“CUSTOMS” INTERVIEWS – PART IV: COMMISSIONERS

The last part of this article should indeed be the first as everything begin by them: the commissioners. I didn’t even know that this role existed in the customs Market until this afternoon (August 9). Luckily, the first part of the interviews pave the way to a commissioner, Wolfgang J and a new interview, as well as a new part of the article was born. I don’t know very well what a commissioner does and this interview is an attempt to clarify that.

Addendum (August 11): luckily enough, my articles lead me yet to another commissioner (who chose to remain anonymous) and now we have an interview with two viewpoints of commissioning and the Customs Market. What is great, so I can present a broader perspective on the subject.

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1 – So before the producer comes into scene there are the commissioners, is that so?

Wolfgang Krenner (WK): I wouldn’t say there is a rule for that as the people at certain factories work by themselves but some offer people to commission statues to be made.

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Commissioner 2 (C2): Well that's kind of a complicated question.  Producers can and do make their own pieces, however someone that wishes to commission a piece can approach a producer about doing so.

2 – What exactly a commissioner does?

(WK): My part - when I did my Deadpool commission - was to bring the idea to life. Have someone to sketch the idea and a good Sculptor/3D Sculptor to get it done.

Sketches of the Deadpool on throne in different parts of development.

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(C2): Another complicated question.  For the most part the commissioner is the idea person, they seek out the producer with an idea in mind.  The commissioner also has to be the financial backing unless some deal is worked out beforehand.

3 – Do you get a share of the profits of a custom you helped to design? How much (percentage)?

(WK): Also depends on the factory. I insisted that for myself I’m only interested in statues and I don’t need to make a profit (especially when it’s a custom statue). I decided that with my share I want to get kits to have them painted at Fat Monster Studios and support some of my friends with statues for reviews and give my closest friend one for free as he couldn’t afford it.

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(C2): You do indeed get a share of the profits if you so choose to produce several copies instead of having a one of a kind.  The percentage is also negotiated between both parties.

4 – From where commissioners get their ideas?

(WK): Reading comics, watching movies.

-/-

(C2): Ideas can come from anywhere from a particular comic panel that they like to a random idea they think up.  The beauty of customs is not being restricted by what licensors deem appropriate for a pose or sculpt.  You want a specific character in a specific pose?  Go for it.

5 – How do you know your ideas will sell?

(WK): I got a lot of feedback when I first posted the idea of Deadpool on throne and Xionart was also like "let’s do this"... so I had more than just "a good feeling" about it.

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(C2): In short, you don't.  It's a risk investing in a custom piece, you could end up losing big time.  You have to judge what you think people will like or find interesting enough for them to spend their hard earned money.

6 – If there’s an exchange between you and the community in such early stage of development of a piece, how to guarantee your idea is not stolen? Is that some code of honor in the customs Market?

(WK): Of course. The statue community on Facebook is a vital part of the whole Custom Market. also I have to admit that I’m writing with like 10 people at once all the time on Facebook and considering Deadpool I talked to Alex Thomas from Radd Titan [Facebook group] day and night about the parts that should be included and how to do it. Also when you post it on Statue Collectors [Facebook group] you get a lot of input and good ideas.

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(C2): You can put your idea up for critiques from the community, ask for what should be added or changed.  Most of the time you work in private, communicating with the producer and artist until you feel you're far enough along to being taking interest on the piece.  I'd like to think there's a friendly gentleman's agreement not to steal ideas, but in reality anything is possible.

7 – What’s the most fun and the hardest part of being a commissioner?

(WK): The most fun about it is to get in contact with people who share the same passion for statues and get to know people around the world. We are all united by the same hobby. The hardest part is probably the waiting time until you see a prototype or a painted prototype! ;)

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(C2): The most fun is hands down working with the artist to fulfill the idea you have.  Seeing a piece take shape with your input as well as the artist is truly something special.  The hardest part is definitely advertising your piece and dealing with customer service aspects.

8 – Is there projects that start without having a commissioner involved?

(WK): Of course - a commissioner is not necessary to do a good statue when you got a factory with good ideas themselves. ;)

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(C2): See question 1.

9 – Does the commissioners serve like a seal of quality for a given figure? Or the producers fit that role better? Or both?

