I’ve been doing interviews with some of the
best sculptors in the Market today. For a change, today I’ll interview an
artist as important in giving beauty and realism to the figures we love: the
painter. This guy I’ll interview certainly been on the road for a long time and
know some places. Before we start, take a look at Ed Bradley’s Facebook
profile:
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| The story of collectibles industry in one profile. |
1 - You surely knows the Market and has a long
history in it. Let’s start from the beginning. How did you choose your
profession and how was working at Bowen Designs? How did you get there?
Ed Bradley (EB): I chose my profession as a part time thing
initially. It was a natural progression and it made sense to me. I was painting
for collectors, making money and doing what I enjoyed. Eventually I wanted to
try painting for a company. Randy Bowen
was kind enough to give me a shot after I contacted him through Facebook. I did some fill-in work for about a year. It
was a great experience and much different from what I had imagined it would be.
I had no idea. Lol.
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| Randy Bowen made a good choice, as always. |
2 - Why the decision of going self-employed? It
has to do with freedom of choice or better income?
(EB): My decision to become self employed was fueled
by various things. I spent 14 years at a
steel processing plant and I knew it was a dead-end job after my second year.
From 2012 to 2015 I was painting on the side for Bowen Designs and then
Kotobukiya. Eventually the paint work picked up and my full time job was
holding me back. So I had a decision to make and I made it. It had more to do
with doing work that was fulfilling and not so much to do with income.
3 – I saw on your profile that you currently
work with several of the greatest studios of the Market. Could you briefly (or
extensively, is up to you!) describe the differences and similarities in
working with each one? Do you have to adapt your style according with the
studio or you just go and do your job all the same? Do you use the same
materials and tools with each one of them?
(EB): The similarities are that they all have a
target to reach and they answer to the license holder. So all of the design
work, sculpting , fabrication, painting and production has to be approved at
each step. When the prototype reaches me, I am provided with as much visual
reference as possible. Usually a turnaround sheet or list of Pantone color call
outs to make sure the product is true to the source material. I rarely get to
choose my colors. I use the same materials for every job.
4 – Do you believe you have a recognizable
style and so do the other painters? If so, what denounces a piece is painted by
you? I realize you like to use slightly darker tones of red, am I wrong?
(EB): Yes, I’m sure my work has a certain look to it,
and most painters do have a style. I think what makes my work look like
"my work" is probably most noticeable on the superhero stuff. I like
keeping my work clean and sharp where the costumes break, and I keep my shading
subtle. I also try to stay away from going too bright on colors whenever
possible. But it’s not usually up to me.
5 – Do you love what you do? If you could
choose another job, what it would be?
(EB): Of course, I love what I do. It just feels
right and fits. If I could have another job... I’d work at a hobby shop or
something.
6 – Do you also paint things other than statues
and figures? Do you draw? Do you paint on canvas, per example?
(EB): I draw with my kids and I can color a damn
good Scooby Doo. That's about it.
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| Thanks, Ed! |
7 – I believe the painting job requires immense
concentration and precision, one has to have a steady hand. Does this turn the
profession stressful or it’s more like a cathartic thing, you just forget the
world and for that moment there’s only you the tints and the figure?
(EB): I just zone out and do stuff. Time goes pretty
quick and eventually I stop and evaluate my progress, then make tweaks here and
there.
8 – What materials a professional painter uses?
What kind of paint is more used? When to use an airbrush and when to use a
brush?
(EB): Some painters may disagree, but I think the
type of paint only matters to a certain extent. I use whatever gets me the
results I’m looking for. I use my airbrush mainly for base-coats and shading
muscles or the folds of a cape.
9 – In these various jobs you do, do you paint
a series of the same figure or do you only makes the “artist proof” (is what
they call it isn’t it?)?
(EB): I usually paint 2 identical copies called paint
masters. One copy goes to the factory and the other stays with the home office.
After the factory has completed a few samples, they send them to the home
office to be compared with my original paint master. That way they can address
any concerns with quality before the full production run is completed.
10 – Do you live quite distant from some
companies. How do you get (and give back) the pieces to paint living so far?
(EB): Yes I live quite far from my clients. We just
use UPS or FEDEX to ship the figures.
