Ben's Last Night, 1/8 scale resin model kit from Dedham Pond Designs, sculpted by Joe Simon. Painted and photographed by Toby Franks.

Television has been the focus of way, way too many hours of my life, especially given how little of that time I was actually happy. But I do recall a few times that I got something memorable out of watching TV.

One of those times was when I was probably 11 or 12 years old, and I sneaked out of my basement bedroom on a Friday night to watch “Shock Theater” on the tube. “Shock Theater” was the kind of weekly horror movie feature that apparently doesn’t exist on local stations anymore. I regularly broke my parents’ bedtime rules to watch it (they were upstairs and couldn’t hear me), and enjoyed a variety of flicks ranging from cheesy to mildly creepy. I saw the original “King Kong” on “Shock Theater”, “The Creeping Flesh”, “Trog” and many others.

It was all free, not even a monthly cable bill. We got our TV signal through an antenna on the roof and a slim wire carried it down to the basement. On the night I remember most clearly, the movie was “Night of the Living Dead”, released in 1968.

My “Shock Theater” history did not prepare me for what I was about to see. The films I’d watched Friday nights up to that point, by and large, were pretty mild, really. Lots of creepiness and effectively scary moments, but nothing over the top. I suspect that “Shock Theater” added “Night” to its rotation of movies despite its more gruesome content because it could do so for free. Even though it was less than 10 years old at that point, “Night of the Living Dead” had moved into the public domain because of the failure to include a copyright notice on the first prints of the film.

Anyway, the movie started. Black and white but not too old, which I initially took as kind of a bad sign. Jerk mocking his sister in a cemetery. “They’re coming to get you, Barbra. There’s one of them now!” Hm. OK.

But holy crap, the shambling dude with the white hair and black suit really was coming to get her.

My heart started racing about the time Bill Hinzman’s Cemetery Zombie attacked, and throttled up when he killed Johnny and chased Barbra to the isolated countryside house.

What? Why was he doing this? What did he want?

So, for the next couple hours or so, I was absorbed in the movie for a few minutes at a time. In between, I turned off the TV and went to bed, shaken. Then I’d be back five or 10 minutes later, wanting more even though I was afraid of it. “Night of the Living Dead” was unlike anything I’d ever seen, scary beyond anything I’d experienced in a film. And yes, pretty cheesy, too.

When my worst fears were confirmed — the zombies wanted to eat them! — I couldn’t believe anyone would dare put that on film, much less show it on TV.

Seeing “Night of the Living Dead” that night was a minor turning point for me. It wasn’t long before I recognized that I not only enjoyed it, but that I wanted more. Zombies displaced werewolves as my favorite movie monsters and now, more than three decades later, I still haven’t had enough of them.

DUANE JONES PLAYS BEN, NOTLD’S TRAGIC HERO

Any longtime fan of zombie movies recognizes NOTLD director George A. Romero as the genre’s granddaddy. He has made six zombie films to date, at least two of them masterpieces and all of them interesting at some level. If you enjoyed “Shaun of the Dead”, “Zombieland” or “The Walking Dead”, thank George Romero.

For me, Ben's lug wrench is one of the best weapons ever wielded in a movie.

When I first saw “Night”, though, the individual whose work on the film most startled and impressed me was Duane Jones, who played Ben. For those who shamefully haven’t seen the movie, Ben is the only major character to live through the night, only to be slain the next morning by the posse hunting down the ghouls.

Ben, honestly, was a shock as a hero to me. From the moment his truck’s headlights reveal him to Barbra in front of the house, Ben is the most dynamic character in the film. He’s the leader, the one with energy and the drive to start making plans. He’s wearing the kind of clothes that suggest he’s used to living in the city and eating at diners, but he’s quick to take on the tasks of beating down zombies with a lug wrench, then moving and burning the bodies.

He also butts heads with Cooper, slugs Barbra to knock her out of a hysterical fit and occasionally loses his cool with the others in the house. He’s the film’s hero, but he doesn’t always make the right choices. In fact, ironically, the film proves that the noisy, irritating Cooper was right: If the people in the house had locked themselves in the cellar, they might all have survived the night.

Duane Jones’s career, like his life, was too short. He died in 1988 at the age of 52.

DEDHAM POND PRESENTS BEN’S LAST NIGHT, SCULPTED BY JOE SIMON

Resin the Barbarian was born in early 2006, when I was blogging for a newspaper’s website. Somewhere toward the middle of that year, a few months before the birth of my youngest daughter, I decided to take a shot at producing a garage kit on my own. Basically, I was curious. All I’d done with resin model kits up to that point was paint a few; I’d never made a mold or a casting.

I fortunately ending up working with Chris Wooten, a young sculptor just getting his start. He shaped a 1/4-scale bust called “Ben”, based on “Night of the Living Dead”. As I’ve said before, and will continue to say as long as my brain works, Chris did a fantastic job on the piece. My efforts at molding and casting were amateur. I’ll never be able to thank Chris enough for his patience as my teacher during that project, which was not part of the deal but he did it anyway. I worked with Chris again about a year ago, when he sculpted my Aurora-style Phantom of the Opera replacement head for the Polar Lights Phantom kit. That replacement head is my biggest seller to date.

Ben and the zombie come with separate interlocking bases. The figures will be available as a set or sold individually.

Anyway, I’ve learned a lot about molding and casting since starting up Dedham Pond in 2010, thanks in large part to generous long-distance advice from friends in the hobby and in slightly larger part to almost a year doing the work professionally in a paleo lab. My (so far fruitless) efforts to produce a vinyl model kit led to me working with sculptor Joe Simon last year, and I’ve been thrilled with the work Joe did on Dedham Pond’s Mr. Hyde and Nosferatu.

I knew I wanted to produce another kit based on “Night of the Living Dead”. Thinking about it, I decided I wanted to take another shot at Ben, the character who so struck me when I first watched him on television when I was young, portrayed by an actor I suspect wasn’t appreciated enough. Joe was game, and he started to work.

Ben’s Last Night is 1/8 scale, resin. Sale details coming soon.

A LAST FUN LITTLE DETAIL

Chris Wooten's Ben bust, produced by Resin the Barbarian in 2006. Painted and photographed by Toby Franks.

I’ve seen and enjoyed a number of paint jobs on the 2006 Ben bust, a couple of which particularly stood out at me. One of them was done by Toby Franks, a longtime hobbyist who calls himself “FromBeyond138″ at the Clubhouse. I don’t know how Toby discovered “Night of the Living Dead”, but he’s another big fan of the film. When he did the bust, he added a base that included Ben’s famous lug wrench.

Part of the fun of being a garage-kit producer is to see what a painter who likes the kit does with it. I thought Toby got a bigger kick out of the first model than anyone else, and he’s also a terrific painter. So, soon after getting the first work-in-progress photos from Joe, I got in touch with Toby to ask him if he’d like to paint the first kit and photograph it for the box art.

Toby was all over it. Cool.

One of my frequent requests for Joe is sort of vague: Include some kind of interesting animal on the base. For Mr. Hyde, it was a centipede. For Nosferatu, naturally, rats. I think I hinted at bugs for Ben’s Last Night, but didn’t have any specific idea. Soon after I confirmed that Toby would be the painter, Joe suggested putting a cat on the base.

Anyone who is familiar with Toby Franks for a while — and I’ve known him through forums for about a decade and even met him in person once at WonderFest a few years ago — knows he’s nuts about cats. In fact, “nuts” is probably too frivolous a word for it. Toby is dedicated to them, and works hard to take care of them.

