Clutter Magazine Issue 28 - M.O.T.U.S.C.L.E. SDCC 2015

LIKE TOYS, LOVE CLUTTER

CLUTTERMAGAZINE.COM

ISSUE 28

JULY 2015

DESIGNER TOYS 101 | BATMAN: THE DARK KNIGHT BOGXSQUAD | THE CREATURE | JFURY | MIKE SHINODA THE MONTHLY DIY | MUJU | MUTANTOLOGY

28 M.O.T.U.S.C.L.E On The Cover

49

M.O.T.U.S.C.L.E Skeletor

By Super7

Masters of the M.U.S.C.L.E. Article by Nick Curtis

ART

TOYS 101

MIKE SHINODA

18

Welcome to Fort Minor Article by Josh Kimberg

DESIGNER TOY DICTIONARY

THE DARK KNIGHT BATMAN

30

The Dark Knight Returns... Returns?!?

Article by Nick Curtis

12

WHAT ARE DESIGNER TOYS? 24

MUJU

38

It’s a MujuworldArticle

by Barbara Pavone

WHAT IS BLIND BOXED?

34

WHAT IS KESHI?

44

WHAT IS A CUSTOM?

64

WHAT IS KAIJU?

78

THE MONTHLY DIY

Koningu by Ummikko Article by Rich Montanari

58

On Bogs & the Human Imagination Article

by Nick Curtis

68

Conceptualizing Theories in Vinyl Article by Marc DeAngelis

MUTANTOLOGY

BOGxSQUAD

JFURY

72

Welcome to the House of the Voodoo Clown Article by Travis Lykins

84

THE CREATURE Beauty and the Beast Article by Nick Curtis

88 Clutter 28 | 9

TEAM Miranda O’Brien Editor-in-Chief

Jason Ryule Technical Coordinator

Travis Lykins Contributing Writer

miranda@cluttermagazine.com

jason@tradeincool.com

urbanvinyldaily.com

Josh Kimberg Managing Editor

Mike Torrisi Advertising Sales

Marc DeAngelis Contributing Writer

josh@cluttermagazine.com

mike@cluttermagazine.com

marc.deangelis@gmail.com

Nick Curtis Associate Editor

Barbara Pavone Contributing Writer

Niall Anderson Contributing Writer

nickcurtis@cluttermagazine.com

Twitter: @ThePavoneReport

man-e-toys.com

Nick Carroll Art Director

Rich Montanari Contributing Writer

nick@cluttermagazine.com

mutantvinylhardcore.com

GUESTS Pete Fowler

Paul Budnitz

Galen McKamy

Mark Nagata

J*RYU

Ricky Wilson

monsterism.net

paulbudniz.com

kidrobot.com

maxtoyco.com

j-ryu.com

velocitron.org

CONTACT

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LEGAL The publishers would like to thank everyone who has furnished information and materials for this issue. The contents of CLUTTER MAGAZINE reflect the opinions of respective contributor or interview subject, and not necessarily are those of the publisher. All copyrights/rights to images (photographs, design) writing, and likeness are property of the respective owners.

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

A ABS, 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, 14 | Clutter 28

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.

B Blind 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 34 of this magazine.)

Custom figures, also known as handpainted (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 64 of this magazine.)

D

C Chibi 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.)

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.

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 24 of this magazine.)

G Golden 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).

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.

H A 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.

K 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 64 of this magazine.)

E The 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.)

Kaiju 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 78 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 78 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.

L A 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

Clutter 28 | 15

Lowbrow art, or pop surrealism, is a form of pop art that derives inspiration from underground cultural movements, such as comix, punk music, and hotrod 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.

N Neo-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 78 of this magazine.)

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.

M Marbled 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.

O 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.

16 | Clutter 28

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.

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.)

T The 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 lifesimulating 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.

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 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 78 of this magazine.)

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

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.

V Vinyl is a common slang term for PVC. Clutter 28 | 17

WELCOME TO INTERVIEW BY JOSH KIMBERG

Most people will know Mike Shinoda as the founder of Linkin Park, the multi platinum award winning rock band. What most people don’t know is that Shinoda is also a visual artist with an art education and a passion for street art. On June 22nd, without warning, Shinoda released “Welcome”, a new single and video under his Fort Minor moniker. What made this release brilliantly stand out is that each of the vinyl record covers was a unique piece of art, hand created by Shinoda himself. Clutter was excited to sit down and talk with Shinoda about the genesis of this project.

Since we’re primarily an art toy magazine, I thought I should start by asking if you are a collector?

A little bit. I go on and off, I’m not deep into it but I have some stuff.

I don’t follow any specific artists so much; I mean, I don’t follow any toy designers or vinyl figure designers or collectible designers or anything like that very closely. I do follow a lot of painters, because I went to school for illustration and some of them are friends and other ones are people whose work I just enjoy. Usually what will happen is I will see someone has made a 20 | Clutter 28

collectible and I’ll check that out, and then I’ll go down the rabbit hole of looking at other stuff on whatever site.

In my studio I’ve got a few pieces

by Shepard [Fairey], a Futura piece, Antony Micallef, Conor Harrington, Dalek, so it’s all over the board, but it leans a little more to street art.

Speaking of street art, what exactly is your current art project?

I took one thousand vinyl jackets and made a mural out of them.

We set it up on the boardwalk in Venice Beach, and I painted this 80 foot long, 12 foot tall mural in six hours. I could see myself sitting there painting for a month, but we could only get permits for one day. (Laughs) I did as much as I could in one day, we shot it in 360-degrees which is like virtual reality, so you can see the creation of the art and the culture of the area around the piece. The concept here was — in one event — to create the video, the art, and the merchandise, and tie everything together in almost a holistic approach. Everything was hand-

painted, we took all those [record jackets] down and I signed or drew on every single one of them. We popped a 12” record — the vinyl single — and a print of the whole mural in each one.

This is for your Fort Minor project, right? What is that?

Fort Minor is a solo project, it’s really just like a catch all for my individual ideas and expressions.

If something I’ve created is outside of Linkin Park musically or visually or whatever, it historically has felt very Fort Minor to me. With this, I didn’t intend to write a Fort Minor song, I just wrote a song, listened to it, and it was just undeniably Fort Minor. So I wanted to put it out as a 12” record and I wanted to do something special with the artwork.

What was the inspiration for this release? What was the genesis?

It was funny, I remember talking to some folks at the label, “Okay, I’ve got this song, what the hell do I do now? I’m not going to put an

album together on this… We might record a live show, but — other than that — it’s just about the one song, so how do I take that and make it the best it can be.” And one of the guys from the label said, “Have you thought about doing vinyl?” At face value I thought that was so backwards, I wanted to do something futuristic and cutting edge, not a rehash. I mean, when I grew up, I collected vinyl. Even through the days of CDs, I was still collecting vinyl too and, at the time, it was really exciting to get a 12” single from a new artist. So in the idea of the 12” single, there is also nostalgia for me.

