Action Figure Interview
As a Thanksgiving treat Nomad talks to Ed Wires in our mammoth Multi-Page interview to find out more about the painter of some of this year's hottest lines...

So Nomad comes to me with the Ed Wires Interview... and boy this thing is a monster, as you can see by the page count... and says "Adrian, you write the intro".

So how do you go about introducing Ed Wires?

Only a few short years ago, sculptors (yes, sculptors, bear with me) never got credit. Indeed, in a lot of companies they still don't. But this was really championed by Digger from Art Asylum who felt that Sculptors (and other people who worked on figures) should get credit. It was something that was agreed by a lot of companies, and today it is common to see a list of credits on the back of packaging.

As a result Collectors have become ever more aware of the talent behind some of their favorite action figures, to the degree that the sculptor in some cases is as important as the subject material.

However, whilst sculptors are becoming recognized within collector’s circles, painters, by and large, have not had the same level of recognition.

Ed Wires is not a person who has intentionally gone out to be noticed, but his name crops up again and again on the hottest lines. This is probably the best sort of recognition... recognition due to the quality of your work. This year having worked on three of the years hottest lines (Lord of the Rings, Muppets and Marvel Legends); collectors have become ever more aware of the painter's credit. In fact, there are now a couple of painters’ credits I watch out for in a line, and Ed is one of those

The painters’ job is not an easy one, as they don't work from a blank canvas so to speak. They have to take the sculptor's piece and through the use of color, give the figure life and help highlight the sculpt. It should never overbear but compliment and bring out the best in the sculpt.

Personally I find Ed consistently does this, with his work consistently very good, and I feel that this year particularly he is top of his game.

And with that I'll hand over to Nomad...

I'd like to start with your background...Where you lived, what your family was like, what comics & cartoons you grew up with, what toy did you always want?
I’d like to think I had a pretty normal childhood. Working class parents and whatnot.
I grew up with Megos and GI Joe and Micronauts. I loved Conan and Capt America Comics (aw hell, I’ll admit it. I was a comic book nerd.), and was (and still am) a big fan of the Horror movies. I lived in New Jersey until I was 17, and then my parents decided to relocate to Atlanta, GA.

I (and my brother) always had an affinity to art. I wanted to be a comic book artist, but, once I got into the working world (specifically the bar business), I got lured away by all of the quick cash and other things one can do in that industry. I always did the "art thing" as a sort of hobby, and did an illustration gig here or there, but never anything above a local level. The one thing I always loved to do was model kits. Figures, Tanks, Planes, and such. And I would do custom figures, or repaint existing figures. It was an obsession really. I dabbled in Video and Film production in and out of college, and figured that was the way I would go with a career, but, I just couldn’t get through the ?theory? classes. That and the same 200 people fighting over the same nickel.
I would always go back to comics, but always found; that I just could not sit in one place for any length of time (Big Irony now). My wife and I moved around a lot from '92 to '98 with her company, so I really got into my customs and models because we worked opposite schedules a lot. It was cool, getting to see the big cities all over the country on someone else’s dime, then her job brought us to Southern California and everything changed...(insert dramatic music here)

What training/schooling did you go through as far as your current profession?
As far as what I do now, all self taught, and mostly through trial and error on the hobby end of it. I would read all of the modeler magazines, and experiment with the techniques in the articles.

How did you get started in the business?
I was lucky enough to be in the right place at the right time. Friend of a friend type of thing. I worked for someone in the business for awhile, and then circumstances let this little ugly duckling spread his wings... (insert slapstick music here)

What or whose work influences you & do you admire?
That list could go on for pages and days. I love the work of Norman Rockwell and Frank Frazettza. Joe Kubert, John Buscema and Roy Thomas were Gods to me. Just way too many to list. A lot of the people I work beside in this business inspire me. There is a lot of energy. There re some truly gifted artists in this field and they are able to adapt their gifts to producing a product.

My wife totally inspires me from the business standpoint. I had no illusions from the start, but, she is such a good networker and manager at her job, that it helped me adapt it into my business. Because at the end of the day this is the business of commercial art. So many people overlook that aspect. You could be a phenomenal artist, but you have to know how to conduct business and network and ultimately be able to produce something for someone else, and convince a prospective client to send you the work, etc. I could ramble here for days. But I want everyone to stay awake for the rest of my diatribes

Does any music inspire you while you work
Absolutely. Movie soundtracks (Conan the Barbarian to Toy Story), classic Rock (Credence Clearwater to Tom Petty), Metal (Iron Maiden), Country, you name it.
We’ll go from "Death Metal" music day to "super sounds of the 60's." Or Punk day. Or Pink Floyd day. We just vary it up really. And DVD’s with the commentary are one of the best inventions. You’ve already seen the movie, so listening to people talk about specific scenes is awesome. Anything to stimulate your subconscious while you’re working on a project is either in the CD player or on the TV.

