Lets Give a Warm Welcome to Mr. Chris Brown, Everybody

Today I have an old story for you, something I would imagine you're all tired of hearing about on the Twitter and the Facebook. But hey, in case you haven't heard, guess what? Chris Brown made a vinyl toy with artist Ron English. The figure, titled "Dum English" was released for sale earlier this year and you can get a look at it here. Again, this is nothing you don't already know but it is important background to the issue at hand. But before you read any further, in the interest of giving both sides of the argument a fair voice, I implore you to download and listen to episode 12 of the Ya' Heard Show. If you've never listened to Ya Heard before you're in for an interesting experience. Hosted by Ritzy P., Shane Jessup, KaNO, and Sket-One, it is a podcast covering various topics relating to the designer vinyl and street art scene. Visit their site for a better, more articulate and accurate, description than that but it gives you an idea. If like me you have a difficult time following along with the conversational style of the show what with the in jokes and lingo I'm way too unhip to understand, feel free to skip ahead to the only segment relevant to today's discussion, entitled, "Slow your roll," in which the crew discusses Chris Brown's foray into the toy making scene. 

Done? Have Ya Heard? Get comfortable and read on, this is a long one.

I do most of my podcast listening in the car during my long commute to and from work and yesterday, about 45 minutes away from a computer and Twitter, was about the point where Sket started to kick off the group's feelings on the topic. I turned up the volume. I listened intently. I grew more and more frustrated. Kept listening and heard them through, up until the point where Ritzy P. suggested (in a not-so-kind kind tone) that Mr. Brown could eat a heaping helping of male genitalia. I'm known for healthy doses of hyperbole and aggression but even I've never suggested someone I don't like swallow pieces of a fellow human being.

But to get on to the point, the argument presented was that Chris Brown has no place releasing a toy in this scene. That he is using his wealth to buy his way in. It wasn't earned. Perhaps my favorite supportive detail of the collective argument against his presence in the scene was that he has listed his favorite artists to include KAWS and Banksy. How rare. They are quite popular for a reason, no? What makes me most uncomfortable about the segment and the vitriol present, most specifically by Ritzy, is the hypocrisy of it. To suggest that he, or anyone for that matter, not be allowed to release a figure (which, lets be honest, is a Ron English toy with Chris Brown's name slapped on it because he was coherent enough to point at some color swatches and write a check) because he hasn't earned the cred to be a part of this scene is pretty asinine and thoughtless. I mean, I’m sure the hosts making the criticism have never themselves thought to step out of the art world and into other, tangentially related industries (like this or this).

I don't see anything wrong with venturing into fields outside of what you're known for and in fact this scene wouldn't exist at all if that hadn't been allowed and encouraged. This scene is comprised of designers from all fields. It's made up of people who have nothing to do with being creative on a daily basis but who have fun slinging resin in the garage on the weekends.  It's made up of people who buy toys made by professionals then break them apart, glue them back together again in random configurations, and call it art. If that dude can do it, so can Chris Brown. Bruised knuckles and all. Am I suggesting you buy it? Hell no! Have you seen it? It's another lame, stale design by Ron English. Pass! But he's got every right in the world to make it and call it (half) his.

Everybody in this scene (getting really tired of that word) came from somewhere else. No one, well very few, of the popular artists today started out as toy makers. Even fewer started out as street artists. The designer vinyl scene isn't what it was even five years ago. Who even says Urban Vinyl anymore (sorry Urban Vinyl Daily)? The art that's big, that sells huge now, has nothing to do with that stuff. It's about cute now. It's about monsters. It's about licensed characters now. Yes, there are certainly those street artists that are still doing great work and are popular, like hosts of Ya Heard for example, but they are the minority of folks making it big in toys. Even KAWS releases of late, whether they be light bulbs, liquor bottles, or "commentary" on Walt Disney, are not exactly widely acclaimed for their relevance or creativity. They're pay days. So street!

The point is that it's irrelevant where you came from or what you do for a living outside of making toys. If you're here to make toys, make them to the best of your artistic ability and let the fans and collectors decide if you "belong". It's not for me or anyone else to say that you can't even try. Having money helps get your foot in the door, but it does not give you a great toy and an adoring public. It gives you more opportunity to succeed but ultimately its going to be up to the people spending their paychecks to decide if it was worth your while. 