(WK): Sure... you build up your reputation as a creative member of the community but the quality is determined by the factory and the products/paintjob you chose or the factory choses.

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(C2): Not quite sure what you're asking here.  I mean if you're new to the commissioning world I can see where you might want to link up with a producer that is well established so that you can have some credibility for your project.

10 – Could you hinted us what you’re cooking up right now?

(WK): At the moment I’m working closely with David Warboss from Fat Monster Studios on several projects like the custom painted Deadpool with base which is ready to be shipped but we also focus on doing custom paintjobs from several other commissions and soon my Captain Punisher will have its appearance as a prototype. The origins of this project are from "War Journal" which is a series which takes place in the time when Cap got assassinated in civil war and someone was supposed to take his role - so Punisher did it (but only for a short time as he decided he feels more comfortable killing in a sleeveless shirt).

Cap Punisher, another creation of Wolfgang Krenner and collaborators.

Daedpool custom painted is coming out.

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(C2): That'd spoil the fun.

11 – How the brainstorming for a new figure happens?

(WK): Usually with some alcoholic beverage and Google… :P

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(C2): For me it isn't so much brainstorming as that makes it sound like a process geared at pushing out products.  If I feel strongly towards something and I think others will appreciate it, I'll begin planning the piece.

12 – How much time on average from the first idea to the finished sketch sent to be modelled?

(WK): Depends on the producer and how picky you are about changes. I started the idea for Deadpool on throne with Alex Thomas and Abdel in December 2014... so we officially released the info on February 2015 and till it was shipped and everything it took almost a year - but mostly because we had a lot of changes and Romell Compra was so nice to not kick my ass for all those changes :P

-/-

(C2): That can vary wildly.  You can have an idea, but then where you go from there depends on how you approach it.  You can hire a concept artist or go straight to approaching a sculptor to begin work or any number of avenues.  All of which takes time, communication is crucial and shouldn't be rushed.

13 – Commissioners are responsible for selling and marketing the pieces to the community or this the job of the producers?

(WK): My regular job is in an advertising agency so I do most of the visuals myself and, it’s hard to explain, but people just write you to get more info on the product. Like I said it’s about creating a kickass piece which will get the collectors to get in contact with you instead of running around advertising it. ;)

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(C2): It can be a bit of both, usually I've found that it's the commissioners duty to market their custom.

14 – What’s the difference of a commissioner and a producer after all?

(WK): Hard to tell - we better leave this out or it gets confusing. ;)

-/-

(C2): Producers either serve as go betweens or produce the pieces themselves.  Commissioners are individuals with ideas that they'd like to pursue via a custom

15 – Do you have input on the overcome of the piece once it’s passed to production?

(WK): I was able to fix some parts I didn’t like, like transitions, but this depends on the factory.

-/-

(C2): Not sure what you mean here, if it's your project you should have creative control.  Though once something is in production you really can't change much without it costing you greatly as 3D printing can be exorbitantly expensive.

16 – How do you became commissioners? Tell us a bit of your story.

(WK): My story about collecting is pretty funny as I played World of Warcraft with friends for a long time and we were into collecting figures for about 30-50$.. just for the fun of it. When I one day saw the Arthas statue by Sideshow I knew I needed to have this for my gaming room and shortly after I found a local guy selling it for a good price. So when I got my first piece I was completely hooked and started spending my weekends building Ikea Bestas [modular furnishings very used to display statues] in my bedroom ;)

I’m just grateful my girlfriend is very tolerant about my hobby as others might have already freaked out with 30 + statues in 1 room! ;)

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(C2): Just have had ideas that I thought others would enjoy as well.

17 – Can one live solemnly of commissions or do you have a second job to complement income?

(WN): For me it’s not about the income – let’s be honest I invested a lot of time and money - more than I got out of it, but I managed to make collectors happy and this is what counts for me. In total, I made a few thousand with the kits but the money got mostly invested into Fat Monster Studios to be able to get new airbrush and new material for printing. I want to invest with them as they are in Europe and "just around the corner" so I have influence in the projects and can assure quality.

-/-

(C2): (Too personal)

18 – What it takes to be a commissioner?

(WK): Creativity ;) we have so many creative people in this industry I’m proud I could be a part of it with Deadpool.

