Q & K(A)Y 1

 Howdy all, I hope everyone is wading through the New Year with ease and grace. I, for one, have started 2021 with a bang. I'm releasing my first production vinyl toy, signing a lease on a shared studio space with a much admired artist and friend, and further legitimtizing myself and my business in this community. Though there has been a LOT of behind the scenes that I've neglected to share with you all, the learning process hasn't stopped for a second. Quite often I receive questions and general inquiries about a myriad of topics; from hand fabrication and factory production to marketing and branding - each and every step is equally as important as the last! I've compiled a few of my favorite (and frequently asked) questions in hopes to help along any number of avenues!

QUESTION: Is it better to 3D render or 3D scan a figure?

ANSWER: This is a great question and one I grappled with for a bit without fully understanding the technical nuance between the two. Ultimately, I'd argue it comes down to personal preference. If you're going the 3D scan route that means you already have a physical copy of your figure, meaning you've sculpted it (or paid to have it sculpted) out of a clay or epoxy. The figure is TANGIBLE and 100% ready to be reproduced exactly as is (though I'm sure you can edit within the digital program post scan...). Opting for this has many advantages! First and foremost, you can ensure that your figure is exactly how you want it to be. That compared to rendering digitally first which leaves a lot of room for error - it's one thing to consider that an image on a computer is exactly that - AN IMAGE - it's not a sculpture and there for won't always translate the same. For our personal process we started with my sketch and moved right into a three dimensional render on the computer. In order to guarantee the shape and weight are exactly as calculated, we employ both a basic 3D print of the figure AND a more refined resin print (which has a better and more realistic weight to it). At the end of the day you hope to get the same quality of work just different paths to get there. One artist I can think of off the top of my head who hand fabricates and then sends it off to be 3D scanned is Jason Freeney. That man has magic fingers! That's what she said.

QUESTION: Is there a glow in the dark vinyl, or does it need to be painted glow in the dark after? 

ANSWER: Both actually! There is true blue through in through glow in the dark (GITD) vinyl as well as GITD paint pigments. Convenient, right? Their applications vary from project to project; meaning, if majority of your figure is going to glow you'd sooner opt to cast it in GITD vinyl rather than apply a paint. It all depends on cost and realistic expectations of ones figure. 

QUESTION: How long does it roughly take to go from concept to having that sweet product in hand? 

ANSWER: I hate to sound like I'm coping out with this one but it sincerely depends on who you're working with and the complexity of your design. I was super surprised to hear my toy could be ready to ship in late April which is a mere four months from now - considering we're only in the resin printing phase I felt that was pretty expedited...On the other hand there are companies that string buyers & artists along for literal years. One company beloved for their quality yet notoriously hated for their pre-order wait times is....well....it rhymes with Tidy Wax...These timelines are dependent on a handful of factors, including but not limited to:

 Communication: If you're slow to respond to your factory or manager, the process will inevitably move at that pace. The general excitement level stems from YOU. You set the tone, you set the pace, you match the energy. Be CLEAR in your communicaton. This is way easier said than done considering English isn't a lot of peoples first languages and concise contact is always tricky. The more visuals you can offer your team the better.

TLDR: Anywhere between 6 months to a few years!

QUESTION: How do you choose how many to release for the first time?

 ANSWER: This is another great question and something that weighs heavy on a lot of creatives because run size is a tricky dynamic to balance. On one hand you HAVE to make the production aspect worth the cost (meaning, you can't make a tiny run size or it'll cost more to produce your figure than you'll ever make back from selling it) on the other hand you should be weary of flooding your own market. I'm still in the discussion phase in regards to this topic but we're leaning close to 150 for the first go. Ultimately, your run size will depend on your cost limitations and your audience. You should only produce what you're confident will sell...of course

QUESTION: How many prototypes are made before the final version?

ANSWER: This is tricky because historically the term "prototype" has been used pretty loosely. Traditionally speaking a prototype is any early form that a later form is directly or closely based off of. So, one could argue the messy initial 3D print is a form of a prototype, alternately my resin print is probably closer to a true proto. So in that way you may have a handful of prototypes. If you're curious about what you'll receive directly from your factory in terms of a VINYL piece, I think that's up to you and your factory connections...perhaps J can better chime in? 