Chris Brown is not a good person and not someone who you should buy a toy from. But this argument is bigger than him. The anger evident in the Ya Heard episode around him shone a light on an elitist mentality that worries me and makes absolutely no sense in context. I'm sorry Chris Brown didn't make public which toys he'd bought in the past or which lesser known artists he appreciates. Apparently that is the kind of stuff you need to publicise before you're allowed in this prestigious club. My first vinyl purchase was a Dunny from Urban Outfitters. Is that okay with everyone?

And if you're going to hate on Brown simply for not belonging, for being a musician buying his way into a scene in which he has no place, here is a list of other offenders you may also like to be pissed about:

Blink-182: Pop band who released/licensed an artist series of their mascot

Deadmau5: Producer/DJ who released/licensed a mini figure series of his mascot

Capcom/Kidrobot: Street Fighter (video game) character licensed mini figure toys

Battle Babies: Just look

There are many more examples I’m sure we’re all aware of but who really cares? No one screamed about how the artists/companies listed above had no place in the scene. Just admit you don’t like the guy as a person and leave it at that. Admit you don’t want his kind in your club, stomp your feet and pout, and move on to issues that actually matter.

It comes down to this: If you want to hate Chris Brown for hitting Rihanna, fine! I fully support that. But to say he isn’t allowed in this club because he doesn’t fit in; because he hasn’t earned it; because he doesn’t like enough of the same artists publically that you do, and isn't an artist (which by the way apparently isn't true), is elitist and petty and pretty disgusting. You’re welcome to avoid his figure and hate it for what it is and even hate him for thinking anyone can be a success in this scene who has a check book. But to say he can’t play at all is dumb. Have a little faith in the people around you, your fellow collectors and enthusiasts, that if it isn’t worth endorsing or isn’t quality work, he’ll fail. Don’t be a snob. Hate the guy all you want but don’t be a snob about a scene that is much bigger than any one of us and wonderfully so. Stop acting like any single person has the right or a place to act as a gatekeeper and realize that there would be a lot of really great toys we’d have missed out on if people weren’t allowed to jump genres. Don’t limit us with pettiness. Let the guy fail and move on, because he will. It was something to try and he did. I can’t imagine it’ll do well for him and he’ll move on. But even the assholiest of us are allowed to have a hobby and enjoy this art. Some of us just have the money available to be a fan at a much greater level than others. Aside from his personal life, how is what he did any different than any other “artist” self-producing a toy or working with a toy company to get something done?

I don’t fault the crew from Ya Heard for not liking the piece or having a personal distaste for the guy. I’m right there with them. I just really do not like the almighty attitude that opinion was expressed through. There are plenty, plenty of reasons to hate on him but to get protective of a scene (which is getting more and more commercial every day anyway – and I don’t consider that a bad thing, by the way) with the reasons that were given are simply lame. My opinion. I was fortunate enough to have a brief chat with Ya Heard cohost, Shane Jessup, about this yesterday and I appreciated the way he approached me and was honest in his feedback about my tweets (about their comments – so meta!). From what I know of him through our very few interactions (including his comments on this very site - past post) he’s a stand-up guy and I hope I was able to get across where I was coming from. I don’t have anything against any of the hosts and I don’t fault them for having their opinions and I love that they have their show to get them out. The messaging just felt wrong in this instance and that’s all.

Okay I’m going to hop off of my soapbox so you can jump on and take a turn. Let me know how wrong I am in the comments below!

A Collector's Dilemma: An Admission of Sappiness

I'm in the slow process of relocating. Sure, in my case, it's likely only a few miles that I'll be moving, but that counts! A part of that process for me is the reservation of money, something that this collector and art toy fan has precious little of. And in this particular relocation that has meant making the drastic move of putting a healthy chunk of my toys up for sale. This isn't something I'm overly comfortable doing, for a number of reasons, and I'm hoping getting my thoughts and hesitations down into words will coax some of my fellow toy hounds to either talk me off the ledge or give me a hearty push. I'm fine with either.