I took that as a sign, of sorts, and greenlit the cat. I don’t think there is a feline anywhere in the actual film, but I love it on the base.

A final word about Joe Simon. His work has always been fun, often eye-catching. But these last couple of years in particular, I’d argue, Joe’s output has been amazing. The work he has done with Black Heart, Three Kings, Six Strings, Dedham Pond and more has repeatedly delighted me. It’s a privilege to work with him.

Watch for the next Dedham Pond kit from Joe Simon later this year.

Charlie Coleman painted and photographed the first Eva bust for Dedham Pond Designs. The kit was sculpted by William Paquet, inspired by Dick Smith's makeup effects for the 1981 movie "Ghost Story".

William Paquet's photo of Eva, left, and Alma together shortly after he completed both busts in February 2010. Alma has been available from Dedham Pond Designs since 2010; Eva just joined the kit catalog.

Dedham Pond Designs was created in early 2010, shortly after sculptor William Paquet first contacted me with an offer to work together on a project that turned out to be a bust called “Alma”, inspired by the effects work Dick Smith did on the 1981 movie “Ghost Story”. Here’s how I told the story:

We started discussing possible projects. I said in an e-mail that I enjoy the over-the-top ghosts I’ve seen in some movies and attached a few photos, including a collage of Smith’s work on “Ghost Story”. William, a very busy guy, read my message and replied quickly, before looking at the photos.

“Ghosts … funny you mentioned them because one of the things I have always wanted to sculpt and one of the things than came to mind for you was a bust of Alma Mobley/Eva Galli from ‘Ghost Story’. The half-rotten stunning work by Dick Smith. Very creepy, and the kind of thing that’s fun to paint.”

Attached to the e-mail was the exact same collage of Smith’s work. Oh yeah, this project had to happen.

We agreed that William would sculpt a bust inspired by actress Alice Krige’s Alma Mobley, as she appeared in a heart-stopping scene early in “Ghost Story”.

William kept me regularly updated on his progress with the Alma bust. Somewhere along the line, he said he was going to go ahead and do another sculpture inspired by the same film, this one of the ghost of Eva Galli as she appears to Douglas Fairbanks Jr. in the moments before his character’s death. That scene has haunted me for years, ever since I first sat in a theater and watched it in 1981.

So, Alma would launch Dedham Pond while William would, eventually, produce Eva himself. However, lucky for me, William Paquet is a busy guy. Very, very busy. Check out some of what he’s doing for Quarantine Studio to get an idea of how busy he is.

A couple of months ago, William unexpectedly offered a deal to make Eva part of the Dedham Pond catalog. Much as she frightens me, I quickly took him up on the offer. After another masterful paint job by Charlie Coleman — whose skills have also introduced Dedham Pond’s Mr. Hyde and Nosferatu — she’s now ready to haunt hobbyists.

ORDERING INFO: Eva and Alma are both 1/4 scale, one-piece resin kits. They sell for $45 apiece plus shipping for a 1.5-pound package. The price for both is $80 plus shipping for a 2-pound package. If interested, please email todd.powell@resinbarbarian.com. Please include your ZIP code so I can figure shipping.

Elvira (Cassandra Peterson) admires Adam Dougherty's sculpture of her, created for Moebius Models. The Elvira kit should reach hobbyists in 2011. Photo provided by KreatureKid.

The proper way to start this profile is to apologize. I first contacted fellow Coloradan Adam Dougherty in June 2010 to ask if he’d answer a few questions for my blog. We worked through some confusion and Adam had lots of information to me by November. Life has taken a lot of strange twists and turns since then, for both of us, in very different ways. Still, it shouldn’t have taken this long, and so for that I’m embarrassed and grateful to Adam for his patience.

ANGUS O. DOUGHERTY, FEB. 1, 1955-DEC. 12, 2010

Young Adam Dougherty with his father, Angus, photo from the 1990s. Angus died in December.

It has been interesting watching Adam grow quickly from a surprisingly talented young sculptor selling his classic-monster busts on eBay into the talent behind some wonderful resin and plastic model kits. I’ve seen all of it through my computer, checking out the photos and reading his online auctions, his postings in a few forums, and his pages on Facebook and MySpace.

Adam Dougherty of Westminster, Colo.

Adam, 20, credits his father for encouraging that growth. When his father died of cancer late last year, Adam shared the news online. He wrote:

“He was an amazing father, hell of a mechanic, and my biggest fan. He taught me how to build models in the first place, i owe it all to him.”

Adam says his father attended his first WonderFest with him, and watched proudly over the last few years while his son built his skills and reputation. He saw Adam start working with a number of small and large kit producers, notably Moebius Models.

A CONNECTION OF COLORADO MONSTER LOVERS

Adam grew up in the Denver area and now lives in Westminster, Colo. A few years ago he became acquainted with Steve Riojas, writer for Amazing Figure Modeler magazine and professional model maker.

Adam is a big fan of the Creature from the Black Lagoon. He sculpted this take on the gillman for Ultratumba Productions.

“I met Adam through my daughter, Rachel,” Steve wrote in an email. “They were good friends in school and when he came over to our house to visit he saw what I was working on in the garage and we started talking. After seeing his Creature from the Black Lagoon collection and especially his sculpting projects which showed how much talent he had in the rough, I started mentioning him to friends in the hobby. On his second trip to Wonderfest, I introduced him to kit producers, sculptors, hobby guys, and they immediately took a liking to him. Adam is a great kid, a talented sculptor, and I wish him all the best of luck.”

Today, Adam credits Steve on his MySpace page as a mentor. “Without his help I would still be doing little kits in my spare time. He has been a great help with my career and has taught me a lot.”

On MySpace, Adam also salutes Johnny Gilbert, “one of the most well-known Creature from the Black Lagoon collectors and an amazing sculptor.”

Adam loves classic movie monsters, particularly the Creature, an interest he shares with many hobbyists. The list of producers Adam has worked with grows all the time. In addition to Moebius, Adam has sculpted for Tower of London, Resin Crypt, Ultratumba Productions, the Model Mansion, Resin Pimps and more. He plans to release his own line of kits this May at WonderFest in Louisville, Ky.

ADAM HELPS MOEBIUS SHOW THE STRENGTH OF STYRENE

As the photo above shows, Adam’s work for Moebius Models includes the upcoming Elvira kit. Cassandra Peterson has every reason to be thrilled.

Moebius's upcoming Bela Lugosi kit, most of which was sculpted by Adam. Jeff Yagher sculpted the head.

Starting in 2007, Frank Winspur’s Moebius proved that the market for plastic figure kits was still healthy by selling thousands of “repops” of Aurora’s classic Dr. Jekyll as Mr. Hyde model kit. Since then, the company has repopped many more Aurora monsters, including much of the Monster Scenes line, the Monsters of the Movies Creature from the Black Lagoon and Gigantic Frankenstein, a.k.a. “Big Frankie”.

The company is also responsible for a number of neat original figure kits, including the Mummy, Invisible Man, Frankenstein’s Monster, Iron Man, Spider-Man and the Green Goblin. The company’s fantastic Bela Lugosi as Dracula kit — most of which was sculpted by Adam, with head by Jeff Yagher — is coming soon.

Frank says Adam is working on more projects with Moebius but he isn’t ready to tell anything more yet.

Q&A WITH THE KREATUREKID

Resin the Barbarian: How are you and your family doing? I’m sure your father’s death hit all of you very hard.

