what I like the most, I draw it up from several different views to get the best idea on how to

construct it. I don’t get too detailed, things do change at times and I make adjustments as I build, so I have a brief sketch to work from but most of the project is made up on the spot.

Your elongated, football-shaped heads are an iconic part of your style. Where does this element stem from? Does it mean anything special to you?

When I was looking at a Dunny and figuring out how to make little people out of them, I cut off the ears and bump in the face, filled with some clay and sanded out to find the face that satisfied me enough to work off of. This was easy to work with and modify with no problems. At the time it seemed like no one else was customizing the Dunny that way, so I

stuck with it and it became my style naturally.

What does the future hold for you? Any chance for a production piece coming out?

Where ever this road leads, the possibilities are endless. The Strain series tee shirts started this year and also some company collaborations. New York Comic Con will be the first Nugglife resins release. Hopefully, this can lead to production within the next couple years.

“420 Roar,” 2015

“Cheech and Chong Set,” 2014

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Sekure D, Rotobox, and WuzOne join us in our fourth step towards completing a custom toy.

The curves of a designer toy can be hard to get used to at first. How these curves warp your lines has to be taken into account when penciling in and then painting the figure. “Shapes are harder to paint on curves and they get distorted, so logos, eyes, etc. can be tricky,” says Sekure D. “I focus on straight and balanced lines. That’s often a pain on round figures.” In order to keep your paint application looking right, you’ll sometimes need to compensate and slightly stretch or skew your shapes and lines. Make sure you’re eyeballing your work from both three feet or so away as well as close up, as something that looks perfectly fine up close can look wonky from a distance. Think of the situation like the graphics printed on your clothes: on the flat surface of a t-shirt, for example, the graphic looks correct, but once you put

the shirt on and it adjusts to your body and your movements, that graphic can look distorted.

On a related but more fundamental note, WuzOne recommends to “adapt your design to the lines of the toy.” If your concept looked great on paper but is coming out odd, ask yourself if you’re properly transitioning your 2D design to the 3D surface. Do certain features need to be moved around or reworked in order to jibe with the figure’s shapes?

Another issue that can arise from painting in a 3D space is creating an uneven application. The Ong brothers of Rotobox cite “being able to evenly paint all parts of the figure” as a unique challenge. When viewing a painted canvas, most admirers are at least a few feet away and aren’t likely to notice any paint build-up (unless it’s Takashi Murakami of Superflat fame). But since designer toys

THE MONTHLY DIY:

HAPPYLITTLETREESBY MARC DEANGELIS

If you’ve been following along with The Monthly DIY, you’ve got your concept all planned out and your workspace prepped. You might have even sculpted some appliances to modify your toy’s silhouette. Now we’re finally at the step you’ve been waiting for: grabbing your brushes and laying on some paint. But even if you’ve got some experience painting on a canvas, you’re going to need some pointers for making the transition to the three dimensions of a designer toy.

This Page: WuzOne’s “Adara,” 2015, completed and work-in-progress

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are often viewed up close, it’s important to avoid any lumpiness. Applying many thin coats of paint, as opposed to just a few thick coats, will help. Or if you want to get fancy, you can pick up some acrylic retarder. Among other uses, this slows the drying process and creates a more even layer of paint. If you’ve noticed build-up that’s already dried, gently sand it down and apply new layers of paint, being sure to blend that patch with its surroundings.

If you ask what brand of paint or brushes to use, you’ll likely get a different answer from everyone. Some customizers grab tubes of store-brand materials while others exclusively use high-end supplies. Say the Rotobox brothers, “It depends on the artist and what you want to achieve. For our customers, airbrush and car paint is the best choice because we usually do robots and we want to have the metal sheen and feel to it.” According to Sekure D, ”I use a variety of paints and never have used super expensive brushes. You just have to find what works for you.” Whatever paint or brush you decide on, don’t hesitate to experiment and remember that the main element that will improve your painting is practice, not the materials you use. That said, you’re going to want a variety of brush sizes, including some very fine ones so you can create detailed designs on the relatively small scales of designer toys. Also, you’re going to find some more interesting colors in higher priced lines of paint; for instance, compare Krylon and Montana.

When it comes to best practices, we’ve already discussed opting for more thin layers of paint over a few thick layers. But if you’re using spray painting, this is especially important. If too much paint is applied, it will do two things: drip like a wet mop and get real tacky upon drying. If you notice that paint isn’t adhering to a particular spot, let everything dry, sand down the vinyl of that spot a bit more, and then start spraying again. Another major factor is the order of the colors that you paint. If you’re painting a light color over a dark one, be prepared to “waste hours of your life,” as Sekure D

puts is. “Plan your colors ahead of time.”

Speaking of, when do you know you’re done painting? The short answer is, “You don’t.” Rotobox tends to call it a wrap once the design is perfectly applied and “all areas are balanced, smooth, and clean.” Sekure D is less decisive: “I’m never done. You just have to know when to move on.” WuzOne mirrors this mentality, stating, “[I’m done] when I’m happy with the result.”

For beginners, the hardest part of all of this is to not get discouraged. This stuff is hard! So just remember that skill comes with practice. Your first one or two or even ten customs won’t look like they rolled off the factory production lines. But with enough repetition, and trial and error, you’ll quickly get into the groove and start to learn your own tricks and techniques.

That’s all for this month. Check back next issue where we’ll talk about how to seal and varnish your work and prep it for display. In the meantime, keep sanding.

Sekure D’s “KRNY Mega Munny,” 2012, work-in-progress and completed

Various work-in-progress Rotobox pieces

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When I was a child, I never considered who designed the multitude of toys I coveted. Now, as an adult, I’ve gravitated to an industry that emphasizes giving the artist not only credit but top billing. The name James Groman might be one you are familiar with from the recent Rotten Rexx undead dinosaur piece, but he was also the creator and contributing artist to such toy lines as Madballs, Barnyard Commandos, Blurp Balls, and Stretch Armstrong. Without knowing his name, Groman is one of the artists who formed my aesthetic taste — through his toys — in my formative years.

Having newfound recognition for his art, Groman gives no impression of slowing down. In fact, he seems bent on taking the designer toy world by storm.

Are you a formally trained or self-taught artist?

I might say it’s a bit of a mix.

(Laughs) Okay, let’s start with the self-taught aspect?

When I was a kid, my parents bought me some multicolored bars of plasticine modeling clay and I was hooked. I would sit for hours sculpting monsters and dinosaurs that I had seen on Saturday morning cartoons and monster movies. It started with just a couple figures,

then quickly became an obsession, with me creating entire giant dioramas with multiple monsters, mountains, jungles, and even futuristic city environments. My sculptures started to get more elaborate, more detailed. I started studying model kits, toys, statues, trying to discover new textures and techniques. It was the same with drawing. I would look at other people’s work, especially artists I really admired and want to emulate their level of skill and expertise at their craft.