So my brain works like this: I can't possibly pick which of my babies to sell specifically so I'll simply put my collection out there to be picked at by those in toy-need. So to Twitter I went with a link to my Rotocasted collection page waiting patiently on the Clipboard. I posted to the world that my collection was up for sale and to contact me should anyone see something they couldn't live without. The stress I felt prior to pushing send was immense, and let me explain why. 

I am, most definitely, a hoarder. But it wasn't the thought of trimming down the number of pieces I own that was terrifying me, it was how to face the inevitable situation of someone asking me to sell a piece for which I had a personal interest or tie to the artist who designed it. I've discussed before the tremendous emphasis I put on the personalities behind the art and while that is a great methodology for selecting which pieces to buy it makes selling art a royal pain in the ass. I don't so much have a problem with parting with a physical thing as I do parting with a small piece of someone I admire, care about, or at the very least, want to see succeed. I have, after all, had the pleasure of enjoying it and love the idea of giving someone else the opportunity to do the same. The few people I buy from directly I do so because I love their work. I may not love every piece put out, but I love what they do and the style with which they do it and cherish the thought of sharing the wealth.

What comes next is an admission I'm not entirely sure I should make but in the interest of full disclosure and honesty, I will, in part because I think it’s something we all do but simply don’t discuss (but should). There are a few figures in my collection that I own solely because I genuinely admire the people who created them. Money has changed hands in return for art for the sole purpose of showing confidence in an artist as a creator and as encouragement to continue. Not that were purchased in hopes of their value increasing, but because the artist is rad and I like their other works. So with that being the case, there are pieces of art in my collection that given the opportunity to sell should make this easy but instead just puts me in a terribly difficult emotional position. I am such a sappy, sentimental guy, that the thought of parting with even a lesser-liked piece of art would feel like I'm parting ways with the creator himself. On top of my own internal struggle I worry that, while I think the arguments against flipping are mostly ridiculous, I have a very real fear that one of those artists would come back to me complaining that I had flipped their art. There are also pieces that I've received either as gifts or payment for one thing or another (teehee) and what do you do about those? You can't sell them, right? Right? That would be wrong, regardless of who gave them to you or the circumstances behind the gift. 

This is where my head has been for the last two weeks as I field Twitter messages and submissions through this site, to purchase my toys. A vast majority of the requests have been for pieces I had no emotional tie to and the transactions were smooth. There were only a few where I was forced to really consider the implications of the sale before deciding one-way or the other. Typically I sided with relationship and connection over money and I'm comfortable with that. I'm curious to know whether I'm alone in this kind of fear or hesitation. I can't be the only collector that wears this kind of sentimental burden, right? I'd love to hear from you if you've faced similar situations and to hear how you handled it. Do you as artists care whether a fan sells your art later, for whatever reason? Do you take it personally? 

Giving a shit about the men and women behind the plastic and clay is what makes these figures worth having for me in the first place and so I'm okay with losing sales because of self-imposed barriers. The friendships and connections this scene provides me is far more valuable than getting $35, shipped, for a piece of plastic. Although, I've got quite the collection of nondescript Bearbricks available should you have a particularly Bearbrick shaped hole in your own collection.

Earth Movement, Open NOW!

First there was the LOVE MOVEMENT which brought artists from Japan together with creative couples to give the gift of art to a very eager San Fransisco crowd. If you were lucky enough to see the show during it's run, or were even luckier still and able to attend the opening, then you know just what an emotional and artistic triumph it was. 

But now, a year later, Jeremy Brautman has teamed up with scene hero, Super Cooper, to develop and curate the next movement of this artistic symphony. Today marks the opening of Earth Movement, a group show comprised of art collaborations between artist and child. it's an idea for a show that I think everyone in this scene can enjoy since I know a lot of the hardest working folks out there take a lot of pride in being parents and giving them the opportunity to work with their kids in this way is really amazing. Bravo to all those involved (including my beautiful and talented Dawn Barton who worked with her daughter Sophia on a piece inspired by the sea). 