Email the Headless Hearseman at Fritz@HeadlessHearseman.com for info about Adam's werewolf bust.

Adam: We’re doing good, just trying to piece everything back together and get settled down. We will be spreading his ashes in California during Monsterpalooza weekend.

RtB: Can you tell me anything about the line of kits you plan to introduce at WonderFest?

Adam: I can’t say much, all I have are my teaser pics that are on my Facebook. But they’re my original designs based on some classic monsters with some very terrified trick ’r’ treaters.

RtB: Aside from your own line, what are you working on now? Any chance Moebius will get you to do a Creature kit with the Universal license, or perhaps the Black Widow? Anything with other garage-kit producers?

Adam: After WonderFest I am getting started on a new piece for Moebius (can’t say what though), but aside from Moebius, I’d really like to start producing my own work. I’ve got a ton of ideas for new kits that I’m going to start making time for.

RtB: Classic monsters aren’t a typical interest for 20-year-olds. How did you become a fan of these beasties in general, and the Creature from the Black Lagoon in particular?

Adam: I’ve been a classic monster fan as long as I can remember and the Creature has always been my favorite. My parents were into the classic monsters and introduced the old movies to me when I was really little. I started collecting monster toys when I was 4,moved on to painting the models and entering contests when I was 10 and started sculpting when I was 12.

Adam Dougherty sculpted this lovely lady, inspired by "The Gravedancers", for Tower of London. Steve Riojas painted this one.

RtB: Do you think you’re going to be able to make a living as a sculptor?

Adam: I’m going to try lol.

Like any artist, when you have a passion for something, the goal isn’t to make a living at it, creating is just something that you have to do. If you’re lucky enough to make a living at it; that’s a bonus.

RtB: Do you have a long-term goal? Are you happy to keep sculpting miniature monsters for kit builders, or do you hope to work with one of the big statue companies? Or perhaps something entirely different?

Adam: I love what I’m doing now, but there are so many different avenues I’d like to explore in the future. I hope my work keeps improving so that new opportunities become available. I don’t have any idea what lays ahead, that’s what makes it exciting.

Another of Adam Dougherty's Creature sculptures. Adam says he once met the late Ben Chapman, who played the monster in his land appearances in "The Creature from the Black Lagoon".

RtB: What came first, sculpting or your interest in the monsters?

Adam: The monsters. Sculpting grew from wanting what I couldn’t find as a collector.

RtB: I’m going to guess you’re less than half as old as most of the people drawn to your work. How do you feel about that? Do friends your age like your sculpting?

This 1/6 scale sculpture inspired by artist Mike Grell's Warlord proves Adam Dougherty can do heroes as well as monsters. Email resinpimps@bellsouth.net for more information about the piece.

Adam: That’s what’s great about model making; it appeals to all ages. I meet young kids that are just starting to get into it, and old-timers that are reliving their childhood. I don’t think age has anything to do with appreciating the classics, and that’s my one goal … to keep the classic monsters alive for future generations

RtB: My introduction to your work was through some eBay auctions a few years ago. I think you were about 17 at the time, and you were selling a handful of busts. How were you introduced to garage kits? And once you knew what they were, what did you do to create your first ones? Did you do your own molding and casting in addition to the sculpting? Do you paint your own work?

Adam: A great friend Johnny Gilbert who’s a collector and sculptor suggested I try my hand at sculpting when I was 12. He taught me each step from beginning to end.

I learned to do my own molding and casting and did the painting as well. Learning each step of the process gave me a great appreciation for the art.

RtB: Looks like your work has led to you meeting some interesting people. Care to drop any names?

Adam: Well Ben Chapman (the Creature from the Black Lagoon) was the most amazing person I’ve ever met, and I have been very fortunate to meet a lot of incredible people.

RtB: You recently moved into a new place, right? How do you like it?

Adam: Well I was in a rental house for a while but I’ve recently bought my first house so after WonderFest I’ve got to start moving again! lol But I’m very excited to be a homeowner. Finally will have room for all my stuff!

Joe Simon's 1/8 scale Nosferatu, painted by Charlie Coleman and produced by Dedham Pond Designs. The resin model kit is now available.

For about two years, I fairly often caught myself shaking my head and wishing I had more guts. I came to realize that I had entertained a small dream — really, a small one — and just assumed it was out of my reach so I didn’t check it out. Several other guys weren’t so afraid, and now they’re living my dream.

My dream was to make a business of manufacturing model kits. Specifically, plastic model kits like the classic monsters, heroes, swashbucklers and the like Aurora used to make and which I loved so much when I was little. Polar Lights, the company whose reissues and repops of Aurora kits enticed me back into the model-building hobby in 2001, had been purchased by Round 2 and was quickly all but shut down. Round 2, it seemed, wasn’t interested in making figure kits because the market for them had gotten so small that they weren’t worth the effort.

I was dismayed. Yeah, OK, so there were only thousands of people building those models instead of millions. Thousands of people wouldn’t pony up enough money to make the effort worthwhile? Sure they would. I knew it, but instead of at least considering whether that was a market I could hope to serve myself, I just accepted that plastic figure kits were pretty much gone.

Then I found out about Monarch and, through emails, got to know its founder, Scott McKillop. Then Frank Winspur let hobbyists know what he was up to with Moebius and started making all kinds of figure kits. A few years later, the Megahobby boys introduced us to Atlantis. Thanks to all of them, plus a revived Polar Lights and more reissues from Revell-Monogram, plastic figure kits are all over the place. And how did it happen? Some people not so different from me, but also not so afraid, checked out a few things and decided to go for it.

The story of Graf Orlok, played by Max Schreck, was largely swiped from Bram Stoker's novel "Dracula". This kit was painted by Charlie Coleman, who also provided the photos.

Could I have been a “player” in this market? Eh, who knows. It’s expensive to make plastic model kits and there’s a steep learning curve. I just wish I’d at least done a little research.

Roughly a year and a half ago, when I was again shaking my head, I got to thinking about vinyl model kits. Plastic kits are what I built when I was a kid and they’re what drew me back to the hobby as an adult. But in 2001, it took me only a few weeks of involvement to move from mass-produced plastic kits to the less common garage kits. Of the garage-kit companies I started learning about, GEOmetric Design was one of my favorites, because GEO offered great-looking kits of characters I enjoyed at prices I could afford.

Many of those kits were made of vinyl, which is sort of a step between styrene plastic and resin. Vinyl kits are made from electroformed metal molds which last much longer than the silicone molds of resin kits. Molds for vinyl kits are much more expensive than silicone, but much less than the steel molds plastic kits require.

GEO was sold in 2003 and remains a great company, but it doesn’t do vinyl anymore. In fact, until fairly recently, very few companies doing business in the United States offered vinyl models. Lots of hobbyists, including myself, wanted to see them make a comeback but few people on the production side of things seemed interested.

I thought, “Oh!” I was sure a market still existed, although smaller than it used to be. And I enjoy vinyl kits. Why not try to produce some?

I started throwing out questions to everyone I could think of, particularly George Stephenson, founder of the original GEO who launched Black Heart in 2009. How much would it cost? What considerations should I take into account? How much would it cost? Where could I get it done? How much would it cost? Could I make my own vinyl casting facility? How much would it cost? Where would the molds be made? And most importantly, how much would it cost?

