Action figure

Zarbon action figure made by Bandai, from the Dragon Ball franchise.

An action figure is a posable character figurine, made of plastic or other materials, and often based upon from various movie, comic book, video game, or television program characters. These action figures are usually marketed towards boys. Redressable action figures are sometimes referred to as action dolls ^[1] as a distinction from those which have all or most of their clothes molded on.

Action figures are particularly popular with boys because they represent traditional masculine traits and are closely associated with the public sphere.^[2] While most commonly marketed as a children's toy, the action figure has grown wide acceptance as an adult collector item and has been produced specifically with this in mind. In this case, the item may take on the statuesque properties of being intended solely for display.

Contents 1 History 1.1 1960s-1970s 1.2 1980s-1990s 1.3 2000s 2 Production 2.1 Raw materials 2.2 Design 3 Characteristics and features 3.1 Articulation 3.2 Accessories 3.3 Types of packaging 3.4 Action features 4 See also 5 References

History

1960s-1970s

G.I. Joe by Hasbro, the first "action figure"

The term "action figure" was first coined by Hasbro in 1964, to market their G.I. Joe figure to boys who wouldn't play with dolls. G.I. Joe was initially a military-themed 11.5-inch figure proposed by marketing and toy idea-man Stan Weston. It featured changeable clothes with various uniforms to suit different purposes. In a move that would create global popularity for this type of toy, Hasbro also licensed the product to companies in other markets.

These different licensees had a combination of uniforms and accessories that were usually identical to the ones manufactured for the US market by Hasbro, along with some sets that were unique to the local market.

The Japanese had at least two examples where a Hasbro licensee also issued sublicenses for related products. For example, Palitoy issued a sublicense to Tsukuda, a company in Japan, to manufacture and sell Action Man accessories in the Japanese market. Takara also issued a sublicense to Medicom for the manufacture of action figures.

Takara, still under license by Hasbro to make and sell G.I. Joe toys in Japan, also manufactured an action figure incorporating the licensed GI Joe torso for Henshin Cyborg-1, using transparent plastic revealing cyborg innards, and a chrome head and cyborg feet. During the oil supply crisis of the 1970s, like many other manufacturers of action figures, Takara was struggling with the costs associated with making the large 11 ½ inch figures, So, a smaller version of the cyborg toy was developed, standing at 3-3/4 inches high, and was first sold in 1974 as Microman. The Microman line was also novel in its use of interchangeable parts. This laid the foundation for both the smaller action figure size and the transforming robot toy. Takara began producing characters in the Microman line with increasingly robotic features, including Robotman, a 12" robot with room for a Microman pilot, and Mini-Robotman, a 3-3/4" version of Robotman. These toys also featured interchangeable parts, with emphasis placed on the transformation and combination of the characters.

In 1971, Mego began licensing and making American Marvel and DC comic book superhero figures which had highly successful sales and are considered highly collectible by many adults today. They eventually brought the Microman toy line to the United States as the Micronauts, but Mego eventually lost control of the market after rejecting the license to produce Star Wars toys in 1976. The widespread success of Kenner's Star Wars 3-3/4" toy line made the newer, smaller size the industry standard. Instead of a single character with outfits that changed for different applications, toy lines included teams of characters with special functions. Led by Star Wars-themed sales, collectible action figures quickly became a multi-million dollar secondary business for movie studios.

1980s-1990s

A Cobra Viper

action figure via Hasbro in 2008. As part of the popular G.I. Joe series, this 3 ¾" tall, articulated figure includes an assault rifle and display stand.]]

The 1980s spawned all sorts of popular action figure lines, many based on cartoon series' which were one of the largest marketing tools for toy companies. Some of the most successful to come about were Masters of the Universe, G.I. Joe, Thundercats, and Super Powers Collection, to name just a few. Early in the decade, the burgeoning popularity of Japanese robot cartoons such as Gundam also encouraged Takara to reinvent the Microman line as the Micro Robots, moving from the cyborg action figure concept to the concept of the living robot. This led to the Micro Change line of toys: objects that could "transform" into robots. In 1984, Hasbro licensed Micro Change and another Takara line, the Diaclone transforming cars, and combined them in the US as the Transformers, spawning a still-continuing family of animated cartoons. As the '80s were ending, more and more collectors started to surface, buying up the toys to keep in their original packaging for display purposes and for future collectability. This led to flooding of the action figure toy market. One of the most popular action figure lines of the late '80s and early '90s, Teenage Mutant Ninja Turtles action figures were produced in such high quantities that the value for most figures would never be higher than a few dollars. In the mid 1990s, a new Star Wars figure line had surfaced and Spawn figures flooded the toy store shelves, proving action figures were not just for kids anymore. Beginning in 1997, ToyFare magazine would become a popular read for mature collectors in providing news and embracing nostalgia with a comedic twist. And with the gaining popularity of the Internet, websites such as Toy News International would soon offer information on upcoming collectible figures and merchandise.

It was during this time that popular characters were increasingly getting specialized costume and variant figures. Batman quickly became most notorious for this (i.e. Arctic Batman, Piranha Blade Batman, Neon Armor Batman). Rather than individual characters, these variants would make up the bulk of many action figure lines and often make use of the old figure and accessory molds. Glow-in-the-dark figures and accessories also became popular in the early '90s with lines like Toxic Crusaders and Swamp Thing.

A 1999 study found that "the figures have grown much more muscular over time, with many contemporary figures far exceeding the muscularity of even the largest human bodybuilders" and that the changing cultural expectations reflected by those changes may contribute to body image disorders in both sexes. ^[3]

2000s

Today, the adult collector market for action figures is expanding with companies like McFarlane Toys, Palisades, and NECA. Said companies have given numerous movie characters, musicians, and athletes their very first highly detailed figures. These are commonly intended as statuesque display pieces rather than toys; however, child-oriented lines such as the Masters of the Universe revival and Justice League Unlimited still evoke adult collector followings as well. Comic book firms are also able to get figures of their characters produced, regardless of whether or not they appeared in movies or animated cartoons. Examples of companies that produce comic figures and merchandise almost exclusively include Toy Biz and DC Direct.