-/-

(C2): Other than having an idea and approaching a producer to see if they'd take your commission, it involves finding an artist you'd like to sculpt your idea in either traditional sculpt or via an electronic tool like Z-Brush or similar modeling software.  You also have to have enough funding to begin the preliminary work on your potential piece.

19 – What would astonish you the most: to see an alien or to see a ghost?

(WK): as I don’t believe in ghosts until I’m one myself I would love to see an alien - but I would prefer if it wasn’t like the Alien from "ALIEN"! ;)

-/-

(C2): Ghost.  Statistically speaking, aliens should exist.

20 – Three favorite bands and three favorite movies

(WK): That’s a hard one - I rarely can say I have a real "favorite" and I kinda don’t have the time anymore. But I’ve never changed my taste in music, I still listen to a lot of oldschool hiphop which was always my favorite music. I could say my favorite artist is Chris Webby and the movie I enjoyed the most in the last few years was Guardians of the Galaxy - I also really enjoyed the soundtrack

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(C2): Bands: The Heavy, RHCP, and The Bee Gees.

Films: Goodfellas, Oldboy, and Shawshank Redemption.

21 – Any last phrase or quote or message you would like to leave to our readers?

(WK): Oh damn, I hate to be inspirational - I always feel like one of those posters you put on your wall in the office so you don’t freak out completely. I’m just happy that this hobby brings together so many people of different countries and nationalities

And last but not least I want to shout out some special thanks to

Alex Thomas and Radd Titan

Romell Chompra

Bien Flores

Jay from Halimaw

Azad Karazhan

Carlos Rego

David Warboos and the whole FAT MONSTER STUDIOS TEAM

Abdel from XIONART

And of course everyone who worked with me or is in regular contact with me who I forgot due to the fact that it was a heavy hitting Friday. ;)

-/-

(C2): Recasts are cancer, support your local artists by either buying legit licensed pieces or by buying customs from reputable people.

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Thank you so much. You helped me to cover all the parts of the Customs Market. May you enjoy great success in you commissions and in your lives overall.

Below the links of the other parts of this article:

- PART I - PRODUCERS

- PART II - SCULPTORS

- PART III - PAINTERS

TO SEE A LIST OF LINKS TO ALL 

EXCLUSIVE INTERVIEWS FROM CCFIGURES

CLICK HERE.

“CUSTOMS” INTERVIEWS – PART II: SCULPTORS

In our journey across the customs market seas, we dock to talk to a center piece of the whole process of the Market: the sculptor. Without the sculptor the producers have nothing to produce and the collectors have nothing to collect. Is the sculptor who gives life and movement, expression and body, who materializes the project into a piece that can be replicated (or not).

To broaden even more our discussion of customs market I’ve contacted two sculptors who I’m sure will give different perspectives of the custom sculptor work since one works only with 3D software sculpting and the other only with hand sculpting. The first is from the first world, the other from the third world (Manila, Philippines). One is a young talented man, the other a 50-year-old sculptor whose greatest joy is to know their kids are going to school. They are David F. Barruz and Martin Apollo. Both very talented artists no matter how different the methods and realities are.

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1 – Hello, thanks for talking to our readers about the customs market. The first question that comes to my mind is: how do you get a work? How a project of a sculpture arrives to you? Is there more than one way? Please explain to us: how sculptors get their jobs?

David F. Barruz (DB): Hello! Thank to you and your readers for this opportunity.

It's funny because I don't try to get a job really. I didn't knock any door but I will do of course.

My commissioner uses to work in more than one project with me and these people use to recommend me to others.

The world is changing and every professional needs to understand this change.

I just try to show my work on social networks and try to help as much as I can to my commissioners and other sculptors mates.

This is not a competition about who is better, this is about learn, teach and do the best you can for collectors.

So, this is my way to get a job: just passion, hard work and good felling.

-/-

Martin Apollo (MA): I got my first project from a producer here in Manila; it was Superman by Alex Ross it was displayed on an event, toycon, then other producer contacted me that's where I got my works.

2 – Once the character is chosen do you create it freely or there is a brainstorming or the commissioner briefs you to say exactly what he/she/they want?

(DB) All depends of the client and the project. For example, I can make my 3D concept art for wargames miniatures with my team.