QUESTION: What do you estimate the cost is to launch a toy? Heavy investment in the beginning? 

ANSWER: Straight to the point, huh? Shouldn't you at least buy me dinner first?! ;) Ah yes, the age old question....everyone wants to know about the finances! Rightfully so as it's daunting and puts many creatives off the path of vinyl production. It's difficult to gauge such a generalized cost as figures range to such great degrees. Price quotes fluctuate based on paint type and finishes, size, complexity, even shipping and packing costs, etc, etc. You can mentally prepare to spend a few grand, yes a few thousand dollars, in production cost alone. That's prior to factoring in shipping expenses (boxes, tape, bubble wrap/peanuts, shipping labels, gas to drive to shipping carrier, etc) and the cost of anyone involved and/or employees (graphic designers, marketing team, illustrator, 3D sculptor/printer). It can be a heavy load to bear alone so it's best to surround yourself with a resilient and educated team. 

QUESTION: Are there a lot of options when it comes to manufacturers or do you need to have a connect? 

ANSWER: Yes and No. In the same way not all burger joints are the same, not all manufacturers are either. Connections are invaluable in this industry - meaning you'll need to make good ones. Even if you do find a "good" manufacturer, whatever that may entail to you, you still have to navigate the formal communication process with them. This is an area that many find extremely spooky as it's technical as well as nuanced. My best advice would be to consider hiring a consultant if it's within your budget. You'll learn more that way and make far less costly mistakes.....trust me. When you're funding a passion project with just a few grand you've been able to muster up I assure you it's not the appropriate time to "wing it".... If you have a SERIOUS INQUIRY about consulting advice you can email me at craeftmade@gmail.com 

QUESTION: How do you go about finding a factory to manufacture your toys?

ANSWER: Similar to the question/answer above, this is such a deep rooted question that I simply can't answer in a short blip. These trusted connections come with years of networking within the community which is why I covet my partners intimate knowledge of the scene. I'd say start at square one. Familiarize yourself with the process, introduce yourself to artists and companies whom you know work with manufacturers abroad, and chum up to 'em. Independent research, while tiring, is important!

QUESTION: What kind of vinyl is used for the toy? 

ANSWER: That seems like a silly question but I can assure you it's not and I get asked this quite often! Designer *Vinyl* is an umbrella term that includes a number of works that are in fact NOT VINYL *gasp* 😦 Resin, Poly Resin, Poly stone, vinyl, ceramic and glass are all commonly used in our scene. Vinyl is just a specific TYPE of plastic but plastic nonetheless. Vinyl is one of the more cost effective materials used for large scale production and can be dyed and finished to look like a myriad of other surfaces! 

QUESTION: What is the best platform for selling?

ANSWER: TRICKY QUESTION! This is wayyyyy too subjective to pinpoint any one app or social media. If you're asking specifically about SHOP platforms I am most familiar with WIX and SHOPIFY. Both take their due percentage like the greedy capitalists they are (I tease....sort of...) but they're pretty user friendly and easy to navigate. For someone like myself who wants to focus more on the creative aspects and less on the technical bits, a quick and convenient set up and maintenance was key, to which I commend WIX. I've heard great things about SquareSpace too! 

If you're asking in regards to social media platforms that's a whole different can of worms. I personally gravitate toward Instagram due to the fact that it's aggressively visually based which I thrive in. When selling a product such as ours I felt *sight* was the first sense that's engaged by the viewer. Because of this it just felt natural to focus my energy on the visuals first and foremost! You need to understand your audience to understand where and how to sell. What's their age range? Where do they virtually congregate? Basic questions that often times get overlooked. 

QUESTION: Will the popsicle be able to stand on its own? 

ANSWER: In short, yes! There will be TWO sets of alternate legs actually. One is the classic popsicle stick sculpt and the other is a melted variant. This allows the viewer to stand two of the brothers up at any given time while the third can attach to their standing brother. We hope to release additional sets in the future allowing the collector to mix and match as well as test the balance and strength of the brothers by stacking as many units on top without collapsing. I'm most eager to hear feedback in this area! 

QUESTION: How exactly are the keys/little nubs created when doing a two part mold? 