Adult-oriented figure lines are often exclusive to specific chain stores rather than mass retail. Popular lines often have figures available exclusively through mail-in offers and comic conventions which raise their value significantly. Ploys such as packaging "errors" and "short-packed" figures have also been used by toy companies to increase collector interest.

Production

Raw materials

Aluminum wire, modeling clay, and various sculpting tools are used to create the prototype. The actual figure is molded from a plastic resin, such as acrylonitrile butadiene styrene (ABS). This is a harder plastic used to form the main body. Softer plastics, like polypropylene and polyethylene, are commonly used to mold smaller accessory and costume pieces. Various fabrics, such as rayon and nylon, may be used for costume components including body suits, capes, and face masks. As a final decoration, acrylic paints of various colors may be used to decorate the figure. In addition, more elaborate toys may contain miniature electronic components that provide light and sound effects.

Design

Once the character has been selected, the actual design process begins with sketches of the proposed figure. The next step is the creation of a clay prototype. This model is made by bending aluminum wires to form the backbone of the figure, known as an armature. The wire form includes the outline of the arms and legs posed in the general stance that the figure will assume. The sculptor then adds clay to the armature to give the basic weight and shape that is desired. The clay may be baked slightly during the prototyping process to harden it. Then, the sculptor uses various tools, such as a wire loop, to carve the clay and shape details on the figure.

After creating the basic form, the sculptor may choose to remove the arms and work on them separately for later attachment. This gives the sculptor more control and allows him to produce finer details on the prototype. Working with blunt tools, the sculptor shapes the body with as much detail as is desired. During this process, photo and sketch references are used to ensure the figure is as realistic as possible. Some sculptors may even use human models to guide their design work.

After the general body shape is complete, the sculptor adds the finer details, paying close attention to the eyes, nose, and mouth that give the figure its life-like expression. The designer may attach a rough lump of clay on the main figure as a temporary head while the real head is sculpted on a separate armature. This allows the sculptor to finish the figure's facial expressions independently of the body. At this point, the finished head can be attached to the main armature and joined to the body with additional clay. Once the head is attached, the neck and hair are sculpted to properly fit to the figure. Then, depending on the design of the figure, the costume may be sculpted directly onto the body. However, if a cloth costume or uniform will be added later, the prototype is sculpted without any costume details. During this process, parts of the clay may be covered with aluminum foil to keep it from prematurely drying out. Once everything is completed, the entire figure is baked to harden the clay.

The sculpted prototype is then sent for approval to the manufacturer. Once all design details have been finalized, the prototype is used to make the molds that will form the plastic pieces for the mass-produced figure. The entire sculpting process may take about two weeks, depending on the skill and speed of the sculptor. This process may be repeated several times if revisions must be made to the figure. Several months are typically allowed for this design phase.^[4]

Characteristics and features

Articulation

A common feature among action figures is body articulation, often referred to as points of articulation (POA)^[5] or joints. The most basic forms of articulation include one neck joint, two shoulder joints, and two hip joints. Beyond these, rotating wrists, bending knees, and a swiveling waist are also common. Various terms have come into practice such as a "cut" joint, frequently used to allow a basic head rotation at the neck or arm rotation at the shoulder. The "T" joint at a figure's hips commonly allows up to 180° of front-to-back leg rotation; although, this may vary. Ball joints often allow more liberal movement than a cut, such as the figure's head being able to tilt in addition to a cut's strict vertical rotation. Basic knee articulation often relies on what is considered a pin joint.^[6][7][8]

The amount and style of figure articulation used by toy designers have varied over the years. Two of the most popular figure lines of the 1980s, G.I. Joe: A Real American Hero and Masters of the Universe, contrasted one another greatly in articulation; the former included several points in their small, 3¾" scale while the bulkier latter remained minimal. Both, however, utilized methods involving rubber cords at the hips which have not found common usage today. In the 2000s, Toy Biz's popular Marvel Legends line became known for its high rate of articulation, even boasting points at the abdomen, toes, and fingers.^[9]

Accessories

While not all action figures include accessories, the additional items often prove essential to characters and their effectiveness as interactive toys. Typical 3¾" scale G.I. Joe figures include several intricately sculpted guns or hand weapons than can be fastened inside the figures' hands. Missile launchers are also commonplace in military and comic book figure lines and usually involve a spring-loaded mechanism. However, possibly due to safety concerns, this method saw a decline in the mid 1990s. Some figures, particularly of The Joker, have incorporated water-squirting weapons.^[10]

More recently, Marvel Legends has popularized the "build-a-figure" concept. Each figure of a particular series includes a body part to a large-scale figure. This encourages the consumer to purchase every figure of the given series and, thus, complete the staggering figure. The concept has spread into Mattel's DC Universe Classics. Figures appealing to the collector market commonly include a display base^[11] and/or pack-in comic book. In such cases, accessories may emphasis display purposes as opposed to play value.

Types of packaging

Manufacturers have packaged their action figures in different ways throughout the years. Below is a list of different ways in which action figures are often packaged.

Window Box packaging Window box packages consist of a sturdy, but somewhat thin cardboard box that allows for easy stacking. The box has colorful artwork to draw one’s attention. The front of the box will have an area of the cardboard that is cut out and a thin piece of soft plastic then fills the cutout area. This ensures easy visibility of the action figure inside of the box. This type of packaging was used by companies such as Mego Corporation in the early 1970s until they switched to the Carded Bubble style of packaging in the mid to late 1970s. Window Box packaging is still used today, often for figures that measure 10" or taller in height.

Carded Bubble packaging Action figures are commonly packaged in a Carded Bubble type of packaging. This type of packaging consists of a sturdy piece of thin cardboard backing known as a "Card." The card is decorated with colorful artwork to draw consumer attention. The action figure is then placed on the card and a bubble made of clear plastic is then laid over the top of the action figure and glued to the card or attached in some other fashion. The figure is then clearl visible to consumers. Often the bubble will have several small, fitted compartments to hold the figure and its various accessories in place. The most famous example of this type of packaging is probably Kenner and Hasbro's packaging of Star Wars action figures from 1977 to today.