I always work with my commissioners. They are a very important part of the team.

I could say that my commissioners are the director and I'm the art and technical director... and digital sculptor of course! Lol

-/-

(MA): When a producer give me a work from a commission, I just have to follow what they want with the project even if I did not like the outcome of my work.

3 – Do you work with 3D software sculpting or you still use your hands and clay to sculpt? Or use both (in this case, in what hand sculpt betters the 3D modelling)? If you use 3D software which one(s) you use?

(DB): I must say that I'm a digital professional.

This a great question: What is better hand sculpts or digital sculpts?

I think that we are talking about 2 different technics that can be complemented.

But think about it like this: what is better watercolor or oleo paint?

3D let us work faster and be ready for changes... that is the truth.

Practicality, speed, flexibility. That is 3D digital sculpting.

-/-

(MA): I'm a traditional sculptor I also wanted to learn 3D sculpting. For me I feel hand sculpting is best because I do it from scratch.

Martin Apollo loves to use his hands to sculpt,
even though he dreams in learn 3D digital sculpting

4 – What gives you more pleasure in sculpting? Which stage of the process is more fun?

(DB): I enjoy every phase except cutting lol!

For me the most important is the pose. I really enjoy finish the pone with anatomy... more even if it's a female sculpture. Men are not so beautiful and sensual. Hahahaha.

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(MA): For me everything is fun from start to finish. […] Women superheroes are very hard to sculpt.

5 – Do you love what you do or you do for obligation? Or it changes with the tides?

(DB): I do what I love for sure. This is what I was waiting for all my life.

I was working in 3D for 14 years as generalist and I could apply for films and videogames but for now I'm where I want.

-/-

(MA): Both. I love sculpting, it makes me happy whenever I finish my work and also it helps my family.

6 – A freelancer sculptor can live solemnly of sculpting nowadays? Is the income from sculpting enough to guarantee a comfortable lifestyle or do you need a second job to complement income?

(DB): Yes we can live as freelance sculptor. I must say that I'm working with a little sculpting team as a studio. We have a lot of work to do... right now 7 statues 1/4 scale and a lot of miniatures as well. I can't complain at all.

-/-

(MA): If you're in a company, let's say Sideshow, I think a sculptor there will have enough to have a comfortable lifestyle.

7 – Is there any character you didn’t get to sculpt yet but always wanted to?

(DB): Sure! Motoko Kusanagi from ghost in the shell manga. Please somebody commission me some Masamune Shirow characters! Lol!

-/-

(MA): A lot but there's one that I really love to do: Predators!

Predator. A Martin Apollo favorite.

8 – Are there periods with no commissions at all?

(DB): Not really. I was working for a Spanish miniature company and after that I get a lot of commissions. That’s why I needed to give an opportunity to my best students and now they are part of this studio project.

-/-

(MA): Yes, for superheroes, but I have to look for a job like Christmas character.

9 – Do you collect figures or have any other hobby? If you collect, what’s your grail? If you have any other hobby what it is?

(DB): Ok... I must confess I'm not a collector. My hobby and passion is my work but my grail is the Spider Gwen 1/4 sculpture is did.

I collect my own work! Lol!

In the other hand I love my long board. :)

1/4 Spider Gwen. Holy grail!

-/-

(MA): I don't collect figures, whenever I got one I give it to my brother but there's one figure that I like to have the one I sculpted for Halumaw Sculptures, Wolf Predator, that's my grail. Basketball is my other hobby. To stay fit.

10 – How much in average is a custom statue more expensive than a Sideshow one of the same scale?

(DB): I don't know really. I'm just the sculptor and don't know about custom sales and conditions. Sometimes people ask me about the statues and I just try to help giving my commissioner mail for that statue.

-/-

(MA): It’s less expensive for I only do sculpting. I don’t know for how much the producer sell them. I earn 1,500 pesos (32,04 USD quotation of 2016-07-25) per inch.

11 – How the ES (Edition Sizes) influences your work? You receive more the more statues are produced or is the other way around: if you get a commission for one statue only, your price rises?

(DB): I try to give a good price for good clients always. I like to try to help. You must have in mind what scale will be. More for miniatures than 1/6 or 1/4 statues. There are no difference for me. For miniatures, you have to make deeper details in order to easy the job for miniature painters.

