Clutter Magazine Issue 29 - David Flores

LIKE TOYS, LOVE CLUTTER

CLUTTERMAGAZINE.COM

ISSUE 29

DAVID FLORES ALSO FEATURING

OTTO BJÖRNIK / JEREMIAH KETNER CRYSTAL JADE VAUGHAN / GEEK! / DESIGNERCON Clutter 29 | 1

AUGUST 2015

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29 DAVID FLORES 24 Kiss My Ass! Article by Miranda O’Brien

On The Cover Photograph of Toys

by David Flores

MUTANTOLOGY

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Jyujin by GEEK! Article by Rich Montanari

OTTO BJÖRNIK Big Eyes Article by Nick Curtis

JEREMIAH KETNER

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It’s A Small And Round World (After All) Article by Travis Lykins

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CRYSTAL JADE VAUGHAN Magic, Machines & Metamorphosis Article by Nick Curtis

THE MONTHLY DIY

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Be Prepared Article by Marc DeAngelis

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DESIGNER CON

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The Rise of Designer Con Article by Miranda O’Brien

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TEAM Miranda O’Brien Editor-in-Chief

Nick Carroll Art Director

Marc DeAngelis Contributing Writer

miranda@cluttermagazine.com

nick@cluttermagazine.com

marc.deangelis@gmail.com

Josh Kimberg Managing Editor

Jason Ryule Technical Coordinator

Rich Montanari Contributing Writer

josh@cluttermagazine.com

jason@tradeincool.com

mutantvinylhardcore.com

Nick Curtis Associate Editor

Mike Torrisi Advertising Sales

Travis Lykins Contributing Writer

nickcurtis@cluttermagazine.com

mike@cluttermagazine.com

urbanvinyldaily.com

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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:

Jyujin

by GEEK! Pictured is GEEK!’s sofubi toy, the Jyujin, cast in an unpainted lavender edition.

Oh, the mysterious GEEK! A few years ago I came across this giant toy that looked like stoic Bigfoot, which I instantly loved as it had everything I look for in a vinyl toy: a giant overall size toy that has large areas of beautiful texture and a static pose that makes it a timeless addition to a toy collection. Heck, this piece seems to stare directly into your soul.

Only knowing that it was named Jyujin, I did my best to find any info on the maker so I could follow him or her. The thing is though, believe it or not, to this day and even after working with GEEK!, I still have no real clue who he or she is.

You may have heard rumors that GEEK!’s the head of Medicom, or that it’s a collective of other Japanese toy makers hiding under the GEEK! moniker, but what is the actual truth? I tried my best to get to the truth, but even after using three different middlemen I still have yet to get a definitive answer. So, for now, the mystery continues I suppose, just like that of Bigfoot.

However, in a last ditch effort, I threw out Mutantology’s five standard questions to my most recent middleman and hoped for the best.

Amazingly, and much to my surprise, I received a response to my questions. Though the greater questions about this artist remain, I feel one step closer to the truth regarding GEEK!

Tell us about yourself.

Born and raised in Tokyo, I’ve loved sofubi since I was a child.

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

It’s been two years since I started sculpting in clay, the Jyujin and Yaghan People being sculpted completely by myself. After those, I collaborated creatively with the artists Omega and Taiyo no Shi no Indousha.

Who and what are the major influences in your art?

U.M.A. [Unidentified Mysterious Animals], icons from old Asian tribes, masks of indigenous peoples, etc.

Who are your favorite current toy makers?

I can’t answer that since there are too many.

What’s next from you?

Announcing two more titles in 2015.

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IT’S A SMALL AND ROUND WORLD (AFTER ALL)

by Travis Lykins

“Afternoon Tea in Wonderland,” 2013

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approach my creative process. My style slowly evolves, but the message is the same: be playful and carefree!

Many people know you for your amazing custom toy designs. Do you remember the first time you customized a designer toy?

“Misty Morning,” 2015

While most might classify his flowing lines and beautiful backgrounds as being part of the pop surrealism movement, Chicago-based artist Jeremiah Ketner prefers his own coined term of “small and round” to describe his masterful painting on both two- and three-dimensional canvases. Embodying “the Japanese aesthetics I discovered on my travels,” Ketner freely admits that he “subconsciously practice[s] those design principles on a daily basis.”

His amazing body of work can be seen not only on production toy pieces but also in a multitude of galleries around the world… a world that is both small and round!

You have been creating original paintings for many years. Would you tell us a bit about your early work?

And talking about how your style has evolved over time?

I got my start painting at an early age, my father having introduced me to a private instructor he had as a kid. I fell in love with oils when I was in middle school, and starting off painting in oils taught me how to technically work with mixing colors and to explore a wide range of traditional techniques. I was more concerned about the technical aspects of painting rather than the subject.

Later on I attended art school at the Columbus Collage of Art & Design (CCAD), where I was introduced to a world of vast mediums, disciplines, and concepts. More importantly through my experience I learned how to develop a cohesive body of work and how to present a message through my

visual art. I would say that I had no particular style at art school. For me, it was a time for experimentation at CCAD which continued as I went on to earn my Masters at Southern Illinois University.

My style started to develop after my move to Chicago. I was deeply moved by Superflat, a postmodern art movement founded by Takashi Murakami back in 1999. I attended a few of his shows and realized there was a place for the style of work I had already begun to explore.

Yoshitomo Nara exhibited at the Museum of Contemporary Art in Chicago and filled the space with playful and somewhat childish drawings taped unsystematically to the wall. I loved this raw visual presentation, the message was playful—almost shallow, but engaging.

At that time and until the present day, I felt a great change in the way I would

I was introduced to the world of custom toy design by my friend Nakanari, for a custom group show at Rotofugi in 2007. I painted a B.B.Birdy toy from the Funny Club series and, at first, I was not sure how to go about painting on it. The whole idea was foreign to me. I really enjoyed working on a 3D surface and, from that point, I became hooked on making custom toys. I like the idea of transforming a pre-existing sculpt and embellishing it with my own designs.

Over the years, you have work on many toy platforms. Do you have a favorite? Also, are there any platforms you haven’t worked on that you would like to?

I have been planning for a very long time now on making my own platforms to paint on. There are only a few platform toys out there that I like working on and sometimes I get asked by collectors to paint on figures that I would not consider as a platform.

These can be the most challenging figures to transform and make in my own style.

I respect the artist’s original sculpt and try not to change or modify the sculpt, only to transform the piece with paint. I would have to say my favorite platform toy would be the Unicorno by Tokidoki though I also had fun working on Martin Hsu’s Dragon Boy. What was it like to have a production design featured in the 2012 Dunny series? Is there any chance we might see more production toys from you in the future?