PVC packaging A more recent type of packaging that is common as of the 2000s is PVC packaging. With this type of packaging, the cardboard card is replaced by a clear PVC plastic backing. The front of the package is a different piece of PVC plastic that is molded to include a bubble that will house the action figure and all of its accessories. Any colorful artwork designed to help draw attention to the package will be printed on a thin piece of paper that is placed between these two pieces of PVC, or will be affixed in sticker form to the front piece of PVC. This type of packaging is popular today and can be seen being used by McFarlane Toys for their Movie Maniacs line of action figures beginning with Series V. Other companies that utilize this type of packaging are NECA/Reel Toys (National Entertainment Collectibles Association) with their Cult Classics and Pirates of the Caribbean line of figures, and Toy Biz with its Marvel Legends action figures, which included a comic book placed between the two PVC segments.

Tube packaging Another recent type of PVC packaging that is being used is a tube- shaped piece of PVC plastic that will surround the action figure. The tube may be cylindrical in shape, or more oval in shape. Artwork on the package are often in sticker form that is affixed to the outside of the PVC tube. This type of packaging can be seen used by Hasbro for their Star Wars Galactic Heroes line of figures.

Action features

Figures of the original Masters of the Universe line included many unique "action features": Battle Armor He-Man and Skeletor had rotating chest plates to represent varying degrees of damage;^[12] Leech featured suction cup limbs; Mantenna's eyes would pop out using a lever on his back; and Thunder Punch He-Man would thrust a punch and emit a loud bang from the ring cap in his backpack. Other features emphasized aesthetic rather than action, such as the flocked bodies of Grizzlor and Moss Man as well as the unique scents of the latter and Stinkor.

The success of the many Transformers lines has relied heavily on their signature feature of shifting from vehicle to robot. The popularity of this carried into Teenage Mutant Ninja Turtles' Mutatin' series among others.

In 1987, Mattel introduced figures for the television series Captain Power and the Soldiers of the Future. The line boasted an interactive game where children could shoot at the TV screen. However, while an ambitious concept, it did not prove to be a long term success.

Glow-in-the-dark paint and plastic have been utilized in various figure collections, particularly those of the early '90s including Ninja Turtles, Swamp Thing, and Toxic Crusaders. Similarly, a color-changing feature has been demonstrated on some figures throughout the years. This concept involves dipping the character's head into cold water and revealing a temperature-sensitive paint. Examples include Kenner's Sky Escape Joker^[13] and Camouflage Swamp Thing, as well as Hasbro's Desert-Camo Sgt. Savage.^[14]

The majority of figures in Kenner's Super Powers Collection toted a punching action upon the squeezing together of their legs.^[15] In a more technically advanced method, the Ninja Turtles' Wacky Action series involved a wind-up gear that caused the motorized performance of certain actions like swimming legs or a rotating wrist.^[16] Two years prior also saw the release of Tyco's Dino-Riders which featured battery powered, motorized dinosaurs.^[17]

See also

• Toy Biz v. United States, which decided that action figures of certain superheroes are legally toys, not dolls

] References

1. ^ New York Times article
2. ^ Nelson, Anders (2005). "Children’s Toy Collections in Sweden—A Less Gender-Typed Country?". Sex Roles (Springer Science+Business Media, Inc.) 52 (1/2).
3. ^ Pope, Harrison; Roberto Olivardia,Amanda Gruber, John Borowiecki (1998-05-26). "Evolving Ideals of Male Body Image as Seen Through Action Toys". International Journal of Eating Disorders (John Wiley & Sons, Inc) 26 (1).
4. ^ Figures: How Products are Made
5. ^ Batman Begins Collector Edition action figure
   MWCToys.com (2005). Retrieved on 5-07-09.
6. ^ Star Trek action figures
   MWCToys.com (2009). Retrieved on 5-03-09.
7. ^ Terminator: Salvations T-600 and Marcus action figures
   MWCToys.com (2009). Retrieved on 5-03-09.
8. ^ Review: These Watchmen action figures trade action for good looks
   SciFiWire.com (March 2009). Retrieved on 5-03-09.
9. ^ Marvel Legends 13 Green Goblin action figure
   MWCToys.com. Retrieved on 5-07-09.
10. ^ Batman (Toy Biz) - Figures
    BatmanYTB.com. Retrieved on 5-03-09.
11. ^ Hall of Heroes Snake Eyes (v41)
    YoJoe.com (April 29, 2009). Retrieved on 5-06-09.
12. ^ Battle Armor He-Man
    He-Man.org. Retrieved on 5-03-09.
13. ^ The Dark Knight Collection - Series 1
    BatmanYTB.com. Retrieved on 5-03-09.
14. ^ Desert-Camo Sgt. Savage
    YoJoe.com. Retrieved on 5-03-09
15. ^ History
    ToyOtter.com. Retrieved on 5-07-09.
16. ^ Slice 'N Dice Shredder
    NinjaTurtles.com. Retrieved on 5-06-09.
17. ^ "Dino Riders: The Toys
    ". toyarchive.com. http://www.toyarchive.com/DinoRiders/DinoRidersToys.html
    . Retrieved 28 September 2006.
18. komunitas ActionFigureIndonesia
    

model figur

Model figure
From Wikipedia, the free encyclopedia
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A model figure is a scale model representing a human, monster or other creature. Human figures may be either a generic figure of a type (such as "World War II Luftwaffe pilot"), a historical personage (such as "King Henry VIII"), or a fictional character (such as "Conan").

Model figures are sold both as kits for enthusiast to construct and paint and as pre-built, pre-painted collectable figurines. Model kits may be made in plastic (usually polystyrene), polyurethane resin, or metal (including white metal); collectables are usually made of plastic, porcelain, or (rarely) bronze.

There are larger size (12-inch or 30 cm) that have been produced for recent movie characters (Princess Leia from Star Wars, for example). Large plastic military figures are made by some model soldier firms as a sideline.
Contents
[hide]

* 1 Military models
* 2 Japanese figures
* 3 Garage Kits
* 4 US history
* 5 See also
* 6 References

[edit] Military models

Enthusiasts may pursue figure modeling in its own right or as an adjunct to military modeling.