I went home [that night] and I was sketching what my single cover could be. The more I did it, the more I realized that there was something to that vinyl thing.

Maybe I could do something that incorporates the vinyl and not just one image that goes on all of them, but create one image that will allow for variation and variety.

In fact when you look at the final pieces, each individual record is drastically different. They have this

modern abstract vibe to each of them, because they are all like one pixel from a huge piece.

Speaking of art, did you ever consider pursuing that instead of music?

All throughout school, I always thought that [art] was what I was going to do for a living. I did end up going to college at Art Center College of Design [in Pasadena, California], which was described to me — when I first heard of it — as the Harvard of art schools. It’s really hard to get into, a really rigorous program, and I experienced that when I got there. I went to school with Tara McPherson, I mean I used to have lunch with her all the time at Art Center. I remember that Shag was showing around town at the time, I took classes with The Clayton Brothers and Aaron Smith, and there were a couple of really talented folks that ended up going into entertainment, people don’t know their names but they ended up at Pixar or Disney or something similar. At that point the band Clutter 28 | 21

was really starting to take off, so my work was all music related and I was always thinking how can I multipurpose this class assignment into something for the band.

I loved your Glorious Excess art exhibition. Why haven’t you had a follow up show?

(Laughs) I got super busy making music. I mean, the thing is that I will always be drawing. Coming out now or soon, I did an interview with Laura Ling for — I think the show’s on Discovery Channel — and we were talking about art, she looked through my sketchbook, and I think they’re going to show that. From that, you’ll get a sense of how much I’m actually drawing and, to be honest, the place it ends up usually showing up is in my Instagram feed.

I end up drawing a lot, but I don’t want to put an art show together.

there’d be the question of how do you handle the people that want to buy the paintings, because — in one scenario — they all get sold in the very first day and then the people at every other show could only just look, which is fine but not the same… Obviously I’ve thought about it and am thinking about it, but I’m really happy making music and touring with Linkin Park and all these other things I do - I do them for fun. I’m simply happy creating; even if there wasn’t anybody collecting it, I would do it anyway.

FOR MORE INFORMATION ON MIKE SHINODA, PLEASE VISIT: MIKESHINODA.COM

First of all, the thing about the art show is that, usually, it is in one place. I’ve thought of doing an art show that travels with our concert, like the gallery would be at the show, but I know that the artwork will get destroyed over the course of the tour. Not completely shredded into little bits, but it’ll get scrapes and scratches and whatever. Then IMAGES BY MARK FIORE 22 | Clutter 28

Nick Curtis

MC Supersized by Ron English and Secret Base

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 26 | Clutter 28

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.

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": Functional Items You 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.

The Original Painting There’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.

Qeezer Qee by Nic Brand & Toy2R

Display Items This 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 Items These 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.

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 Items These 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.

Limited Edition Items Small 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.

Display Items Here 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.

The Original Painting The 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.

Clutter 28 | 27

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?

Vinyl by Toy2R

Frank Kozik’s “PoTaMuS

Metal by Fully Visual

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.

Porcelain by K.olin tribu

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 Forest Warlord by Bigfoot x Kuso Vinyl Painted by Skinner 28 | Clutter 28

Editor-in-Chief Clutter Magazine

By Pete Fowler 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.

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

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

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.

Photo: The Hang Gang

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.

By Paul Budnitz, founder of Kidrobot 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.

Clutter 28 | 29

BY NICK CURTIS 32 | Clutter 28

LIKE MANY OF MY GENERATION, I EXPERIENCED SUPERHEROES INITIALLY THROUGH RERUNS FEATURING THE ENCHANTING LYNDA CARTER AS WONDER WOMAN AND THE DOMINEERING LOU FERRIGNO AS THE HULK, BUT IT WASN’T UNTIL TIM BURTON’S CINEMATIC INTERPRETATION OF BATMAN THAT MY INTEREST IN THE SO-CALLED FOUR-COLOR FUNNIES WAS TRULY PIQUED. QUICKLY DEVOURING THE PHENOMENAL ARKHAM ASYLUM: A SERIOUS HOUSE ON SERIOUS EARTH ORIGINAL GRAPHIC NOVEL BY GRANT MORRISON AND DAVE MCKEAN, MY QUEST FOR OTHER BAT-BASED DELICACIES LED ME TO THE FRANK MILLER OEUVRE OF YEAR ONE AND THE DARK KNIGHT RETURNS, THE LATTER OF WHICH PARTICULARLY RESONATED WITH ME. Thus when earlier this year Mezco Toyz explored Miller’s elderly interpretation of Batman, adapting his massive frame into a 1/12th scale powerhouse of amazement, I couldn’t imagine anything better. Then when they announced a Deluxe Boxed set version of the figure slated for release at San Diego Comic-Con, I cursed them for somehow accomplishing the impossible: they outdid themselves.

The most memorable conflict in The Dark Knight Returns is, unquestionably, the final one — when an armored suit attired Bruce Wayne confronts political puppet Superman, channeling the entire city’s powergrid into one Kyptonite laden punch after another.

But, perhaps, of greater importance to the tale is an earlier battle, wherein Batman and The Mutant Leader engage in fisticuffs for control of the gang that is terrorizing Gotham. And that, my friends, Clutter 28 | 33

is the infamous encounter that Mezco have freshly captured in toy form.

Coming with a 10” long cold-cast polystone display base depicting the Gotham City junkyard setting of the vicious showdown, the exclusive BattleDamaged Batman and “first look” Mutant Leader variants are each built on a One:12 Collective body that features over 30 points of articulation, and come with specially tailored cloth costumes, exchangeable alternate hands, and setting appropriate accessories. Limited to a mere 1000 sets made, these stunning pieces are perfectly suited to be either a work of diorama art for your collection or a playset to be used to re-enact the clash of these titans.

AVAILABLE NOW AT MEZCO’S SDCC BOOTH 3445 WHILE SUPPLIES LAST! 34 | Clutter 28

Nick Curtis

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.

Dunny 2011 Series

by Various Artists & Kidrobot

King Tut 8” Dunny by Sket One & Kidrobot

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.

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By Galen McKamy Senior Design Director for 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

Mao & Mrs. Mao by Frank Kozik & Kidrobot

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.