It was a great experience and I would defiantly do it again. My custom designs are complex, so I had to simplify my design to work with the 2012 Dunny. Given the opportunity, I would love to create new production pieces.

Often times we see a female figure as the focal point of your paintings. Is she inspired by someone in particular?

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I often ask myself, “how many times can you paint a portrait and make it interesting and engaging?” The female figure I choose to paint does not exist, she lives only in the worlds I have created. I like the idea of not being bound to a particular person, and, possibly, the viewer may identify more with the figures when they are imagined. I’m not good at painting portraits of people, I find it boring mimicking a photo of someone while it’s challenging and exciting creating characters.

Over the past few years, you have created a series of works for WonderGround Gallery with your take on many of the classic Disney Princesses. What is it like working with such iconic characters?

“Ideal World,” 2014

It’s very odd. I never would have imagined I would get the opportunity to work with Disney’s properties and show at their new space, The WonderGround Gallery in Downtown Disneyland [District in Anaheim, Florida]. When I was offered the chance to reimagine Disney’s characters in my own style, I was up for the challenge.

After years developing my own style and identity, transforming Disney’s iconic characters turned out to be quite fun. After all, my work already

had a fairytale-like feel to it. So, I chose to work with some of the classic Disney stories; Beauty and the Beast and Alice in Wonderland were two of my favorites to work with.

I have created over 12 paintings for WonderGround Galley and they continue to show my work and sell merchandise of my designs exclusively through the gallery.

Switching gears a bit. Recently you traveled to London for ToyConUK. How

was the event? And what was it like meeting your fans on the other side of the pond?

After going to DesignerCon for several years, I wanted to expand and try a new market. I already had fans and collectors in the United Kingdom, so showing at ToyConUK seemed like a natural fit and I’m glad I went. It was cool to meet so many artists and collectors in the UK designer toy world in one place. This was the third year for ToyConUK and I imagine it will grow every year. The event space was much smaller than the conventions I’m used to showing at and it was only for one short day, but the overall response to my work was positive and very supportive. I felt at home in a weird way, being among my peers.

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

Let’s see, I always have plenty of things cooking in the studio. To name a few, I will be exhibiting a selection of new paintings for a small group show at Flower Pepper Gallery this August. Also this August, I will have a solo show and window display at PIQ’s store & gallery in Grand Central Terminal, NYC. Next year in June, I’m working on a body of work focused on my travels in Japan for a solo show at Rotofugi Gallery in Chicago.

For more information on Jeremiah Ketner, please visit: jeremiahketner.com “Sleepy Kitty,” 2013

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THE MONTHLY DIY:

BE PREPARED

BY MARC DEANGELIS

Last month, we kicked off The Monthly DIY with some sound advice on how to build a concept for a custom toy. Hopefully, you’ve been keeping an eye for all things cute, weird, or otherwise eye-catching, but don’t pull out your Krink markers and Super Sculpey just yet. Jumping into anything without the proper planning can not only screw up your project but can also turn you off from a hobby entirely. Something that seems impossibly difficult might in reality be pretty easy as long as the prep work is taken care of. “Do it right the first time” might sound like the refrain of a cranky old man, but in the field of toy customizing, they’re words to live by.

So, what tools do you need to start customizing, what should your workspace look like, and what steps do you have to take before throwing on layers of paint? Sekure D, Rotobox, WuzOne, Jenn & Tony Bot, and our new addition to the crew, Jon-Paul Kaiser, join us in our second step towards completing a custom toy: preparation.

The beauty of designer toy customization is that there are no rules. While your concept should, to a degree, dictate the materials you use for your piece, whether you 20 | Clutter 29

use paint, ink transfers, or glue and glitter is totally up to you. There are some must-haves that everyone should keep on hand, though. A few of these are predictable: plenty of pencils and brushes, a variety of paints and paint pens, cups to wash your used brushes in, and paint pallets should be at the top of your shopping list. Also, in the event that everything should go terribly wrong, it doesn’t hurt to have a backup platform toy stored away so you can start over.

over is sand paper. In keeping with the universe’s twisted logic, it’s impossible to get paint off anything you don’t actually want it on, but it will drip off your toy like water if its surface isn’t properly sanded. Use fine grit sandpaper until the vinyl feels coarse everywhere you’re going to paint. If you missed a spot, you’ll know after applying your base coat.

On a related note, primer is your friend. In order to get paint to bond well to the 3D surface of a toy, apply a coat of primer or white spray paint.

One item that beginners might skip

A heat gun can do wonders with

vinyl. Sometimes popping a Munny’s head off is as easy as you remember decapitating your sister’s Barbie to have been. But other times it’s nearly impossible without heating up the vinyl first. Get those molecules moving by carefully throwing heat onto the joints of the toy with your cannon of warmth. If you can’t afford one, using a hair dryer or even holding the figure above a pot of boiling water can loosen things up enough to pull everything apart. Be careful not to warp the plastic by applying too much direct heat.

When starting with a production toy such as a pre-painted Dunny, acetone is a must. Drop some onto a cotton pad and dig into the toy with bear-like strength to get that paint off and even out your application.

Says Sekure D, “I acetone off all the art [on the toy] so my paint will look flat.”

Where you use your tools is just as important as which tools you use.

There’s no avoiding it; you’re going to make a mess. And you need to have a very clear view of what you’re doing. Jon-Paul Kaiser recommends “a separate area that’s easy to clean, comfortable, and with very good lighting.” Marathon sessions are often the norm for customizers, so “a good chair and desk height are important”, as Sekure D points out.

WuzOne likes to get particularly comfy when working on customs: “I use a lot of cushions.”

Jon-Paul Kaiser’s work space

When working with potentially hazardous materials, it’s important to work in a well-ventilated area.

Aerosol-based paints, airbrush paint, and even certain kinds of acrylic paint can be dangerous. Wear a respirator when necessary and keep everything out of reach of pets and children. You don’t want to wake up on the floor with some missing brain cells and a massive headache.

Cleanliness is a goal that many artists aspire to but never achieve.

The Bots know the struggle is real.

“We like to keep our space as clean and as organized as our workload allows and yet our desk can still be overwhelming at times. Our biggest concern when working is dust.