As for schooling, I assume art was your subject of choice?

Yes, it was only natural that art was my favorite subject in school. I was lucky enough to have a number of teachers who really encouraged and nurtured my talents. One teacher even got me excused from a few of my regular classes so I could construct a number of miniature sets and creatures for a Super 8 movie that I wanted to make for an 8th grade art class.

That’s amazing. University?

Well, I attended [the] Cleveland Institute of Art (CIA) upon graduating high school, where I majored in Illustration with a minor in Cinematography. While there I still used every assignment as an excuse to draw, paint, or sculpt a monster or otherworldly creature, [and] most of the teachers I had back then were pretty traditional editorial and advertising illustrators and weren’t quite sure what to do with me. Their mastery of a multitude of traditional techniques and media was really incredible, so it really broadened my horizons as far as just trying new

BY NICK CURTIS

THECRASSTACEOUSPERIOD

ways of creating art. I did manage to graduate with a BFA in Illustration.

And after that’s when you went into the workplace, right?

Yes. I graduated from CIA with a portfolio full of science fiction, comic book, and creature illustrations, with an emphasis on characters and monsters. Through a series of events, I met up with the folks at American Greetings’ new toy and character brand division called Those Characters from Cleveland. They were looking for some people to work on some action figure programs they were developing; Care Bears, Madballs, My Pet Monster, among other things.

My real education started when I was hired at American Greetings. The team of amazing artists that I worked with in those days were masters, and I learned so much from just watching how they worked. I had to hang my drawings next to these guys, and it really helped me work extra hard to make sure that I brought my ‘A’ game every day.

What did you do there exactly?

I was given some other artists drawings to polish and ink at first, then I started to do some ideation, designs, and character concepts. I loved the work and threw myself into it. If they asked for ten drawings, I gave them twenty. As I said, the

artists I was showing my art to were so talented, I worked my ass off to make sure that my work was as close to their caliber as possible. After a few assignments, I was asked to come work full-time, in-house. There I worked on Madballs, the Madballs Head Poppers, Blurp Balls, Ring Raiders, and even pitched my own idea for a toy line, Barnyard Commandos. These were great and creative times, kind of a toy designers boot camp. Set my career on a path that has continued to this day.

So for those that don’t know, can you expand on what the Barnyard Commandos were?

Alright...you asked!

“Blech-iosaurus,” 2014

“Dreg-a-saurus,” 2014 “Sty-wreck-asaurusiosaurus,” 2014

A few months after being hired by American Greetings as part of their TCFC division, I was doing a bunch of drawings of different types of animals with weapons attached to them. One of the critters was a pig with a strap-on pair of jet wings, flying high over a group of whales and sharks walking on land with mechanical legs. The pig seemed to get the biggest response from the other designers, so I did a few farm animals, including sheep, horses, and cows. Once again, the sheep and rams seemed to get the biggest laughs. When I presented the concept to my bosses I had settled on the name GRUNTS for my battling barnyard beasts. Since the rams and pigs were everyone’s favorites, we decided that was the way to go.

I was disappointed to find out that the name GRUNTS was already trademarked by another toy company, but one of our writers began referring to the drawings I was doing as Barnyard Commandos. The name stuck.

Originally I had conceptualized the idea of the Commandos going up against the newly launched [Teenage] Mutant Ninja Turtles toys that had just come to market. And it just so happened that Playmates Toys, the very folks doing the TMNT toys, were

interested in Barnyard Commandos and licensed it from TCFC. They even produced a 5 episode animated mini-series in conjunction with the toys. The line was launched in 1989 and lasted a couple years, with two waves of product including over 16 characters, 4 additional vehicles and a never released super-sized aircraft carrier, the U.S.S. Porktown. Other licensed product included t-shirts, plush characters in a variety of sizes, and even a line of Burger King toys.

Though there were many folks that contributed to the brand from both American Greetings and Playmates, I still am very proud of the fact that the initial concept was mine. My very first toy concept that actually made it to market. Barnyard Commandos was and is one of the highlights of the early days of my career.

After those early days, once you’d left American Greetings, what did you do?

I had my own freelance studio for a number of years, and it was at this time I delved back into sculpting, creating the patterns for a number of action figure lines, model kits, and collectables. I had absolutely no formal training sculpting for toy manufacturing, but I had learned about materials and production while

at American Greetings. The rest I figured out from studying countless samples of other people’s work.

At this time computer programs, like Adobe Photoshop and Illustrator, were starting to change the way art was being created, and I saw the writing on the wall. Knowing that I had to adapt or die, I taught myself those programs over the course of a number of years and a variety of projects. I now use these programs every single day.

How did you transition from your previous work into designer toys?

After leaving Hasbro Toys and coming back to Cleveland in 2005 to join American Greetings again, I was contacted by Luke Rook at Lullubell Toys. He was a fan of my art, particularly the Madballs work I had done in the 80’s and the new designs that I had redesigned for Basic Fun Toys in 2006. He wanted to do a project together, and I jumped at the chance.

He had been producing the Boogie Man figures for Cure and asked me if I wanted to be part of a Boogie Man Artists Series they were putting together. I wanted to start with something small, then work up to

“Scare-at-asaurus,” 2014

a larger piece, so it seemed like a perfect first project. I wanted to do more than just a replacement head, so I came up with the Brain Bug concept. This idea involved not just sculpting a freaky, Madball-ish head with exposed cranium, but also a giant, insectoid, skull cracking Brain Bug. The idea being that as the crustacean sucks on the poor bastards brain, the rest of his body starts to take on insect-like attributes

as well. And that was the birth of the Brain Bug Boogie Man. The figure’s popularity really surprised me and was my first introduction into the magical world of the collectible designer vinyl genre.

When it was released, Rotten Rexx seemed a bit out of place in your toy oeuvre—

Really? You think so? After all them

crazy Madballs, Blurp Balls, and undead critters?

(Laughs) Fair enough. So what inspired you to make an undead dinosaur?

Many years ago, I had written a script and designed some toys based on a concept I had called Monster Hunter — [this was] before the video game. The lead character tracked down a wide variety of crazy aliens, creatures,

Rotten Rexx comic cover, 2012

54 | Clutter 31

and monsters. When designing the characters, I did not want to just do demons, werewolves, and vampires, I wanted to do things that were a bit more unique and twisted. Rotten Rexx had been one of the monster character concepts, and he was always one of my favorites. I loved zombie flicks and I loved dinosaurs… plus it gave me the opportunity to sculpt so many crazy, interesting textures — scales, bone, tattered skin, teeth, and a wide variety of exposed rotting organs — which is always of great interest to me.