Lunartik in a Cup of Tea

by 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) Clutter 28 | 37

“Woodland Tree Spirit,” 2014

BY BARBARA PAVONE

BASED IN THE ART-LOVING SEASIDE TOWN OF ST IVES IN CORNWALL, ENGLAND, MUJU STUDIO IS HOME TO TWO INCREDIBLY TALENTED INDIVIDUALS CREATING LANDSCAPES, GUARDIAN SPIRITS AND ELEMENTAL BEINGS, AND HELPING REAL-LIFE ANIMALS (AS WELL AS THE ENVIRONMENT!) ALONG THE WAY. OVER THE PAST DECADE, MR MUJU, WHO DRAWS AND PAINTS, AND MISS MUJU, WHO SCULPTS FIGURES, HAVE TRAVELED AND EXHIBITED AROUND THE WORLD, BRINGING THEIR MAGICAL UNIVERSE TO LIFE THROUGH ART. WE CAUGHT UP WITH MISS MUJU TO TALK ABOUT ALL THINGS MUJUWORLD: “A HAPPY, MYSTERIOUS PLACE FOR EVERYONE TO EXPLORE.”

“Mini Muju Ocean Guardians,” 2012

How did you and Mr Muju first meet?

We met many moons ago when we both worked for a record label. At the time Mr Muju was already working as an artist under the name Muju, painting walls and stickering the streets of Brighton, London, and New York with his characters.

Did you begin creating art as a duo soon after that?

The first seed from Mujuworld was planted in the mind of Mr Muju in the year 2002. The original Muju character drawing was the start of a creative journey into the Muju dimension.

I’ve always loved sewing, and made my own plush toys when I was a kid, so it seemed like a natural progression to take his graphic character style and bring it to life in plush form. This collaboration quickly caught the radar of Bwana Spoons in the U.S. and I was invited to exhibit at the Plushtastrophe exhibition in L.A. back in 2005. From that point on, I was hooked on creating Mujus, and we’ve been a duo ever since.

it’s all or nothing in Mujuworld. Mr Muju says the big challenge is getting me to make the tea!

As for the perks, there are lots. We love being artists, and we get to share this creative journey and spend all our time together. There are so many aspects to what we do that it never gets boring. Surviving independently as an artist is hard work, so having your partner there with you to inspire you and share the whole process makes it much easier. We find it’s best not to take life too seriously — you only get one, so enjoy it!

You’re in charge of figures while Mr Muju works on the prints and paintings — was this split a conscious decision or did it come about organically?

This is how it’s always been. Mr Muju created the world and explores it in the two dimensional realm. My strengths lie in 3D, so the split is a natural one for us.

Are the roles set in stone? Do you ever swap duties?

They are set, but there is some crossover in the roles. I create the sculpts and molds, and do the resin casting, but Mr Muju and I share the painting of the figures.

When you’re about to start working on a new piece, do you like to brainstorm together? And on that note, do you ever edit each other’s work?

We both work independently. When

I imagine there are unique challenges and perks - that come with working in a team?

I guess the main challenge is neither one of has a ‘real’ job to support the other one. We are in this together so Clutter 28 | 41

I sculpt I don’t have a plan before starting, and don’t work from any sketches I’ve been given — I just start playing with sculpey and see where it leads. Mr Muju is the same with his drawing and painting, so we both work intuitively.

We never edit each other’s work, but we do get inspired by what the other one’s creating. It’s a positive cycle of influence between the two of us.

We brainstorm together when it comes to working out photo shoots and what locations to take the figures. As we both love nature and photography, this part of our work is the best bit!

Of everything you’ve created to date, is there one piece that stands out for any particular reason?

My favorite piece to date is my largest sculpture so far. I made a Giant Mandala Muju as my main piece for the Hot Pink Fuzz show at Giant Robot SF (2010). This exhibition featured myself and two other female felt artists: Snaggs (US) and Monyomonyo (Japan). It took me over a month to make and stands 33 inches tall. It was a landmark piece for me, and I hope to do more larger scale sculptures in the future.

Fans can actually pop into your Cornwall studio for a visit - I love that! What made you decide to open your doors to the public?

Our studio space is part of a complex of open studios [Sloop Studios] which have been going since the 1960s. We have to keep it open to the public, but we like it that way, as people love to see us working and talk to us about our world.

There are all sorts of pieces from the Muju archives which can be spotted in our studio, including one of the first plush Muju figures I made over 10 years ago, and the first 3D Muju in sculpting clay.

A small selection of our extensive vinyl toy collection also lives in our studio.

Toys by Arbito, Bwana Spoons, Pete Fowler, James Jarvis, and Uamou can been seen dotted around amongst guitars, wetsuits, and surfboards. The Muju studio is a workspace, shop, vibes control, and beach shack rolled into one!

Tell me a bit about what St Ives is like, especially when it comes to providing inspiration and supporting artists…

St Ives is a tiny peninsula on the far “Lost Valley of Muju,” 2014

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Various “Magic Mushroom,” “Tree Spirit,” and “Cosmic Owl” sculptures, 2015

“Cosmic Owl No. 15,” 2015

“Moon Mandala Spirit,” 2012

southwest tip of the UK, and artists and surfers have been drawn here for a long time. People say it’s the quality of the light, as it’s almost surrounded by the turquoise waters of the Atlantic, which bounce the sunlight back on all sides. The natural beauty and coastal views are always an inspiration to us.

It’s one of the top UK tourist destinations, with a big arts heritage and a Tate Gallery, so all summer it’s busy and there are many open studios and galleries, which is great for supporting local artists. In the winter, it’s like a ghost town with barely a soul to be seen. The beaches are always empty and the vibe is super mellow.

This strikes a good balance, as it gives us some peaceful studio time to get into the creative zone. The long, wild, and dark winters often kickstart a new chapter in the Muju creative evolution.

The fact that you donate some of your profits to support conservation causes is amazing! Why is this so important to you and Mr Muju?

“Giant Mandala Muju,” 2010

The characters in the Muju universe are often guardian spirits, so it feels right that their creation and sales make a positive difference to the environment in a relevant way. For example, when a Forest Guardian is sold, we donate money to the Woodlands Trust so they can plant a tree. When a Water Guardian sells, we support Waves4Water, whose goal is to bring clean water filters to the many places in the world that still don’t have access to clean water.

ago and work with recycled fibre felt when doing soft sculpture.

We also donate some profits from the mini Ocean Guardians to the charity Surfers Against Sewage who work really hard to keep our local beaches and ocean clean. The wonders of nature are our passion, and we feel lucky to live in such a beautiful part of the world.

Muju is happy and Mujuworld is inviting you to explore.

It means a lot to us to support conservation causes, and not impact negatively on our environment in our work practice, too. That’s why I switched to using bio-resin three years

Looking to the future for a moment, what’s next for Mujuworld?

We are constantly in the process of creating new work, so expect more magical sculptures and hopefully a Mujuworld book in the future.

Please finish these sentences for me: “Muju is…” and “Mujuworld is…”

If you ever happen to be in Cornwall, make sure to visit Muju Studio at the Sloop Studios, just behind the St Ives harbor front. Mr and Miss Muju will be waiting for you between April and October from 11am-5pm.

For more information on Mr Muju & Miss Muju, please visit:

mujuworld.co.uk Clutter 28 | 43

Niall Anderson

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, massproduced 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.