The figure and base for this kit are inspired by a scene in "Nosferatu" in which the character Hutter cuts his finger while dining with Orlok late on the night he arrives at the vampire's castle. Seeing his visitor's blood awakens Orlok's thirst.

I kept asking questions, kept trying to come up with the cash I’d need. In the meantime, I started up Dedham Pond Designs and stared working on my skills as a resin mold-maker and caster, figuring that it was smart to make resin kits available as well, and also much less expensive to get rolling. I started trading messages with sculptor Joe Simon, who lives in Thailand where I might be able to connect with a factory that could manufacture my kits for me.

See, I figured on having the first kit or two manufactured for me, and hope to make enough off that to build my own vinyl casting facility. Joe started getting in touch with people, asking questions for me and passing on the answers.

Weeks passed and I made plans. I decided that my first vinyl kit would be Graf Orlok from Nosferatu, figuring that it was a reliably popular character that might help take some of the edge off the risks I planned to take. However, since answers were so slow to come, I went ahead and commissioned Joe to sculpt Mr. Hyde, based on John Barrymore’s silent-era Dr. Jekyll and Mr. Hyde. I was thrilled with the job he did on that one.

Anyway, blah blah blah. Through all kinds of twists and turns, Joe got connected with a Thai factory that said it would do the work, quoting a price that I figured was acceptable. Extremely chancy for me given that it would cost many times what it takes to produce a kit in resin, but I thought I could at least make back my investment and probably pad it a little.

So, Nosferatu was a go. The pose Joe and I went with was designed for vinyl, to keep the number of expensive molds to a minimum. The small base and probably the hands would be cast in resin, by me. The sculpture was complete around early November 2010 and Joe got back in touch with the factory.

And the factory gave me an unpleasant lesson by more than doubling its price to mold and cast the piece.

Dedham Pond's Mr. Hyde and Graf Orlok side by side. Both were sculpted by Joe Simon and painted by Charlie Coleman.

The factory’s price estimate for producing a 1/8 scale vinyl monster model was based on photos of Joe’s Barrymore Hyde. The factory representative told Joe that the Nosferatu was more complicated and would require more molds to manufacture.

Really? Well, look at the photo and judge for yourself. To be kindly blunt, I think the guy fibbed. I suspect they either decided my project was too small to be worth their time and so they set a price they knew would scare me away, or they just took a chance at finding out if I was stupid enough to spend that much. No matter what the truth, there’s no way I believed it could cost more than twice as much.

I also knew that my little project that had a chance of making a little money, was now a project that stood to lose thousands of dollars. No way.

So, now Nosferatu is available in resin and even though he’s not in vinyl, it’s a neat kit. I’m very pleased with it, and hope I can continue working with Joe for a long time. Look for the next Dedham Pond offering from Joe before too long.

As for vinyl models, I still have it in my sights but it’s much farther away than it seemed late last year. All it took was a few unexpected expenses to deplete the fund to pretty much nothing. However, my work on Dedham Pond led to a job last summer molding and casting dinosaur fossils, so my skills in that area have grown dramatically.

Nosferatu has six parts, sculpted, molded and cast by Joe Simon.

My little dream hasn’t taken exactly the road I thought I was steering toward, but it’s definitely going somewhere.

Insert flier for Dedham Pond's Mr. Hyde resin model kit.

MR. HYDE
1/8 scale, resin model kit
Sculpted by Joe Simon
Inspired by “Dr. Jekyll and Mr. Hyde” (1920), starring John Barrymore
$75 plus shipping for a 2.5-pound package. Payment by check, money order or PayPal. If interested, e-mail todd.powell@resinbarbarian.com.

Mr. Hyde box art designed by Rainer Engel, with buildup photo by Charlie Coleman.

Sir George Carew taunts Henry Jekyll for his nobility. “Your really strong man fears nothing,” he says. “It is the weak one who is afraid of experience. A man cannot destroy the savage in him by denying its impulses. The only way to get rid of a temptation is to yield to it. With your youth, you should live — as I have lived. I have memories. What will you have at my age?”

Carew, the father of Jekyll’s fiancée, Millicent, provokes in the younger man a desire “to yield to every evil impulse — yet leave the soul untouched!” His search for a way to do this leads to his creation of a potion that turns saintly Dr. Jekyll … into the despicable Edward Hyde.

Ironically, Hyde so disgusts Carew that he demands Jekyll explain his relationship with the monster. He threatens to object to Jekyll marrying Millicent. This agitates Jekyll into transforming into Mr. Hyde without the potion.

Smiling hugely, laughing through his teeth, Hyde crouches to attack. Carew flees to the courtyard of Jekyll’s house, but Hyde quickly catches up and exuberantly clubs him to death with his walking stick.

Hyde pauses to bask in the moment, gleeful, then delivers a final blow before slinking away.

An Aurora-style Phantom of the Opera replacement head for the Polar Lights Phantom kit.

Here’s a project I’ve wanted to do for a long time: A James Bama-style Phantom replacement head for the Polar Lights model kit. Basically, what we end up with is the Aurora Phantom at a different moment in his tale, shortly after being unmasked.

Sculpted by Chris Wooten. Now available from Dedham Pond Designs. The replacement head sells for $20 counting postage in the United States, or $15 plus postage to other countries. Please e-mail todd.powell@resinbarbarian.com if you’re interested.

Norman Meyers says a virus is responsible for this creature's misery.

Check out this creepazoid. He (?) is called the S.L.E. Creature, and once I get over being freaked out, I feel really bad for … it. Poor thing, you look at it and just know this is someone who’s had a really serious problem.

The S.L.E. Creature is a new release from Artist Proof Studio, sculpted by Norman Meyers, 32, of Santa Monica, Calif. Here’s how Norm describes the creature’s origin:

“A strange virus takes over its host mutating them into a twisted deformed being.

“During the mutation process, the virus allows the host’s face to appear and look at its new body, the virus being proud of its work.

“When the host/victim inevitably freaks out, the head is re-absorbed and the virus gets to work creating an even more horrifying mutation. It’s an endless cycle.”

What bothers and impresses me when I look at some of Norm’s work is that I can see the person underneath all that weirdness, maybe someone who didn’t deserve to end up how he is.

Paul Komoda's Elephant Man.

You can say similar things about some of the pieces by Paul Komoda, Norm’s partner in Artist Proof Studio, who created an Elephant Man bust slated for release soon.

Norm’s mother and sister are established fine artist figure painters who regularly have solo shows throughout Los Angeles and galleries on the East Coast. Check out their work online at www.neilahmeyers.com and www.pattimeyers.com.

His father enjoyed sculpting, mostly figurative, working in water clay, bronze and stone.

“Growing up in a family of artists, it was common to come home and find a nude model in the living room. Needless to say, I had many friends always wanting to come over after school!”

Norm works for Cinemaquette / Toynami, a toy and statue company in Van Nuys, Calif. “I do a large variety of jobs there, from quality control, customer service, shipping and receiving, project managing along with sculpting. It’s a small company so there’s always tons to do.”

SHAPING A MONSTER MAKER, NORM’S OWN WORDS

Norman Meyers works on a collaborative sculpt at Monsterpalooza. Do you think he can really use all those tools at once? Other sculptors who worked on the piece include Paul Komoda, Toi Oguynoku, Jarrod Shiflett, Simon Lee, Damon Bard and Jordu Schell.

I’ve always been fascinated/obsessed with horror movies, creatures and special effects. I started sculpting when I was 11 years old and was determined to get into the special effects world. I tracked down every back issue of Fangoria magazine and went to every convention I could find that was horror related.