If our desk isn’t prepped before working it can lead to hours of using a blade to extract unwanted Sekure D’s work space

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‘fur’ from our monsters!” And this isn’t particular to The Bots, who work with sculpting materials as opposed to paint. The simple act of knocking over your brush and getting a few drips of paint on the wrong spot can set you back hours. “The planning and cleaning is time-consuming, but they’re your foundations and can’t be rushed past,” advises JPK. Keep it clean, kids.

Okay, you’ve got your tools, you’ve got everything spread out on your comfortable, properly lit, and wellventilated workspace. It’s time to actually start prepping using the techniques mentioned above and then start the preliminary artistic work. JPK’s workflow is textbook customization. “I clean down the toy with acetone and then with soapy water and dry it. I sculpt if necessary and then prime with white spray paint. From there I draw out the lines and areas to be painted.” The Rotobox brothers take their sanding seriously. “We do a 2D drawing first as a guide. Then we sand everything and sculpt. Then we sand again… and spray primer.”

One prepping technique that can be very helpful during the painting process is sketching directly onto the toy, using your original sketches from your concept as a guide. “I acetone, apply white primer, and start sketching [directly onto the toy],” says WuzOne. Some customizers like Sekure D are able to get to drawing on the figure without

WuzOne working at his work space

drafting things out on paper first.

“I sketch on paper and plan maybe only 10% of the time. I usually prep, then sketch right onto the toy.”

Sketching directly onto the surface of the toy helps to get a better sense of spacing and color blocking than a 2D render would. It’s also a great technique for making the painting process easier by giving yourself

guidelines right there on the toy to follow with your brush. Why eyeball it when you can pencil everything on first?

On the flip side, since The Bots work in clay, they need to have their ideas locked down right from the start with little room left for experimentation. “We always start with a sketch and nail down every detail before we begin. It’s very important for us to have a solid idea of what we are doing down to the exact colors, because once we start laying clay, there’s no turning back.”

Prepping your custom isn’t the most fun thing in the world. But it will help you have a much easier time down the road. Think of it as spending a little bit of time doing somewhat boring tasks instead of spending double that amount of time doing infuriating tasks after screwing something up. You’ll thank yourself later.

That’s all for this month. Check back next issue where we’ll talk about sculpting appliances to add another dimension of customization.

Jenn & Tony Bots’ work space

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Kiss My Ass, 2015

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Beethoven Installation in Playa Vista, CA, 2014

THROUGHOUT THE THOUSAND-YEAR HISTORY OF STAINED GLASS CREATIONS, MANY INNOVATIONS HAVE OCCURRED BUT LEAVE IT TO MURALIST DAVID FLORES TO MAKE THE GREATEST LEAP FORWARD: NOT USING GLASS AT ALL. MIMICKING THE APPEARANCE OF MOSAICS AND OTHER CAME GLASSWORK, FLORES’S WORKS ARE STRICTLY ILLUSTRATIONS, PAINTINGS, AND VINYL OBJETS D’ART. STARTING HIS CAREER AS A FREELANCE ILLUSTRATOR FOR SKATEBOARD COMPANIES, FLORES QUICKLY ATTRACTED ATTENTION AS A FINE ARTIST WITH VINYL FIGURES SOON FOLLOWING. TREADING THE LINE CAREFULLY BETWEEN COPYRIGHT INFRINGEMENT AND ART, FLORES’ USE OF ICONIC IMAGERY HAS, RATHER THAN LANDING HIM IN HOT WATER, HELPED FORWARD HIS CAREER. HIS WORKS ARE INSTANTLY RECOGNIZABLE, NEO-POP ART THAT INCORPORATES THE FORMS OF MICKEY MOUSE, THE SMURFS, AND MANY OTHER CULTURAL ICONS. REGARDLESS OF HIS POPULARITY, FLORES STILL CONSIDERS HIMSELF AN “ALTERNATIVE TO THE MAINSTREAM,” SMILING AS HE QUICKLY ADDS “WITH A MEAN AESTHETIC.” DID YOU ALWAYS KNOW YOU WANTED TO BE AN ARTIST? No. I still don’t. It’s just something that happens to you if you’re a fucked up dude, you just have to be an artist, it’s in your soul. Along with that comes a life long struggle; sometimes you win and sometimes you lose. I have been winning for awhile now though, but that comes on the tail of some major losses. No big deal.

TELL US A LITTLE BIT OF YOUR LIFE, YOUR ART JOURNEY. I was born and raised in Tulare, California. I went to public school and played a lot, I never wanted to grow up. My mom took me to oil painting class when I was a kid, [and] that’s when I was bit by the creative bug. I

had always been able to draw really well, but I never perfected that. I would move from one thing to the next constantly.

For a while, as a teen, I stopped making art altogether. I was into cars and [motor]bikes. But, then again, I restored bikes and cars, so that’s a form of art, I suppose.

WHAT WAS THE BEST ADVICE ABOUT ART YOU EVER RECEIVED? If you’re gonna make art, make so much you can’t be ignored. But I was young when I heard that.

WHAT ADVICE WOULD YOU GIVE A YOUNG DAVID FLORES? I will probably cry if I have to get into

this answer too much, but, for the most part, “stay outta trouble, calm down, and seek therapy, you dumb ass lil’ shit.” I would’ve knocked me out probably! (Laughs) Again this goes back to the severed ear. Stay creative, keep making stuff, keep your head down, and start now.

Go for it, don’t let people’s words pull you down! People matter, so it’s hard to look past them.

WHO GAVE YOU YOUR FIRST BIG BREAK AS AN ARTIST? I’ve never had a big break!?! Let me know when it arrives, I’ll be in the studio.

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James Dean Installation (in progress) in Los Angeles, CA, 2011

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nerd out hard on Egon Schiele, be really inspired and go home and draw like him. I’ve always been good at just copying artwork for practice. That was before I invented a style of my own.

Now I look up to and admire the people who are working the hardest.

A lot of old school photographers, who killed it back in the day, don’t do shit now, apart from sit around their old stock, trying to find ways to get money. Evil doers, man, I tell you they are real.

WHEN DID YOU SOLIDIFY YOUR WELL KNOWN “STAINED GLASS” STYLE? STORIES YOU CAN SHARE FROM BACK IN THOSE DAYS? I think we would need a whole issue to cover that! But yeah, I used to be into drinking pretty heavily and it lead to some fucked up situations. I quit drinking and now I’m boring, almost normal.

SINCE YOU WERE IN THE SCENE, WHO IS OR WAS YOUR FAVORITE SKATER? Favorite skater of all time? Probably Steve Caballero. He’s been in the game since I was a child, and he’s still ripping.