So if you're in the San Fransisco area you owe it to yourself and all those involved to stop by Kokoro Studios to soak in the love and talent of all the kids and the adults who love them. The show is open now and runs through March 22nd. Do not miss out on this. 

What I love and you should too

I get a lot of criticism from folks accusing me of being Mr. Nasty and negative all the time and to be honest its baffling to me. I'm passionate about art that I love and equally passionate about art and the people surrounding it, that I love... less. Wouldn't the world be a fabulous place if everyone were as transparent about their feelings on something as completely subjective as art? 

The answer is yes by the way.

So I get to play the role of the grouch and cynic and negative nancy. I'm okay with that because at least I know it's coming from an honest place and genuine love for the scene. But the perception that I hate everything and everyone leads to me continually be asked the same question: "What do you like?" 

I understand the question quite well but being asked it always throws me for loop. It's as if I'm being put on the spot to justify anything negative I may have said with praise for something else. That there must be a balance. Or worse, that I'm being tested. That unless I can quickly say how much I love something that you also love my negative opinions about something else can more easily be dismissed as uninformed or stupid. But as silly as the question is, with at least the motive in which it is usually asked of me, I figured it only fair for me to as plainly as I can point out a couple of pieces that keep me interested in this art form and give me reason to be so frustrated when other, lesser, art gets equal or higher praise simply for being created at all.

Major Minnow by Scott Tolleson

This is a limited run of 10 resin figures Scott did for his Past the Cosmos show at Screaming Sky Gallery in Oregon. You cannot look at this little guy and not smile and that is what I love most about Scott's art. It isn't trying to be anything other than charming and I appreciate that. The quality of the sculpt to the clean paint and blending of colors over the body of Major Minnow is perfection. I've looked this piece over quite a bit since I was fortunate enough to snag it from the gallery and I can't find a single errant line or fudged spot anywhere. There was great care taken in putting this character together and it shows (even in my crappy pictures). 

Over the last couple of years Scott has taken a distinctly family-friendly approach to his art. Moving away from the more adult oriented styling he'd mastered moving into a more character based mode. His characters are infectious and, I'm going to use this word again because it's apt, charming. Major Minow stands at the ready, batton in hand, and I watch him fully expecting to watch him start moving right in front of me. 

While this piece is a standalone figure and doesn't (as far as I know, anyway) work into the character family/line of his recent Nosellots plush line, or his Uncle Argh Qee, you can tell that they do all exist in the same universe and that is a kind of universal vision we don't see enough of.  

Heart Squeeze by Brian Anderson

I don't know a thing about the artist or his past work but I saw this figure on the Kid Robot forums for sale and I bought it immediately. Call me a sucker for cute and whimsical characters, because it's true, but this little guy gave me a tingle in my chest. Yes, there is a heart in there. The very simple character clutching at, jumping as if to catch his love as it drifts away, and the small soulful eyes on the expressionless face all do it for me. The figure tells a story and conveys emotion so beautifully and for the $45 this resin piece cost me, I couldn't point to single vinyl figure in my collection that comes close to making me actually feel something for anywhere near that price. It is a piece I can look at over and over and from every angle I can appreciate something different. The dynamism is exciting to see and really makes me what to see more from this artist soon. 

Perhaps it says something that these pieces are both resin. Vinyl has been a great friend to me but I have noticed myself over the last few months spending more of my time learning about and looking at artists working releasing in resin than those of vinyl. There is a connection with the artist that is palpable when you buy something they mixed and poured themselves. When I feel the heft in my hand and can appreciate the different shapes, designs, and character that can be achieved with the medium it makes me doubt the longevity of vinyl going forward as more and more artists dabble in their garages and perfect their slinging skills. 

So there you go; two pieces from my collection that keep me interested and in love and why the over hyped bad and boring stuff gives me such heartburn.

Toy Break gets occupied

Last week I had the pleasure to sit down on the Toy Break couch with George and Ayleen Gaspar of Toy Break and October Toys fame. We talked and we talked and we laughed and we laughed! Great times were had and I think the episode turned out amazing. Props to Ayleen and her editing which had me rolling in my PJs. You'll know it when you see it. So check out the episode and check out the Toy Break forums for more discussions. 