When I was 15 I put together a portfolio of my sculptures and sent it to Stan Winston with a letter saying I wanted to work for him. Many months later to my surprise, I got a phone call from him, inviting me to work at his studio for free as an intern.

It was an amazing experience! I came into the studio after Jurassic Park, and worked on the resin dinosaur maquettes that would eventually become the Horizon vinyl kits (cleaning up seams, puttying with milliput, etc.).

I was also there for Michael Jackson’s “Ghosts” music video and “Interview with the Vampire”.

While there, two artists told me about the first Mad Model Party

Show and said I should check it out. I’d already discovered Terry Webb’s garage kit books, but this show was huge for me, exciting me even more about garage kits.

Around that time I started a small garage kit company with a friend called A Clockwork Resin. We sculpted a handful of kits from “The Dark Crystal”. I sculpted a Mystic and Pod Slave and my friend sculpted a Skeksis and Land Strider. The only two that were released were the ones I sculpted. The kits were sold at Kit Kraft and Creature Features.

I moved onto filmmaking in my late teens, focusing on writing and directing. I made a bunch of short films, designing the creatures and doing the special effects. After high school I went to NYU film school to study writing and directing. I made a few more short films and upon graduating moved back to Los Angeles.

When I got back to LA I ended up writing a bunch of commercials and music videos. My first big break was with director Brett Ratner, who hired me to write a music video for Michael Jackson’s song “Unbreakable”. Sadly this video was never filmed because of Michael calling the head of the record label a racist and white devil. I’ve done quite a few music video gigs since, working with Mariah Carey and the Black Eyed Peas among others.

Fat Zombie Mini-Bust, sculpted by Norman Meyers.

Back to the sculpting thing – I’ve also been creating maquettes for a variety of low-budget horror films for the last few years. Working as a freelance writer, I do a lot of script doctoring (rewriting) of scripts. Many of these are horror or exploitation creature projects that I’ve ended up doing maquettes for, when the producer finds out I also sculpt.

Back to garage kits, I’ve been collecting them since the early ’90s.

When I started working at Toynami / Cinemaquette I met Toi Oguynoku Jr., a super-talented sculptor who’s sculpted two classic garage kits: Little Big Man from “Mad Max Beyond Thunderdome” and Mondoshiwan from “The Fifth Element”. Toi came over and saw my shelves filled with sculptures and said I needed to start posting images immediately. That’s when I started posting on the Clubhouse and other forums.

MORE ABOUT ARTIST PROOF STUDIO

Artist Proof Studio is, as Norm describes it, “a collective of like-minded creature designers, sculptors and illustrators, hell-bent on releasing all the stuff we’ve always wanted to see.

APS formed a little more than two years ago. Norm and Paul were hanging out at Jordu Schell’s studio nearly every weekend, “working on our stuff, and tons of incredible artists were always coming by. Bill Basso, Norman Cabrera, Erick Sosa, Bruce Fuller, Michael Norman, Toi, etc.  Really just a staggering amount of insanely talented artists.”

“APS came together organically with the Death Corps Zombie bust, just wanting to release a few castings and the whole thing exploded.

“At the same time Erick started his Chelonian Warrior sculpt and it was a no-brainer that it needed to be released under the APS banner.”

Monsterpalooza 2009 was their first show as a company.

Norm and Paul Komoda are the core of Artist Proof Studio. They collaborate with other artists who release their work under the APS banner.

Norm handles many of the day-to-day duties, picking up castings, shipping, updating the blog and “generally coordinating releases and promotion.”

“A great deal of who handles what is constantly changing and shifting due to everyone’s hectic work schedule,” Norm said.

“Jordu has been incredibly supportive of what we’re doing, constantly contributing ideas and thoughts,” Norm said. “He’s also a huge garage kit fan. We just released an original bust by Jordu called Demon Dog and two creature busts by Aris Kolokontes.”

From left, Norman Meyers, Paul Komoda and Steve Wang. "Steve hopes to get into the f/x industry as a sculptor/designer," Norm writes in his Facebook photo album. "We told him his work showed promise, but he really needs to practice his painting... Steve Wang Rocks!!"

Q&A WITH NORMAN MEYERS, SCULPTOR AND GK PRODUCER

Resin the Barbarian: How did you come up with the name Artist Proof Studio?

Jordu Schell's Demon Dog, an upcoming release from Artist Proof Studio.

Norm: In the collectible statue world, an Artist Proof edition is a highly sought-after piece by collectors. You can find artist proof editions in nearly every aspect of the art world — from prints to sculptures. In the mass-produced collectible statue world, it’s supposed to be something that’s produced before a full production run, so that the artist can sign off on it and approve it for production.

What’s been happening with a lot of the statue companies out there currently, are that the A/P editions aren’t produced until the very end of the production run. Most of the time, these pieces are given to the sculptors and people involved in the project and rarely make it out to the general public.

The idea of calling our company APS was a way of saying that every piece we produce is approved by the artist involved and that all our pieces are Artist Proofs so to speak. Some of our limited editions are numbered, but you will never see something that says 1 of 25 A/P editions, etc.

It’s also sort of tongue in cheek, there are a lot of people that take themselves way too seriously. I think it also sounds cool.

All of the pieces we produce are sculptures that we want to see. Stuff that we sculpt to please ourselves first. It’s been rewarding knowing that there’s a group of collectors out there that share our taste.

RtB: You have some seriously talented people involved. How has business been?

Norm: Most of our releases are original designs. They are not characters that people recognize, like comic book or film characters. Because of this, we try our best to create a story behind each release in hopes of people connecting with them.

The OctoApe, sculpted by Aris Kolokontes, is a new release from Artist Proof Studio.

Most of our releases have been a slow but steady stream of purchases, word of mouth from other collectors really help get the kits out there. It’s also satisfying to see the pieces built and painted by the collectors.

One of the most challenging things about sculpting and producing garage kits, is the fact that you’re relying on other people to complete your work. When you buy a prepaint statue, what you see is what you get. You remove it from the package, place it on your shelf and enjoy. When you buy a garage kit, you hold a sculpture in your hands and it’s up to you to paint it. It’s a great collaboration…..

As far as duds, there have been some pieces that have done really well and exceeded our expectations and there have been certain pieces that we thought would do great because we were so excited about them, but took a little longer to get out there and gather steam.

It’s really all about getting the pieces out there and getting people to see them and take notice and have a true reaction good or bad.

RtB: How do things work? Is Artist Proof Studio a collaborative effort or do the partners work mostly independently?

Norm: As for the sculpts themselves, each sculptor works independently on their own schedule designing and sculpting their pieces. Everyone involved in APS makes their living designing and sculpting creatures for film, etc.

The collaborative part comes organically where we give each other comments on the pieces, sometimes just simple encouragement, other times hard critiques and advice when a person asks.

The collaboration is most apparent in the way the pieces are presented, boxart, instructions, etc.

The sculptor works with our graphic designer tweaking the images until everyone is happy. Also, we try whenever possible to include bonus pieces from the artists involved. For example, my Fat Zombie kit comes with a Fat Zombie art print designed and illustrated by Paul Komoda. Other pieces include bonus sculpts, etc.

There is no bigger thrill for me, than seeing a new Paul Komoda sculpt or drawing. Or seeing a new piece by Jordu or any number of artists that I admire.  That’s the coolest thing for me personally.

RtB: You’ve been doing a lot of one-of-a-kind sculptures and selling them through Artist Proof. Are those going over well?