WHERE DO YOU FIND THE INSPIRATION FOR YOUR DESIGNS? I used to go to the bookstore and just

1999 is when it really became solid. It started with some wine, and a desire to see something new. More than that, I was feeling alone and needed something to call my own. Everything is hindsight.

I’m so far ahead of everything that I have to look back to keep up. I’m not bragging, [and] hope I don’t sound lame, but if you hung out and we talked [then] you would know we keep it elite.

DO YOU CONSIDER YOURSELF FIRST AND FOREMOST A STREET ARTIST? I don’t consider myself a street artist at all. A muralist, maybe painter, I’ll even just take the artist title, but not

a street artist. I’ve never done it, just murals. People tend to confuse the two forms of art since they are so closely related these days.

HOW DO YOU APPROACH CREATING A BIG MURAL FROM CONCEPTION TO COMPLETION? Conception depends on where we are painting, like what’s the significance of the building, etc. Once an image is chosen, we outline the piece on the wall, get to work with filling it all in, then lastly the black line work that ties it all together.

IS THAT THE SAME WAY YOU APPROACH TOY DESIGN OR IS IT A COMPLETELY DIFFERENT PROCESS? Totally different. Toy design is all done on sketchpads and computers, and never leaves those mediums until the toy is actually produced.

WHAT ARTISTIC OUTLET DO TOYS PROVIDE YOU? WHY DID YOU START DESIGNING TOYS? [The] satisfaction of a threedimensional piece brought to life.

And Paul Budnitz from Kidrobot approached me to make a toy. I said, “Yeah, let’s do this,” and it went from there.

THAT WAS A DUNNY FROM THE 2007

Sketchartis (detail), 2008

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amazing. A true art form that has birthed so many other art forms as well.

Mickey Mouse, 2008

WHAT ABOUT THE SHAPE OF THUMPER RESONATED WITH YOU TO CHOOSE IT AS YOUR FIRST ORIGINAL DESIGNER TOY FORM? Thumper, from 2008, was just in the loop for awhile as a character I really liked. That’s when we were doing a lot with Disney and the Block 28 collab that was put together by Les Schettkoe.

WHERE DID THE DEATHSHEAD MICKEY DESIGN COME FROM? Danny Boy [O’Connor from House of Pain] brainstormed the original Deathshead, and he gave it to me to illustrate in my style. It came out so fresh we said “let’s make a toy!”, so we did.

HOW DID YOU GET INVOLVED WITH DANNY BOY AND THE HELLFIRE CANYON CLUB? Danny Boy called me up and we just kicked it. I think we really understood each other creatively. That man is one of the most creative people on the planet, people should know that. He has always been years ahead of the trends and sometimes that’s a curse because, by the time people get into it, you have moved on.

SERIES 4 SET, CORRECT? WAS THAT THE FIRST TOY YOU DESIGNED? WHAT ABOUT CREATING THEM MADE YOU WANT TO MAKE MORE?

not so much toys… a toy is something you play with, no? These are to be collected and displayed like art would be.

No, actually it was the Kon Artis that was designed first. But the Dunny came out first since it didn’t need to be made from scratch. I suppose it was an interesting time, and to make more is just human nature.

WHEN YOU REINTERPRET A CULTURAL CHARACTER, LIKE MICKEY MOUSE, DO YOU THINK THAT HELPS THE AVERAGE JOE CONNECT WITH YOUR MESSAGE? MAKING SOMEONE ELSE’S CREATION INTO SOMETHING ENTIRELY YOUR OWN CAN’T BE AN EASY TASK.

SO YOU SAW VINYL TOYS AS AN ARTISTIC OUTLET, A WAY FOR COLLECTORS TO STEP INTO THE ART COLLECTING WORLD, AS OPPOSED TO BEING A COMMERCIAL PRODUCT FOR MAKING MONEY? It’s both. People make money from figures, and some artists have done really well. If you buy a KAWS figure, or Futura’s Point Man, to me that’s where the art comes in. I really did consider them to be little sculptures, 30 | Clutter 29

TELL US ABOUT YOUR LATEST FIGURE, KISS MY ASS. WHAT WERE ITS ORIGINS? It’s the Deathshead bent over. I think Danny Boy came up with the pose, I’m not sure… maybe we did it together. It’s a softer vinyl version of the Deathshead. Kiss my ass!, here I’ll grab my ankles for you. It’s a joke. He’s mischievous and fun, also really good with a butterfly knife. He

Good observation. I probably do that in my subconscious. [As for why,] they’ve got good form, but it’s form over function. There is absolutely no reason for line work over an existing character, [except] it’s art.

SINCE YOU USE THEIR CHARACTERS QUITE A BIT, DO YOU LIKE DISNEY? You are lucky to even get to ask me about that company! Yes, Disney is S.M.I.L.E. - Sun, 2014

can flip that shit around his hand at mock speed. Watch for even more Deathshead.

Deathshead Mickey - BAIT Blue, 2013

HOW INVOLVED IN THE PROCESS OF PRODUCTION ARE YOU? Pretty involved. For instance, the Kiss My Ass clay sculpts that were produced in Tokyo had way small feet, so I do things like instruct the sculptors along the way to change things that don’t seem right to me.

HAS DISNEY HAD ANY ISSUES WITH ANY OF THESE FIGURES? Not yet! (Smirks) WHEN YOU CREATED A BLIND BOX SERIES, WHY DID YOU OPT TO USE THE SMILEY FACE AS THE BASE? DOES THE NAME — S.M.I.L.E. — MEAN MORE THAN THE OBVIOUS? WHY IS IT AN ACRONYM? Sorry Man, I Like Everybody — or S.M.I.L.E. — is a nod to the original ‘60s smile image. It’s a little bit sinister if you think about it, a giant yellow dot telling you to have a nice day. It’s a drug reference, always has been, always will be. That’s why the S.M.I.L.E.s are like round pills, but nobody really knew that until now…

REGARDING YOUR UPCOMING PLAYBOY ART TOY DESIGN, WHAT MADE YOU WANT TO LEND YOUR ARTISTIC VISION TO A PIECE FOR THAT COLLECTION? WHAT ABOUT THE MAGAZINE DO YOU FIND INSPIRATIONAL?

guy like you to help them and you both to achieve the goals you set.

I just think Playboy is an amazing property to collaborate with. I’m thrilled to see the Playboy Bunny come to life as a sculpt, it was long overdue.

Be original, stop copying, stop acting like it’s your style… it’s been done and the kids who invented it are the proprietors. The ‘me too’ generation was born late. But shit changes, so I’ll be out here working for tomorrow.