Following the Brain Bug Boogie Man, Luke and I were trying to figure out what our first full figure project would be. I happened to own a number of big Japanese vinyl Godzilla toys and asked Luke if he ever considered doing something a bit… up-sized. He loved the idea and I pitched two ideas to Luke: one being Rotten Rexx, the other being a dinosaur stitched together from multiple pieces and parts of a number of prehistoric creatures… Luke seemed to respond more strongly to Rexx.

When you originally envisioned Rexx as being big, was it the size that ended up being released?

Luke suggested doing something around 18 inches or so, and I loved that idea but began to get a bit freaked out… Were we going too big? What would shipping be like? What would we have to charge for it? We finally decided on a more manageable 15 inches.

How did the production of the Rexx go? From sculpting onward…

I sculpted the big lug over the course of a few months, cut him up and shipped his parts off to Luke in Japan. He actually had to be sent back to me at one point, since he had been damaged in shipping. But we were committed. I did the fixes and shipped him back. Then Luke about killed himself producing the massive monstrosity that is Rotten Rexx.

He was released last year to great success, and Rexx has introduced me to a whole new generation of toy fans and collectors. He even got nominated for a Designer Toy Award for [Best] Sofobi figure of the year. Everywhere I go, he has become my calling card, and I am eternally grateful to Luke and Amy at Lullubell for giving me the opportunity to create something so awesome.

Various Rotten Rexx and Rancid Raptor pieces, 2015

Brain Bug Boogie Man(Clear Edition), 2014

“Almost Extinct Rancid Raptor”by SoKo Cat, 2015

Clutter 31 | 55

You did a Rotten Rexx comic to support the release. What was the genesis of that? And, of course, what was the plot for those of us that missed it?

As I had said earlier, I had created Rotten Rexx as one of the monsters in an action figure concept called Monster Hunter. The story involved an ancient talisman known as the Lazzurraxx Idol of Resurrection that accidentally comes into contact with the mummified remains of a Nanotyrannus, bringing it to life. In my original Monster Hunter script, the Rotten Rexx segment was was very short, and told in flashback.

Then I thought it was a great opportunity to expand on the story, even re-think it a bit, and present it in comic book form. While the toy was being produced, I wrote and illustrated the 8-page story that revolves around a teenage kid named Alan Templer, who’s dad is a famous paleontologist. Alan’s dad

is unveiling his greatest discovery at the Cleveland Museum of Natural History, a mummified Nanotyrannus. Alan happens to have been kicked out of school for the day and joins his dad at Rotten Rexx’s debut. A rival archeologist who’s own discovery, the Lazzurraxx Idol, has been overshadowed by Rexx arrives to berate Alan’s dad with insults. He steps to close to the mounted tyrannosaurus corpse, and the idol brings it to life. Rexx eats the rival scientist, and the idol gets tangled up inside the dinosaur’s ribcage. The creature attacks Alan and his dad. Donning an old suit of armor, Alan goes after the zombified prehistoric monster, allowing himself to be eaten so he can disengage the idol from inside Rexx and bring him down.

I love doing comics, and really enjoyed working on the book. I take them to conventions and sell in conjunction with the toy… and I sell them in my blog store as well.

For the 2014 New York Comic Con, you produced the Lazzurraxx Idol of Resurrection to accompany the Rotten Rexx. What’s the story behind that piece’s inclusion?

When we had decided on doing Rotten Rexx as a vinyl toy, I always thought of him having the idol hanging around his neck… it was just part of his origin. I had sculpted the idol just for fun a number of years ago, only at a much larger size… about 6 inches. For the Rexx release, I had the idol cast up in a material that actually shrinks, reducing the size of a sculpture. I then made a new mold at the smaller size and cast up the new, smaller idols in resin, and painted them up in different colors. Now every Rexx sold has the Lazzurraxx Idol of Ressurection hanging around its neck.

Also for NYCC 2014, you introduced the Rancid Raptor, a mini-sized undead dino. I heard this was supposed to be part of a proper miniseries… Can you tell us more about that?

Yes! Luke asked if we could hit some different price points with some smaller, simpler, more affordable Zombiesaurs. I planned 3 tiny dinos — Rancid Raptor, an Ankylosaurus, and a Pteranodon — all of which would have interchangeable heads. Rancid was released at NYCC last year, the Ankylosaurus is just about done being turned into vinyl, and the Pteranodon still needs to be sculpted.

I took a break from these little guys to do a medium-sized zombified dino. It is a Brachiosaurus and stands about 9 inches tall, and about 10 inches long. He will also have an additional, interchangeable head or two as well. But now that he is done, I will probably be getting back to finishing up the Pteranodon… or maybe I do a Rhamphorhynchus. That’s right, a Rhamphorhynchus. Look it up.

Fantastic sounding! You’ve recently unveiled the B.C. Blasters line? Can you tell us more about what it is and where it’s coming from?

I was approached by Gino Joukar [owner of Toy Art Gallery] a while back about doing a project, with his preference being a line of Gacha Gacha’s to add to the series he has been doing with other designers. We went back and forth with a

BC Blaster: Rocket Rex protoype sculpt, 2015

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couple ideas, but when I pitched him the first concept of a growling Ceratosaurus with a rocket launcher bolted to his back, we knew that this was it. I quickly did four more mechanized dinos, and we had a line. Because of my full schedule of other projects, we decided to have me concept[ualize] and design the line, with Jorge Macswiney, otherwise known as Macsorro, sculpting. Jorge did an amazing job and followed my schematics perfectly while doing what he needed to do to keep them manufacturable in vinyl. I am known

for loading on the detail in my designs, and he nailed every scale, snaggle-tooth, and bullet hole.

The sculpts premiered at the Throwback Show at Toy Art Gallery in L.A. and plans are to release the entire line at DesignerCon in Pasadena, California in November. I hope to have a comic book to support the line by then, my schedule permitting!

Wow! You’re a busy guy indeed. What else does the future hold for you?

Right now, Luke is working on a Triceratops replacement head I sculpted for Rexx, which we will have out this year. We have some other projects in the works though I want to do another big guy like Rexx. And I have a feeling he will be a tough act to follow.

For more information onJames Groman, please visit:jgroman.blogspot.com

Dino Blaster production turnarounds, 2014

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In the previous article you were given the most general of explanations regarding what a Designer Toy is, but entering the world of Designer Toys is one fraught with words and phrases that the new collector might not understand, one of the most common likely being “Blind Box” (or “Blind Boxed”), a term that gets thrown around like it’s going out of style. But fear not, it’s actually quite easy to understand, especially if you remember the days of buying McDonald’s Happy Meals.