Norm: That’s been a lot of fun to do – I finished up a bunch of them before this past Monsterpalooza. I was worried I wouldn’t have enough pieces at the table, and pulled out these little 1/3 scale Super Sculpey heads I’d been working on.

Jordu taught me a few years ago about mixing colored flocking into Super Sculpey — it really adds a lot of life to the sculpt. One of the most challenging things for me has been sculpting human faces. These heads came from my desire to get better at sculpting portraits.

I really enjoy feeling out a character with these one-off pieces. The one complaint I’ve received from other artists/producers is that I’m selling these pieces for far too cheap.

I think anytime you can bring the collectors into the process of creating a sculpture it’s a good thing. I think having a one-of-a-kind piece in your hands is something special and unique. The first 15 castings of the S.L.E. Syndrome bust include a one-of-a-kind Super Sculpey head. When I was thinking about what to include as a bonus, I thought what would I love to see, what would get me super excited?

The idea of having something that’s the only one in the world is pretty cool, so that’s where the idea came from.

RtB: What can you tell me about the N.E.R.D.cast? Are you still involved in doing those?

Works in progress by Norman Meyers. Most were slated to be sold as one-of-a-kind sculptures. Norm regularly posts photos such as this on Artist Proof Studio's blog, /artistproofstudio.blogspot.com.

Norm: Absolutely! In fact we just recorded one yesterday afternoon.

We started off discussing prepaint statues and collectibles, but that quickly transitioned into conspiracy theories, and bad horror tattoos.

N.E.R.D.cast started when Jordu, Paul, Michael Norman and myself were hanging out at Jordu’s studio talking about a wide array of different things — from monsters, to movies, the industry, you name it. We thought it would be a cool idea to record it and get it down just for fun. It’s really turned into a cool thing, a lot of people come up to me at different conventions saying they listen.

At first it was really challenging, because whenever we’d start talking off mic, one of us would scream, “No, stop, save it for N.E.R.D.cast!” So there were a few awkward silent moments in the studio – which is very rare. Ask anyone who’s hung out with us and they’ll tell you, it’s crazy, non-stop stories, impressions, etc.

I’m thrilled to be a part of it.

RtB: You’ve designed many memorable creatures. Should I take this as proof that you genuinely enjoy creating those, or do you simply have a talent at it? What’s the background there?

Norm: I love creatures. Nothing gets me going more than seeing a new monster – something new and original from someone’s imagination. Whether it’s in a film, someone’s sketchbook, a sculpture, whatever, it excites me beyond end.

I love being able to sit down and create something out of nothing.

One-of-a-kind sculptures Norm made for Monsterpalooza.

Coming from an artistic family, creating art, expressing oneself is something I just always did. It was always around me and I’m grateful for that. I was always encouraged by my family to create and do what makes me happy. Growing up, my bedroom was filled with creatures of all kinds, horror movie posters on the walls. Any free wall space was covered with my creature drawings. I would paint right on the walls. As long as it stayed inside my room, and not on the outside of the door, it was all good.

Sculpting has always been very satisfying to me. I love being able to hold a sculpt in my hands and look at it from all angles. There’s a moment when working on a sculpt where everything comes together and you can see the forms clearly and the character, and that’s a wonderful feeling.

I also enjoy telling stories, and creating new creatures gives me an opportunity to create the world that it lives in.

RtB: I’d like to focus for a minute on the S.L.E. Syndrome Creature Bust, which is probably my favorite of your works. What’s the background of this specific piece? How did it start taking shape, when did you come up with a background story, that kind of thing? Basically, I’m curious how you take such a creature from concept to final execution. Is it basically the same every time, or does it vary a lot?

Norm: Thanks Todd, I’m glad you like it. The S.L.E. bust was one of those pieces I wasn’t sure if people would connect with.

I have a sketchbook that’s filled with drawings, short stories, dreams, garage kit ideas, etc.

The S.L.E. bust came from a drawing I did years ago. The story was something I was playing with on and off for a while and when elements of the story started coming together, I jumped into sculpting the bust.

The piece went together rather quickly, I started it in Super Sculpey and skinned it in wax. Once I got far enough, the story behind it really came together, pushing me to finish it.

Norman Meyers built this maquette for the director of "Animal", an independent horror film.

I would say that my process does vary quite a bit. Certain sculpts I do just to warm up and have fun, can often end up having stories behind them. It’s just a blast to create the worlds these creatures live in.

Other times, the story comes first, followed by the sculpture.

RtB: A lot of what’s coming from Artist Proof are original creations. What do you think, are hobbyists open to subjects they don’t know from other media? How often do you come up with “stories” for these pieces?

Norm: Absolutely! I think collectors are definitely open to new subjects.

This hobby was founded on established characters from film, TV, etc. And that’s what brought most people into it. The first resin kit I ever bought was William Paquet’s “Bub” kit from “Day of the Dead”. It blew my mind! I couldn’t believe that someone could create such a wonderful sculpt from one of my favorite films, and I could hold it and stare at it, enjoy it. A large chunk of my early garage kit collection was based on film related characters, mostly horror. But as I continued to collect, over time, my tastes changed to the point where now, most if not all of the kits I pick up are original designs. If you look at my shelves, you’d see original works by Jordu Schell, Paul Komoda, Simon Lee, The Shiflett Bros. William Paquet and many others.

I think as the hobby continues to move forward and more artists create original designs and continue to push their creativity, we’ll see more and more companies producing original works.

It’s tough though, with originals it’s up to the artist to create the mood and emotion of a piece and hope it resonates with the collector. With a film character or creature, you’ve watched him for 90 minutes fight a creature or terrorize the people. So when you see a Predator, or Alien garage kit, the excitement and nostalgia is already there for the collector. I think there’s definitely room for both.

RtB: What can we look forward to from Artist Proof in the second half of 2010?

Paul Komoda's La Pestilencia

Norm: We’ve got quite a few kit releases very close to being announced.

More pieces from myself, Paul, Jordu and other artists we’re thrilled to be working with.

RtB: Would you like to add anything?

Norm: Todd, thanks so much for allowing me to participate in your site and share my thoughts with the community.

Most of my closest friends are in the garage kit scene and the amount of amazing people I’ve met and continue to  meet is at times staggering.

I’d like to give a quick thank you to those people behind the scenes who support Artist Proof Studio in too many ways to mention here.

First off, Nitai Kearney, our fearless and talented graphic designer, responsible for our boxart, instructions and more. Nitai always delivers on time regardless of how crazy the deadline is we put in front of him. He’s a super talent we’re thrilled to have on board.

Jason Tarpley, a talented painter and writer for Amazing Figure Modeler who has painted nearly all our kits. He continues to surprise and amaze us with his skills and never ending support of what we do.

Lastly Jordu Schell, for being an endless well of inspiration and constantly pushing creature design to new and exciting places.

Artist Proof Studio’s blog is at artistproofstudio.blogspot.com. Contact Norm by e-mail at zombiejesus11@gmail.com.

DVDs will start mailing out at the end of June. Look for ordering information at www.preservehollywood.org.

On his Facebook page, Troy McDevitt describes his business, The McDevitt Studio, as “a magical place. For the past several years, I’ve laid a lump of clay out on my workbench before going to bed at night and in the morning, someone has used it to sculpt a brand new statue! This is where all my cake toppers and other sculpts have come from.