-/-

(MA): Depends on the scale that I do. The bigger, the better.

12 – If you’re called to work on a big statues company would you accept or would you turn the offer down and continue to work as a freelancer?

(DB): Hummmm… I don't know! I suppose that this would depend on the conditions. I would love to work in other countries and have new experiences but I can do it to right now as freelancer. However, I'm open for new opportunities always.

-/-

(MA): I think I would have to continue to work as a freelancer, but if I were younger, I would accept it.

13 – Can you do the painting job of a piece as well as sculpting? If so do you do that or the producer of the statue gets a painter to colorize the statues?

(DB): I can make a digital paint and make a realistic image to show how the statue final paint will be.

-/-

(MA): I only do sculpting, the producer have its own painter

14 – Which was the biggest edition size you’ve ever made and what was the smallest?

(DB): Bigger was 1/4 scale and smaller was 28 mm to the eye... Sorry I'm not sure what scale it is.

-/-

(MA): I can't remember the  biggest quantity that I’ve done (more than 50) but the least is the Grimlock only one piece for it’s very big, stand 15' high, 26' long

15 – What’s your favorite character? Did you sculpt him/her/it already?

(DB): Again Motoko Kusanagi or any Masamune Shirow character. I'm waiting mates. I'm here!!! Hahahahaha

Anyone who reads this, please commission Motoko Kusanagi to this man!

-/-

(MA): Superman. That was with him I started to be recognized by the producer here.

Who could stand a chance against Martin's Superman?

16 – Is there a character or characters that you’re always asked to sculpt or you never sculpted the same character twice?

(DB): Not really. I always prefer female characters but it does not depend on me. I work for collectors and I always try to give a great piece.

-/-

(MA): Yes: Superman, Hulk, Juggernaut, Wolverine, Spiderman.

17 – What is the best part and worst part of your profession?

(DB): The best part is to see my work in a collection. I really enjoy the pictures and videos from the people. The illusion is the best prize for me.

The worst part is when commissioner doesn't follow my workflow or don't give a clear feedback because that makes me lose work.

I developed a pipeline to avoid this and still deliver great quality [pieces].

-/-

(MA): The best part is sending my kids to school. I have 5 children and they all go to college my youngest is still in elementary. The worst is working over and over in just one project takes a lot of my time.

18 – Do you believe that even in these times of 3D software modelling each sculptor maintains his/her unique style?

(DB): For sure! I have my style and my assistants have their style. Working together makes the projects better a better.

SHAZAM!

-/-

(MA): [Note of the Editor: there was no meaning asking this for Martin]

19 – How much time it takes on average to complete a statue (with the base)?

(DB): If I only work in one statue, it’s in between 2 weeks and 1 month.

-/-

(MA): Depends on a figure that you’re working. Superman takes a month. Predators takes about 3 months.

21 – What characters you sculpt the most: Marvel or DC?

(DB): For now DC but it depends on the commission.

-/-

(MA): Marvel.

Nice Spider Symbiote, Mr. Martin!

22 – Once 3D printing become a mainstream product, capable of printing and painting a statue in let’s say, one hour, and costing, let’s assume, $800.00, what will happen to our hobby? I believe it will become virtual, you’ll sell a blueprint of the statue with a validation code to the buyer and he/she will print it in their homes and customize it if they will. Assuming they know how to work with 3D software, of course.

(DB): I think that this will be the future. However, if you just print you will have not the same as a hand painted statue. Painters are artists!

-/-

(MA): [Note of the Editor: again, I saw no point in asking this to Mr. Martin]

23 – What can you tell to a collector who’s looking to acquire a custom figure but don’t know how?

(DB): just follow me in your network. Maybe you will see something you like it! Hahaha!

Serious now: The best way is Facebook, following custom statues groups and pages.

-/-

(MA): Look for the best company that do superheroes.

24 – Which big company do you think is the best? The more creative? The one you admire the most?

(DB): For me Iron Studios of course.

-/-

(MA): Sideshow. They’ve been there for a long time.

25 – What advices would you give to a person who wants to become a professional sculptor?

(DB): Learn, learn, learn, learn. Be patience, kind and never let your ego work for you.