There is also overlap with miniature figures (minis) used in wargames and role-playing games: minis are usually less than 54 mm scale, and do not necessarily represent any given personage. Model figures usually 54 mm/1:32 or greater.

Model aircraft and vehicle kits in even smaller scales will also often include "model figures," or can be purchased as accessories. There are also kits of the drivers and servicers of cars, and the series of figurines that stand in the streets and platforms of model railroads.
[edit] Japanese figures

Collecting of model figures based on icons like Hello Kitty, as well as characters appearing in anime, manga, kaiju (monster) serials, science fiction/fantasy films and video games is a major part of otaku fandom. Some hobbyists concentrate specifically on a certain type of figure, such as garage kits, gashapon (capsule toys), or PVC bishojo (pretty girl) statues. Such figures prominently featured in work of modern artist Takashi Murakami. Through his company Kaikai Kiki, he has produced a number of limited designer toys to be sold in otaku oriented stores.
[edit] Garage Kits

Garage kit figures are often produced by amateur hobbyists, and cast out of polyurethane resin. In Japan they often portay anime characters and in the US they are often movie monsters. Garage kits are usually produced in limited numbers and are more expensive than typical injection molded plastic figures and kits.
[edit] US history

In the 50s and 60s plastic model kits such as cars, planes or space ships became common in the US. There were also cheap plastic models for the popular market of movie monsters, comic book heroes, and movie and television characters in 1:8 size (about 9 inches or 23 cm in height). These included monsters like Frankenstein, The Wolf Man, Dracula, and the Creature from the Black Lagoon. One of the largest producers of monster figures were the Aurora Plastics Corporation, who produced many thousands figures from each mould. This market disappeared and no firm since has produced anything to match their quantities. Instead smaller (3¾-inch or 10 cm) action figures of have taken over the popular market.

In the 1970s, Aurora's figure molds for had been sold to Monogram and by the mid-to late 1970s, the models had been discontinued and were difficult to find in hobby stores.

In the mid-1980s some who were kids in the 1950s and 60s resumed their interest in the old Aurora monster models. An underground market developed through which enthusiasts could acquire the original plastic model kits. While the prices in the 50s and 60s had been only a few dollars, now the kits were selling for as much as $125 for some of the rarer monster models.

In the early to mid-1980s, hobbyists began creating their own garage kits of movie monsters, often without permission from copyright holders. They were usually produced in limited numbers and sold primarily by mail order and at toy and hobby conventions.

In the mid- to late 1980s, two model kit companies moved the monster model kit hobby toward the mainstream. Horizon Models in California and Screamin' Models in New York began licensing vinyl model kits of movie monsters. Horizon focused primarily on classic horror film characters (like Bride of Frankenstein, Invisible Man, The Phantom of the Opera) and comic book characters (like Captain America and Iron Man). Screamin' focused primarily on characters from more contemporary slasher movies like A Nightmare on Elm Street, Hellraiser and franchises like Star Wars and Mars Attacks.[1] Hobby stores began to carry these products in limited supply.

By the 1990s model kits were produced in the US, UK as well as Japan and distributed through hobby and comic stores. Large hobby companies like AMT-Ertl and Revell/Monogram (the same Monogram that bought the Aurora monster molds) began marketing vinyl model kits of movie monsters, the classic Star Trek characters, and characters from one of the Batman films. There was an unprecedented variety of licensed models figure kits.

In the late 1990s model kit sales went down. Hobby and comic stores and their distributors began carrying fewer garage kits or closed down. Producers like Horizon and Screamin' shut their doors.

As of 2009, there are two American garage kit magazines, Kitbuilders Magazine[2] and Amazing Figure Modeler,[3] and there are garage kit conventions held each year, like WonderFest USA in Louisville, Kentucky.[4]
[edit] See also

* Figurine
* Action figure
* Toy soldier
* Model horse

[edit] References

1. ^ http://figuredreams.awardspace.com/screamin-1-4.htm

2. ^ http://www.kitbuildersmagazine.com/

3. ^ http://www.amazingmodeler.com/

4. ^ http://www.wonderfest.com/
5. dart vander-star wars1
6.boba fett-star wars
7.general suitor-suburban
8.ming the merciless-flash gordon
9.The rocketeer
10.pinhead-hellraiser
11.strom trooper-star wars

urban vinyl toys

Designer toys
urban vinyl toys

Designer toys is a term used to describe toys and other collectibles that are produced in limited editions (as few as 10 or as many as 2000 pieces) and created by artists and designers. Designer toys are made of variety of materials; ABS plastic and vinyl are most common, although wood, metal, and resin are occasionally used. The term also encompasses plush, cloth and latex dolls. Creators of designer toys usually have backgrounds in graphic design, illustration or self-described low brow art; some are classically trained in art and design, while others are self-taught. Designer toys first appeared in the 1990s and are still in production today.
Contents

* 1 Overview
* 2 Urban vinyl
* 3 Resin toys
* 4 Designer plush
* 5 Designer consumer electronics
* 6 See also
* 7 References

Overview

A typical example of designer toys are the Qee series, produced in Hong Kong by Toy2R. The standard size of Qee figures is 2" high, but 8" and 16" figures are also produced. Qees vary in their design, usually with the same basic body type, but with head sculpts that may be of a bear, a cat, a dog, a monkey, or a rabbit. Variations of the Qee are the Toyer with a head that resembles a cartoon skull; the Knuckle Bear, which was created by Japanese character designer Touma, and resembles a graffiti-style caricature of an anthropomorphized bear; and the Qee Egg, a bird's egg with arms and legs. Blank Qees are produced in 2" and 8" sizes; these figures may be of any Qee sculpt, but are packaged unpainted, as do-it-yourself pieces. Each piece is designed by an artist and carries its own aesthetic theme. Each 2" figure is packaged with an optional keychain attachment.