THOUGH THE PLAYBOY FIGURES AREN’T BEING RELEASED WITH NAMES, DID YOU IMAGINE A NAME FOR YOUR PIECE? IF SO, WHAT WAS IT?

WHAT ADVICE WOULD YOU GIVE AN ASPIRING ARTIST?

Bridgette.

ARE THERE ANY ARTISTS OUT THERE WHO YOU THINK SHOULD GET MORE RECOGNITION? Absolutely not. Everybody is already famous enough. If you can’t do it with all the easy insta-avenues and get popular quick apps, then you just suck at it and should quit or get into the business end. There’re a lot of kids out there with raw talent, they could use a

ART. WHY DO YOU THINK THAT IS? That’s just the roots of the movement, to get up by any means. Back in the day, to have a toy or figure out was [a sign of] success, it was a new plateau to aspire to. Now it’s kinda not the same, it’s saturated like everything else. They let all the non-talent — the ‘me too’ generation — have a crack at it and that’s what happens…

WHAT’S THE FUTURE HOLD FOR YOU?

I would advise most aspiring people in the arts to give up and get a job. It’s not for everybody. You literally have to cut off your ear to do it right. If you don’t, then what you do won’t matter.

It will to you and your homies, but really it won’t. Not in a way that’ll be remembered anyway. I’ve done it, I live with it, it’s real out here!!

THE MOST HIGH-PROFILE DESIGNER TOY CREATORS WHO ARE ALSO RECOGNIZED IN THE ART WORLD SEEM TO HAVE A BACKGROUND IN STREET

Death most likely, but for now…

WHEE! I want to say thanks to all the endless amounts of love and sponsored support for my work throughout the years by everybody from the shorties to the Coliseum! It’s been good.

For more information on David Flores, please visit: WWW.DAVIDFLORESART.COM Clutter 29 | 31

BIG EYES

BY NICK CURTIS

AS HINTS OF COLOR PLAY PEEK-A-BOO UPON HIS IMMACULATELY COMPOSED PIECES, OTTO BJÖRNIK IMBUES HIS PAINTED SCULPTURAL ART WITH OVERSIZED, ALLURING, DOE-LIKE EYES. TRANSFORMING THESE “WINDOWS TO THE SOUL” INTO THE MOST EXPRESSIVE ELEMENT ON THE FACE, THIS FILIPINO ARTIST HAS BEEN ASTONISHING COLLECTORS SINCE HE FIRST PLACED BRUSH TO VINYL. RECENTLY HAVING RELEASED HIS FIRST COMPLETELY ORIGINAL SOLO ART TOY, THE DIMINUTIVE ASIATIC VAMPIRE BAI CHU, THE TIME SEEMED RIGHT TO SHINE LIGHT UPON THE FANTASTIC FICTIONAL WORLDS OF THIS SUBLIME AND SUPERB ARTIST. Bai Chu (Pu-La Edition), 2015

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These are elements of an ongoing narrative about forest deities and nymphs — phosphenes — that I started in my illustrations back in 2009. So when I shifted to painting art toys, I tried to bring as much of it to the platform.

What is your narrative about forest deities and nymphs? Is it a full-fledged story that you hope to tell one day?

Bai Chu (Pu-La Edition), 2015

Tell us about yourself and your art background. Formally trained? Selftaught?

I’ve always loved drawing ever since I was a kid. And I also wanted to be a painter, a dream that was cut short by the realization that I would have better chances of becoming an architect. But after earning my license, I pursued art and indulged in art-related activities.

I guess the only training that I got was when I worked as a graphic designer and being surrounded by creative people.

What about working on art toys was attractive to you? What made you opt to sculpt and paint on these pieces instead of more traditional mediums?

I used to work with pen & ink, but I was diagnosed with Carpal Tunnel Syndrome. I needed a creative outlet that is less strenuous to my wrist and decided to get back to my first love which was painting. It was also around that time when I learned about the world of art toys.

I’ve always loved toys so the discovery got me so excited. As a kid, I would get so upset whenever my toys’ paints faded or scraped off. I used to wonder if there was a way to repaint them other than using my mom’s nail polish! Wish I could go back in time and console and teach my younger self to paint. (Laughs)

It was challenging. At first, I wanted to replicate my intricate pen and ink style on the three-dimensional platform. But it would take me a month to finish a piece if I did that. The most difficult part of the transition was probably working with a non-absorbent ground. I was a watercolorist who learned how to use acrylics on vinyl.

It started with the portraits I did for friends and my obsession with details. At first it was just capturing their essence by incorporating their childhood memories, interests, priorities in life, etc. But then my other friends and even strangers would relate to these drawings. So back in 2009, I started Phosphenes that is a collection of portraits that attempt to capture the beauty of an evanescent muse. Like bashful lights that flit and fade in the darkness, this muse continues to elude me. But I’m confident I will be able to tell the story soon.

Your pieces tend to be monochromatic with ‘pops’ of color added. Does this constrained color palate hold significance to you? Do you feel it helps your works have a more iconic and memorable tone to them?

It makes the gemstones/colors pop.

I think this palette together with the huge eyes will remind people of my style.

“Effeuiller la Marguerite,” 2012

Speaking of the eyes, there are certain elements that reoccur in your works, like the large eyes and flowers.

What attracts you to these choices? Do the symbolize anything specific to you?

Did you find transitioning from pen & ink illustration to three-dimensional painting to be difficult? What aspects of this change in mediums challenged you the most?

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Bai Chu (Ah-Sul Edition), forthcoming

Bai Chu (unpainted prototypes), 2015

Bai Chu (Kyoo-Ti Edition), 2015

The Tale of Bai Chu the Bloodthirsty Hundreds of years ago, there lived an infamous Commander General named Bai Chu. Bai Chu was feared by enemies and friends alike, for he was a fierce and ruthless leader, and he inspired the utmost dread in those who would oppose him. Incredibly ambitious, he hungered for power and plotted to take over the world with his army of fearless warriors. Tales of how Bai Chu would behead his foes and drink blood from their still-beating hearts were especially terrifying, and mothers would tell them to frighten disobedient children. “If you are bad, Bai Chu will come for you in the night!” they would caution a wide-eyed child.

One dark and stormy evening, in unexplored forested lands of Calinan after a bloody battle, Bai Chu lay restless in his tent. While devising plans to gain more strength and conquer more nations, he thought he heard mournful voices outside. Instantly alert, he quickly came out to investigate, and very soon he was lost in a huge forest where the very trees seemed to whisper in the wind. Suddenly, an old lady appeared in front of him.

