The CoolRain Interview

This is a reprint of an interview I did in 2008, the reason that I am posting this again is because the artist will be showing at the LA Art Show during the second week of January 2017.

Lee Chan Woo is a South Korean figure artist better known as CoolRain. I first learned of him via Victor aka Crazytoyz 0709's web page and forum. When I first saw Coolrain's art I was reminded of Michael Lau, yet also saw some elements that made him unique. Like Lau his inspiration is part street culture and part reality. If Michael has his pulse on global street culture then CoolRain's figures are closer to home and more intimate.

For example photographer and journalist Kim Kyung Woo is the inspiration for the figure Woosra. His other friends are b-boys and as such are also inspirations for these stylized figures. CoolRain has been active in the community since 2003. He cut his teeth recreating Lau's classic Gardeners before finding his own look. Now after building a following and client list that includes several large companies and having several gallery shows it is my honor to present his first English interview. 

Noe V.: Hello Coolrain, welcome to my 1UP blog. Before we get to questions about your figure art I think we should get to know a little more about you. Please tell us little bit about yourself. What are your hobbies? 

CoolRain: I like collecting figure and artbooks. Also fan of SF movie and animation.

NV: What were your favorite toys as a kid?


CR: I was fascinated with super-heroes such as superman, batman and so on.

NV: Were you into cartoons, comics or animation as a kid?

CR: Genres didn't matter. I liked cartoons, comics or animation all.

NV: Did you play sports?

CR: Yes, I liked to play Basketball. And there are many basketball players I loved. 

NV: Did you have any other hobbies like playing music or collecting things?

CR: I collect art book, illustration and movie book.

NV: Who were your favorite characters or which were your favorite shows?

CR: I like my 1st design figure series "Monsterz Crew". I love Dunk. Of course my favorite shows are all related with sneakers, especially Nike dunk exhibitions.

NV: Are you also into computer or console videogames?

CR: I don't play videogame. But I make game. This is irony. But I like game images and animation.

NV: Which were your favorite games and why?

CR: I love Final Fantasy. I liked characters and images in it. 

NV: I understand that you are an artist and animator, which schools did you go to or are you self-taught?

CR: I have been self-taught. No teachers, only my curiosity was my teacher. At beginning, I couldn't find enough books, so I used to study watching Videos and books in English. Mostly I gathered a lot of information through movie-related books(creature art book).

NV: Can you say which company you work for or which projects you have worked on?

CR: Nike, KTF (Korean major mobile phone company), Motorola, Adidas, SAKUN (Korean street brand), Delitoys, etc. And some projects with making original character building (Figure style) and also works of CG in CF clips.

NV: You've been building a name in the figure art community for the past few years. Can you tell us how you got started in that?

CR: I started as 3d animator. My dream is still producing animation. That explains why I like main characters in animations. First I made characters with CG, that led me to think "I want to make them by hand." That's how I got started making figures. 

NV: Who were your influences within the figure art world as well as from outside the community?

CR: Before I made figures, I started to collect them. Those were design figures of Michael Lau, Eric So and lovely ones of Nightmare before Christmas of Tim Burton. Basically I like their works and colors. Besides that, I love the works of Otomo Katsuhiro, who is genius comic animator and also illustrator.

NV: Was it hard or easy to make the transition from 2D to figure art?

CR: In fact, 3d modeling and 2d sculpting are similar in some ways. So I didn't have much trouble to transite from 2d to 3d. Only difference is finishing part. Like the project with Park, Ji-sung(Manchester United Korean Player), modeling 3d real object was first experience. But it was not such a burden because I had some experiences with 3d works.

NV: What things did you have to learn along the way? Were there any parts that you took for granted or found difficult to do?

CR: To be a good figure artist, 2d and 3d is just a matter of technique or methods. But I found out that most important work for figure-making involves meeting with people, talk with them, understanding the world of their minds. It needs human- relation skills and manners too. You have to respect them and love them. Easy to say, but not simple works. If I understand them better and know their minds, the result came out much better always. 