-/-

(MA): Love your work.

26 – What would astonish you the most: to see an alien or to see a ghost?

(DB): Hahahaha! I don't know, maybe an alien?

-/-

(MA): Aliens.

27 – Three bands and three movies.

(DB): Bands: Vintage Caravan, Eluveitie, Sia.

Movies: Chihiro (Muyazaki's spirites way), Ghost in the shell, all Batman movies with Christian Bale.

-/-

(MA): Im not for bands: James Taylor, Jim Croce and Don McLean.

Movies: Law Abiding Citizen, Con Air, Air Force One.

It was very interesting to interview both of you from two completely separated worlds connected by the same profession, by same passion, by the same hobby every one of the readers here share. I would like to wish all that is best to both of you and wish specially for Mr. Martin a happy 50^th birthday on August 18. May you two and those you love and care be healthy and in peace. And in the school!

OTHER PARTS OF THIS ARTICLE

- PART I - PRODUCERS;

- PART III - PAINTERS;

- PART IV - COMMISSIONERS.

TO SEE A LIST OF LINKS TO ALL 

EXCLUSIVE INTERVIEWS FROM CCFIGURES

CLICK HERE.

“CUSTOMS” INTERVIEWS – PART III: PAINTERS

Our customs journey wouldn’t be completed without the third and last part of the process: painting. Custom painting isn’t only done in custom figures, most of the time, I guess, it is done to better the quality painting of great companies pieces. Or they are asked to paint and assemble kits someone bought and don’t have the skills to do the job (my case). And I’m not talking specifically of custom kits but original big brands kits as well. They only do restorations and mods to the figures.

Of all the three pillars of customs world, painting is the one that brings less trouble to who practices it, or so I believe. To discover more about the world of custom painters I’ll interview three very experienced and talented painters with different backgrounds: Raymond Roel, Ian Wilkinson and Ed Bradley.

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1 – Hello, thanks for talking to our readers about the customs market. The first obvious questions that comes to my mind is: how do you get your paint jobs? How the collector searching for a painting service reaches you? Or the producer, for that matter?

Raymond Roel

Raymond Roel (RR): Hi. Let me start off by saying that painting, customizing, kit bashing & sculpting are my hobbies.  My passion.  The majority of the projects I tackle are for myself.  I don't advertise or have never reached out to anyone looking to get work.  Once in a while I'll post a piece for sale somewhere & once in a while someone will reach out to me asking for something unique.  The easiest way to track me down is via Facebook.

-/-

Ian Wilkinson

Ian Wilkinson (IW): I get all my work through word of mouth, I don't advertise or try to get paint work in as I find this has a negative reaction, I also would think if the painter or sculptor

had not much work in, then are they too expensive? Or their work is not that good. At the moment I have work booked many months in advance and it’s always like that. A lot of

my paint jobs can be found on the net and various sites, when people see a nice kit painted and a name is attached they get in touch with the painter or sculptor.  

-/-

Ed Bradley

Ed Bradley (EB): The easiest way to find producers, sculptors and painters today is through Facebook or other social media. It’s the easiest, most popular and free way to advertise or network and most can do it through their cell phone. You just have to know where to look.

2 – What kind of services do you offer your clients? I believe there is a number of ways you could aid a collector from repainting a head of a Sideshow statue to assemble and painting a whole kit from scratch. Could you name other services you offer or the market offer?

(RR): I'm an artist.  I'm capable of repainting statues, props, figures, kit building, sculpting, restoration of pieces, design work, canvas work, fine art & prints.

The last pic is a special Darth Vader piece Ray Roel did for a program called "Give Kids The Dark Side"
a charity similar to Make-a-Wish.

-/-

(IW): I can just about turn my hand to any form of painting, custom work, molding, casting all of which add to the work I get in, I get a lot of damaged statues that need re-sculpts and lights re-fitting. Then there is the kits I get sent that need assembly- one main area I often do is full repaints of statues, people see a prototype paint job and then receive that statue and it’s nothing like what they first looked at - I can get it looking whatever they want.

By Ian Wilkinson

-/-

(EB): My services include repairs and repaints to existing statues, building and painting of resin and vinyl models, re-sculpting, custom bases and lighting.