“Wait, what?!? McDonald’s Happy Meals?” you might proclaim. And yes, McDonald’s Happy Meals — in the most simple terms — are blind boxes. When you’re a kid, the reality is that what you really want is that toy in the Happy Meal, but McDonald’s makes five or six toys with a similar theme that are randomly inserted into said Happy Meal. So, until you buy the Happy Meal and open it up, you don’t know which of the toys you’ve received. This is the heart of Blind Boxes.

A Blind Boxed Designer Toy indicates that multiple designs for the piece were produced and randomly packaged in boxes, so you have to buy the box without knowing the exact contents (that being the ‘blind’ aspect). For instance, let’s say that the same figure has been produced in five colors (which we call “colorways”): Red, Blue, Green, Yellow, and Black. If that figure is then Blind Boxed, you buy the box without knowing which color you’ll receive… and, assuming there is an even distribution of colors, you have a one-in-five chance (one figure in the box, five total possible colorways) of getting a specific color in your box.

But, typically, Blind Boxed releases aren’t evenly distributed. It’s usually more like this:

As an example, let’s look at the Sket-One designed “King Tut” 8-inch Dunny (pictured above). On the left in the back is a picture of the Blind Box, then there’s the Regular Figure (pictured on the right in the back) and the Chase Figure (pictured in the front). A Chase Figure (or Variant Figure) is usually one that is produced in a lesser quantity, making it more rare to randomly find. This rarity is denoted by ratios, which is that mathematical thing you might recall from your classroom days; but in this instance, it’s easy. The Regular Figure has a 4/5 ratio, or a four-in-five chance; meaning that for every five boxes packaged, four of them contained this figure. That final fifth box contains the Chase Figure, indicating you only have a 1/5 (or one-in-five) chance of blindly buying it.

Not that tough to grasp, right? Unfortunately, the above example was a rather simple version… most Blind Boxed series have over 10 different figures each with their own ratio. But even though that might seem daunting to figure out, just take a breath and think it out. It’s actually far easier than it seems.

Dunny 2011 Series by Various Artists & Kidrobot

King Tut 8” Dunny by Sket One & Kidrobot

Nick Curtis

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Mao & Mrs. Mao by Frank Kozik & Kidrobot

The process of Blind Boxing from inception to shelf is a calculated process. Many collectors and fans understand pieces and parts of what it takes to produce a blind box series. There truly is a process going on here (at Kidrobot) 18 months before a release. We take into account what the fans want firstly. We track the blogs and boards, we reach far outside our walls for opinions and insights into new artists and customizers who might cap a series nicely. There is a delicate balance of what designs go into a blind box series. We look for the right balance of dark, funny, edgy, and cute. Choosing the artists is the most exciting part. Of course we love to work with our OG artists, but we are always looking to bring in new talent to pepper into our series. The artists are the ones that really transforms our canvas into their world. The outcome results in an average of 15 designs, all completely different and special to our fans in their own right. We have a broad demographic of fans that we need to excite; from a fifteen-year-old girl in Harajuku dressed up like Rainbow Bright with KISS face paint, to the thirty-something in Toledo, Ohio blasting Slayer. This does mean that you can’t always make everyone happy. It’s a sad truth to this niche industry.

The most exciting part of my job is witnessing a Dunny release. We start to slowly, or rapidly depending on the

source, leak images. Bits and pieces of information are released to engage the fans and collectors. We refresh Instagram pics and blog posts to see what the response is. There is an internal all staff meeting here at Kidrobot headquarters the morning of a Dunny release. You can tell it’s release day because everyone, from accounting to sales to design, is happy like it’s “the first of the month.” We give a brief overview of the artists and the theme of the series, then pass around cases of Dunny. Everyone receives a blind box, a box of mystery. After we all tear into our boxes like it’s Christmas, the whole office begins the trading process. Just like when we were kids, trading up, trying to lock down that rare chase figure. At the end of the day we are all young at heart. Blind boxing is a uniquely engaging way to collect beautiful vinyl art toys, that pays homage to your youthful excitability.

By Galen McKamyFormer Creative Director for Kidrobot

Lunartik in a Cup of Teaby Matt JOnes

“I give a small warning to all collectors, these are quite addictive and it’s a bit like gambling, but the good thing is there normally under £10.00 a pop which is good for everyone’s pocket.

“I like to compare blind boxes with oysters, they’re not much to look at from the outsides, but open them up and there sits another pearl to add to your growing collection!

“Happy hunting!”

Matt “Lunartik” JOnes(www.lunartik.com)

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BULLETPUNKBY NICK CURTIS

Ghost of Kurosawa, 2015

Based in the Philippines, the mysterious artist known solely as Quiccs toils away at his craft, creating stunningly sculpted original works as well as evolutions of platform figures. Drawing inspiration for a plethora of counter-cultural sources, he explores characters that strike a nearly impossible balance between the coldly mechanical and passionately human.

Claiming the classic Jolly Roger design — the notorious skull and crossbones flag emblem — as his own logo, Quiccs doesn’t shy away from using Dunny-esque ears or Pop! Vinyl proportions in his pieces… A true pop art pirate, as it were.

Tell us about yourself. What’s your art background?

My name is Quiccs. I’m a graphic artist, toy designer, and graffiti artist from Manila, Philippines. I’ve been drawing and painting since I was a kid, took the path of graphic design as my profession, and I’m currently doing toy design and graffiti as my true love. (Smiles)

Growing up during the ’80s and ’90s exposed me to a lot of Japanese mecha and American hip-hop influences, and the merging of these is the core source of my art style.

What inspired you to make art that resembles toys?

My influence from Japanese robots revolves around franchises that are heavy on toys, and perhaps due to the fact that graffiti art and hip-hop have ties to designer toys as well. They are all connected this way.

You’ve called your art style Bulletpunk. Where does that name

come from and how would you describe what it means?

It’s a combination of “Bullet Hell” and “Cyberpunk,” the first being a genre of gaming I’ve always loved that I can best describe as beautiful chaos, and the second being a sci-fi subgenre of “high-tech” and “low-life” usually set in a post-apocalyptic tone. I envision the realm wherein my characters exist, such as my primary character TEQ63, are within these genres.

So who is your TEQ63 character? Does he have a back story? And where does the name come from?

TEQ63 is an amalgamation of my influences in hip-hop, graffiti art, and Japanese robots. He lives in a dystopian world ruled by intelligent machines but survived by a few factions of humans who have adapted to living by becoming part machines. The culture he grew up with consists of beliefs and religions that worship what they think is a real long lost civilization of Japanese

Mega TEQ63 (Clutter Hot Edition), 2014

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mecha franchises, Western comic book heroes, and Hollywood movies. They believe that these are traces of a once real civilization that left a few significant remnants and artifacts that they’ve unearthed. They are driven by themes of rebellion that they consider real from these artifacts, and dream of once again being free from oppression by the ruling intelligent machines someday.