Another example of designer toys is the Dunny series, produced by the American company Kidrobot. Dunny figures may be considered the Western counterpart of the Chinese Qee and the Japanese Be@rbrick. Dunny are a series of figures that resemble anthropomorphized rabbits in a cartoon style (a design originally illustrated by graffiti, stencil, and comic artists) which are produced as 3", 8", and 20" figures. There is a variation of the Dunny figure called a Munny, which resembles a monkey, and is only sold as an unpainted do-it-yourself piece.

Some creators of designer toys are Hong Kong-based Michael Lau, credited with the establishment of the Urban Vinyl movement; Devilrobots, a five-person design team from Japan, known for their television character named TO-FU Oyako; American concert poster artist Frank Kozik's Mongers series and Labbit character; and British illustrator James Jarvis' cast of characters, produced as vinyl figures of varying sizes.

Most vinyl toys are produced in factories in China, though some designers have shifted production to Japan where higher quality materials such as clear vinyl are used. Designer toys are rarely produced in the United States due to environmental restrictions on the production of vinyl, some exceptions are resin and plush toys.
Urban vinyl
Bigfoot, an example of an urban vinyl toy, designed by San Francisco artist Bigfoot One, produced by STRANGEco in conjunction with Fifty24SF Gallery

Urban vinyl is a type of designer toy, featuring action figures in particular which are usually made of vinyl. Although the term is sometimes used interchangeably with the term designer toy, it is more accurately used as a modifier: not all designer toys can be considered urban vinyl, while urban vinyl figures are necessarily designer toys, by virtue of the way in which they are produced. Like designer toys in general, urban vinyl figures feature original designs, small production numbers, and are marketed to collectors, predominantly adults.

The urban vinyl trend was initiated by artist Michael Lau, who first created urban vinyl figures in Hong Kong in the late 1990s.[1][2] Other creators of urban vinyl figures are Japanese artist and designer Takashi Murakami whose work has been exhibited in the Museum of Contemporary Art, Tokyo, and the Museum of Fine Arts, Boston, Australian designer Nathan Jurevicius's Scarygirl, based on characters from his comic of the same name, and produced in conjunction with Hong Kong company Flyingcat, and former graffiti artist KAWS. Los Angeles based musician and designer Craig Anthony Perkins created the Broken Heart Robot character[3]

Urban vinyl figures are designed primarily by musicians, DJs, illustrators, and graffiti artists from urban areas in Asia (especially Japan and Hong Kong), North America (especially the United States), and Europe.

An offshoot of hip hop and youth-oriented popular culture, urban vinyl often depicts real-life figures from Asian and American culture, particularly artists who perform in a hip-hop or related styles. Two examples are Lau's depiction of the LMF rappers from Hong Kong, and figures based on the members of the virtual electronic band Gorillaz, produced by Jamie Hewlett and made by Kidrobot.

Urban vinyl is commonly designated as either Eastern Vinyl, including anything designed and produced in Asia or Australia, or Western Vinyl, encompassing pieces which are designed and produced in North America, South America, or Europe. Urban vinyl figures have become collectible items. Rare pieces may sell for hundreds or even thousands of dollars.[4]
[edit] Resin toys
Malter & Lupaulo, resin toy by São Paulo artist Iara Iguti

Some artists create their toys using synthetic resin material and resin casting. After casting the resin toy receives adjustments in its details, sometimes being superficially cast on some parts. The toy can be finished using automotive paint by aerosol and sometimes receives a varnished layer above the dry painting.

The process of making resin toys is more labor intensive and time consuming than industrialized vinyl toy production, which in most of cases are made identical and in large quantities. But resin casting allows artists to produce toys in small numbers. Most vinyl factories will only produce toys in large series. Resin toys have become a way for less established artists to produce a toy without the large financial investment required to produce a vinyl toy. Unlike most vinyl toys, resin toys are usually sculpted, cast, and painted by a single artist.
[edit] Designer plush
Friends With You plush series: (top) Smiling Malfi, Super Malfi, Malfi (middle) The Boy (bottom) Bumble Grump, Mr. T.T.T. Burger, Muffin

Designer plush, a subcategory of designer toys, are soft, stuffed dolls created in limited quantities by artists and designers. Common designs include anthropomorphized animals or fantastic human likenesses, although designer plush dolls often feature entirely unique character designs. Designer plush dolls are usually given names and personas, with their distinctive personalities described on their tags or in booklets included in their packaging.

One producer of designer plush is Friends With You, a commercial art and design collective based in Miami, Florida. Their work is characterized by a cute yet bizarre aesthetic, and exhibits a hand-made quality, even in pieces that are machine-made. In addition to their plush dolls, Friends With You also create modular wood toys, and motion graphics for companies such as Sony, MTV, Nike, and Columbia Records.

Another type of designer plush are Uglydolls, created by independent toy designers David Horvath and Sun-Min Kim under the label Pretty Ugly. Their first products were 12" plush dolls based on drawings by David Horvath’s, and handmade by Sun-Min Kim. Pretty Ugly has also produced 7" versions of their character designs, called Little Uglys, 24" versions called Giant Uglys, 4" miniatures intended for use as keychains, and in a departure from the plush medium, 7" Vinyl Uglys. With Ugly Dolls being featured in motion pictures like Zuthera and in major specialty stores the brand has gone from exclusive to Mass appeal in mainstream.[5]

Another designer plush line are Shawnimals, originating in Chicago, Illinois, with designs such as "Pocket Ninja", "Splug", and "Son of Moustachio". All of these characters exist in a land called "Shawnimaland". Shawnimals released series 1 of "Micro Plush" blind box toys in December 2007 based on their Ninjatown line of characters. The majority of the characters involved all revolve around the Wee Ninja character, and are licensed to the Squibbles + Rotofugi partnership. Series 2 is scheduled for release near or on the same day as its Ninjatown Nintendo DS game.