By Eddie Bradley

3 – Do you ever been contacted by a customs producer to paints their sculptures? If so the remuneration worth all the hard work?

(RR): I have. I laughed at the offers.

-/-

(IW): I have done many different statue and kit lines for producers, it’s something I prefer doing as I can work with a more specific client idea of how they want the finished piece to look like, I have done most things from busts, figures, custom parts etc.

By Ian Wilkinson

-/-

(EB): Yes, I have been contacted from time to time about painting an entire run of figures. It’s usually not in my best interest to take on that kind of work, it limits my ability to juggle multiple projects and keep things from getting stale.

4 – It is expensive to hire a professional painter like you to, say, assemble and paint a kit? Could you give us an idea of the value range and which variables makes the prices go higher?

(RR): Expensive is a relative term. There are many factors that go into pricing , let's say building / painting a kit or painting a prototype.  Size & detail are the two biggest factors, deadlines could be an issue, how fast does the client want it?

-/-

(IW): Everyone I know who paints charges in different ways, I charge per full build and paint - this can be as cheap as £80 for a small bust and up to a few hundred for very large pieces, molding and casting adds a lot more cost onto a piece, as does adding acrylic eyes to busts and real hair.

-/-

(EB): Hiring an artist can be expensive if the project is large or has a large number of parts.  Every artist charges differently.  But I would say that pricing usually depends on the scale of the figure and how elaborate the details and base might be.

By Eddie Bradley

5 – How many years of experience do you have? Tell us a bit of your trajectory.

(RR): I have 25 years of experience in painting statues & customizing kits.   I have been an artist since I was a child.  I saw my first figure model kit when I was 19.  It was a Horizon Terminator 2 endoskeleton.  I saw this at a local hobby store, built & painted in a display case.  I was hooked.

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(IW): I’ve been painting for well over 40 years, maybe longer, but the last 20 years have been more intense and the last 8 or 9 years constant, I have an Arts degree so I’ve always had a love for painting.

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(EB): I started building and painting back in 1998. I didn’t start approaching painting seriously until 2010, and started doing custom work for members of online forums.

6 – What’s the most fun part in painting and what’s the more difficult?

(RR): I enjoy painting faces, ironically that tends to be the most challenging part.  Faces bring the pieces to life.

By Ray Roel

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(IW): The most joy I get from painting is viewing the final, finished product. I also love discovering new things mainly by accident and by watching other artists at work.

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(EB): I have fun when I am just working with my headphones on and nobody is around to bother me. Seeing a project come together after so many hours is always satisfying. The difficult part is trying to bring it to life the way the client envisions it. The more visual reference they provide, the easier it becomes.

7 – Can you make a living out of custom painting or do you need a second job to guarantee income?

(RR): I imagine someone does it.  For me it's a hobby, I am Director of Marketing for a health care firm in Tampa, FL.

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(IW): I think you can make a small living from painting, but to me it’s a great hobby - if it would become a full time job it might take the fun out of it…

By Ian Wilkinson

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(EB): You can make a living as a custom painter if you have the talent and the time. It’s definitely not for everyone and it’s probably better to do it part time until you establish yourself enough to keep steady work.

By Eddie Bradley

8 – What is the service you’re more requested to do? Do you enjoy it?

(RR): The jobs vary. I'm very picky about any projects I decide to tackle, so yes I enjoy it!!

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(IW): The service I get most to do is kit building and painting… And yes, I love it.

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(EB): Most of the custom work I am asked to do is Superhero kits.

9 – If a great statues company tried to hire you, would you accept?

(RR): Sure, If the price was right.

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(IW): Yes (as long as it was a subject I like to do).

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(EB): Yes, I am currently working for several statue companies.

10 – What are the tools you use for painting?

(RR): Brushes.  Lots & lots of brushes, old & new.  I work in acrylic paint, sometimes watercolor & gouache. I forgot to mention I paint everything by hand.  No Airbrush!!

By Ray Roel

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(IW): I use several airbrushed, pastels, washes, pigments, brushes in just about everything I paint.

By Ian Wilkinson

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(EB): I use whatever works. I have my favorites but I experiment from time to time. I use ComArt transparent paints, pastels and any brand of waterbased acrylic.  If I had to recommend a specific line of paints, it would definitely be the Garagekits.us line of airbrush ready paints.