ANSWER: Ironically that is a separate molding/casting process BUT I can link you to a great video anyway!  - https://www.youtube.com/watch?v=nqSLRiJG_wo 

QUESTION: Do you have/need a 3D printer? 

ANSWER: I personally do not own one but have plenty of friends who do. With the sheer number of 3D printer owners out there I don't argue you NEED one for personal use. If you'd like to cut out an otherwise inexpensive middle man to learn the trade yourself more power to ya! There are a LOT of resources online (YouTube) to learn the 3D sculpting process from scratch. For this process, however, you either need a 3D render or the hand sculpted palpable figure ready to go. 

QUESTION: What was the deciding factor that helped you choose who to work with?

ANSWER: This question is ace. This is a very important conversation that seldom transpires. Too often young creatives jump onto the first and largest bandwagon that offers them any inkling of notoriety........but at what expense? When I debate a collaboration it comes down to a few key factors. 

 1. The ability to speak candidly as I don't respond well to rehearsed speech. I "admire the courage to be disliked" and respect a creative who matches that energy, for better or for worse. I disagree with my affiliate in a number of aspects and to me/us that's an incredibly valuable perspective as you SHOULDN'T see eye to eye on everything or there will be no expansion. These disagreements allow for differing points of view which open the doors to new understandings and inevitably, organic growth. The detrimentally important distinction here is that you and your partner are able to converse unemotionally and unaggressively. Let me repeat that....you MUST BE ABLE TO DISAGREE WITHOUT FIGHTING.

 2. Trust. I got a good vibe and YES, that's important. Intuition is a natural survival skill we all pocess though some of us are more keen to it than others. I believe everyone has an aura or an energy they distribute and put off into the world and J's was a super balanced one. The creative industry can be especially tricky to wade through in terms of people who are genuinly on your side....be mindful and act accordingly.

 3. Education and knowledge. I don't mean to be boorish but you need to curate your team around your weaknesses. Always Be Calculating (the ABC's of business) is a crucial acronym I utilize daily to constantly assess my value in the workplace. Sike, I just made that up, BUT you don't want too many people with the same strengths on one team...it just don't balance out 🤷‍♀️ My partner was chosen out of exactly that same necessity - he has ample skills that I severely lack.

QUESTION: Did you provide your own 3d renders, or did the production company do that for you? 

ANSWER: Super important question and distinction - NO. YOU PROVIDE YOUR RENDERS. You'll be required to bring pretty much everything to the table. The factories don't provide much else in the service aspect other than the finished final product. To get the process started you'll need to have Pantones chosen, the digital sculpt file for your figure, box images/dimensions ready to go, the whole 9 yards. In many ways an artist or creative may find it conducive to keeping their sanity to collaborate with a collective or established company. Doing so offers many benefits like in house illustrators and digital sculptors as well as ease of communication between you and your factory. 

QUESTION: Is it worth/possible to do small quantities? 

ANSWER: In terms of vinyl....I'd say no. As far as I'm aware the vinyl production process just doesn't happen within the USA anymore so it's all outsourced from places like China. Due to this and many other factors (like creating the production grade mold) the upfront costs can be laborious to handle. With that being said, there are plenty of other ways to get the production quality look on a small affordable scale. Smaller resin runs are your go to for this intimate style of work - look into artist Frank Montano (@frankmontano) who's slaying the resin game at the moment. 

QUESTION: I don't know ANYTHING about packaging. Top tips?

ANSWER: Pshhhh me either! Lemme tell ya what lol. The best advice I can lazily give is - line up all of the toy boxes from your personal collection and pull about 5-10 of your favorites out of the lineup. Now task yourself with the job of picking like minded characteristics of each box to ultimately pinpoint your favorite aspects of every design. If you know nothing I suggest working off of those who do. Challenge yourself to understand WHY you admire the things you like and learn how to make them your own by adding your personal flare. 

QUESTION: What's the best way to come up with new creative ideas when you're stuck? 

ANSWER: My lawyer has advised against prescribing and/or divulging my personal relaxation routine hehehe BUT I will say, your space and what you surround yourself with DOES matter. Ever wonder why those uber modern google-ish tech companies with the skate ramps and free Perrier waters have such high mental health rates in employees? Because ambiance MATTERS to our creative process. More often than not when I'm in a jam I'll reference my collection to inspire me. I suggest going the same route.