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

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, 46 | Clutter 28

with only a few die-hard lines surviving

of loyal fans hungry for new rubber

and licensed figures. Luckily for us, this

including Zoomoth, Newtervision, and

in a sea of badly designed imitations

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

figures — who have begun to emerge, 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 mashup. Alongside Godbeast’s output, the

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

likes of Rampage Toys and Nama Niku’s

over the past couple of years, with the

small but dedicated scene continues

of new artists and, inevitably, the revived

Plastic, and even The Super Sucklord

has an even healthier indie community,

early bootlegs encouraged a huge swell 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 Bandaistyle trash can for added authenticity.

This industry has seen continual growth

likes of Unbox Industries, Fantastic

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

to flourish. Not surprisingly, the East

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.

creations tend to rely heavily on the

Similar to the indie/self-produced

characterized by their soft rubbery

— community now spans a worldwide

original Eastern keshi culture, largely 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

figures, the pachi — or bootleg

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 bootlegembracing 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 pachi figures Clutter 28 | 47

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

and my own [Tru:Tek’s] 2012 released

festivals in Japan and have just one

show properties in beautiful keshi form.

old through kit-bashed keshi, original

the day of the event! Spearheaded by

the one-day licensing obviously makes

H.U.S.T.L.E line evoking the feeling of

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

restriction: all stock must be sold on

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

Unfortunately, the whole premise behind 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 Space Creatures in original blister packaging Photo: Todd Franklin/neatocoolville.com

to come.

Special thanks to MinifiguresXD for

“Nama King” Photo: Nama Niku

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.

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

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An assortment of pieces from Nerdone and Newtvision

By Nick Curtis

Amidst the myriad of iconic toy franchises spawned in the ‘80s, the names Masters of the Universe (MOTU) and M.U.S.C.L.E. stand out as being two of the most enduring and influential. Both released in America with the instantly recognizable red starburst logo of Mattel on them, these lines featured a vast line-up of musclebound characters locked in conflicts of good versus evil, respectively the valorous He-Man & his compatriots battled against the villainous Skeletor & his hordes while the heroic hunk Muscle Man & his Thug Busters wrestled for supremacy with the beastly barbarian Terri-Bull & his Cosmic Crunchers. But that appears to be the end of the similarities for these two classic character lines‌ That is, until recently. Enter Brian Flynn and Josh Herbolsheimer of Super7, who made the dreams of every fan of these two iconic franchises come true.

Clutter 28 | 51

Everyone has been abuzz from the announcements of your new San Diego Comic-Con releases, but the biggest news — obviously — was that Super7 had secured the M.U.S.C.L.E. and Master of the Universe (MOTU) licenses!?!

Starting with the beginning, how did this project start?

Brian Flynn: The idea really started from a meeting with Mattel. They asked us about MOTU specifically, but also about what things they had done in the past that we were excited about that they were not currently doing. In talking about MOTU, we discussed how form factor reinterpretation was really important for us. We had plenty of standard figures, so — to round out the collection — we needed things that were different or unexpected, but still felt like part of the family. When talking about other things, we started talking about how much we missed M.U.S.C.L.E. and how much fun it would be to bring it back. At some point, it finally clicked to us, that as both were Mattel properties, it made no sense that the mash-up had never been made, and it was perfect for the time period. From there, we took the concept and ran with it.

52 | Clutter 28

So that was the initial point of discussion for both properties?

Flynn: We actually have been working on the M.U.S.C.L.E. project for a few years now. We started it a little before ReAction, but — due to the success of ReAction — everything got put on the back burner for a little while until we could catch up. We had been discussing making keshi style figures for a while, but rather than making “fake” M.U.S.C.L.E. figures, we really wanted to make the real thing, and decided to really push for getting the real thing, which was owned by Mattel. One thing we really wanted to focus on though was how we brought new characters into the M.U.S.C.L.E. world. The Kinnikuman figures that were originally brought over in the 1980s are still quite easy to get, so we really thought about how we could bring something new to the format and give people a reason to want something new from M.U.S.C.L.E. Thus the idea to bring MOTU into the mix?

Flynn: Yes. The large [MOTU] figures are stylized fighters already, and

similar in distorted proportion to the M.U.S.C.L.E. figures. It really surprised us that this mash-up had not happened in the 1980s. Plus, with the name, you have a built-in tie-in with the initials to make M.O.T.U.S.C.L.E. It seemed like a no-brainer to us, and luckily Mattel felt the same way.

Josh Herbolsheimer: Like Brian said, the MOTU and M.U.S.C.L.E. connection seemed natural. And a little crazy that it hadn’t happened back in the ‘80s.

Absolutely crazy! I mean, people have done bootleg MOTU & M.U.S.C.L.E. mash-ups over the years. What do you think of those?

Flynn: In general, MOTU is a classic line and pieces from that line have been used in different capacities over the years. The resurgance of M.U.S.C.L.E. from custom creators is great, and really talks about how much the style was missed. I think all of it is great. There will always be a tweak to something that someone has not thought of before and that people make themselves. I’m just glad that we could make these for real, and get

Clutter 28 | 53

54 | Clutter 28

them into the hands of everyone who wants them.

This project seems like a fan’s dream… Is it safe to assume you have fond memories of both lines?

Herbolsheimer: I was exactly the right age for MOTU and, as a kid, I was super deep into it! I had a bunch of the toys, had epic backyard battles with my friends, as well as all the other stuff — watched the cartoon religiously, had the themed birthday party, even went to the in-store appearances and met He-Man and Skeletor! So when the opportunity presented itself to pursue anything MOTU, I was super pumped.

Flynn: I remember M.U.S.C.L.E. as being pervasive. Every kid had a stack of them, and no one had a double.

There was a seemingly unending stream of characters, and I remember that crazy flesh-pink color they came in. I don’t think I saw the colors until years later. They were great because they had such a unique aesthetic, and you could tell they had a storyline, but

what that story was, you had to make up yourself. It was like Army Men, but bigger and fantastical, not literal.

Herbolsheimer: I remember as a kid just having a handful of M.U.S.C.L.E. figures, I traded a friend some Garbage Pail Kids for them. (Laughs) Here and there I picked up random ones when I came across them digging for other old toys at thrift stores and garage sales.

I’ve never made a concerted effort to build a serious collection, but I have managed to gradually amass a pretty large, albeit unfocused, pile of little rubber guys. They just catch my eye here and there, and they’re too fun not to pick up…

Let’s get into the meat of M.O.T.U.S.C.L.E. Which characters will be depicted in the series and how did you decide on those over all the others?

Herbolsheimer: There has always been sort of a core group of good guys and bad guys from the original MOTU cartoon. I remember watching Skeletor boss around his main guys, and things would always get bungled somehow.