11 – Do you think every painter has his/her own style even though different pieces require different styles like, say, an anime character and a Batman?

(RR): For sure every artist has his/her own style. Speaking for myself, I stick to what I'm good at although sometimes I have to adapt (my style) to the requirements of the job.

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(IW): Yes definitely - I can spot quite a few artists work as they tend to stick with the same tones when doing skin etc. After a while, you can tell who painted or even notice traits in sculptors as well.

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(EB): Every painter has a style, an approach and a set of techniques that make them stand alone.

By Eddie Bradley

12 – What do you enjoy the most about painting statues? By the way do draw or do you paint pictures like on a canvas or something?

(RR): I enjoy the distorted reality of it. I like when someone see a picture of something I have done & doesn't believe it's "not real".

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(IW): The thing I love is flesh tones, especially female - there is so much variety you can do, it’s interesting to get them looking all slightly different. I never draw or paint anymore on canvas etc.

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(EB): The best part for me is the day after I have completed a project. Seeing it finished with new eyes and looking it over to see if there is anything I can improve on before shipping it.   I can draw a bit and I try to sculpt from time to time, but painting models is pretty much my main outlet.

13 – Is the assembling of kits a boring part of the job or do enjoy it as well?

(RR): Not at all, sometimes it's relaxing simply cutting & gluing.

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(IW): I love assembly work, the 1st stage of getting a kit to prep stage is just as enjoyable as the painting of it.

By Ian Wilkinson

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(EB): Assembly is fun for me, especially when you have a challenge like parts that won’t fit properly or when I’m asked to alter a pose or add an accessory.  I’m not a fan of air bubbles though. It’s just a pain and eats away my time.

14 – Did you already have taken a custom statue line to paint what was the ES (Edition Size)? If you did was it a boring work?

(RR): I have not.  I'm a prototype painter not a production painter.

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(IW): I have done small runs of kits for people but nothing large, most kits producers do under 20 runs - painting the same stuff over and over is great as it’s a challenge to get it all looking the same.

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(EB): I did a custom Doctor Doom head w/ removable mask as a replacement for the Sideshow PF statue. The ES on that was around 33.

15 – Are the clients specific about what they want you to do with their statues or they give you creative freedom?

(RR): Most folks give me a general idea of what they want & then they let me do what I do.

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(IW): It depends, I get one client saying just go for it; then I can get a load of input from another client. I prefer to get the client involved...

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(EB): It varies, some clients give me freedom and others are very specific.

By Eddie Bradley

16 – What would astonish you the most: to see an alien or to see a ghost?

(RR): An Alien.

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(IW): An alien… When I was young I used to see many ghosts, I believe in the supernatural more than alien life visiting us.

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(EB): Probably an alien, I don’t believe in ghosts!

17 – Three bands and three movies.

(RR): Bands - Depeche Mode, Foo Fighters, The Beatles; movies - Star Wars,  Fight Club,  The Godfather

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(IW): Bands - The Smiths, SoftCell, Radiohead. Films - Scum, any horror movie, Alien.

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(EB): Bands - Aerosmith, Earth Wind&Fire, 3 Doors Down. Movies - Predator, Robocop, John Carpenter's The Thing.

18 – To finish, what advices would you give to people who wants to paint professionally sculptures or any other medium?

(RR): Practice.

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(IW): Anyone who loves art - painting or sculpting - just keep going – you’ll learn by mistakes and by finding new ways of doing things… Never give up.

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(EB): My advice to anyone wanting to paint professionally... Be patient.  Do work that excites you but also take on projects that you might not be as interested in. You need to be diverse.  Put your ego in a box and focus on meeting deadlines and making clients happy. Most of all: network!! Show your work whenever possible and get to know everyone in the hobby.

Thank you so very much for taking your time and answer these questions. I bet they will elucidate several questions from our fellow readers. With your help we close the cycle of interviews about the Customs Market. I hope you achieve what you dream and wish the best to you and to those you love and care.

OTHER PARTS OF THIS ARTICLE:

- PART I - PRODUCERS;

- PART II - SCULPTORS;

- PART IV - COMMISSIONERS.

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EXCLUSIVE INTERVIEWS FROM CCFIGURES

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