“Help me, O great warrior, for I hunger so”, she croaked. Bai Chu scoffed and raised his weapon in anger!

“Fool crone! Know you not who I am? I am Bai Chu the bloodthirsty, the long-lived, the mighty! I will put you out of your misery!” But before he could lower his weapon to take her head, the old woman vanished, the wind seemed to beat and howl, and in her place a beautiful diwata appeared. She spoke with the voice of the wind:

“O Bai Chu, in your arrogant pride you have become so small. From this day forth, I curse you to hunger, to be insignificant and ignored!

Bai Chu the bloodthirsty: I make you a blood drinker.

Bai Chu the long-lived: I make you immortal.

Bai Chu the mighty: I make you smaller than a tiny child’s plaything!

The spell shall only be broken when your heart becomes true. It is done!”

And that is how Bai Chu the Bloodthirsty became the cutest, smallest vampire to ever exist. He refers to everyone he meets as his Dark Minions. As he is too small to really drink a large human’s blood, he subsists on blood oranges, which he finds are surprisingly delicious. It is not uncommon to find blood oranges near him, with two tiny tell-tale teeth marks. Bai Chu is still quite fearless, and likes to run at his enemies ferociously screaming his own name: “Bai Chu! Bai Chu! Bai Chu!” From a distance, it sounds like a small voice is yelling “Biteyoubiteyoubiteyou!” from somewhere around your ankles.

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You recently released the Bai Chu figure, which has an Asian vampiric vibe. What is the inspiration behind this piece?

I wanted to do something fun and reminiscent of my childhood. And I’ve always been fascinated with the jiangshi after watching a movie that I could no longer remember the title.

They looked funny and silly and my friends and I would play games where we chase each other like it. The design is also a departure from my usual feminine style. I was hoping for a figure that would appeal to everyone.

Does Bai Chu fit within your other narrative or is it something completely separate?

The tale of Bai Chu can stand on its own. But he is already within its realm.

The spell still needs to be broken that means there will be additional characters. It could be a nymph, a deity or even something that could be my next production toy.

Did you come up with Bai Chu’s story or sculpt first? How did the character evolve?

I already had this idea and how my the figure would look like during my second year of customizing. And because it’s an original piece, the challenge for me was how to make it look good from all angles. The story was influenced by the figure, made it less serious to make it fit in my overall narrative.

How are the Bai Chu figures produced?

Are you doing every element of their creation personally?

I developed the design and sculpted the prototype myself. That took me around six months. But I don`t have the knowledge in rotocasting so I contracted a local manufacturer to cast and initially paint the figures.

I received the resin cast figures pre-painted for quality control and final painting. Vince Su of VTSS has been an integral part of the project.

He supported me from the very start and he also took care of looking for a supplier and shipping the packaging to me. If it were not for him, it would have probably taken another year to release Bai Chu. You self-released the red Pu-La edition and then VTSS had the pink Kyoo-Ti edition for Young Art Taipei. Where are these edition names derived from? Can we expect others in the future?

They`re simply Filipino colors that were made to sound Chinese. (Laughs) Pu-la means red and Kyoo-ti for cute pink. People will learn more colors in Filipino with the next editions. There will also be a very special artist edition before the year ends.

Do you think you’ll do a Bai Chu figure in conjunction with a custom art toy?

Like a Dunny character that pairs with a Bai Chu and is meant to be a set?

I actually have a 3-inch Dunny version of Bai Chu but haven`t revealed it yet as it might steal his thunder.

He`s planning world domination in a far-flung forest. I can imagine the possibilities with all the creatures he encounters in there.

What else does the future hold for you and your art?

I learned a lot from this stressful yet fun experience. Production is something I want to get my hands on.

I would like to get a closer look on the process and impose a strict quality control. That`s why I will try to produce the succeeding editions with my own team.

Our local scene is teeming with talented and passionate young artists.

I guess it`s high time to share what little knowledge I have with them.

“Pisces,” 2012

For more information on Otto Björnik, please visit: bjornik.com Clutter 29 | 37

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Beaver Industries: Sawyer, 2015

PERSONALLY SELECTED BY INNOVATOR AND ARTIST ASHLEY WOOD, THE ENGLISH CREATOR CRYSTAL JADE VAUGHAN IS PART OF A NEW DESIGNER TOY REVOLUTION ATTACHED TO THE 3A BRAND NAME. FILLED WITH VISIONS BOTH FANTASTICAL AND FUTURISTIC, VAUGHAN’S THREE-DIMENSIONAL WORK HAS ALREADY MADE THE COLLECTOR WORLD TAKE NOTE OF HER STYLISTIC AND SAVVY CONCEPTS. WITH TWO TOY LINES ALREADY UNDERWAY AT 3A, THE SKY SEEMS THE LIMIT FOR VAUGHAN. BUT BEFORE WE DELVE INTO THE WORLDS OF HEX AND BEAVER INDUSTRIES, LET’S CONCENTRATE ON THE FASCINATING WOMAN THAT CREATED BOTH OF THEM.

In my spare time outside of the entertainment industry, I got heavily interested in robotics, aviation, and aeronautics. I became a pilot and began incorporating technical knowledge into my concept art.

What had started as a side passion, began to envelope the core of what I loved. Movies, comics, animation, video games, toys, sci-fi… I loved all of it. Meeting Ashley Wood allowed everything I’d ever loved to come together to create a unique form of storytelling.

I was always a huge fan of Ashley’s beautiful paintings. When I went to visit a friend who worked at Blizzard, he had this massive — and I mean HUGE — collection of Ash’s 3A work.

I completely fell in love with it all.

I’m an avid toy collector, and lover of sci-fi, history, and strong design, so 3A really resonated with me as an artist. At the time, I was working at Microsoft as a concept artist, and I saw that Ash was holding interviews at a[n upcoming] convention for a new designer.

Beaver Industries: Milky Bot, 2015

I work in London remotely for 3A at Pinewood Film Studios. My role is to design and manage my own toy line within 3A. I create new intellectual properties and worlds. I then choose what story moment to develop further as a toy release, how to encapsulate those moments into something physical and immersive.

Before 3A, I worked writing pitches for movies and animated content, as a concept artist in video games for Microsoft and Sony, and fashion concept designer for Hasbro and Disney.

How did you first meet Ashley Wood? How did that meeting evolve into you having your own lines released by 3A?