Here and there he would bring in some fresh blood in his endless quest to get into Castle Greyskull, but those main few characters always stood out as the most iconic. Similar deal with the good guys.

Flynn: So obviously we started with those key characters first — He-Man, Skeletor, Beastman, Mer-Man, ManAt-Arms, etc. The well known first and second series characters from MOTU. We went with the characters you could name off the top of your head, rather than the characters you had to think about for a minute.

Herbolsheimer: At the same time, there are a few that are outside of that core group that are just too cool not to be in wave 1…

Wave 1? So are there already plans in place for further waves of M.O.T.U.S.C.L.E. figures?

Herbolsheimer: It’s hard not to spill the beans! I’ll defer to Brian on this one…

Flynn: We definitely have a series 2 Clutter 28 | 55

planned for M.O.T.U.S.C.L.E. Beyond that though, who knows. It really depends on how much people like the figures and if they decide to buy them.

to M.U.S.C.L.E. sized or did you always know you wanted to re-interpret them at the 2-inch tall keshi wrestler scale & stance?

Herbolsheimer: I’m such a fanboy for MOTU, I want to make literally every character as part of the M.U.S.C.L.E. line. We have most of the main characters covered in wave 1, and a few additional main characters will make an appearance in wave 2…

Flynn: Luckily for us, we were always able to do it the way we wanted.

Scaling down a large figure would not have worked. It needs to be the proportions and stye of M.U.S.C.L.E. but with the MOTU characters. We never received any push back from Mattel, as the figures translated perfectly to the form.

Flynn: We have some really cool ideas in wave two which will surprise people a little bit, but I don’t want to spoil anything early.

Herbolsheimer: We’ll start to get into some of the stranger ones. I don’t want to say too much about who we consider main, secondary, etc, but it will probably be a little ways down the road before we get to, like, Orko’s girlfriend and what not…

Flynn: Please buy series 1 first!

How did you decide on the sculpts? Was there debate as to taking the 5.5-inch MOTU designs and scaling them down 56 | Clutter 28

What will the M.O.T.U.S.C.L.E. figures be made out of? Will they be super soft, like vintage keshi, or harder, like modern mini figures?

Flynn: They will be made just like classic M.U.S.C.L.E. figures. They should be the figures you were never able to get in the 1980s.

Will M.O.T.U.S.C.L.E. figures be available individually or in packs or…? Just one color made or various? Price point? All the information we need to know now!

Flynn: M.O.T.U.S.C.L.E. will be

available a few different ways. We will have some limited single figures and limited packs in special colors, but the main release will be a carded 3-pack, just like classic M.U.S.C.L.E. We haven’t confirmed final price point yet, but it should be close to what you would have expected to pay.

Do you have any other plans for the M.U.S.C.L.E. license?

Flynn: Well, we have a number of lines in the works, I think people are going to be really excited and surprised by some of the things we are planning with M.U.S.C.L.E. We are trying to make some really unexpected stuff in both M.U.S.C.L.E. and MOTU. It is a pretty exciting series of projects. But, for now, it is all about MOTU!

Available now at Super7’s SDCC booth 4945 while supplies last!

For more information on Super7, please visit www.super7store.com

Clutter 28 | 57

BY NICK CURTIS

Photo: Stephen Beebe Photography

EACH PLODDING STEP THROUGH THE MUCK BRINGS THE CLOAKED FIGURE CLOSER TO YOU, HIS SPECTRAL SKIN EERILY ILLUMINATING THE OVERCAST NIGHT. MOVING CLOSER, EVER CLOSER TO YOU, THE BOGPRIEST RAISES A SINGLE GLOWING HAND TO DRAW FORTH MEMORIES FROM THE DARKEST RECESSES OF YOUR MIND. AS YOUR NIGHTMARES ARE FORCED INTO THE FLESH, ONE BY ONE, YOU QUESTION THE FAITH YOU ONCE HAD IN RESISTING THE CREATURE. AND THAT’S WHEN IT HAS YOU; THAT’S WHEN YOU BECOME PART OF THE BOG. WELCOME TO THE BOGXSQUAD...

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Bog Dweller figures, 2015

WHO ARE YOU? AND WHAT’S YOUR ART BACKGROUND? David Avery: Husband of one, father of two. Porn store janitor by day, drawer of monsters and miserable shit by night. I’ve been drawing creatures and ghouls and anything gross since I can remember. No training or art schools, which may be obvious.

Eric Prindle: I spend most of daylight trapped in an office, and spend most of my free time coating my hands with resin and pacing around my dwelling.

No formal background to speak of, I’ve just always loved collecting and creating weird monster shit. The first time we hung out in second grade, Dave surprised me with a Predator drawing he had made for me and we’ve been feeding off each other’s ideas ever since.

SO WHAT EXACTLY IS BOGXSQUAD… IS IT AN ARTISTIC DUO? A BRAND IDENTITY? A BIT OF BOTH? Prindle: A bit of both, for sure. Our personalities, talents, and tastes for what entertains and influences us developed right alongside each other over the past quarter century of being friends. I mean, we’ve been BOGxSQUAD for forever now, just without the name. But more recently

we decided to collaborate and really focus on actually creating tangible shit that we would personally want to collect and wear, and branding it in hopes that other people would dig it too.

Avery: Yeah, absolutely a bit of both.

Like Eric said, we have always been BOGxSQUAD just without a name; always creating shit together, and thinking how cool the shit that other artist’s were putting out was but how it could have been so much cooler if they added this or that. Finally we said, “Fuck it, let’s do this, even if we are the only ones that like it.” As an identity for us, the name just sets a damp, slimy, miserable tone and that really encompasses both of our styles and personalities pretty well.

As a brand identity, I feel the name serves as a beacon for people just like us, however many or few there may be. (Laughs) To me everyone that has dropped a buck on us, or even a kind word, is part of the bog squad, an ever growing horde of goblins, ghouls, and outcast creatures trapped in a human shell.

WHERE DID THE NAME BOGXSQUAD COME FROM? Prindle: BOGxSQUAD is the collective consciousness of a pair of eyesores

growing up in the ‘80s. Gross-out toys and monster movies have always been a staple, and humor in misery has always been a constant between us. Gross, gray, and damp. We’re just roaming the bog until we sink into the big sleep.

AND WHAT DO YOU EACH BRING TO THE PARTNERSHIP UNDER THAT IDENTITY? Avery: After hours of bullshitting about old toys, archaic video games, or day dreaming about expiring, we ended up with a few concepts for t-shirts, stickers, and pins. My main duty is to draw them and, if they make us both laugh, I send them out to get printed.

Same goes for headers and our 40oz koozies.

Prindle: And I handle the toy design and execution. From sculpting and mashing parts, to huffing resin fumes and assembling our figures.

Avery: Our hatred for using computers for anything more than a bare bricks scan or email may be the reason I am developing some form of trench hand.