A heartfelt thank you goes out to George, Ayleen, Sarah Jo, and Dov for making my apperance a fantastic experience. See you all for A Day With Toy Break, January 6th through the 7th!

The elitists always try to ruin it for everyone

I'm sure you've seen them at Target and Wal Mart, but thanks to a Tweet last night from Tim Biskup we now also know that DIY vinyl figures are sold at Michaels! Sounds awesome right? More access means more participation which means more interest in the art form. Mr. Biskup makes his thoughts clear through his tweet.

Again, these or similar do-it-yourself figures sold under different names, have been available at big-box stores for a while and again, that's a great thing. So I replied to his tweet and questioned his tone of negativity. Here you can see the short exchange that took place which I think, in the end, had Mr. Biskup letting a bit of his elitism slip.

I get the point he's trying (and I use trying loosely) to make but it falls apart when you give it any thought at all. All art, once sold, was done so for profit. Art is a business. It is a profession. You do it because you can, you have the talent to do it. If you are one of the lucky few who can make a living off of your art, guess what? You're profiting from it. If you were making art for art sake you'd be giving it away so please don't pretend that this company trying to make money off of selling a product is at all different than you trying to make money off of your product. And your art is just that:a product like shoes and towels. You are a brand and you profit off of that. It's the same thing. And there is nothing wrong with that. If you werent selling art, I couldn't buy it. Art is made to be enjoyed which generally means paid for. 

We're also talking about a vinyl toy being sold at an art supply store. A store that sells doll parts and diorama sets and yarn. All blank canvases, if you will, from which artists build and create. To complain about another building block for an artist to work with is foolish. You probably grind all your own pigment and mix all your own paint, and weave your own canvases too. Wouldn't want those canvas makers to profit off of the art scene. 

Is the figure pictured the most original or of the highest quality? To people familiar with the scene and the "originals", no. But to folks who are unfamiliar with art toys or Munnys and just happen to have kids who need art projects to keep them busy, this may be the perfect product. We're also talking about a DIY figure which is not something designed to be a final product. By intention they are basic and plain. There isn't much going on with a Munny or Qee either but they serve their purpose and to somehow suggest that Munny and Qee are legitimate while these figures sold at Michaels and other retailers are not, is ridiculous. Perhaps instead of looking down your nose at the platform, you focus your attention to the scene itself and the artists who use DIY platforms as a crutch. I see value to that argument if you'd like to make it. But if you're going to go after a company for wanting to make money by profiting off of a scene you may want to look a little closer to home. 

But it was his reply to the question I posed in that last tweet that undermines even his own argument the most. 

If not to make the world around you a prettier place, a better place, or at the very least a changed place with your art, then what is the point of doing it? Profit, of course. My final tweet there he re-tweeted, by the way, for reasons I don't understand except perhaps to mock? In the end his argument against the sale of those figures (it is being done for profit rather than art) holds little water coming from a man who says its okay for a select few companies to make money off of us, but not others. For Tim Biskup and his ilk to profit is divine. For companies trying to get more kids and outsiders involved in the scene to profit is sinful. 

Oh, and guess who else had to chime in?

I think once you've got her picking a side, you know that's not the side you want to be on. 

Designer Con: Come for the art, stay for the chit-chat

Designer Con 2011 and all the preparations it required, are behind us now. The booths have been dismantled, the floors cleaned, and new event signage is everywhere. The convention world moves quickly and one-time a year shows like Designer Con come and go well before their welcome has worn off. But what the convention provides, what service it provides, to this scene appears different to me now than last year. As a attendee the moment you are finally allowed to come bounding into the hall, wallets flapping open at the smell of fresh resin and vinyl, the place looks like heaven on Earth. Every designer toy you could imagine is probably there in some form, every artist you care to see is propped up by coffee and gin behind arranged tables, and the scores of new and impressive products are never ending. Designer Con, unlike SDCC, has remained a good and manageable size. While this year the con was bigger than ever it was still well within the realm of possibility to see and experience it all between the hours of 10am and 5pm on a single Saturday. The only pressure felt was that imposed by signing schedules but at a place like DCON, where the artists are always floating around and easily approachable, even signing schedules are loose.