TEQ is an abbreviation of The Endgame Quest, a sort of final vision that I want to establish in my journey as a designer and artist. And 63 simply pertains to the Philippines’ Country Code. (Laughs)

Your sculptures all bear a skull and crossbones upon them, like a signature. What does this element symbolize to you?

Piracy. (Laughs) To be exact, I lifted it from the flags that pirates bore on their ships during the 1600s. In taking this symbol, I don’t condone all forms piracy, of course, especially when it hurts an industry on a large scale. However, I do like the idea of sticking it up to THE MAN from time to time and taking over their stuff in my small little corner. (Smiles)

Rebellion is a big core theme that I see in most of the stuff I like, such as Gundam, Star Wars, Kurosawa films, graffiti art, and hip-hop back when it was a counter-culture. The bootlegs pave the way for me to introduce my more evolved original characters, such as TEQ63, to a broader audience. It doesn’t hurt as well, of course, that in doing so I relate to people that I share the same taste for style and passion.

I do believe that the form of piracy I advocate in my bootleg releases isn’t blatantly offensive. I’m out to play around with stuff churned out by massive corporations, and never my colleagues. In the first place, I’m not out to dominate the market with my stuff, as toy design and graffiti are not my main source of income in the first place. My creations are driven by passion, and I do it because I enjoy doing it. Gaining profit never hurts, of course, but it is not what drives me in doing my toy designs. And just like true pirates back in the day, I do believe that as indie toy designers, our kingdoms may be small, but in them we are the mf’ing kings. (Smiles)

What’s the idea behind your Storm King Machine piece?

Back in 2013, we were given [storm] trooper heads for a group exhibit at my favorite local art gallery, Secret Fresh. I’m a big [Divine Demon-Dragon] Gaiking fan, and my imagination went wild thinking of combining both and reimagining the Star Wars universe in a setting closer to a ’70s or ‘80s Japanese robot cartoon show.

Also in 2013, you became a member of the Red Mutuca Studios artist collective. How did this association come about?

I’ve been friends with one of their members, Tim Munz, before 2012 through Facebook, and I was a fan already of the group. We were both

Storm King Machine (Mini Edition) with Display Diorama, 2014

“Cousin Typhoon” (edition), 2015 “Tarth Brienne” (edition), 2015

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invested in this Thai-based toy competition CE Planet II and would exchange notes when we joined it.

After my experiences in Thailand as a finalist, I fell in love with toy design and just went wild with customizing and sculpting, and I think Tim and the rest of Red Mutuca took notice of my early works. As such, they invited me to become a member. I, of course, was very honored to say “yes” to their invitation. (Smiles)

You’re one of the founders of Hidden Fortress as well, right? Can you tell us about Hidden Fortress… what it is? who it is? how it came about?

Yes. Hidden Fortress is an umbrella brand I created back in 2013 together with my Pilipinas Street Plan [Philippine-based art crew] buddies Egg Fiasco and Trip63. We envisioned a brand that could represent each of our passions — graffiti, tattoo, and art toys — as one entity, since we believe all of these are connected as a subculture. It’s still a work-in-progress, but we envision big things for the brand someday.

What do you have planned for release in the future?

In the near future I am planning on releasing new editions of TEQ63 and his friends and alternate versions — such as Minami Something, Yankiteq, and Zero1 — as I want to dwell deeper in the universe that TEQ63 exists in. I plan to do a realistically-proportioned version of TEQ63 and friends in both 1:6th scale mixed-media format and 1:18th scale. Also, I plan to do more of the kaiju-esque TEQMON, and have planned to do collaborations with other artist friends as well.

My longer game plan is to someday be able to establish a platform toy in a vinyl format that will still revolve around the TEQ63 design, and his blank version, the Zero1. I want to build a community of designers that share the same passion and influences as I do, which I haven’t seen much from the present platform toys. I know these full production releases take time, so nowadays I’m just enjoying building small scale productions as I develop my brand and style even further.

For more information onQuiccs, please visit:hiddenfortressmanila.com

Mural in Quezon City, Philippines, 2015

Mural in Manila, Philippines, 2014

Various custom works, 2015

Teqmon (Hot Pink), 2015

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As I said, the term comes from the Japanese entertainment industry, particularly that part known as tokusatsu (trans. “special filming,” which meant to imply any film or television show that relied heavily on special effects). These tokusatsu films were divide into three main categories: ”But what does this all have to do with Designer Toys?” you might be thinking. Well, the Designer Toy community embraced the term Kaiju to describe any strange or outlandish character done in that Japanese style, such as:

yōkai (trans. “strange apparition,” which indicated supernaturally based productions including ghosts, demons, or the sort); kaijin (trans. “mysterious person,” which indicated super-human masked individuals… think either super-hero or super-villain based);

AND

kaiju (trans. “strange creature,” which indicated giant monsters).

Kaiju toys are slightly difficult to nail down in terms of consistent factors. You could say they had to be actually made in Japan (as Paul Kaiju’s “Mockbat” at the top to the right is), but Jeff Lamm’s “M5 Bravo” (on the bottom to the right) was actually produced in China. Maybe they have to be made out of vinyl, except Paul Shih’s “Sushi Kaiju” (in the middle to the right) is actually cast in resin. Even paint job isn’t a factor, as the “Mockbat” and “Sushi Kaiju” are hand-painted by the artist while the “M5 Bravo” has sprays applied at the factory… though any of these could also be sold unpainted without affecting their being Kaiju.

So how do you identify Kaiju Designer Toys? The simplest method I can use is this: close your eyes and imagine the figure as a giant, rampaging through city streets, wreaking havoc in it’s wake. Now have it fighting Godzilla. Did it look like it fit? If so, it’s safe to call in Kaiju. Or, as some people prefer, Neo-Kaiju.

To some purists, the term Kaiju should only be applied towards Designer Toys directly based on the creatures from these style films and thus a new term — Neo-Kaiju — was adopted. Literally meaning “New Strange Creatures,” Brian Flynn (founder of Super7) explains that:

“Neo-Kaiju is a term I came up with in 2002 to describe the kind of

If you’ve ever seen (or at least know what) a Godzilla film is, then you already know what kaiju is. Some people would argue this example, but — to be honest — it is accurate. Kaiju is a Japanese word that means “strange creature” and was originally coined to describe movies and television shows staring monstrous beasts that were modeled after conventional animals, insects, household items, pretty much anything. One of which, the most famous of which, most certainly is Godzilla.

Sushi Kaiju by Paul Shih

Mockbat by Paul Kaiju

M5 Bravo by Jeff Lamm& Unbox Industries

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toys we were making at Super7. We were taking influence from the classic ‘kaiju’ figures, but doing them in a new and contemporary way. It was first used on the Neo-Kaiju Project figures, and over the years the term has come to be used as a definition of any sort of contemporary monster influenced toy —from the cute to the crazy, abstract to traditional with a monster-y filter on it as opposed to a strict artistic or 2d influenced point of view.”