YOU’VE RECENTLY RELEASED YOUR FIRST ART TOY, THE BOG DWELLER. IS THERE A BACK STORY FOR THIS CHARACTER? A LARGER WORLD YOU HOPE TO CREATE AROUND IT? Clutter 28 | 61

Prindle: I just sort of always liked creepy cloaked characters, like the Tall Man’s dwarf minions [in Phantasm] for example. I was obsessed with the Supernatural Ghostlings when I was a kid, and there were a ton of different grim reaper type figures out there... but I remember always wishing there was a more “ghoulish” cloaked figure to play with. So with that always being a desire, and the concept fitting so well into our brand, came the Bog Dweller.

Avery: Once we had the Dweller produced and in hand, he kind of just naturally became our mascot. We like to think of him as a rogue cleric who wanders the swamps looking for believers who’s faith he can vanquish and introduce them to the grim reality of the bog. I hope for him to be the first in a long line of creatures that make up the actual Bog Squad. I feel the company name really works well for a full line of toys, it reminds me of Garbage Pail Kids or Barnyard Commandos — I can just picture a full universe made up of these little bastards.

NOT TO EXCLUDE POOR DAVID, BUT WHERE DID THE IDEA FOR HOW TO CAST THE BOG DWELLER COME FROM, ERIC? ABSOLUTELY BRILLIANT IN ITS SIMPLICITY AND VERSATILITY. AND, FOR THOSE THAT DON’T KNOW, PLEASE LET THE READERS KNOW WHAT I’M TALKING ABOUT…

Prindle: Thanks, man. This is the first articulated resin piece that I’ve created, so it was basically a bit of trial and error and a couple molds until it felt right to me. It’s made up of 5 different casts, including his weapon.

The body is one solid piece, and so I had to be a bit creative in adding some playability to it. Initially I fitted the hands via simple peg and socket, but then got the idea to actually pre-drill spaces for magnets within the peg-holes of the master sculpt.

Once I finalized the fittings, I added some extra folds in his cloak to better conceal the points of articulation for a more seamless look. Since I essentially use the wrist-pegs as the pour spouts for the hands, I individually drill a space for magnets in each peg after casting. The pegs give the limbs a nice sturdy feel, and the magnets give them some extra security from falling out along with a much smoother rotation.

The face snaps on and off using magnets as well for interchangeability.

YOU MENTIONED A FULL UNIVERSE OF FIGURES… DO YOU HAVE SPECIFIC ONES IN MIND? ARE YOU WORKING ON ANY OF THOSE NOW? Avery: I have a massive list of creatures in my head and I know Eric has some really rad things up his sleeve. I’m always sketching up new ideas, some of them some much more possible than the others.

Prindle: I’ve got another figure that I’ve just started to play around with and hope to have finalized by summer.

A very nostalgic figure for me, but with a grim little twist. Certainly want to keep with the gloom and doom vibe and create characters that would look dope on a shelf together, although not necessarily as a part of a cohesive story or anything. Same world, but different walks of life. Or death.

Avery: I think we have some solid ideas for upcoming figures that should mesh well with the Dweller and expand on his world. Once we explore the Dweller and what we can do with him some more, I would love to eventually get some collabs together and have them see what they can do with him, be it a new face to snap in or just some snazzy paint jobs.

AND WHAT ELSE DOES THE FUTURE HOLD FOR BOGXSQUAD? Avery: Expanding the line without spreading ourselves too thin is my main goal. I want to continue putting out shit we think is cool and are proud of . We also plan on doing a little flipping of the script for a project in which I would be sculpting and Eric would do the artwork and companion shirt, so I’m exited to get my hands dirty with that.

Prindle: Definitely looking forward to keep improving and seeing the ideas in

Bog Dweller figures, 2015

62 | Clutter 28

our heads realized in tangible forms.

To keep putting shit out that people are excited to get into their hands. And to keep having fun.

hoodies, hats, and patches over the remainder of the year.

Avery: We also plan to explore working on a few larger sculpts that we feel would work better in vinyl. Very excited for that.

Avery: I would just like to thank my wife Tori for her constant support and my two boys for at least pretending to think what we do is cool. And of course I thank you to my partner in this, Mr. Eric, for the sleepless nights and insane amount of fumes he huffs to put out a meticulous toy in the name of the Bog. One last thank you to everyone else who has supported us, shared kind words, or ever spent some hard earned money on a weird shirt and toy. The feedback over this

Prindle: Yea, we’ve got a few full-size figure ideas in our yucky brains that we’d love to eventually have produced in soft vinyl. And a few other artists in the resin world that we’re looking forward to collabing with. And, of course, much more can be expected of our clothing line too as we move into

FINAL WORDS?

past half a year we have been doing this in the public eye has been beyond insane.

Prindle: Props to my Bog brother Dave for the motivation and encouragement in this and everything, Tony at Hot Blood Premium Goods for the constant support, and anyone who’s ever had a response, negative or positive, to us.

Clover, I love you. Whoever cremates me, please mix our ashes and give ‘em to someone who cares.

For more information on BOGxSQUAD, please visit: instagram.com/bogxsquad

Clutter 28 | 63

Munny DIY by Paul Budnitz + Tristan Eaton & Kidrobot

Nick Curtis

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-ItYourself (or DIY) Designer Toys, meant to be a blank canvas upon which any artist can express themselves using almost an unlimited number of mediums.

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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 threedimensional 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.’

Artist: Kathie Olivas

Artist: 64 Colors

Artist: Luke Chueh

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

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.

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

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.

“F.A.D 20”Dunny”

by JéRYU

“Good Night, Sweet Dreams... XO”

by JéRYU

“So Goff”

by JéRYU Clutter 28 | 67

Custom Munnys by Sekure D

THE MONTHLY DIY:

CONCEPTUALIZING THEORIES IN VINYL

BY MARC DEANGELIS

Custom toy design isn’t a spectator sport. Just about anyone can pick up some paint, a few brushes, and a blank Munny, MAD*L, Android, or Pocket Pork Dumpling to get customizing.

But admittedly, taking the dive into this hobby can be daunting: Where do you even start? What the heck is a “platform” toy?

What type of paint should I use? Clutter Magazine has asked some world class toy designers and customizers to spell this all out and help encourage those on the fence to pick up that brush and start creating. Each month, we’ll walk you through another step of the customizing process so you can adopt some best practices from the pros.

Our first column starts with the conceptual stage. How do you come up with an idea for a custom toy? Where should you look for inspiration and how should you plan out your project? A bit of a chicken-and-egg situation, some customizers like to have the shape of their chosen platform toy guide the style of the project, complementing the existing form, while others base their project on an idea that they’ve already sketched out in their mind or on paper and apply this concept to the form of the platform toy. (A platform toy usually refers to any mass produced designer toy that uses a blank, solid color, though

many customizers sand off the paint of artist edition toys, such as Kidrobot’s Dunny figures, as these are not available in blank editions.)