It’s a mecca for fans, no doubt about it. And last year, my first year to attend the con, I had a smile from the moment I got in the door to the moment my eyes finally closed that evening. This year I switched teams. When registration time for DCON 2011 came around I made the rash decision to plunk down my money and “buy” a booth. Why not? I figured I would ask a few artists of which I’m a fan to use it as their own, free of charge, and I would get the pleasure of knowing I did something good. I helped. I may not be able to make sellable or collectable art myself but I can certainly provide a folding table to help support those who can. That was my way of giving back to the community. And I was lucky. All who were asked to participate (save one) agreed and all (save one) made the trip out to show their art and visit with fans and random passer-by. Yosiell Lorenzo, Vanessa Ramirez, and Troy Stith all put their best foot forward and showed some incredible work. And as if they weren’t worth the price of admission alone, Gary Ham decided to do a last minute signing for the release of his fourth and final colorway of his Hermees figure. The lineup was great and the art and toys shown were top-notch.

So why didn’t much of it sell? I thought it was strange considering the caliber of artist and product they had so I asked around and got the same answers from a lot of booths: stuff doesn’t sell well at DCON. What? I was baffled. Last year I filled the trunk of my car with toys before the day was half gone. Even this year I was constantly running back to the booth to squirrel away toys under the table for safekeeping. And I swear I saw lots of other general attendees carrying bags so what was the issue? None of it was making sense so I asked an artist I felt would be honest with me, and that I felt comfortable asking such questions (though who will remain nameless) how DCON compares, for sales, with SDCC. His response was, “my worst day at SDCC is better than my best day of DCON.” Shocking. This is a room full of people specifically there because they are fans of toys and the related sub-culture so why would sales be lower (over a single day) here than they are at SDCC where while it is very crowded, the toy scene makes up a tiny, tiny percentage of the show floor?

The simplest reason may be that of geography. While DCON is certainly aimed at the very people who would be most likely to buy 90% of what they’ll find inside, it is largely a local show. By that I mean people who attend DCON are for the most part Southern California locals. There are certainly exceptions but DCON as is not the kind of event that attendees fly across country, or the globe, to attend like they do in massive and growing numbers for SDCC. I think this is the most logical of reasons to explain the apparent difference in sales but it’s also the saddest.

Privilege may be another issue. It just might be that it’s not that sales are worse overall, but that sales are lower by attendees. One of the perks of being an exhibitor is that you have access to the hall prior to the show floor opening. Having this privilege, this access, means having the ability to shop the booths before the general public is granted admission. I don’t know if there is any official policy prohibiting sales prior to opening the doors, so I won’t point fingers, but I absolutely took advantage of picking up a few items before business hours just to ensure I was able to beat the rush. And I’m not the only one. There was a rush on certain booths and in at least one case an artist was completely sold out before a single paying attendee was given the privilege of riffling through his wares. So it may not be that spending is down across the board but rather that a good chunk of money is being spent before the convention gets underway and is therefore not being considered. I don’t know, just a possibility. This may not explain the differences in money brought in but if you’ve ever wondered why when you got to a booth right away for that very limited figure and it was already sold out, now you know why. Next year buy a booth.

The bottom line here is that perception is everything. Last year, as an attendee, it looked to me like the cash was flowing and waves of money were crashing at the foot of nearly every artist in the building. This year, as an exhibitor, seeing what each booth started with and comparing it to what each seller packed up again at the end of the day, I don’t know where all that money was going. Some booths/artists will always be a draw and demand for their releases will always be high. Those artists that can release a new colorway of the same thing they’ve been releasing in drips-and-drabs for years are well oiled machines that understand how the process works. It’s the working artist, the middle of the road (success-wise) guys and gals that will have more luck with the shotgun approach that is SDCC vs. the targeted, sniper rifle, of DCON.

