customizerwannabe said:
Sweet. Thanks for letting us in on the "process". Makes it much cooler ordering a piece when you learn a bit of it's background first from the artist.:chew
Well, that's one of the reasons I decided to start posting. I never read boards. All it takes is one anonymous crummy comment, and you whole day can be tainted. Artists, whether they be sculptors or painters or whatever, spend DAYS and WEEKS creating their art. And it only takes 60 seconds of typing for a thoughtless reviewer who just likes to hear themselves be witty to make you feel like you WASTED days and weeks on NOTHING. The advent of the Internet makes this even more of an 'in-your-face' issue. Some people have no problem saying things they'd never have the gumption to say to your face, at a convention or whatever, because of the safety of the 'Net.
I say all these just to let the consumers know how difficult it is on the creative end. It's not actually EASY to do the stuff, and it's very hard to do the same level of work every time. Some days, you can do no wrong, inspiration hits, and eveything to create is GOLD. Some days, you can't get it quite right, no matter how hard you try, again and again. Since the average consumer simply sees the work out there, the usual response si to look at the very best, most inspired work, and ask "Why can't you do THAT every time?" That's akin to saying "Mr. Ruth, why didn't you hit a home run today? You hit one yesterday..." TRUST ME, each and every artist would GLADLY hit a 'home run' every time they created something. But a million different factors affect the creation of commercial art, and only sometimes can inspiration overcome them.
I've learned a bit more since working with Sideshow. All the questions I used to ask as a consumer, like "Why did you guys do it THAT way? What happened on THAT figure"..... well, guys at SS can give me answers. And it boggles the mind the hurdles they have to overcome.
They have to have the time to get a particular sculpt done. And then, they have to hope that the licensor approves it. If the ACTOR or ACTRESS has likeness approval, then it can get even worse. Especially if the actor or actress is insecure about their nose or chin, and tell you to "Make this bigger or that smaller" not because it'll make it look more like them, but because they'll feel better about their face. So, time is getting eaten up by stuff like this. You can say, "well, keep at it until you get it right". Sure, but if figure #1 is behind schedule, what about figure #2 that the sculptor is scheduled to work on? If the schedule backs up, everyone in the process down the road is held up. The costume fabricators might be twiddling theor thumbs, waiting. The prototype painters are sitting around waiting on heads to paint. The manufacturing plant in China can probably charge penalty fees for holding up their assembly line.
Let's say you decide to hold that head on figure #1 to get it JUST RIGHT. By the time you get it 'just right', the people further down the assembly line are working on one of the other 27 producst your company needs to produce to stray profitable and afloat. What do you do then? Do you start a domino effect of letting ALL the products get behind? Do you make, say, the painters work overtime to get everything done? That's not conducive to artists doing their best work, having to double-up or rush. Do you give some of that work to other sculptors or artists? Easier said than done. With the high level of work being produced by all these collectible companies, a very small talent pool is spread out over a large & growing industry.. "Let's get Bob to take Figure #2...." "We can't, he works for MacFarlane Toys now..." "What about Carl?" "He just went exclsuive with DC Direct..." At some point you go "That's gonna have to be good enough, dammit".
And then there's the budget. Every thing to buy had a budget attached to it, an estimate of how much it will take in time & money to produce the product from scratch. If that budget gets taxed, it can mean that the cost will have to be transferred to the consumer. You think it's expensive NOW? That one last iteration to get Figure #1's likeness JUST RIGHT will start a butterfly effect that will add $10 to the final retal price. And since the last figure in that line was $10 LESS, lots of people get irate, refuse to order, blahblahblah......
Sorry about all that. The comment about "learning a bit of the background" got me ruminating about how much I learned about the Other Side of this business. I'm a lot more understanding when something comes out and its not 'everything I'd dreamed about'.
Take the Gentle Giant Clone Armor Obi-Wan Kenobi fiasco. I'm sadly dissapointed, I thought it was the best Ewan McGregor likeness ever. I can also understand how something might have happened (assuming it was an accident of some kind). Short of moving a quality control representative to a foreign land permanently to oversee every step of the process, you get a production protoype from China or the Phillipines, and you sign off on it. And you HOPE that the people you contracted will ship you 6000 cases of something identical to the production prototype. If there's a PROBLEM, there's not much you can do once the damage is done. Redoing them all might break your bank, much less your project budget. So, I can fully understand how a disaster like that could happen. Doesn't make it BETTER, but I'm a little more sympathetic when posting about it online. Off course, there's no excuse for the "cone of silence" surrounding the affair. Damage Control is as much a part of the process as anything else. If anything, I feel sorry for the GG cats; C4 and San Diego are going to be public relations NIGHTMARES...
Anyhoo, I rambled enough. Just wanted to share a few random thoughts on what little I've learned about the process, in the short time that I've been allowed to play...
-AH!