Other examples of designer plush include Hellhounds, created by Japanese character designer Touma and produced by Play Imaginative; the Gloomy Bear collection by Japanese graphic designer Mori Chack; the Furilla series by American artist Toren Orzeck; the Doudoupop brand by French designer Jamous; the Swedish Spök-spök brand by designer Daniel Svanberg, presently consisting of four characters named Spök-spök, Spökelina, Toofhairy, and the ever angry Baron von Kon, living in an ideal world that's a hybrid of fond childhood memories and traditional Swedish iconography; and Circus Punks, knockdown dolls (simple dolls with round, sand-filled bases used in carnival games) which are screen-printed and sewn by hand, each featuring a design by a different artist.
[edit] Designer consumer electronics

A recent addition to the world of vinyl toys, designer consumer electronics is a subcategory started by mimoco, whose mimobot Art Toy Flash Drives proved that there was a market for Urban Vinyl products with a purpose. Like other platform art toys, there have been mimobot designs by a wide variety of artists, including Mori Chack, Sket One, Devilrobots and Jon Burgerman. The appeal of designer consumer electronics in flash memory form tends to be the addition of a digital canvas, allowing affiliated artists to create much more in-depth characters, complete with animations, music, etc.

Designer consumer electronics are not limited to mimobots; in 2007, Medicom brought out a Be@rbrick USB flash drive, and Marka27 debuted their Mini Gods urban vinyl toy speakers.

1. urban vinyl toy-mighty muggs
2. history of mighty muggs and urban vinyl toys
3. frozen empire toys
   

http://en.wikipedia.org/wiki/File:FWYLCrew.jpg
http://en.wikipedia.org/wiki/File:Malter_lupaulo.jpg
http://en.wikipedia.org/wiki/File:Bigfootvinyl.jpg

patung outdoor sebagai publik domain

Istilah patung out door/luar ruangan biasanya dipergunakan  untuk membedakan dengan patung yang dipajang di dalam  ruang galeri maupun museum,patung out door mempunyai permasalahan yang berbeda dengan patung indoor.
salah satu yang mendasar dari patung out door adalah aspek penikmatan oleh publik,karena patung out door bereda dalam publik domain, sehingga publik seakan-akan  harus  menjadi penikmat karya tersebut. Didalam ruang publik, sebuah patung menjadi bagian dari lanskap publik, hal ini menimbulkan situasi paradoksal, yaitu di satu sisi sebagai karya seni yng ulitimate, patung harus otonom karena merupakan ekspresi individu seniman, namun disisi yang lain, apapun  yang berada dalam publik domain dianggab mempunyai konsekuensi yang harus diterima oleh publik, atau paling tidak komunitas pengguna dan pemilik ruang publik tersebut,  baik bersifat positif maupun negatif.
karya patung yang tidak di sukai oleh publiknya akan dianggab sebagai pengganggu, gangguan ini bisa bersifat fisik, misal mengganggu  aktifitas,maupun bersifat estetik,misal dianggab kotor,merusak pemandangan dll, dan juga bersifat etika, misal dianggab merusak norma dan tata aturan yang berlaku dalam masyarakat.
Untuk itu perlu upaya-upaya untuk meminimaliskan dampak penenolak terhadap karya seni yang berada dalam publik domain ini adalah salah satunya dengan melibatkan partisipasi publik dalam penciptaan maupun perencanaan patung out door sehingga  timbul rasa memiliki terhadap karya tersebut, sekaligus sebagai legitimasi publik terhadap keberadaan karya patung tersebut.
sehingga karya tersebut bisa memberikan dampak positif bagi publik maupun bagi lingkungannya.
patung sebagai karya tiga dimensional benar-benar berada dalam ruang nyata, sehingga setting penempatan sebuah patung menjadi pertimbangan yang utama.


disarikan dari buletin API edisi Khusus September 2002
(mohon pembaca sekalian  dapat melengkapi/menambahkan wacana  ini)

Awan simatupang

AWAN SIMATUPANG BIOGRAPHY

Name : Awan Simatupang Born : Jakarta, 24.10.1967 Education : Workshop for performance art by Allan Kaprow Workshop for poster design by Ronald Curchot Antonio Ratti Fondatione, Como, Italy 1993 Workshop for jewelry design contemporary by Wilhem Mattar IKJ and CCF Jakarta 1992 Faculty of art and design majoring in sculpture La Sale College & Goethe Institute Singapore 1991 Institut Kesenian Jakarta

Selected Group Exhibition 2007 “Relation”, contemporary sculpture exhibition, Surabaya, Indonesia “Domestic Art Object”, Yogyakarta, Indonesia 2006 “BEYONND The Limits and Its Challenges” Biennale Jakarta, Indonesia “12 Pas”, 678 Gallery, Jakarta, Indonesia “Contemporary Indonesia Scluptors”, La Galleria del Parco Sculpture Del Chianti, Siena - Italy Asosiasi Pematung Indonesia (API; Association of Indonesian Sculptors) “small WORKS”, Taman Budaya, Yogyakarta, Indonesia “Ide dan Eksplorasi”, One Gallery, Jakarta, Indonesia “Nasi Campur”, Taksu Gallery, Kuala Lumpur, Malaysia 2005 “Kecil Itu Indah”, Edwin’s Gallery, Jakarta Bali Biennale, Darga Gallery, Denpasar - Bali, Indonesia “Nasi Campur Jakarta”, Taksu Gallery, Jakarta, Indonesia Group exhibition METROMINI, CP Biennale Jakarta, Indonesia Art singapore 2005, Taksu Gallery, Singapore “Here and Now”, Ramzy Gallery, Jakarta, Indonesia API, “Dua Titik Api”, Puri Gallery, Malang - East Java, Indonesia “21th and Beyond”, Edwin’s Gallery, Jakarta, Indonesia API “Dua Titik Api”, Gallery Santrian, Bali, Indonesia “Karya untuk Kawan”, KOMNAS Perempuan, Gallery Nasional, Jakarta, Indonesia “Tali Kasih”, Edwin’s Gallery, Jakarta, Indonesia 2004 “Dua Sisi”, Edwin’s Gallery, Jakarta, Indonesia “Konvensi” sculpture group exhibition, Edwin’s Gallery, Jakarta, Indonesia “Republik Togel” exhibition of group METROMONI, Gallery Lontar “EGP” exhibition of group METROMINI, Gallery Cipta, TIM, Jakarta, Indonesia “Ide dan Eksplorasi” sculpture exhibition, Gallery One, Jakarta, Indonesia “Enam Manusia Urban”, Bentara Budaya Yogyakarta, Indonesia “Awan dan Oki”, Gallery Lontar 2003 API “In Search of Peace”, WTC, Jakarta, Indonesia “Mc’Row Media” contemporary sculpture exhibition, Langgeng Gallery, Magelang - Central Java, Indonesia “patung@eg.com2”, Edwin’s Gallery, Jakarta, Indonesia “Karya untuk Kawan“, Gallery Nasional, Jakarta, Indonesia Bimasena Club 2002 “Patung@edwingallery.com” sculpture exhibition, Edwin’s Gallery, Jakarta, Indonesia “Metropolitan” exhibition of group METROMINI, TIM, Jakarta, Indonesia “1001 Patung Indonesia”, Bimasena Club, Jakarta, Indonesia “Struggle and Creation”, Erasmus Huis, Jakarta, Indonesia 2001 API, Galeri Nasional, Jakarta, Indonesia “METROMINI” exhibition of group METROMINI, Millenium Gallery, Jakarta, Indonesia Cemara Gallery, Jakarta, Indonesia 2000 “Percakapan di Tengah Padang” sculpture exhibition, Erasmus Huis, Jakarta 1997 Exhibition of participant’s workshop Antonio Ratti Foundation, Milan, Italy 1995 Biennalle Seni Rupa Indonesia, TIM, Jakarta, Indonesia Seni Rupa Kontemporer Indonesia, TIM, Jakarta, Indonesia 1993 EXPO 93, TIM, Jakarta, Indonesia 1991 EXPO 91, JDC, Jakarta, Indonesia