What do you collect now?
I used to collect everything. I am a huge enthusiast with the 12? military market, but I don’t really collect much now other than the stuff I work on for the display in my office.
I have a 20 year toy collection sitting in storage, because I just don’t have the room for it.
My wife and I bought an old house 2 years ago, so all of our spare time and money goes into giving the TLC it has needed for the last few decades. I’ll pick up a 12? military figure here and there, or something a friend in the business has worked on, but, for the most part, space is the big issue, and until I add on a few rooms to my workshop, my collection of stuff will have to be patient in storage.

Of course, I am always on the hunt for new CD's and DVD’s because we need a constant fresh supply of stimuli

Any interesting stories about starting out/ struggling to be noticed?
I learned a lot of things from the bar business that translated well in this business. Mostly the discipline of working hard and long hours and late nights. I adapted quickly to what, at times, is a break neck pace in this industry. I had seen and heard what happens to people that can't produce, and did not want to be one of those people. Plus, I hit it off great with some great people that coached me with good advice from the very beginning.

I didn’t really think you could be noticed. I never really struggled to be noticed, because this is such an anonymous field. Don’t get me wrong, the exposure is awesome, but it’s not what I seek out. I just like to work.


How do you handle working on a piece who's sculpt is hideous?
I don’t really look at sculpts that way. I figure, I couldn’t do it (sculpting, I mean), and someone had to approve it, so I just paint each piece the best I can.


Any horror stories?
(Insert embarrassed chuckle here) Oh yeah, they all are learning experiences, but I think the one that sticks out in my mind, was: only a few weeks into being a freelancer and I had just completed my first set of multiples (2 or more copies of the same figure at the same time. Also referred to as dupes). I stayed up for 2 days straight because I wanted to get them to the client super early. I was getting ready to spray sealant over all of them at the same time (to protect the paint jobs while being handled) and I sprayed primer on them instead. Thus, covering them with a white coat instead of a clear coat. So I had to strip them down and start over. I still made the project on time, but...


Any pieces that made you crazy when they didn't make it to production?
At first it did. Nothing specific comes to mind though. You just have to accept the fact that you are doing this for someone else. You get paid for your portion of it, so whatever ultimately happens with that piece is out of your hands. Just make sure you have good pix.


Any projects/ characters you've been pulling for to be made?
As far as with the clients I am working with right now, they are either all in some form of production or have been produced already

On a personal level, there are several licenses I would love to see produced, but it comes down to economic viability.


I'll end it with any advice you'd like to give anyone who wants to get started in the business or specifically doing what you do.
Practice. Practice a lot. And then practice some more. Experiment with different products and techniques and find what works. Make it look professional. Be your own worst critic and take advice if it is offered. I have seen a lot of custom work that is horrible. Lines not straight, eyes not symmetrical, fingerprints on the finish. That’s fine if you are still learning, but then don’t show that piece. I have also seen some brilliant custom work that just makes my jaw drop. Train yourself to commit to finishing a project as quickly as possible. Don’t be afraid to redo something. Better that you learn it now than have to redo it as a professional. Chances are, that will be the last project you do for that particular.


Tips?
Concentrate on being a professional. Develop good work ethics and habits. Learn the mechanics of the business. Be business savvy and have good people skills. You have to able to communicate. This is commercial art. You are producing a viable product for someone else. At the end of the day, those who can deliver what the client wants are the ones who stay in business. Talent will only take you so far. But, if you can’t produce something workable, you won’t work for long.

Experiment on your own time. If a client approaches you to do a job, they feel you are the best one for it. Don’t commit to a project you can’t possibly finish on time. Every day you are late is costing the client money.


Of course I won't refuse any stories you think people might want to know about.
All of the pix on my site are what I consider the "Best of..."anything not on there is probably due to confidentiality, or I simply don’t have pix of it.


I'd also like to wrap up the piece with a list of your credits if you have one made up.
I guess I’ll just give a list as best I can. Bear with me, and I apologize if I leave some stuff out. All of the figures listed are ones I have worked on in some capacity. If it says partial, it means I did not work on all copies. Usually sales samples or showroom displays.


Any Final Words?
Thank you for the opportunity to share with you and your community. This exposure is such a new thing for me that I am honored to be a part of toy culture.

I would also like to send out a Thank You to all of the people whose paths have crossed with mine in this business. It is because of you that I am where I am at.

And a big thank you to all of the fans that buy the product. You folks keep us going and striving to make the best possible product

-E Wires