11 – Do you have to redo the painting if it
doesn’t please the person who decides about the figure? Who is this person who
decides generally, what’s the name of his/her function? Is it common or
everything is previously thoroughly discussed to avoid repaint or this varies
from company to company? Do you have some degree of freedom when painting what
will be the base for a mass produced figure?
(EB): Yep, the person I receive my direction from is
called an art director or paint manager. If something I’m doing doesn't fit or
isn't approved, it is their job to let me know what needs changed. Everything
is usually discussed before I begin and the amount of direction can vary from
company to company.
12 – Do you believe someday in the future 3D
color scans and printers will turn painters obsolete?
(EB): I think it is more likely that it could
replace certain aspects of production workers in the factory but I don't see it
taking over on the paint master.
13 – Could you cite 2 figures / statues from
each company you’re most proud of your work (including Bowen Designs).
(EB): Union Jack and X-Factor Cyclops for Bowen
Designs, Deadpool and Iron Man for Diamond Select, Rogue and Black Panther for
Kotobukiya and Rocket Raccoon and Groot for Sideshow Collectibles.
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| Favorite works for Sideshow Collectibles. |
14 - What’s more difficult to paint to a
company or to do a custom painting? They are different challenges or it’s the
same thing?
(EB): I wouldn't say either is more difficult, it’s
just a different approach. It’s
different because a custom job isn't bound by any rules, it’s all up to the
collector.
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| I wanted my uniform pink and golden, just like Phoenix! |
15 – Do you sculpt even if only for leisure?
Because some sculptors paint their private works.
(EB): Absolutely. I sculpt from time to time just to
have fun.
16 – Is there someone that was or is a font of
inspiration to you? Who?
(EB): Sure, lots of people have inspired me. Comic
books, movie monsters and action figures consumed my childhood and never really
stopped. So the artists who created all of those things were providing my
inspiration and continue to do so.
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| When the paint really adds to the sculpture. |
17 – Can you tell us a hint of some
super-secret project you are working on?
(EB): Well… I’m not supposed to talk about these
things but I’m currently working on some construction paper with Elmer's glue
and macaroni noodles.
18 – Do you use gloves to paint (because I
believe the paint must be very difficult to remove from one’s hands)?
(EB): Yes, I wear a glove on my left hand when I’m holding
parts. It’s more to protect the work than to keep paint off of my hand.
19 – The price of the figures are quickly
inflating with the boom of popularity of collectible figures. Does your salary
rises at the same proportion? Why do you think the prices almost doubled in
some companies in the last couple of years?
(EB): I won’t pretend to understand how any company
gets its numbers.
20 – How do you do to guarantee the quality of
the painting once it goes to mass production? Generally, if something is to
come wrong in a figure it is the painting. How do you do to minimize this?
(EB): I have no involvement with quality control.
21 – Have you been on SDCC? If not, have you
seen the figures that debuted there? Some paint job called your attention among
what you saw?
(EB): I have never been to SDCC but I see all of the
work that is showcased there. There's
too many to pick just a few out but Jason Wires and his crew kicked some
serious ass this year.
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| Ed wasn't there, but his work went to SDCC. |
22 – How a professional painter does to get in
the industry? Do you have some tips?
(EB): I would say to get in the industry you need to
let your work speak for you so your mouth doesn't mess it up. If you've got
what it takes and you do your job, then you’ll have work. Know your strengths
and weaknesses and be honest about them so you don't end up taking on work that
you really aren't ready for.
23 – Are you happy with your life the way it
is? Did you find your place in the world so to say?
(EB): I am extremely happy with my life and I have
found my place.
24 – Cite three painters and three sculptors
you admire from the Market. And cite three painters from History of Art, if
any.
(EB): Three painters- Joe Dunnaway, Kat Sapene and
Steve Riojas. Three Sculptors- Andy Bergholtz, Mark Newman and Joe Menna.
Painters
from History? In my history it’s Bob
Ross, Frank Frazetta and Norman Rockwell.
Thank you for painting this digital canvas with
your words, giving it a completely new meaning I believe our readers will love.
Hope all the best to you and yours. Once again thank you. It’s always a pleasure
to have you here at ccfigures.
(EB): Thank you for taking an interest in what I do. It’s
been a pleasure.
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