When you’re investigating Kaiju and Neo-Kaiju, you might come across the term Sofubi, which literally means “vinyl” in Japanese. Sofubi indicates — within the Designer Toy world — the high-quality, soft vinyl that is cast in Japan; and it has likewise come to be used as a catchall term for all Japanese vinyl releases, whether they are Kaiju or not. Let me reiterate: while all traditional Kaiju (and most modern ones) are cast in Sofubi, there is no set style necessary for casting in Sofubi; Kidrobot could make a Munny in Sofubi if they wanted. So it is erroneous to treat the term Sofubi as if it were interchangeable with Kaiju,

Both Kaiju and Sofubi go back to the ‘60s in Japan, when Mattel toys — of Barbie fame — brought the soft vinyl casting process to Japan. This cheap process allowed for such toys as baby dolls to be made in mass quantities. When the first Monster Boom hit Japan in the ‘60s, such shows like Ultraman and Kamen Rider yielded an incredible array of merchandise, including many Kaiju and Sofubi figures. Companies like Marusan, Bullmark, Bandai, and Popy all produced copius amounts of Sofubi toys for Japanese children, many of which now command thousands of dollars in the vintage toy market. Of course, back in those days these toys were simply cheap toys to be played with by kids, and the collector market was nonexistent.

For today’s collector, Kaiju and Neo-Kaiju refer to the new wave of toys presently created in Japan. Technically, most of what is produced are not really Kaiju toys. But like the way the meaning of the word Otaku can loosely describe

fanatic followers, the word Kaiju has now become a word that covers a much broader spectrum of toys. Kaiju toys now are mostly artist or creator-driven figures using the same old school Sofubi methods of production. There are some licensed Sofubi by independent artists, but mostly the bigger companies like Bandai take care of that part of the market. Most of the remaining Sofubi factories in Japan are run by 1 or 2 people, typically in their 70s or 80s. Amazingly, the same folks who casted vintage Bullmark figures in the ‘60s are still doing the same today. Figures are all still hand-casted and in limited quantities, which accounts for the higher price point versus a mass produced toy in China.

I am biased in my view point, but the Japanese do have the best quality vinyl (especially clear vinyl), and given the rich 50 plus year history, Kaiju toys thrive and will continue into the future for as long as artists and collectors seek them.

though the two do have a shared history and can be linked together.

Regardless of what it is cast in or what you call it, these Designer Toys will appeal to anyone with a passion for mutated monsters and curious looking creatures. While these surreal beasts might not be everyone’s pleasure, they will certainly satisfy those that seek things more outside the norm and embrace absolute weirdness.

Nick Curtis

Escaregot by Josh Herbolsheimer & Super7

By Mark Nagata, founder of Max Toy Company

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By Ricky Wilson / Velocitron

Ultrus Bog by Skinner

Cadaver Kid by Splurrt

Earth Wolf by Josh Herbolsheimer

Heirophany by Carlos Enriquez Gonzlez

Bechigon by Velocitron

The lines between Kaiju, Neo-Kaiju, and Sofubi tend to get blurred quite a bit in the minds of most collectors and separating one from the other can be a bit tricky but don’t fret! Here are a few points you can remember to ensure you don’t make a collector faux pas at your next nerd gathering:

Sofubi (Japanese shorthand for “soft vinyl”) refers first and foremost to the material the figures are made from and secondarily to the figures made from it. These figures are almost always made via the slush method of production — rotocasted figures (like Dunnys) would generally be classified in a different category. The style of the figure, though, is irrelevant; it could be anything from an anime cutie to a classic Toho monster to a streetwear mascot from the backstreets of Harajuku. So you can describe a figure as “made from sofubi” or say that you “collect sofubi” and be totally in the clear!

Sofubi itself tends to be, well, softer than rotocast vinyl (bet you didn’t see that coming) and lends itself to tons of great colors and production styles, from ultra-bright glow-in-the-darks to vinyl with glitter or pearl powder added and even “marbled” vinyl made from swirling several different colors of vinyl together. Collectors prize sofubi for its silky smooth “organic” feel and also its rarity. Slush casted figures are almost always cast by hand and produced in small, limited runs. If you’re a record collector you no doubt know about “virgin vinyl” used in record presses. All the vinyl made in Japanese sofubi factories is also “virgin” — meaning it doesn’t contain ground up bits of previously-cast vinyl — and as such has excellent consistency, color, and feel.

Kaiju, on the other hand, refers to a specific kind of

character: in this case, a monster. Translated directly the word means something akin to “terrifying beast.” Godzilla, Gamera, and the baddies from Ultraman all fall into this category as do most of the monsters from “hero” shows on Japanese TV (although some purists might contend that these man-sized creatures are more correctly identified as “Kaijin,” or “terrifying people”). Many of the most famous of these creatures come from the Showa period of Japanese history — mainly the 1960s and ‘70s — but you can still see new Kaiju in current movies, TV shows, comics, and anime. The monsters in the recent Pacific Rim were (correctly) referred to as Kaiju and there is a very popular manga series currently running in Japan known as Hakaiju that deals with ultra-violent bloodthirsty monsters (highly recommended!).

Neo-Kaiju are generally interpretations of or riffs on these classic monsters by modern designers. Some are very easy to identify as homages to their source material but others can be hard to identify even to pros; some may incorporate numerous elements from different characters or may have a reference as obscure as a particular texture of skin or even the color of vinyl used to make the figure. Most Neo-Kaiju are strictly labors of love created by artists who were inspired by the heroes and villains of their youth but some very well established (or very ambitious) artists may obtain official licenses to do updates of classic designs. Almost all Neo-Kaiju are available as toys only — you probably won’t find them starring in any movies or TV shows — but some Japanese artists go so far as to make lifesize suits of their creations and use them in low-budget fan-made films!

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Is the YouZha your first release?

(Laughs) I made some resin toys in my university time, but I didn’t release them, just traded them and sent them to some friends. YouZha is my first officially released toy. It’s my honor and pleasure to be so lucky that quite a lot of people like it. I do really appreciate and enjoy the response.

Did your background in advertising help with the release of the YouZha at all? A lot of artists were sent blank copies to paint and sell, which seemed like a brilliant piece of viral marketing…

Aw… It’s really difficult to say. I think of making toys as an independent, individual, and pleasurable experience, so I don’t want to bring my work skills into it. We [Kearjun and his wife, Gabriella] have allowed everything to follow nature’s course…

But I have fully enjoyed the

Who is Kearjun? What is your art background? Formally trained or self-taught?