Solo Exhibition 2007 “Housing As A Verb”, CP Art Space, Jakarta, Indonesia 2000 Jak art @2000, Wijoyo Center, Jakarta, Indonesia

Achievement 2005 Winner of Monument “KUDUS KOTA KRETEK” competition 1995 Winner of Sculpture “CITRA RAYA NUANSA SENI” competition 1991 TEMPO award

lebih lanjut tentang Awan simatupang
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Sahabat gallery

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Buku tentang Perempuan Perupa Indonesia

Carla, Farah dan Wulan Antar 34 Perempuan Perupa Indonesia Ke Masyarakat Dunia

Melangit di langitperempuan pada 9 Januari 2008

Sampul buku Indonesian Women Artists, 2007

[ANTARANews] - Buku pertama yang secara khusus mengulas hidup dan karya 34 perempuan perupa Indonesia berjudul “Indonesian Women Artists: The Curtain Opens”, diluncurkan di Galeri Nasional Indonesia, Jakarta, 1 Agustus 2007.

Peluncuran buku itu, sekaligus menandai pembukaan pameran seni rupa bertajuk “Intimate Distance” (1-10 Agustus 2007) yang menampilkan karya-karya mereka.

Tiga penulisnya, Carla Bianpoen, Farah Wardani, dan Wulan Dirgantoro, berupaya menjadikan buku berbahasa Inggris yang diterbitkan Yayasan Seni Rupa Indonesia itu sebagai tonggak penting dalam telaah dan pendokumentasian sejarah perempuan perupa Indonesia.

Terlebih, kajian posisi para perempuan perupa dalam sejarah seni rupa Indonesia sangat langka, terbatas dalam bentuk ulasan pendek suratkabar, majalah, atau katalog pameran.

“Di tengah kelangkaan buku yang ditulis secara sungguh-sungguh mengenai seni rupa Indonesia, buku ini merupakan sumbangan yang sangat penting, terutama bagi khalayak yang hendak mengetahui lebih jauh wajah seni rupa kita,” kata Ketua Umum YSRI Miranda S Goeltom.

Carla, Farah, dan Wulan adalah tiga sosok perempuan yang memiliki kompetensi menggambarkan perempuan perupa Indonesia.

Carla yang dikenal sebagai wartawan lepas bidang seni budaya merupakan alumni Universitas Wilhelms (Jerman) 50 tahun lalu, Farah merupakan kurator dan penulis dan alumni pascasarjana sejarah seni Goldsmith College (Inggris), Wulan juga kurator dan penulis, alumni pascasarjana Universitas Melbourne (Australia).

Membukukan 34 perempuan perupa bukan perkara mudah bagi ketiga penulis, karena mereka yang ditulis berada pada rentang waktu yang sangat panjang, mulai dari Emiria Soenassa (1894-1964) hingga Prilla Tania yang tergabung dalam kelompok seni Videobabes kelahiran Bandung 1979.

Selengkapnya, ke-34 perempuan perupa yang menjadi obyek penulisan buku ini adalah Emiria Soenassa (1895-1964), Masmundari (1904-2005), Kartika Affandi (1934), Rita Widagdo (1938), Umi Dachlan (1942), Nunung WS
(1948), Hildawati Soemantri (1945-2003), Edith Ratna (1946), Iriantine Karnaya (1950).

Lalu, Dolorosa Sinaga (1952), Heyi Ma`mun (1952), Astari Rasjid (1953), Yani Mariani Sastranegara (1955), Marida Nasution (1956), Dyan Anggraini (1957), Altje Ully (1958), Yanuar Ernawati (1959), Hening Purnamawati
(1960), Mella Jaarsma (1960), Marintan Sirait (1960), Arahmaiani (1961), I GAK Murniasih (1966-2006).

Kemudian, Tiarma Dame Ruth Sirait (1968), Tita Rubi (1968), Melati Suryodarmo (1969), Wara Anindyah (1969), Erica Hestu Wahyuni (1971), Bunga Jeruk (1972), Tintin Wulia (1972), Ay Tjoe Christine (1973), Diah Yulianti
(1973), Laksmi Shitaresmi (1974), Caroline Rika (1976), dan Endang Lestari (1976).

Sementara karya yang disorot dalam buku ini adalah karya-karya perupa perempuan pada periode 1940 - 2007.