So for months it wasn’t pretty. I’d finish work at 7pm, and work from 7:15pm to 2am to try and figure out my toy lines. It may not seem like a big deal to some people, but at the time I had no savings at all, so I worked overtime and freelance just to be able to afford the flights to see 3A! I wanted the pitch to be perfect, and some things I still wanted to figure out. So I sat in a dingy hotel room for five days solid, with the curtains drawn, living off noodles and hotel kettle water. On the fifth day, I’d worked till 8am in the morning,

Beaver Industries comic cover, 2015

What’s your background and what’s your association with 3A?

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and it was time to get ready for the interview with Ash! I remember my eyes streaming, and totally bloodshot.

I was worried I looked too horrific to hire, but then I saw the con exclusive was a Zomb, and I thought, “Ya know, maybe I’ll fit in here…”

When I went for [the] interview I was so happy to see Ash. He was down to earth, razor sharp, witty, and just an all-around cool guy. We got on, and I knew we’d work well together. We both loved working hard, and I really respect that about him. So I left my job at Microsoft and started work fulltime for 3A. I’ve loved it ever since.

What was that first line you pitched to Ash? I had initially created a toy line called BINARY that I pitched to Ash several years ago. The idea was two characters, one called 0, the other called 1. I’d photograph them consecutively, therefore generating a unique binary code, eg: 00100001.

The audience could then use an online translator to decipher secret drops, or secret exclusives’ dates, and [other] messages. However, Interstellar came out, and the concept of [using] binary code became saturated.

It’s a shame binary has been overdone in Interstellar and other concepts. I feel as though if I released it now, it wouldn’t be an anomaly. So I shelved the idea, instead developing the algorithm for the Hex universe

Speaking of Hex, what is that line exactly?

What is the back story of the world and who are the main characters we’ll see?

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Hex is a dark fairytale line and explores the fantastical, eerie, and odd. The name refers to the lead female character, and all the connotations of enchantment, curses, and magic that come with it.

a way that elevated their realness and grit. To create a world not so far from the retro-fantastic movies I had grown up with, but also characters that could translate beautifully to standalone museum quality toy figures.

I wanted to create something with all the essence of the great Henson fantasy films of the ’80s, and indeed great fantasy literature and mythology.

The Dark Crystal, Labyrinth, The Never Ending Story, Star Wars, Legend, Return To Oz, Willow, those films felt [like] a part of my DNA. My intention was to go back to the darkness of the original Brother’s Grimm works and try to reimagine and reinvent the key conventional characters we know, in

The story of Hex is rooted around a circle of fairytale women warriors. They decide to capture and take prisoner the Deaths of the realm. They are not easy to catch! Deaths roam misty valleys, or lonely alleyways of villages well into the dark of night, dressed in the guise of small children. You can often hear their laughter rippling across the silent lakes, or on the breeze of a cold night, drifting in and out of mind’s eye. Yet these fearful

Hex character design head turns, 2014

Hex: Pumpkin Pi, 2015

formidable creatures are kindly folk.

Their purpose filled with innocence, their job to kindly shut the eyes of those that need it most, those whose time has come. With the Deaths locked deep in a mighty HEXED fortress, great wickedness and all manner of devilish wreaking has awoken from shadows…

Will Hex join the forces of the blackest magic ever known, or stand alone to save an extraordinary world?

Hex is a mathematical algorithm too, where each figure released is a mathematical symbol in the equation, the first release being Pi, or π [3.14159]. All the characters are mathematical terms, and each has their own unique space in the algorithm and story of Hex. I looked at multiple formulas to see what patterns could equate and translate nicely into toy versions. Like music, different harmonies, possibilities, and outcomes. For instance, Hex’s sisters are called Sin and Prism, and Hex’s name is an abbreviation of Hexadecimal!

Wow, that’s fantastic. Where did the idea of incorporating mathematical terms come from?

I like storytelling with science and maths. Maths, like music, is a universal language. In the same way, toys are a universal language. As technology continually evolves, I’d like to think a new era of dynamic storytelling with toys will rise in conjunction.

You’d mention the first Hex release, Pumpkin Pi. With this, you made a 1/6th scale figure that felt more like a sculpture

than a toy. While the figure is removable from the pumpkin shell bath, she displays so perfectly within it. Was this more sculptural side intentional? Will future releases in this line be similarly designed?

Wow, thank you. That’s a huge compliment. I always admire the hard work of the sculptors from 3A, SideShow, and movie sculptors in art departments. I work a lot with those guys, so it’s really close to my heart.

For Hex, I wanted to try something that could be a colorful diorama for people. Most of the audience are creatives themselves, so it’s fun to provide a little creative freedom if they want to pose her solo with her magic sword, or more in situ, nestled under her midnight shade bubbles!

That’s the thing, that kind of playfulness allows the figure to become more of a display piece for a work desk, home decoration, or as a collection piece. I’m most looking forward to seeing awesome photos from fans of Hex...maybe they’ll set off a smoke grenade and have Hex emerging from the billowing purple plumes! Now THAT would be epic!

Changing gears a little, what can you tell us about your other toy line from 3A, Beaver Industries?

Beaver Industries is a science fiction world. It’s the name of an industrial production plant, and the key location and component of the story. It’s effectively a robot governed system that sees a standalone employee try and unearth the secrets of what Beaver Industries really is, and what is secretly being developed there in Clutter 29 | 43

the subterranean vaults and hangers.

Sawyer is the lead female character and takes us through a stunningly beautiful wilderness, into the heart of an intelligent concrete life-form.

It’s a psychological, science fiction thriller. The toys were a great way to explore the characters in a bespoke way, where they felt like they’d literally come to life.

What is the significance of the milk bottle imagery, seen in both Sawyer and the Milkbot releases?

I love Victorian history, and product development through the ages. Seeing a brand from 1800, and to watch its evolution through time to where it stands [in the] current day. It’s stimulating to see what components shift, and what upgrades. That’s an interesting concept applied to any system really, but for this, I wanted to add something that felt historic and used, to a futuristic sci-fi world. It provides a definite juxtaposition, which in turn provides contrast visually for the design.

I know that 3A has been making a big push towards releasing comics that tell the story of the toys. Will we be seeing these for either Hex or Beaver Industries?

I think sequential art is really powerful in helping the audience understand the characters and story of the toys.

Effectively, it’s the movie version in 2d stills, and you can hold it in palms of your hands. It’s personal. There’s also room for interpretation for the reader, not everything is solidly visualized on a screen. The comics are the blueprints for everything the toy can’t describe; motion, sound, dialog, story, etc. I’ll be releasing an ‘Art of…’ book, which will contain pages of comic story, and development sketches, concepts, and secret notes of early developments!