I am a designer from Beijing who studied advertising design in art school and now works at an advertising company. I’ve always loved looking at toys and playing with toys, from a very young age until even now I’m addicted to everything about toys.

China was not very open when I was a child, so there were a lot of toys that I couldn’t get my hands on. Under the guidance of my grandpa, I used wood or mud to make my own toys at a very young age. During my school time, I took a sculpture course just so I could make better toys.

THE DEADARE AMONG US

BY NICK CURTIS

Remembered fondly by horror fans for having hordes of shambling putrefied zombies, hyper-realistic gore and blood, and an infamous impaled eyeball scene, Lucio Fulci’s 1979 film Zombi 2 had two taglines upon release: “We are going to eat you!” and “The dead are among us!”

We aren’t bringing this up to simply mention a piece of cult classic cinema, since through our interview with Chinese artist Kearjun we learned how deeply this film influenced him and his first collectible art piece, the YouZha.

Work in progress sculpts, 2015

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experience of working with other artists from around the world. They bring different ideas and art styles to the piece, which I’m thrilled about. I feel the love every artist brings to their own version of the YouZha. I’ve loved this collaborative experience!

What does the name YouZha mean? If not literally, then to you as the creator.

Literally, the name YouZha means YouTiao, which is a very common breakfast in China. YouZhaGui also means the same, in Cantonese, but Gui also means ghost. Both terms, YouZhaGui and YouTiao, are used to express people who are cunning and foxy.

I hope to deliver some Chinese daily habits and thinking modes [through my art], because I believe cultural shock is very interesting thing. I hope people enjoy my YouZha and it causes them to learn about the real China. Besides, isn’t it very interesting that a person from a different country can say the name of a typical Chinese breakfast fluently?

A breakfast food is an odd inspiration for a zombie figure. What is the inspiration behind that aspect?

YouZha was inspired by the classic movie by Lucio [Fulci], Zombi 2. You can even find a classic line from the film on the bottom of the figure’s feet.

You have to tell me: What’s the quote under the YouZha’s feet?

The quote is: The dead are among us. Thanks to Lucio!

Since Zombi 2 had a lot of very decaying zombies in it, is that the reason for the deteriorated look of the YouZha?

I was shocked and entirely attracted by the cover image to Zombi 2 from the moment I saw it in a DVD shop, and bought it at once. However, quite disappointingly, the zombie from the cover just shows up for a few minutes in the film.

As I was cleaning out my DVD collection earlier this year, I found it out again. I wanted to create the sculpt out of that cover image immediately! Through my sculpture training, I think I was able to make the idea more awesome, creepy, and cool than the original.

What are your release plans for the YouZha? Will each one be uniquely painted, sold in limited runs, or sold unpainted? Or a mixture of all three? And where will people be able to buy them from?

We don’t have any official blank figures for sale, or expect to ever have any. For now, there are only two ways we’re selling them:

1. Gabriella and me paint some of our own versions, and we will collaborate with some toy websites to sell for us. At the bottom of the feet, there will be either my signature or Gabriella’s.2. We will have some collaborations with different artists or organizations. They will do the paintings and sell the pieces for us on their websites.

I like both ways. The maximum of any painted and released version will be six, and we ourselves will keep one of those to archive so there will be only ever be five available for sale. I’m so appreciative of those artists who have collaborated with us that they have respected this decision.

Aside from YouZha, we do have some new sculpts coming out soon. I hope everyone likes these killer new creatures!

For more information onKearjun, please visit:instagram.com/kearjun

YouZha (unpainted), 2015

YouZha figures, 2015, in unpainted, modified, and painted states

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KESHI-GOMU, a Japanese term literally meaning “eraser,” might be alien to most but chances are that if you’re reading this magazine and are over the age of 20, you would’ve had more than a few of these little rubber guys pass through your hands at some point or another. Emerging from Japan in the 1970s and quickly taking over many a toy collection in the West throughout the ‘80s and ‘90s, these rubbery pocket mini figures have received a massive injection in popularity after a near two decade slump. In recent years, mass-produced lines as well as a number of indie outfits have all helped to reignite the passion in these super-collectible, highly playable, and, above all, fun little toys.

Originally born out of a desire for smaller, cheaper, and more collectible alternatives to the increasingly popular soft vinyl kaiju of the mid-1970s, the pocket-sized “eraser” figures known as keshi took no time at all to establish a long standing place in the Japanese toy industry. With their simple, monochromatic appearance, tactile feel, huge selection of color options, and heavy reliance on tokusatu (special effects laden live action films), anime, and manga licensing, they naturally appealed to hobbyist painters, completists, and diehard show fans alike. Initial distribution techniques further heightened popularity and scope, with gashapon (capsule) vending machines, ¥100 boxes, fast food meal premiums, and, later, carded packs, quickly setting the industry standard for well over three decades.

Fast-forwarding to the present day, keshi has unfortunately lost a lot of its ground in the mainstream toy industry,

with only a few die-hard lines surviving in a sea of badly designed imitations and licensed figures. Luckily for us, this most certainly hasn’t meant the end of the rubber mini figure; far from it, as there have been a number of interesting new developments over the past decade and a half that have very much kept the spirit of them alive. With such a deep and diverse past, the vintage collectors market has always remained very healthy in the East, but the future lies with a number of new artists and producers — working on a slightly more intimate scale, fueled by a strong base

of loyal fans hungry for new rubber figures — who have begun to emerge, including Zoomoth, Newtervision, and Mokyu, with recent releases ranging from licensed products, original figures, and, of course, pachi (bootlegs). Similar trends have also been seen in the West in recent years too, with the real heart of the scene found in the ever-growing indie community which was pioneered by Marty “Godbeast” Hansen through his early Super-Rare M.U.S.C.L.E. re-castings and, later, with the classic, Jason Frailey sculpted Clawshine mash-up. Alongside Godbeast’s output, the

Niall Anderson

An assortment of M.U.S.C.L.E. figures with

original can packaging

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likes of Rampage Toys and Nama Niku’s early bootlegs encouraged a huge swell of new artists and, inevitably, the revived interest in pocket mini figures has also lead to some very interesting, larger scale factory produced lines too.

Skirting on the edge of Designer Toy, mainstream, and pocket mini scenes, October Toys’ community-based line OMFG set a new standard for mass-produced pocket mini figures back in 2011. Largely drawing inspiration from the Americanized keshi of the mid to late ‘80s both in terms of style and presentation, the majority of recently released lines have been produced in China using a similar hard PVC as the original M.U.S.C.L.E. Usually released in comparatively small runs, with colorways often running between 80-200, these types of figures almost always come packed on a blister card or in a Bandai-style trash can for added authenticity. This industry has seen continual growth

over the past couple of years, with the likes of Unbox Industries, Fantastic Plastic, and even The Super Sucklord offering up their takes on the classic monochromatic 2” figure.