Custom Dunny by Jenn & Tony Bot

WuzOne, for example, usually starts with a platform in mind, namely Kidrobot’s Dunny. “I’m used to painting Dunnys,” he says, “and it’s definitely my preferred platform. So, many of my designs [complement] the shape of a Dunny.” Plenty of artists have their favorite platform to work with and stick to that. They become experts in customizing that platform in particular and learn how to utilize the form of the toy in new and unexpected ways.

Custom Dunny by WuzOne

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In contrast, Jenn and Tony Bot (aka The Bots) “always approach our customs by beginning with a concept and then choosing which platform we think it will look the best on.” Of course, they do have to work mostly within the confines of the platform’s shape and size. “More often than not, we have to scale back our original concept so that it appropriately works on a given platform. There are things that work and things that simply don’t within the confines of toys.”

Likewise, Stephen and Spencer Ong of Rotobox determine what toy to utilize based on the existing

characteristics of their concept. “If our concept has a more realistic or mecha feel to it, we would use a platform that fits this. If we’d like it to have a more cute stance, we would use a fatter platform for this. Our choice also depends on if we are doing a robot or a human character.”

Somewhere in the middle of these two camps is sneaker and toy customizer Sekure D, who “definitely start[s] with a concept, then I pick the best available platform.” In other words, he has a concept in mind, but then chooses the platform whose shape best complements that

design. The form of the toy, in turn, reshapes the design. “Shape 100% influences my designs in regards to shape and color. [The choice in platform] reduces the amount of sculpting necessary, and a good choice of platform enhances your theme and design.” He points out that choosing a platform that isn’t conducive to your concept can be a burden down the road: “A great idea on a platform that doesn’t fit won’t work.”

Platform toys come in all shapes and sizes. So if you’ve never painted on a 3D surface before, it might be a good idea to start with a small toy that lends itself to simple designs, like Shawnimals’ Pocket Pork Dumpling. Seasoned artists who are branching out into custom toys might feel confident starting with Kidrobot’s Munny, which comes in 4”, 7”, and even 18” variations.

When it comes to forming a concept, some artists like to dive right in. “I always start by sketching directly onto the white toy. I draw a vertical line in the center and there it all begins,” Says WuzOne. Others look for inspiration in their everyday lives, like The Bots, for whom “a movie, a television show, a dream, or even a trip to the zoo may result in the creation of one of our monsters.”

There’s no denying the huge overlap in the worlds of designer toys and pop culture, reflected by both the Rotobox duo and Sekure D, who look to entertainment and storytelling, nostalgic or otherwise, to kickstart their creative processes. “We are fans of super robots, anime, games, and comic books, so we usually do the stuff that we really liked when we were younger,” says the Rotobox team. Sekure D echos this approach: “I am inspired by movies, comics, and cartoons. I just start with an idea and start painting or drawing.”

When deciding on your concept, think of what you’re passionate about and how those things would translate onto the 3D medium of a designer toy. Keep your eyes peeled for interesting shapes, patterns, and creatures wherever you go.

Custom Ganmetall Celcius by Rotobox

That’s all for this month. Check back next issue where we’ll discuss how to prep your toy and workspace for customizing.

Clutter 28 | 71

WELCOME TO THE

HOUSE VOODOO CLOWN OF THE

BY TRAVIS LYKINS

While most would expect to find voodoo inspired designs in New Orleans or on a remote island nation; Justin Phillips - under the moniker of JFury has been cursing his clown and rabbit characters with dark magic from his California studio since 2011. Known for his impeccably clean lines, countless customs, and hand cast resin creations that have gained attention from collectors around the world, many may not know he is also very skilled at creating original paintings inspired by his plethora of original characters.

Recently we were able to catch up with JFury and we invite you to dive into the past, present, and future of his career. “Stumplets - Pumpkin Edition,� 2014

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Photo: Sam Krueger

Do you remember what first inspired you to start creating?

And what was it that first attracted you to the world of designer toys?

Well, I’ve been drawing as long as I can remember. When I was a kid I would draw my favorite cartoons and characters I made up, trying to make my own little world of characters has always been something I have enjoyed. As for the designer toy world, I stumbled upon it 2011 and was very intrigued with how so many artists were putting their spin on the same platform and making it their own. I’ve been hooked ever since!

Many people will know you for your signature Voodoo & clown inspired designs. Do you know what first took your artwork in that direction?

I’ve always liked the concept of evil clowns and voodoo magic, so — as I was trying to perfect those characters — I ended up blending the two concepts and somehow it just worked for me. I believe the first time I did the blending of the two was the custom Calavera Dunny I did for KRNY. People really seemed to like it and I enjoyed the theme for a while.

Throughout your resins, customs, and paintings we see the character Voodoo Bunny. Do you remember what it was like first creating this character?

“Voodoo Angel,” 2015

The Voodoo Bunny is my favorite character that I do and he represents the blending of cute and evil.

Basically, he is heavily influenced by my kids; they are that perfect blend of cute and evil. When I first came up with him, I had a little story in my head of a forgotten toy that somehow fell into the hands of an evil voodoo witch. This witch filled this once loved toy with evil to help her get revenge on those who have done her wrong.

Someday I hope to actually do a little comic or series to help tell the story.

In the past few months your style seems to have evolved.

Would you mind telling us a little bit about the direction you are headed?

Since I first started painting a little over four years ago, I am still learning constantly. Part of the change is just my skills and techniques improving, but I have always wanted to give my cartoon type characters a more realistic feel. As I am improving my painting techniques, it is allowing me to add more depth to my characters.

I am also hoping to evolve my work to a point where they can grow beyond just the toy scene. My goal is to get my work seen by more people that may have no idea what designer toys are.

This new style was very apparent in many of your works for the recent For The Love of Toys event at Galerie F. Would you mind telling some of the inspiration behind those pieces?

“Lost Friends” sculpture & painting, 2015

I loved the theme of that show! By making a canvas and a custom toy for each character it allowed me to tell a little more about each character.

It also pushed me to give my pieces more emotion. My biggest inspiration for the pieces was, honestly, my kids.

I also had a strong attachment to each piece because they represented memories of moments in my kids’ lives.

Clutter 28 | 75

“Gizmo as Rambo,” 2014

You have also been creating a lot more 2D works as of late. Do you have a preference with 2D or 3D work? Or is it just nice to change it up from time to time?

I don’t have a preference, but I do like working with 2D pieces a lot lately.

One reason is the challenge: it is so different from working with vinyl or sculptures. I love trying to figure out how to make the canvas tell a story.

There will definitely be a lot more 2D work coming from me in the near future and I’m hoping my fans will enjoy it as much as my customs.

You are also well known for

creating many original resins.

What is it like to see a design go from paper, to sculpt, to a finished resin product?

say is the hardest part about process? And do you have any tips for someone just starting to cast things?