NV: Did you ever consider creating traditional super hero figures, action figures, soldiers or space men or was street culture more natural to you?

CR: I am crazy for the super heroes, space suites for astronauts. Someday, I am going to make them someday. Space suites are my works in my dream all the time. 

NV: Some of your figures, the "Monsterz Crew" is based on a b-boy group. Do you or your friends breakdance?

CR: Of course, the models of Monster crew are the top-notch B-boys. Some of my friends are rappers, B-boys, and graffiti artists.

NV: I understand one of your friends, Kim Yoonhyup, is a graffiti artist, have you ever experimented with graffiti art?

CR: I like and admire their works and themselves. I try hard to experience them and see them work on their projects.

NV: Critics would say that you are copying from Michael Lau, with the use of Hip Hop themes and street clothes in your figures. Which isn't fair to say because other artists like Tim Tsui, Jason Siu, Pal Wong and Eric So have also followed similar trends. Have you ever had to defend your work from critics?

CR: Thanks for comparing my works with Michael Lau. ~ I respect Lau a lot. My work experience is just beginning. Of course basic materials for my works are the similar ones (leather or suede hair and sneaker). Also sometimes my works centers on similar concepts(Hip-Hop themes). My work and I are in constant progress and evolution. All of my hand-made methods are time consuming and challenging physically. That's why I love this way of work. Whenever I see the results, I feel some sort of catharsis.  As a figure artist, I am just beginner. I have a lot of things to do in the future. I usually don't pay attention to all the critics much. I just want to follow my curiosity and work with the styles that I want. My next theme could be urban culture or maybe totally new ones. I just enjoy what I am doing right now. I don't know how long could I pursue my career as a figure artist. It could be years or tens of years. I just love to make figures and hand-made sneakers.

NV: Have you had to defend your format from people that think figure art is just a passing trend or not as credible as a sculpture or canvas painting?

CR: That's not the issue I care about. I do collaborate with sculpture artists and painters for the shows or some specific projects together. For every artist, the difference is just tools they choose to express their idea and thoughts. My canvas or tool is the figure. With figures, I can do my best to express my ideas.

NV: What do you think defines art?

CR: Definition for art depends on every people's mindset. If someone can express something with any means, it's art, I think.

NV: Is there a difference between toy, craft, art or collectable?

CR: It depends on anyone's thought. For someone, it could be toy, craft, art, or collectable. It's relativistic concept.

NV: Do you feel that working with Nike and Stussy on high-profile projects has validated your place in the figure community?

CR: I don't know. From my childhood, I like Nike. And I like graphics of Stussy & Supreme. I was happy when I got contact from NIKE. Of course, those working experiences with NIKE and Stussy gave me new horizon for my work career as a full-time figure artist. 

NV: The current Nike campaign in South Korea "Legend of the Phoenix" is built around footballer Ji-sung Park. Can you explain the importance of working on a campaign like that. Turning Ji-sung into a figure and even the symbolism behind the Phoenix?

CR: For the Legend of the Phoenix project, it was planned as congratulation for new release of Jisung Park product releases, the icon and captain of Korea National soccer team and also member of Manchester United team. Final products include 3D animation, graphic-noble and Figures. Each item has been made under the same theme added with each participating artist's own characteristics. It is the first of its kind total campaign in sports star marketing in Korea. Figure was made with only rough images of JS Park, the other forms of artworks are expressions of its kind for Warrior JS PARK. 

NV: How do you challenge yourself when creating art?

CR: To make 100% copy of something is one challenge. But the real challenge is how to put character's spirits in each figures. That's my challenge.

NV: What makes you stand out in the figure world?

CR: Stand out? I don't know well. From the start on, I just tried to express what I like. I like Figures and sneakers. I just like to make it perfect for me.

NV: Explain to us the process of making a figure. How does it begin? What are the stages?

CR: Making figures is not cool at all like nickname.~It's continuity of hard work with many processes. I get ideas of character image from my friends around me. I just pick their main characteristics and from there, I start express them with the scale of 6/1. In details, too many thing to do. Make head and hair pattern with leather, dye them. Work for the graphics for the clothes with computer. Make patterns for shoes. Logos, metal parts, if necessary. Another matching dyeing processes to match the colors of shoes, etc. So many details to do finish just one character.