Emiria, yang bergiat dalam kurun 1940-1950-an menampilkan perempuan yang bersumber pada cerita-cerita pribumi, sosok-sosok puak dan model dari kalangan jelata, yang sangat patut dipandang sebagai karya feminis awal.

Ironisnya, meski giat menggelar pameran dan bahkan mendapat berbagai hadiah, ia tidak pernah diberi penghormatan yang layak dalam sejarah seni rupa modern Indonesia. Sejarah seni rupa modern Indonesia hampir semua ditulis oleh laki-laki dan berkisah tentang para perupa laki-laki.

Lukisan karya Emiria berjudul “Mutiara Bermain” yang dibuat selama empat tahun sejak 1942, menggambarkan dua perempuan telanjang sedang menari di belahan mutiara pada dasar laut, menunjukkan betapa tertindasnya perempuan kala itu, terlebih di masa penjajahan Jepang yang memandang perempuan sebagai pemuas nafsu birahi.

Konsep Modernisme

Seiring dengan perjalanan waktu, dalam dasawarsa 1950-an, terutama dengan berdirinya ASRI (sekarang Institut Seni Indonesia) di Yogyakarta dan Fakultas Seni Rupa ITB menumbuhkan pula perempuan perupa.

Rita Widagdo misalnya, menjadi dosen patung terkemuka di ITB. Konsep modernisme dalam seni rupa dan seni abstrak sudah banyak diperhatikan dan terwariskan dari perempuan bernama asli Wizemann, warganegara Jerman yang menjadi WNI setelah menikah dengan Widagdo ini.

Dalam kurun hingga 1966 muncul Heyi dan Umi yang meneruskan jejak Rita di ITB.

Sementara Nunung WS menjadi mahasiswi pertama yang masuk ke Akademi Seni Rupa Surabaya (Aksera) ketika dibuka tahun 1967.

Sedangkan di Institut Kesenian Jakarta (IKJ), Hildawati yang alumni ITB mendirikan Studio Keramik tahun 1977 dan Edith Ratna meletakan dasar-dasar estetika dalam seni patung. Sejumlah mahasiswa mereka ketika itu antara lain Dolorosa dan Yani Mariani.

Dalam buku ini disebutkan, posisi sejumlah perempuan perupa di akademi telah merangsang makin banyak diskusi di kalangan mahasiswa tentang bagaimana seni dapat mengubah cara pandang terhadap budaya, temasuk soal-soal perempuan dan gender, membawa dekonstruksi norma.

Terpengaruh soal-soal sosial politik era 1970-an, seniman mengubah cara mereka mengeksplorasi kreativitas, dari segi medium maupun praktik.

Manifesto Gerakan Seni Rupa Baru (GSRB) misalnya, menjadi titik balik seni rupa modern Indonesia. Seni rupa tak bisa lagi hanya berupa lukisan atau patung yang dijuluki seni tinggi. Seni adalah sarana membuat pernyataan budaya atau politik, forum inovasi gagasan dan media.

Sikap dasar GSRB memperlihatkan pengaruh kuat dari Gerakan Fluxus dari masa 1960-an akhir di Eropa dan AS yang juga menegaskan kuatnya dinamika pemberdayaan feminis waktu itu.

Hilda memperkenalkan seni instalasi yang menggunakan keping-keping keramik dan menjadi perupa pertama yang melakukan hal itu.

Namun, dengan menguatnya pemerintahan Orde Baru sepanjang dasawarsa 1980-an, ekspresi di berbagai media dikekang, termasuk kesenian.

Pada medan seni rupa muncul makin banyak perempuan seniman dalam kurun itu, meski kegiatan mereka hanya di kalangan elit dan perempuan kelas menengah perkotaan.

Organisasi-organisasi seperti Kelompok Sembilan dan IPWI (Ikatan Pelukis Wanita Indonesia) sering dipandang sebagai kumpulan pelukis waktu senggang.

Kartini Subekti, mantan diplomat dan seniman yang mendirikan IPWI tahun 1985 menampik pandangan bahwa IPWI atau organisasi peremuan perupa lain hanya kumpulan pehobi yang remeh. IPWI beranggotakan sekitar 200 orang tersebar di Jakarta, Yogyakarta, Surabaya, dan Bandung, meskipun organisasi ini nyaris tak terdengar lagi.

Dalam kurun 1990-an diskursus seni rupa kontemporer mencuat ke permukaan dan membentuk medan baru bagi seni visual global. Medan baru ini berubah secara signifikan karena makin banyak perempuan perupa menampilkan pernyataan yang lebih lantang tentang subjektivitas keperempuanan mereka.

Arahmaiani, Dolorosa, Yanuar, Astari Rajid jelas-jelas memunculkan jenis persoalan ini dalam karya mereka.

Keruntuhan rezim Orde Baru pada 1998 dan dorongan reformasi membawa perubahan drastis di Indonesia, mencipta landasan baru bagi praktik seni visual Indonesia era 2000-an.

Generasi perempuan perupa kelahiran dasawarsa 1970-1980-an, mulai menggunakan sekian banyak ragam media dengan pendekatan yang lebih mutakhir dan interdisipliner, tak hanya manual, tetapi juga digital.

Ketika ketiga penulis ditanyakan apakah ke-34 perempuan perupa yang ditulis dalam buku itu telah mewakili perjalanan perempuan perupa di Indonesia, Carla, Farah, dan Wulan tidak memberikan jawaban yang pasti.

Mereka hanya mengatakan ke-34 perempuan perupa itu dipilih berdasarkan berbagai kriteria yang tak dapat digeneralisasikan menjadi seperangkat parameter yang tetap.

“Buku ini menawarkan landasan bagi kajian mendatang tentang perspektif perempuan dalam seni rupa Indonesia,” kata Carla.

Ia hanya bisa memastikan bahwa dengan penulisan buku tersebut, tirai perempuan perupa dan seni rupa Indonesia telah terbuka.

“Dan akan tetap terbuka,” katanya, meski diakui bahwa dunia internasional belum akrab dengan eksistensi perempuan perupa Indonesia.(*)

sumber http://www.antara.co.id/arc/2007/8/2/membuka-tirai-perempuan-perupa-indonesia/

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