Resin pieces may be my favorite part of what I do. Working through the whole process and ending up with my own little line of figures is so much fun. It can also be the most frustrating thing I do; when a mold fails or the final product just doesn’t work it is always a huge let down. But, those mistakes always helped the next figure become even better.

For me the hardest part is the fact that you have to think three steps ahead the whole time. For example, while I’m sketching the design I have to think about what angles might trap air and cause defects in the cast. I also have to worry about areas that may cause trouble with gettting a nice smooth surface. The best advice I could give someone just starting out in casting would be to start off small and get the hang of how the silicone and resin work. The learning curve is huge and the materials are not cheap. Also, contact artists that have been working with resin for a while and get as much information as you can.

After designing and casting many original resins, what would

Are there any projects fans should be on the lookout for in the near future?

The main one would be DesignerCon (DCon), where I will be sharing a booth with Urban Vinyl Daily again. I plan on going big this year at DCon! I will be releasing some very new and different pieces. I also have some collaborations with some amazing artists that will be releasing very soon. One thing I am definitely shooting for is to put together a solo show before the year is over!

For more information on JFury, please visit: furiouscustoms.bigcartel.com “Skull in Jammies” (blue, green, purple, pink & black variations), 2014

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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.

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:

Mockbat by Paul Kaiju

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).

Sushi Kaiju by Paul Shih

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 handpainted 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 80 | Clutter 28

M5 Bravo by Jeff Lamm & Unbox Industries

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,

Nick Curtis

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.

Escaregot by Josh Herbolsheimer & Super7

By Mark Nagata, founder of Max Toy Company 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.

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.

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

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.

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Bechigon by Velocitron

By Ricky Wilson / 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-thedarks 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

Ultrus Bog

by Skinner 82 | Clutter 28

Earth Wolf

by Josh Herbolsheimer

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 NeoKaiju 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!

Cadaver Kid

by Splurrt

Heirophany

by Carlos Enriquez Gonzlez

Mutantology 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

Subject:

Koningu

by Ummikko Pictured is Ummikko’s sofubi toy, the Koningu, cast in the unpainted yellow edition (not released for sale).

I usually don’t like animal toys. In the toy world there is an abundance of them, especially ones cast in sofubi. But, for me to like an animal toy, then it has to be unique, meaning it either depicts an animal that isn’t often seen or one that is sculpted in a way that makes it stand out. While the gorilla has had an abundance of representations in vinyl, most designers usually end up with similar looking, rather large pieces. So when I came across the Koningu by Ummikko, I was fascinated. Perfectly sized, neither too small nor too large, this is a figure that you can collect for years and fill up a nice display with variations of it. And the sculpt itself is fantastic. The head does not articulate but rather is sculpted into the body, giving the Koningu a nice, thick upper torso. The face is menacing but, due to the mouth and other features, it provides a little comic relief without getting overly goofy. While the hands are tiny, they are sculpted so that it can hold a pencil or pen perfectly. At a glance, you may think that this toy is simple, but it’s obviously that a lot of thought went into both the sculpt and the gorilla’s place in toy history. And a truly great toy is the result!

Tell us about yourself.

My name is Mikko Uusitalo and I’m based in Stockholm, Sweden. It’s a cold and dark place most of the year so that’s why I started making toys, just to keep hope alive. I’ve always dabbled in art in my free time; I guess that comes from growing up as an only child without a television and there wasn’t much else to do [other] than to draw stuff, read books and comics, and play with toys. And that’s pretty much what I do as an adult too, but I do have a television now!

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

I first started sculpting toys in the early 2000s, but way back then I only did it for myself. I never got around to making any casts or anything, so somewhere along the line I just stopped sculpting. Then I got the urge to sculpt again around 2010 and started to play with the idea of actually making a toy for real and, in late 2013, I sent the Koningu sculpt to Japan

and here we are. I’m really grateful that so many people has showed interest in my toys. It’s a great feeling!

Who and what are the major influences in your art?

King Kong obviously! Also old horror, monster, [and] sci-fi movies for sure. All the old monster designs have such a great quality to them. A lot of the inspiration also comes from old tokusatsu shows, like Kamen Rider, and old Japanese kids shows, like Ganbare!! Robocon and all the crazy toys that those kind of shows spawned. I get really inspired by a lot of folk art too; it can look so simple and effortless, but has this great freedom of expression that just makes you want to create stuff. For example an artist like Ulysses Davis, who made these amazing wood carvings that make you want to chop down a tree and pick up a knife and start carving. There’s also everything else, like old comics and old cheap plastic toys, but there’s really too much to list in the oozing cultural brew that influences me.

Who are your favorite current toy makers?

Butanohana, Dehara Yukinori, Yamomark, Zollmen, Elegab, Utsugyio, Paul Kaiju, Mutant Vinyl Hardcore, Grody Shogun, Splurrt, and many many more. There’s so many people doing amazing stuff these days. And even if a certain toy is not in my personal taste, I still get inspired by the energy that the indie toy makers bring.

What’s next from you?

I have a Cobra Kaijin coming up, which is the first in hopefully a bunch of kaijin toys that I always wanted to make. And I’m also finishing a Mecha Koningu, that I hope I’ll still like when it’s done — I have a box of previously rejected Mecha Koningus!

For more information on Ummikko, please visit: www.ummikko.com Clutter 28 | 87

BY NICK CURTIS

When the Gill-man first appeared in 1954’s Creature from the Black Lagoon, he became fixated upon the enchanting Kay Lawrence (portrayed by Julie Adams). But, as these candid pictures from photographer John Athanason illustrate, The Creature has now fallen under the siren song spell of the sultry “mermaid” Chelsea. Captured in glorious full color while swimming together in Florida’s Weeki Wachee Springs, this newest addition to the Living Dead Dolls line is sure to capture the hearts of many a Universal Monster fan.

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“It was a real treat to be able to work on the Creature from the Black Lagoon, one of my favorite of the Universal classic monster films,” says Damien Glonek, co-creator of the Living Dead Dolls. This 10-inch tall piece captures all the intricate details of this amphibious humanoid, from the top of his finned head down to the claw tips of his webbed hands. According to Glonek, their “take on the Creature was an extra challenging one, to find the perfect blend between the unique look of the Creature and the specific identifiable look of Living Dead Dolls. By keeping the eyes in the same place on the head and keeping the extended forehead, we were able to build upon the Creature face from there on top of the existing LDD head. For the body we wanted kept the similar body style joints as Living Dead Dolls are known to have and just added the Creature’s fins and scales on top of it and added new feet and hands.”

The most articulated Living Dead Doll made to date, according to Glonek, “the overall response from everyone has been tremendous.” And we can certainly see why!

For more information on Living Dead Dolls, please visit: www.livingdeaddolls.com 92 | Clutter 28

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