NV: How many hours or days does it take to make the clothes, shoes, heads, accessories or details like tattoos and logos?

CR: In fact, it depends. Differences with each character. But for the example of hair, if I have to implant every hair, it takes 2-3days just for the hair work. In sneakers with patterns already done, it would take 6-8 hours. But ones with many patterns, 2-3days (In case of air Jordan series, sneakers with too many different detailed patterns). 

NV: How many figures do you make for a particular release, like P-Nix and Che? How long does it take you to make these sets?

CR: For Monster crew, there are P-nix, Jutt, Che, Speedy finished right now. And next one to add will be Andy. Usually it would take 2- 3 months to finish one character, from idea to mailing to customers. It could take more if there are shows, Nike campaigns, or other extra activities at the same time. Early this year with the projects of Nike Dunk, I made 70 characters on display. For Dunk shoes, finished 100 pieces including the ones released in Korea for the S/S season. Total time for that, 6-7 months, long but worthwhile.

NV: The faces of your figures are very distinct and cartoonish. Are these influences from your work as an animator?

CR: Yes, that's correct. I like animation. That gave my figures a lot of influences. And for the comment, there are some simplified figure heads. They could be customized with simple drawings, like Bearbricks. 

NV: Have you thought about turning your figures into animations or have you already begun working on that?

CR: I love figures and also animations. I can make both of them together. (if I enough time). Actually through shows and exhibitions, I would like to introduce my figures to the people. When I have those shows, it would be a great chance to show animations with actual figure at the same time. I would give people more interests in figures and understanding, hopefully loves for my figures. I have plans in my mind; some of them are in progress little by little.

NV: Would you ever like to produce an animated show or even videogame featuring your characters? If so what types of games or adventures could you see your characters in?

CR: Of course that would be great. It's a work for character to give breath and reality. For Monster Crew, they are B-boyers. So I want them to be nice B-boy game. But before do into the animation processes, I would like to make figures that cover their life styles and progresses with them. I want to express not just fixed b-boying styles, but also their lives with b-boying.

NV: I understand that you are a family man. What do your kids think about your figures?

CR: How did you know... it's secret~ Even though I love figure, I am a daddy of a twin. They are cute babies. For them, figures are nothing but toys. They like playing with my figures and they are happy playing with them. I want to make figures that could be source for joy and smile for the people.

NV: What advice would you give artists that hope to transition from 2D to figure art? Are there any skills they should learn?

CR: Basically similar. So you don't have to hesitate or think it difficult. It's just small difference of methods. 2D or 3D, computer or hand-made is just difference of method. That's it. What's the most important factor is how much you try hard to give it full efforts to make it perfect to meet the standard you pursue for. Work, Work and Work hard. 

NV: Would you advise making friends in the community or finding a mentor to learn from?

CR: If I didn't find figure making, I couldn't make any relations with lots of people that I know until now, The common ground for us is "Love Figures." If you just follow your heart with ones that you like to do, then all the mentors and good friends come along automatically.

NV: How should an artist deal with criticism and how can they stay motivated when there are so many great artists in the world?

CR: The most important thing is to express what you like and what you want people to see. If you have interests in expressing anything as much as you like, you can accept any kinds of criticism with ease of minds. For any works that I do, I have to like and be satisfied with. Self-esteem is my standard for any kinds of my projects. I do work until I am fully satisfied with the results for myself.

NV: Are there any other words of wisdom you would like to leave the people of 1UP with?

CR: Love what you do right now, and just enjoy it. At present the most important thing to do is making figures. Just like that~~ enjoy your life!

NV: Thank you for your time and we look forward to seeing what you have in store for the rest of 2008 and beyond! If you'd like to see some more of CoolRain's work be sure to visit his blog. Please be sure and spread the word to your friends and editors about this artist. I have a feeling that the future is very bright for him! Thanks for visiting! 