As with the mass-produced lines, keshi and pocket mini figures’ increase in popularity has lead to an explosion of talent in the self-produced scene as well. Unlike the previously mentioned series though, the self-produced creations tend to rely heavily on the original Eastern keshi culture, largely characterized by their soft rubbery feel over the hard, American-style PVC, and are limited to runs of anywhere between 10-200 pieces, dependent on the choice of either hand-cast or sub-factory-led production. Brought to the forefront in the West by the likes of Ironmask, Eric Nilla, and, recently, Metal Monkey’s Universe of Violence (UoV) series as well as a steady flow of releases from The Disarticulators, this

small but dedicated scene continues to flourish. Not surprisingly, the East has an even healthier indie community, with outfits and brands such as Onion Fights, Newtervision, Moqkeshi, and Nerdone pushing the boundaries in terms of both creativity and authenticity of production, blending traditional style with unconventional mediums, including soft vinyl and hard resin, to dazzling effect.

Similar to the indie/self-produced figures, the pachi — or bootleg — community now spans a worldwide roster of A-list artists, ranging from Healeymade and his conceptual M.U.S.C.L.E. & M.A.S.K. mash-ups, Triclops with their wholly bootleg-embracing B.A.S.T.A.R.Ds, and, of course, Buff Monster’s recent Melty Misfit take on Cheap Toys. Aside from these resin produced figures with their Art Toy leanings, there are still a number of artists staying true to the original

An assortment of Mystical Warriors of the Ring, S.U.C.K.L.E., and OMFG Series 2 figures

An assortment of pachi figures

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show properties in beautiful keshi form. Unfortunately, the whole premise behind the one-day licensing obviously makes it very hard to collect these toys in the West, with these figures being factory produced usually in numbers between 100-200 per color.

Finally, as pocket figures were originally produced in a plain monochromatic rubber to encourage hobbyists and miniature fanatics alike to paint their figures, it comes as no real surprise that the custom keshi/mini community is still thriving today. With the likes of Monsterforge, Ersico, and Plastic Playhouse producing some of the most interesting pieces in the West, customs from these guys can range from straight-up mini figure re-paints to one-off kit-bashes to even wholly re-sculpted figures, with themes often borrowed heavily from the pop culture of the ‘80s and ‘90s.

Hopefully all these various nostalgia-tinged little guys, which are very much in the spirit of M.U.S.C.L.E. and Monster in My Pocket, will remain a feature in the Art Toy industry for quite some time to come.

Special thanks to MinifiguresXD for the huge chunks of info that made up a good portion of this article, and to Nama Niku, Neato Coolville, and Zoomoth for the additional images.

Space Creatures in original blister packaging Photo: Todd Franklin/neatocoolville.com

and my own [Tru:Tek’s] 2012 released H.U.S.T.L.E line evoking the feeling of old through kit-bashed keshi, original sculpting, rubber casting, and a plethora of authentic colors.

Easily the most highly regarded of all indie keshi right now are the one-day license pieces, fully licensed rubber figures that are sold exclusively at toy

festivals in Japan and have just one restriction: all stock must be sold on the day of the event! Spearheaded by Zoomoth with their securing of various Capcom, Nintendo, and Konami licenses, including Metroid and Castlevania, the practice has since boomed in the East, with the likes of Mokyu, Shamrock Arrow, Outer Rim, and CMP taking on a variety of manga, anime and TV

Please Note: This is a heavily edited and abbreviated version of the Keshi 101 article that first appeared in Clutter Magazine #21.

An assortment of one-day license figures from Zoomoth, Shamrock Arrow, CMP, and Outer Rim

“Nama King”Photo:

Nama Niku

An assortment of pieces from Nerdone and Newtvision86 | Clutter 31

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mu·tan·tol·o·gy noun \ˈmyü-tən-ˈtä-lə-jē\: the study of indie toys as selected by Rich Montanari of Mutant Vinyl Hardcore.

www·mutantvinylhardcore·com

Mutantology

Freaks, Finks, Spazzesby Radioactive Uppercut

Subject:

Tell us about yourself.

My name is John Santagada. I’m born and bred in the Bronx, New York. I’ve been a Project Manager/Art Director/Designer in the Collectible Toy and Game Industry for the last twelve years.

How long have you been making toys, regardless of medium?

I’ve been making toys for as long as I can remember. When I was a kid I used to draw up all these weird characters, cut them out and play with them like toys. Professionally

however, I’ve worked in the Toy Industry since 2003 and began releasing my own toy products in 2013.

Who and what are the major influences in your art?

My biggest illustrative influences are Albrecht Dürer, Jack Kirby, Akira Toriyama, John Pound, Basil Gogos, Ed Roth, Frank Frazetta, and Joe Madureira. Heavy metal music, horror movies, and ’80s & ’90s toys are a big influence on my design aesthetic when working on toys.

Who are your favorite current toy makers?

Mirock Toy, Elegab, Zollmen, Real x Head, Gargamel, Grody Shogun, Skinner, Mutant Vinyl Hardcore, Skull Head Butt, Shigeo Endo, Kto Kto, Ummikko, Deathcat Toys, Mezco Toyz, October Toys… I could probably go on forever!

What’s next from you?

I’m planning more colorways on the Freaks, Finks, Spazzes and am also designing new characters for a second wave. I’m hoping to have a first painted release on the second Radioactive Rumbler, Bite Size, before the year is done. There may be a new painted run of 8-Ball soon. I’m working on a line of mini kaiju that are being sculpted right now. Also, I’m currently managing a line of cryptid action figures for Creatureplica that are up for pre-order now and planned to ship this winter.

Pictured is Radioactive Uppercut’s keshi toys — the Spider Brains, Franken Corpse, and Coffin Licker — all cast in rubber.

I’ve been a fan of John from Radioactive Uppercut’s work for a few years now. As an artist and designer with many years in the game and toy industries, it’s no wonder why his creations work so perfectly. His vinyl 8-Ball toy, for instance, is a design that really caught my eye a few years ago; it’s a fight figure that merges the best elements from both Eastern and Western aesthetics.

Chunky and vibrant, John’s toys straddle the fine line between psychedelic, surrealistic, and kaiju. Recently John has begun exploring the keshi rubber toy arena with his newest creations, the Freaks, Finks, Spazzes series of 3” pieces. Cast in rubber, and nostalgia laden for those of us that grew up with keshi, this line — alongside him turning his vibrant illustrations into t-shirts and art prints — make Radioactive Uppercut one artist and brand that I’m looking forward to seeing evolve and grow. I feel like he’s doing something for every type of toy collector, which is definitely a rarity in this scene.

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Clutter Magazine Issue 30 - James Groman

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