everybody norm from tested here at New York Comic Cons 2019 this is actually
the tenacious toy school with a lot of chance chocolate Bennett's ashes toys
also what we come by was James broman it's first time meeting you the artist
the man himself you're behind one of the most interesting designer toys in past
couple years this guy right here the king course its first of all - pleasure
to meet you Oh pleasure meeting you - I'm a fan you want some more stuff
mutual appreciation society yeah you guys go or a Rick Baker studio and Phil
Tippett know stuff oh my god and we're big fans of yours as well not just this
figure but the other one stuff that you've done lovely just pick your brain
a little bit about how you approach this design and your style so tell us a story
of how this came to be it's actually as a young man young artist I was like just
a steady diet of like sci-fi movies and Saturday morning television and love
monster comics and things like that but my all-time favorite movie as anyone
that knows me is is the original king card from 1933 not as crazy about the
meat of the remakes but that movie inspired me this was a total homage to
him to that film but of course not having the license or kind of wasn't do
my own version of him that's what led to that got a corpse version of him but
there's still all those little details that are in there that are kind of a
allude to no movie I mean not only is it a great
name but also like the sculptural detail on it is very about the end of your the
other were you've done like a t-rex creature a rotten rat yes and this is
the whole decomposed look house come on that you know it's like it's funny it
might have started with I'm known for man balls goes on the little rubber of
foam balls from back in the 80s and then I've done all the other versions of them
over the years for Kidrobot and another re-release in 2006 and it's all kind of
gross it's it's awesome I just kind of like being a monster guy I just really
started to get into all those gross details getting with mad balls and it's
kind of carried over into my personal work I definitely scan veins yeah you
know I know it's like I love texture you know it's like I didn't do bone texture
flesh texture veins muscle fur scales all that stuff fascinates me so it's
it's a chance to do all that stuff on one thing I think that's what's really
striking about this that texture you mention because it allows for the paint
schemes to be so very right these are very limited releases but by instinct
toy this is a one-off by the way right there's a one
kind that you painted you also paint the one offs but you have monotone verses
that don't vote black and like serials you have you have really vibrant
versions and there's all just part of your canon of art well it's mostly to
everyone people that collect them I sell these for their kind of extravagantly
amount of money and so I usually try to make each one very very unique so there
they are on one-of-a-kind sometimes I'll use two colors that I've used before but
I always try to make them so they're so someone's paying a lot of money they got
one that nobody else on the planet so sometimes you have to get really crazy
with the colors you have to be really experimental and it's actually kind of
gets me out of my comfort zone a lot of times and it gets a really nice stuff
and this kind of bring back to the mad balls all sorts of bright greens and
magenta those color schemes and these pop out as because every one those
details gives its own color yeah that bone color and vein color and everything
has got to be you need so the figure you must have like memorized by heart all
the different parts and you can when you approach a paint job you know exactly
okay these are the five colors I'm working with this is how they're gonna
call them at each other what's gonna be on the bone what's funny I'll start with
two colors I go I know I'm gonna do the I know what I'm gonna do for the fur
color I know what I'm gonna do for like the bone color
then once I've gotten the bones painted that I started that's I've come up with
the other colors very rarely when I start with the in color scheme figured
out I kind of like the organic nature of just going at it
and starting to figure out as I go yeah so that seemed to work and like you said
these are highly sought after they're all true story of the year 22,000
Genesee tour of the year it's totally we saw that designer go on walk past
someone that is so striking but something little more Taylor when you
have a collaboration with DC Comics and your take on on Batman character yes
which king corpse totally led to that because Jim Fletcher at DC collectibles
actually was at Five Points Festival a couple years back Saul King corpse he
bought a t-shirt he was wearing it around at DC Comics I guess and
everybody was responding to it and he said yeah I talked to Jim about working
with us on something and I think they were originally gonna send me some of
their monster characters like Swamp Thing and everything like then they said
no that's too logical let's try what was he gonna do with that what's he gonna do
with that madness and its rogue's gallery of villains and I jumped at the
chance it was so excited because being of
course a fan of comics particularly Batman having my way with him it was
like it was very fun and that all started with sketches
yeah 2d art then transformed into 3d turnarounds yeah and they were very they
were hands off to an extent where they knew that I respected the character so I
was gonna do anything that was like disrespectful to it that they'd have to
like sell in a brown paper bag or like that they knew that I was going to do
something that still stuck with the characters DNA but most of the notes
that came back and forth are really good but they let me go they said no we want
this to be here and so that's what I did I had a whole storyline for the
characters going in my own ahead help me kind of formulate you know some of the
details that are on their bodies there because I'm a big time into the details
as you can see yeah yeah and the sculptures I do everything needs to tell
a story for me it's like when you pick up a figure it's got just like that's a
cool to configure but as you look at it you start to a story starts to come
together and they are they're still in the toy world their vinyl their abs
they're the materials that we grow up with and love are their materials that
you want to work with and fit your sculptures or yes actually ZBrush full
of all things it is that it's not so much that you know it's it's the tool of
the trade nowadays and it's just streamlines the process and a lot of
traditional sculptors who sculpted in clay a lot of traditional sculptors are
not fans of ZBrush I'm actually a fan I think it's like it's it's wonderful and
it just it streamlines the process it makes things easier in a lot of ways the
only thing that I think it does detract from is that sometimes you lose a little
bit of an artist specific style people tell me when they see my sculptures that
they that they can tell it's one of mine and from a mile away and sometimes we
start to see things guy and I want to get a little bit Majin eyes with ZBrush
but I'm starting to see more artists bring out their own personal voice but
that's something I want to learn I can't wait to see what you do with those tools
fall James on Instagram thank you so much for chatting long I'm geeking out
right now ed glad you were here when I came off ik time in very likes pleasure
and congratulations ever wins this one here at the nation's toys buddy thanks
buddy somebody's chatting the spoon see ya
you