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The evolution of Oswald the Lucky Rabbit, part 6...

In the previous blog I mentioned that Oswald had become a popular name in Japan. Between 2004 and 2005 the character had generated a lot of buzz overseas and even some in the USA. He appeared at the Universal Park in Osaka as well as on various arcade prizes from Taito. The character underwent some subtle changes shortly after Disney had required the character. The early licencors, between 2006 and 2007 used designs that were very fluid and reminiscent of the Taito art. The character had a more oval or egg-shaped head, skinnier arms and legs and long rounded feet. By 2008 the character had been standardized for official art and merchandise.

In early 2006 Oswald's rights were transferred back to Disney. This trade was not really big news in the USA with the exception that sports commentator Al Michaels was the original reason that Disney and NBC / Universal had struck a deal. Oswald was thrown in as a sign of good faith between the President of Universal and the CEO of Disney. Animation fans and theme park devotees were the only ones that really took notice of the news. Getting the rights back meant that Disney had to work double time in reintroducing the character.

Two of the artists instrumental in getting Oswald some exposure were Kevin Kidney and Jody Daily. The duo had created some of the best merchandise in the history of the company. Everything from dinnerware to shirts, mugs, statues and toys came out of their studio. They were experienced artists, imagineers and more important, they were fans of Walt Disney. The two were mindful of Walt's legacy and did a great job of honoring it on every project they worked on. They were students of every era of the company and especially of the theme parks. Aside from the vinyl Cutie figure that I had blogged about previously the studio wanted to release a high-end plush figure.

In 2006 Kevin and Jody created a wire armature of the rabbit, stuffed it with fiber and covered it in faux suede. The feet were filled with buckwheat or something similar so that he could stand on his own. This Oswald was modeled after the original art from Ub Iwerks, (dating back to 1926!) with details going all the way down to cord whiskers on the face and feet. Ub was the Disney animator that had a hand in creating both Oswald and Mickey Mouse. The Kevin and Jody figure was taken to shows to get the public interested in Oswald again.

In 2007 a figure that looked very similar to the concept sculpt was released at Walt Disney World. The plush was large and pricey, at about $60, but included the history of the character on the packaging. It reminded audiences "Before there was Mickey… there was Oswald." Today the figure can fetch several hundred dollars on eBay and specially shops. Only two pieces were made and Kevin and Jody sold both of them off at a Pop Gallery Retrospective in September 2016.

Something similar happened to the first "Big Fig" commissioned for the character as well. Kevin and Jody once again went back in time to get the inspiration for a collectible statue. They returned with a very vintage design. One of the earliest pieces of Oswald merchandise used the character designs from Ub Iwerks. In the Stencil Set from circa 1928 there were a number of stencils of Oswald in different poses. One of those was titled "The Sheik" and it featured Oswald wearing a top hat, holding a cane and twirling his whiskers. Oswald had actually appeared with a top hat in a few movie posters.

Note that the early shape of Oswald had yet to be finalized. He had more of an egg shaped head in the earliest designs. Many collectors showed interest in the figure but apparently not enough for the studio to follow through with a release. Six years later an Oswald statue was released but in the smaller "Mid Fig" format. The new sculpt was closer to the style sheets but lacked the insight and details that Kevin and Jody had dug up.

The original Oswald Big Fig was sculpted by Bo Tsai, who had sculpted hundreds, if not thousands, of the greatest Disney collectibles. It was painted in warm gray tones by Jody. In Kevin and Jody's words "We even managed to produce a bottomstamp for the base using the 1920s name-type in the original Oswald shorts. Months after our little Oswald collection was given the axe, the artists of Disney Consumer Products released an Oswald "style guide" for use in new products for the Disney Store. The "new" Oswald was more streamlined and his original silent-movie-era crudeness was polished away to better fit modern-day expectations." There were two of the original resin big figs made. The first one disappeared into history and the other one, including the base, was auctioned off during the Pop Retrospective in 2016.