That all being said, no one I talked to seemed to care. Every single artist whether they sold out or sold almost nothing all said they love the convention. This sentiment was universal and I completely understand it. If you are the art-is-my-second-job kind of guy then DCON is your foot in the door. The cost of participation is extremely low; the organizers are knowledgeable and incredibly helpful, and maybe best of all: no waiting list. For the artist that can sell out a release in minutes just by tweeting, DCON becomes something different. Sure, they bring their product, and they sell, but at some point DCON serves better as a meeting place. This is one of the very few times a year where not only all of the various artist cliques and individuals are all in one place but that they have the room and time and patience left after the day is done to hang out with one another and share ideas over hard liquor and karaoke. That’s something that they just can’t get as easily from SDCC and a big part of what makes DCON so valuable.

As an attendee DCON is aces. It’s the perfect mix of toys, art, clothing, and associated products, where anything you want to spend money on you will probably find. I would take one day of DCON over four of SDCC every time. For the vendors it is an opportunity to visit with friends, talk to fans, and relax surrounded by likeminded and similarly driven people. So while you may not sell as much as a vendor/artist at DCON no one is complaining and that is a beautiful, beautiful thing. See you next year Designer Con. 

One year down and so much has changed

It was roughly one year ago this week that ToyPinionated came to be. The site was born, in fact, out of a desire to see some truth and a point of view that wasn’t being represented very well already.  Nearly one year ago my decision to jump into the internet fray was prompted by an event, a gathering of likeminded folks coming together in appreciation of toys and art and who come prepared to dump obscene amounts of money at the feet of the artists they adore. That was my first Designer Con. Still very new to the scene I knew not what to expect having my only prior convention experience being a few hours spent hording as many toys as possible, sneaking around the floor of SDCC with a “borrowed” badge. Was this going to be the same madhouse? Were there going to be very curvy and virtually naked women dressed as space pirate dogs around every corner?

No on both counts.

I found Designer Con to be a very mellow place where I was able to spend time at each booth talking to the artists, asking them about their pieces, and enjoy the day without feeling rushed or attacked from all sides by sweaty masses. I spent a lot of money that day. I bought a lot of toys. You can go back and read my post about the event and the evening prior to get a good idea of my frame of mind at the time and how I saw the experience then. For me, having practically just finished packing up my booth from this year’s event, I read that first post and I can’t help but realize how differently I see things now only a year later. I still have a deep love for the convention and I appreciate all the hard work the organizers go through to make it a reality but I see it from a very different perspective today and truth be told I’m not sure how I feel about that.

A year ago this blog didn’t exist, I didn’t have Twitter followers, and I didn’t have people across the country who knew who I was. I walked through those doors as a person with a pocket full of money and a the goal of buying as many toys as I could, no greater expectations than that. Over the last year I have cultivated a very small but very loyal, engaged,  and exciting group of readers and friends around the globe consisting largely of the very artists I arrived a year ago to buy from as a nameless Shmo. The con I walked into this past weekend hadn’t changed from last year (aside from the growth in square footage and number of booths) but I had. I walked through those doors with a banner under my arm and a tablecloth for the table of MY booth. My booth. I had a booth. How stupid a thought is that? A guy that doesn’t actually make anything of value has a booth. My reasons for hosting the booth are my own and I’ve shared them with close friends and the artists involved and I’m truly glad that I did it but the realizations that came with moving from one side of the scene to the other have shaken me. I’m not complaining, I’m flattered that there are people who know who I am now and that artists I respect a great deal take the time to talk with me and tease me and shake my hand in passing. It’s an amazing thing to go from a fan to friend.

So if I’m not complaining, what am I doing? I’m trying my best to express what I bet a lot of the people in that building sitting behind tables all felt at one point. That the moment you realize that you are no longer “just” a spectator but that you are now a part of the show, part of the spectacle itself, you’re forced to look at the thing you’ve loved in a whole new and occasionally uncomfortable way. It’s not that anything has changed for the worse but rather that it simply changed at all that I’m having trouble grasping. I’m still the guy drooling over the latest Cherry Vinyl release or prototype. I’m still the guy running over to the Circus Posterus table to see what they’ve got to show and that gets nervous asking for a signature. I just also happen to now be a guy that the Sucklord wanted to interview along with longtime toy/art/culture writer Jeremy Brautman, during his live Sucathon web-cast (skip ahead to the two hour twenty minute mark to see me in all my glory). And the guy that gets called out as a cyber-bully by the very artist that inspired my first custom. It’s a strange position to be in for all the great and awkward reasons simultaneously.