“Once, my wife and I hid in the closet and we saw that it was, in fact, two adorable little elves that sneak in and create these wonderful little sculpts for us as we sleep. She suggested that, as a way of repaying them, we should make them some little pants and shirts and shoes, since they were barefoot and the clothes they wore were all dirty and tattered. It was getting very, very cold outside and she felt this was the least we could do for all that they’ve done for us.

Troy McDevitt's sculpture of the electrifying lady in "Charge!" is based on a painting by artist Aly Fell. Click for a larger view.

“I told her to keep her stupid suggestions to herself and that the cold air would help keep them awake. Call for pricing!”

Plainly, Troy approaches his work with a sense of humor and his work reflects it. Just look at one of his latest pieces, “Charge!”, a licensed 1/6 scale reproduction of a painting from British artist Aly Fell. Commissioned by Marc Havican of Space City Resin, “Charge!” is a perfect translation of the artwork into three dimensions, a wonderful sculpture that’s both sexy and funny.

The McDevitt family.

Troy, 38, lives in Concord, N.C., with his wife, Stephanie; daughter, Lexi, 8; and son Tanner, 5. Running The McDevitt Studio is his full-time job. “This is all I’ve got,” he says, “and if I can’t make it work, I’m screwed because I have no other skills.”

Most of his work until recently has been garage kits and one-of-a-kind pieces, but he has gradually been doing more prepaint statues for different companies. “I look at it as a sign that my work has improved and I’m finally able to produce the kind of work that some of the larger companies require.”

So far, Troy has worked with Bowen Designs, ARH Studios, Reel Art Studios, Resin Pimps, Dark Carnival, and several independent kit producers and private collectors.

“My primary focus is, of course, the sculpting, but I think you have to be able to do it all to survive and even prosper in this hobby,” he says. “You need to be able to mold and cast your own work and at least be a little more than proficient at painting, for one-of-a-kind pieces and paint masters for prepaint statues. Honestly though, I enjoy the end results of painting, but I wish I was able to spend 100 percent of my time sculpting. It’s what I’m passionate about and it’s the thing that pays the bills (most of the time).”

Q&A WITH TROY McDEVITT

Resin the Barbarian: You sculpt, you paint, you make molds, you make castings. What’s the history here? What came first, what led to what?

Genghis Khan, done for ARH Studios.

Troy: I played around with Super Sculpey for a few years (nothing worth showing), but professionally, I started off doing one-of-a-kind custom wedding cake toppers from 2003 to 2007. On the side I was doing my own little sculpts based on things that interested me (superheroes, sci-fi, fantasy), and I wanted to be able to make copies, so I started finding out as much as I could about molding and casting. A big portion of that came from the forums, some from misc. sources online, and the rest from Smooth-On.

RtB: You did a terrific mold-making tutorial that’s “stickied” at the Clubhouse. What’s your history as a maker of molds and castings? How did you learn it, and who have you taught?

Troy: Well, I’m pretty much self-taught, in that, I didn’t actually have someone on hand to show what to do and not to do. Advice from pros is great, but ultimately you just gotta get the equipment and jump in. The downside to this, is that you’re gonna make a LOT of mistakes, but really, that’s how you learn and continue to evolve. My early attempts were pretty horrendous, but after a lot of trial and error, I finally got the hang of it. I can’t say that I’ve specifically taught anyone, but i’ve given a lot of tips and tricks along the way, just as early on, others helped me.

RtB: You have more than 350 Facebook friends. How many have you actually met in real life?

Troy: Out of 350? Maybe one-fourth. I gotta say though, that’s no longer that important to me (meeting someone in person, I mean). I’ve made some real, honest friendships online with people I’ve only talked to on the phone or corresponded with through e-mail, and I feel just as connected with them as some of my friends that I regularly hang out with. There are things, like sculpting, that I can ONLY talk with my online friends about, and I think that’s pretty cool.

RtB: Who’s your hero?

Troy's 2008 Christmas gift to his daughter, based on the artwork of Tony Diterlizzi, illustrator for "The Spiderwick Chronicles".

Troy: Yeesh! Okay, it’s hard to name just one individual, so I’ll list the main ones: My dad for starters. We’ve got a few differences, but overall, we’re so alike it’s eerie. He’s just an awesome, fun guy and he’s really my first big artistic influence.

Frazetta opened my eyes in a way that, artistically, I don’t think think anyone else has since. When they were in cowboy gear, John Wayne and Clint Eastwood were the most badass, macho guys on the planet and I wanted so bad to be just like them (still do).

This is going to sound funny but, Arnold Schwarzenegger is up there as well, but not for the reason you might think. My admiration solely stems from his attitude, perseverance and determination. You look at where he came from, and then look at what he did over the next 50 years. I think he’s a great example of goal-setting and hard work.

There are also tons of sculptors out there that I’m in absolute awe of, but I don’t want to list a bunch of names for fear of leaving out someone important. The one single person I will name though is Tony Cipriano. It’s been my great pleasure to get to know Tony fairly well over the past few years and I think they broke the mold with that guy. He’s a hell of a nice guy, honest, extremely generous with tips and advice and as far as I’m concerned, one of the best sculptors in the biz, hands down.

RtB: You’re a father, correct? I’m going by the photos of the superheroic boy on your Facebook page. Does fatherhood affect your approach to sculpting? Do you pick any projects because you figure your kid might be impressed, or reject any?

Troy: It’s so corny to say, but my kids are the greatest thing that ever happened to me. They’re absolutely awesome and they continually surprise me with their intelligence, humor and creativity. I basically made half of my studio their workspace, and the three of us work together quite a lot. I can’t say that I’ve rejected any projects because of them, but I’m definitely more keen to take on a particular subject if it happens to be something that one of them is really into.

RtB: What can you tell me about your cake toppers?

One of Troy's custom wedding cake toppers.

Troy: They were fun for a while, but gradually, couples got further away from fun, creative concepts like the karate couple where the bride is flipping the groom over her shoulder, and more into standard tux and bridal gown pieces in dull, old-hat poses. It became almost cookie-cutter after awhile, and to be honest, it was never really my interest. I did the toppers because, (A) there was plenty of business, (B) I knew it would help me become a better sculptor, and (C) I just wasn’t a good enough sculptor to do anything else at that point. Looking back, it was one of the best things, career-wise, I ever did for myself. It taught me how to work fast, hit deadlines and work with customers. That being said, the only other wedding cake toppers I plan on making will be for both of my kids’ weddings.

RtB: Not being a sculptor myself, I’m just becoming aware of the hubbub surrounding Zbrush, 3d printing and that kind of thing. How do you feel about the digital influence on sculpting? Is it something you’ve done yourself, or do you intend to? Why or why not?

Troy: Boy, this is THE question out there isn’t it? Me and my buds discuss this quite a lot, with very different opinions. Here’s my take on it. I don’t have any problem with digital sculpting and I’m attempting to learn it myself. I really look at it as a tool, and it’s all about the person wielding that tool. I’ve seen lots of digital sculptors who have the tools, and the skill to pull off a well-executed statue, but lack the creativity to do something dynamic and worthy of $100 or more.

That being said, it’s not something I’m looking forward to doing a lot of, if I can help it. Most of my life, I’ve been a graphic designer, and one of the reasons i got out of that was because I was tired of sitting in front of a keyboard all day. There’s something about having the clay in your hands and physically pushing and pulling the sculpt that you just can’t replicate with a computer. Obviously the advantages of computer sculpting are huge and I won’t go into all of them here. It’s definitely the future of sculpting, but I don’t think it’s going to completely eliminate traditional sculpting. Sure, some companies may make the switch completely, but there are lots of talented sculptors out there, and lots of people and companies who want statues and don’t really care how they’re done. If you’re good, you’ll find work for many years to come.