Disney consumer products created a very simple style guide and almost all of the merchandise produced over the next decade, in both Japan and the USA, worked directly from the model sheet. Buttons, clothing, pins and various items all relied heavily on the guide. This lack of originality stripped the character of his personality. All of the details that Kevin and Jody had captured were stripped away in the first round of merchandise featuring the character.

Bob Iger, CEO of Disney, knew that animation was not necessarily the best medium to get Oswald in the minds and hearts of new Disney fans. Oswald would have to be featured in a big budget videogame. The seeds for Epic Mickey were planted by a group of interns but it would take many years to see a finished product. In the meantime Oswald needed to be re-branded. The character had to become synonymous with Disney but Oswald merchandise could not simply be dropped in the parks or Disney stores overnight. Little by little the company had to ease Oswald onto consumers.

Tee shirt collaborations seemed to be the best way at getting the rabbit out in the world. This was something that Universal understood. Their children's tee shirt line had two known designs, one of which gave a brief history on the character. There were other shirts in the works, specifically for adults, but they were not released pending on the success of the kids line. Despite having the slogan "Come in and meet him" there was never an Oswald walk-around character in the Universal park. I have no doubt that there was one in the plans.

In the short time while the rights were being transferred back to Disney a South Korean clothing manufacturer named Rocket Salad released a sweatshirt line featuring Oswald. It was assumed that Disney would redesign the character rather than use the most recent Universal version. Disney did not have an official model sheet available at the time Rocket Salad was releasing their items. What the company did was reprint the cover a children's book from the 1930's. While this was a Lantz design it looked old enough that audiences wouldn't necessarily credit it to Universal.

The first clothing partner that actually ran with a new redesign of Oswald was Comme De Garcons. The company was very trendy and also very pricey. Their tee shirts could go for well over $150 and were mostly sold in Japan. Their group of designers worked with Disney to reinvent Oswald while maintaining a classic look. The first thing the studio did was drop the Universal colors and make Oswald black and white. To prevent any confusion between the character and Mickey Mouse it was decided that Oswald needed to have blue shorts or white shorts from that point forward. The fashion brand actually printed metallic gold shorts for one design. The head of Oswald was more egg-shaped than oval. There were three distinct poses that the company used for shirts and even a wallet. This version of Oswald had rounded fingers and feet like the Universal one but his proportions were slightly different. Oswald's belly was larger and almost the same size as his head.

About a year later a second fashion label debuted its Oswald collection. Stussy, a popular street brand, was the first to use the contemporary designs of Oswald. While Stussy items were available in the US, these specific shirts were available in Japan only. The designers at Disney had narrowed down the features, poses and even attitude of the character. The fingers and feet were squared off and the head was more round than oval. The character looked more rigid than the Universal or Comme De Garcons figures. Stussy printed the various poses from the model sheet on the front of their shirt. It was interesting to note that one shirt they printed featured Oswald wearing red shorts. Oswald had been standardized at this point. Almost every appearance of the rabbit after 2008, whether on clothing or other merchandise, featured a pose pulled directly from those created by Disney.

 

Stussy highlighted something important about collaborations. In order to get audiences to spend $100 on a shirt there had to be some sense of quality and exclusivity. The shirts were created in a limited number and to further sweeten the deal they came with an exclusive Bearbrick (sometimes written as Be@rbrick). These small vinyl figures were produced by Medicom. Exclusive figures, such as the Oswald phone strap version, were highly prized by collectors. Many bought shirts just for the figure.

Medicom had actually released a line of collector figures featuring Woody Woodpecker and friends during the 2004-2005 Universal era. These "Kubrick" figures kept the shape and design of the cartoon mascots, as opposed the the bear-shaped Bearbrick line. About a year after the Stussy collaboration Medicom released a two-pack of Kubric figures celebrating the return of Oswald to Disney. This time it was a black and white Mickey Mouse and Oswald bundled together for collectors. The Oswald figure was based on the earlier Universal model.