I’m a lucky, lucky guy and I’m grateful for all I have and the incredible people I’ve met over the last year. And I realize that voicing these emotions make it sound like I’m whining or being dramatic but I’m truly not. Too often change happens without consideration or attention and this particular change has brought so much joy to my life that I couldn’t mentally afford to let it go without conversation.

For your patience through my psychobabble tonight, tomorrow I will post some thoughts and observations about Designer Con itself. If you stopped by the booth to say hello, thank you. If you made it this far in the post, thank you. I’ve gotten guff for saying this before and continue to be dismissed when I say it, but it’s true: I don’t write expecting anyone to read but knowing that some do and respond to it, whether positively or negatively, is a very humbling thing and I thank you all from the bottom of my heart.

Now get the hell out. 

Breaking Designer Con news! Come meet Gary Ham 1-3 PM, booth 412!

Late breaking news here at ToyPinionated headquarters where I've just confirmed that Gary Ham will be stopping by the booth for a short, two hour, signing to celebrate the release of the new colorway of his amazing, and award winning, Hermees! A figure which you may recall was my first (and only) site review. I have loved Hermees since I saw the original wood version at SDCC two years ago and it is a tremendous honor to play host to Gary this year. 

So clear your schedule and make sure you're at booth 412 from 1-3 PM to meet the man, the myth, the legond and leave with a pretty cool and unique toy at the same time. 

See you there! 

Grab your butt and meet us at Designer Con 2011, booth 412!

This Saturday, November 5th, the Pasadena convention center will be the epicenter of quite possibly the greatest showing of toy-art since... last year around the same time. Designer Con, people! This year I won't just be attending and shopping and sweating on strangers, I will be playing host to three great artists at the first ever ToyPinionated.com booth!  

Yosiell Lorenzo: You've seen his vinyl, you've loved his customs, and you've F5'd your fingers bloody for his paintings and now you can meet the man himself! Last year Yosiell used Designer Con to debut his first ever vinyl figure. This year Yosiell is going the self-produced route and bringing his first run of personally sculpted, hand cast/poured/painted resin Sicklings! There will also be prints, a zine, bookmarks, and other goodies so please be sure to stop by and see this magic in person and say hello!

Troy Stith: Unless you've been living under a rock, by now you've seen the preview pictures Troy has posted of his offerings for the show. There will be four custom "Geode" MunnyWorld figures (which I've seen in person and are mind-blowing) along with a new run of Miscreant plaques in both small and large sizes! With prices ranging from $35 to only $65 ($65 for each of the four, one of a kind, Geode figures) you'd better be one of the first to the booth if you hope to get one at all. Hopefully Troy will do more of these in the future but for now you'll need to see them to believe them and you won't be able to walk away without one. 

Vanessa Ramirez: I am beyond proud to welcome Vanessa to her convention debut and cannot wait for you all to see the range of customs, prints, and other goodies she's got on tap! Like Androids? Like custom Androids? She's got 'em! If you follow Vanessa on Twitter (and you damn-well better) then you're already familiar with her art style so you've got a pretty good idea of the level of quality and line work to expect. This may be Vanessa's first convention setting event but she is destined for really great things and this is the perfect opportunity to come by, meet her, and pick up something amazing for your shelf or wall. 

Whatever your taste, you'll find something interesting and provocative at the ToyPinionated booth this year. It's been a blast working with these three and I am so proud to be even a small part of Designer Con 2011. It's going to be a fantastic day and you owe it to yourself to stop by and show these guys and gal a little love. 

As an added bonus, booth neighbor and genius monster maker, Shing Yin Khor has created a contest out of calling me names! Go figure. See the tweet yourself, the rules are pretty basic and the prize is awesome so seek me out, give me a shout, and stop by to see her at booth 415 to collect your winnings! But be nice, I’m fragile.

Booth 412... See you there!