Actor Jorge Garcia, rear, with Troy McDevitt's sculpture of Hurley from "Lost".

RtB: The “Lost” caricatures you did for Titan Find seem to have gone over well. Are you a fan of the show? I confess I’ve never seen it.

Oh yeah, I love “Lost” (despite the fact that it’s over now). It’s a subjective thing, so not everybody is into it, but isn’t that the case with everything? I just found the characters so unique and compelling, I felt the overwhelming urge to sculpt them. I started off with Hurley and Sawyer and I’m trying to finish up Locke now. John, the owner of Titan Find, and I are hoping that, even though the show is over, once Locke comes out, there will still be enough interest to continue the line. Guess we’ll have to wait and see though!

RtB: You’ve done some unabashed caricatures and comical pieces, some hard-chiseled comic-style characters, and lots more. It’s rare that I can look at someone’s work and take note of such diverse things. For example, your Genghis Khan is just all kinds of bad. Tons of details, weapons, armor … a jaw dropper for fans like me. The Frazetta Dracula meets the Wolfman looks like the painting come to life, as does the “Charge!” Bride you recently completed. Then there’s the Clint Eastwood figure … I recognized him immediately, but I had to stare at the photo a while to appreciate how stylized the proportions are. The Hackman Lex Luthor … dunno what it is about that one, but I grin every time I look at it.

Ummm … was there a question there? Yeah, yeah, I was going to ask which of your sculptures reflects YOUR taste. What would you spend most of your time doing if you were working purely to please yourself?

By the way, I think my favorite of your pieces is the Wolverine vs. the ninjas. That giant idol base is just too cool for words.

Troy: Wow ……… what would I spend most of my time doing? To be honest, it’s all about how much the sculpt excites me, and what kind of challenge it is. Sculpting one particular type of subject, no matter what it is, sounds incredibly boring to me. For me, it’s all about improving, and as long as the sculpt I’m working on leads to that, it’s enjoyable. I’m a big fan of expressive faces, so that’s always something I try to capture. A bad face will always ruin an otherwise great sculpt in my opinion. Other than that, the things that excite me are those subjects that I haven’t really explored enough, or at all. I want to add a lot more women to my portfolio, as well as some monsters (classic and original), dinosaurs, and a lot more portraits just in general.

One of the key things I’m focusing on now is getting away from the more cartoony aspect that so many of my past sculpts have had, and working towards more realistic pieces. It’s been difficult, because I always find myself wanting to slide back into that habit, but I think the Genghis Khan piece I did for ARH Studios and the Wolfman vs. Dracula piece for ReelArt Studios was the first indication that I was heading in the right direction. I think you’ll see a lot more of that in all of my future work.

Like I said before though, I really do love superheroes, sci-fi, fantasy, monsters …….. just weird and nerdy stuff in general, so that will probably continue to dominate most of my portfolio for years to come. Thanks also for the kind words regarding the Wolverine vs. ninjas piece. It was another one of those challenges that I put before myself, and in the end, i was pretty happy with how it came out. It wasn’t by any means the greatest Wolverine statue out there, but at the very least, I felt that it was unique in the Wolverine garage kit universe.

RtB: What degree of artistic freedom are you used to when you work on projects? I presume it varies depending on the client, but can you tell me how widely it can vary? Are you used to clients providing you with detailed illustrations and instructions? Do you get people saying “I just want a cool werewolf”?

Troy: The greatest clients in the world are the ones who are fans of your work, and are happy with whatever you come up with. They’re hard to come by, but when you find those clients, there’s nothing better and more often than not, you end up becoming friends.

The next best clients are the ones that let you know what kind of look they like, and give you a general idea of what they’re looking for, but ultimately, let you conceptualize the piece. The worst clients are the one’s that THINK they’re giving you a lot of creative freedom, but end up micro-managing the entire project throughout, which ultimately makes the sculptor lose all interest in the project and results in an inferior piece. I always us the example of hiring a famous chef for your restaurant, and then coming in the kitchen and telling him, throughout each step, how he should make his Chicken Parmesan. If you’re looking for someone to recreate a picture EXACTLY as it is, that’s totally fine, just make that clear up front. If you’re coming to me saying that you want a cool Batman statue, giving me creative freedom, and then continue to tweak it throughout the process, you’re doing yourself, and the sculptor, a big disservice.

This isn’t to say that the client shouldn’t be able to offer their opinion, or make some suggestions along the way, but in the end, let the sculptor do what he or she does best. I’ve seen many, many sculpts that started off as amazing, and, with the help of constant tweaking, ended up as complete duds.

Bowen Designs' Man-Ape, a Marvel Comics character in a crazy costume. Is that redundant?

Presumably, if you’ve hired a sculptor to do something for you, you’ve looked at his previous work. If that’s the case, you need to have some faith that he (or she) is going to do their best to create something equally as good for you, but you can only do that by stepping back and letting them work. Up-front communication, between both the sculptor and the client, is ABSOLUTELY key with any commission. I’ve had one or two control freaks along the way, but by far, the vast majority of my clients have provided me with almost total creative freedom. It’s for those people that I give 100 percent and will do everything in my power to make sure they’re satisfied in the end.

RtB: Do you ever get a commission and struggle to keep a straight face while you work on it? I ask this while looking at your photo of what I presume is a Marvel Comics character, a very angry-looking, muscular fellow wearing some kind of white ape costume. I don’t know who that is, but hoo! what an outfit!

Troy: Ha! See, that’s one of the funny things in this hobby that I love so much! I think each of us has this sacred cow mentality in terms of certain subjects that other people look at as something completely ridiculous. The piece you’re referring to is Man-Ape, a villain from Marvel Comics. Of course, he’s ludicrous, but I was first introduced to him and a universe of equally silly characters when I was a kid, and at the time, they didn’t seem ridiculous whatsoever. To a preteen, these guys make total sense, especially in the right story, but seeing them for the very first time as an adult, usually induces quite a different reaction. Look at all the monster guys who love the drive-in movie creatures from the ’50s, ’60s and ’70s. The vast majority of them are absolutely preposterous, but it doesn’t diminish our nostalgic love of the character. We’re still seeing it through our 10-year-old eyes.

I guess one of the other things i feel pretty strongly about as well, is the ability to take a silly, or ridiculous subject and somehow make it cool and dynamic. It’s never difficult to make a Hulk sculpt look cool ….. ’cause he’s the Hulk. Now lets see you take Ronald McDonald and make something worthwhile. That’s the real challenge! As long as the client allows me to really run with the concept and do something unique and exciting, there are very few subjects that I work on while rolling my eyes.

RtB: Would you like to add anything else?

Troy: I’d just like to thank you for this opportunity Todd, it really means a lot to me. There are so many guys out there, new and old, that absolutely blow my socks off, and being asked to do an interview is a real honor. I love this hobby, and the people in it, and there’s nothing else I’d rather be doing. I’ve been very, very lucky these past few years and the future continues to look pretty bright. You’re going to see a lot more variety from me over the next year and I appreciate all the support and encouragement I continue to get from friends and fans alike. For all the new guys looking to break in, all I can say is, make some goals, stay focused, be your own worst critic, lose the ego, and work, work, work!