The first US shirt collaboration was with Lucky Brand Jeans. The stores sold tee shirts featuring Oswald around 2008. This was essentially the first place for people in the know to get a modern Oswald item and show their support. While a few of the shirts featured one of the standard poses from Disney's model sheet the majority of the shirts were original works of art. They captured much more personality than any other shirt line before or after. Oswald showed a broad range of emotions in the various styles, from happy to sassy. It was the first time in ages that a group of artists were able to recreate the elements that made Oswald an icon in the first place. Granted, he didn't flash a gun in any design, but the art would have made Ub Iwerks proud.

Oswald remained relatively unchanged by the Disney company since 2008. That was until the re-opening of Disney California Adventure in 2012. The park featured a new Buena Vista Street, Cars Land and other attractions. At the gate there was a new store, Oswald's Service Station. The proportions of Oswald were adjusted slightly on the logo created for the station. He was a fraction shorter and his body and head were almost a perfect 1:1 ratio. His eyes even went from perfect ovals to pie-eye pupils. A few products were sold with this specific version of Oswald.

The majority of pins featuring the character were rooted more on the designs from 2008. There were a couple of pins that had rabbits that looked more like the Comme De Garcons version but more or less the reboot of Oswald was complete. I would like to point out how similar the pie-eyed figure was to Universal's redesign. Both companies came to the same conclusion in the end, although sometimes I wonder if the designers at Disney did not borrow some elements from Universal. Certain design elements, the weight of a line, the curve of a figure, the scale and proportions could make a cartoon mascot look timeless even though they were created in the 21st century.

Japan never lost its love of all things Disney, especially not of Oswald. Since regaining the rights to the character every few seasons the Tokyo Disney Resort unveils a new lineup of Oswald merchandise. They never reuse the same designs but start from scratch each time. Some of the earliest Oswald merchandise were leather bags embossed with the character and some home good items. A dedicated campaign would reveal itself around 2010-2011.

The earliest dedicated campaign mixed Oswald with Western style denim. There were bags, aprons, pencil cases and laundry bags made of the material featuring a leather Oswald tag. This collaboration was inspired by a crossover that Disney had with Edwin, a jean company out of Japan that had made a few Oswald figures out of their material, complete with tags. A few of these pieces still turn up from time-to-time on the Japanese auction sites. The turnaround for this merchandise was quick in Japan. Denim would give way to something completely different, such as bright colors and polka dots, a year later it might be naval inspired stripes. By comparison the merchandise featured at the Oswald Gas Station in Disney California Adventure had changed little over six years. In 2016 Japan had gone full circle and had released entirely new Oswald merchandise, this time revisiting the denim campaign.

In Japan there are often Disney collaborations where items featuring specific characters are sold exclusively in specific stores. Oswald was the central character at the fictional Spur City, a department store art collaboration from September 2014. Disney even had a large fiberglass statue of Oswald made just for the season. Chances are this figure might not be seen again in any other store or even at the park.

In the Japanese theme parks limited run tee shirts were nothing new. Some of the latter Oswald exclusives were letterman style sweatshirts. Oswald was featured prominently over one of the letters from his name. The poses used were pulled right from the model sheet. These were some of the most unoriginal designs from Japan but at least they only lasted one season. In the US Disney parks the Oswald merchandise has gone relatively unchanged since 2012. If there were some merchandise created for outside the park then it might be for a large retail store like Target. There would be no fanfare, no custom store props, no Oswald statues celebrating the collaboration. Instead there would simply be some new shirts released alongside the items from every other licenser. I understand that in 2015, for the 60th Anniversary of Disneyland, Oswald may finally be getting new merchandise at his store in DCA. It would be a welcome change.

The character had found its rhythm in the US and Japan. The rest of the world was now catching up. In China Oswald was introduced in a 2011 campaign from the fashion label Pizza Cut Five. The poses had been seen previously on Stussy and Lucky Brand shirts. It was a small effort to get the character some exposure and certainly appreciated by the trendsetters. Oswald's final design evolution would happen around this time in the US. The next blog will look at how Oswald transitioned from 2D to 3D. If you would like to sponsor me please visit my Patreon page and consider donating each month, even as little as $1 would help make better blogs and even podcasts!