That sounds fantastic! What else can we expect in the future from you and your 3A lines?

I’m going to think about releasing Hex’s awesome sisters and more new fairytale characters. Also, new Beaver Industries!! Can’t wait!

For more information on Crystal Jade Vaughan, please visit:

www.worldofthreea.com/catalog/ crystaljadevaughan Beaver Industries comic page, 2015

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By Miranda O’Brien Photos by Victoria Lara Photography victorialaraphotography.com

If you happen to be in Pasadena, California during November, then you are either there to attend Designer Con (DCon) or you are wondering who the bunch of toy and design loving weirdos that have taken over are. With a mission to “bring the latest and coolest products in the world of design and pop culture” to their attendees, Ayleen Gaspar (Toy Break / October Toys) and Ben Goretsky (3DRetro) have spent, just short, of the last decade growing a convention that is simply unsurpassed.

Starting out in 2006 as the Vinyl Toy Network, a place for makers and collectors to get together and discuss their passions, Gaspar and Goretsky joined forces in 2009 with a goal of expansion; a goal which has undoubtedly been achieved and is continuing to be met. Not only have the duo solidified DCon as a successful brand, they have grown to fill an exhibition space of 73,000 square feet, which hosts over 330 exhibitors and more than 7,000 attendees from all over the world.

What makes DCon unique is that it isn’t run by a huge corporation with its self-imposed bureaucracy and layers Tell us about how DCon started.

Ayleen Gaspar: A decade ago, when designer toys were still emerging in the U.S., there wasn’t a central convention for art toys of any kind. Of course, some companies went to San Diego Comic-Con, New York Comic Con hadn’t started yet, and there was a small local show called Qeeology that happened a couple of times, but 46 | Clutter 29

of politics, it is founded and managed by a dream duo who are not only designers and manufacturers, they are FANS. And that is the real key to their success. They understand the marketplace from both perspectives: what exhibitors need to be successful and what collectors need to be encouraged to turn out.

Last year was bigger and badder than ever before, with praise ringing out loud from exhibitors and attendees.

We caught up with Gaspar and Gorestsky, as they ride the high, to see what inspires them and what the future holds.

nothing dedicated to this growing niche market; Ben saw a chance to help the community grow by putting together a show that really focused on these crazy art toys we were all making and buying.

art scene in Los Angeles brought us together as co-hosts of Toy Break, organizers of DCon, and friends.

Ben Goretsky: It officially started in 2009 when Vinyl Toy Network morphed into DCon, but it was our of love designer toys and the lowbrow

Goretsky: We realized the show needed to grow, but the name didn’t signify the different vendors we wanted to attract and be part of the show. The

Why did you change the name from Vinyl Toy Network to DCon?

Vinyl Toy Network name made it seem the show was all about vinyl toys. By changing the name to DCon, we could still stay in the realm of designer vinyl toys but also include resin, plush, apparel, prints, original art, and all other aspects of design.

Have you been surprised by the growth over the years?

Gaspar: I wouldn’t say surprised exactly, but extremely pleased. We try to stay in touch with our vendors throughout the year and make the show a little better for everyone each time. We’ve had a very steady and manageable growth over the years and that is because of our incredibly awesome vendors and attendees.

Goretsky: We are surprised and excited that DCon has grown so big so fast— Gaspar: It started out small in a 1,100 square foot room and now we have grown into a 73,000 square foot space!

Goretsky: —but, at the same time, there is no other show that focuses so much on this particular scene as much as DCon does.

Gaspar: Although we do use several mainstream advertising methods, a lot of our growth in attendance has been from word of mouth, which is the best.

This community of creators, designers, and fans is truly one of the best around and I count myself extremely lucky to be a part of it.

What’s the most fun thing involved in organizing a convention?

Goretsky: Seeing it all come together.

It’s amazing in the end to see all the amazing vendors in one space. No other show has the array of vendors that DCon has. Every year we get more and more amazing companies that produce fantastic products that we all love.

Gaspar: Ditto. After spending so much time organizing the show during the year, it’s incredibly awesome to see

everyone in one place! I love seeing old friends, meeting new vendors, watching attendees as they discover some amazing toy or piece of art for the first time. DCon is generally pretty relaxed and it’s just incredible to share a whole weekend with so many friends, artists, and colleagues all geeking out over each others stuff!

Why did you initiate the Suckathon

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live broadcasts during DCon? Gaspar: We actually did not initiate the Suckathon, that’s all Sucklord and DKE Toys.

Goretsky: The idea started small.

The first year Suckathon happened it was in a 10x10 booth where the Sucklord interviewed people on the fly and would capture the attention of people just walking by. The next year, we decided to move the Suckathon to a live stage area where attendees could better watch the show and the Sucklord do his magic.

Gaspar: Toy Break helped out by broadcasting the show live for fans that weren’t at DCon, but all the hard work was Sucklord and DKE. Why have Sucklord host these instead of making them Toy Break live broadcasts?

Gaspar: George and I used to broadcast live when I was less involved with the convention management, but now Toy Break live isn’t really an option because I am too busy running the show.

How was last year’s event?

Goretsky: It was amazing.

Gaspar: Fantastic!

Goretsky: With over 300 vendors, we had a record attendance over the two days. Immediately afterward, we already had vendors and attendees excited and waiting for DCon 2015.

What were the standout releases for you from last year’s DCon?

awesome friends who let me play with their toys.

Gaspar: There were so many!

What should we expect this year?

Goretsky: Too many to name, but off the top of my head: the Prints on Wood releases, Onell Design releases, Circus Posterus releases, DKE resin figure releases… so many more!

Gaspar: We will be about the same size as last year, but we will be redesigning the panels and presentations as well as including some big art shows and expanding a few product sections!

Gaspar: Uamou, Mystical Warriors of the Ring, Flat Bonnie, the Sicklings from Yosiell Lorenzo… the list goes on and on! The problem is, I never get to do as much shopping as I would like and I always seem to miss some amazing products! Luckily I have

Goretsky: More art, more toys, more design and — most important — more fun.

Gaspar: You definitely won’t want to miss DCon 2015!

What are you hopes for the future of DCon? Goretsky: To keep the show exciting and interesting for attendees. We hope that the show not only helps the vendors in the hall but at the end of the day helps the community as a whole. When people see this show they get excited about the products, the artists, and the whole scene.

This excitement is what keeps our community of artists, collectors, manufacturers… strong and that’s what we really hope for.

Gaspar: I couldn’t have said it better myself!

For more information on DesignerCon, please visit: www.DCon.com

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