INTERVIEW: Jin Han, Concept Artist

So that's where my favorite Dragons design came from...

For those that don't know, a sculptor doesn't just start sculpting and - PRESTO - an amazing action figure or statue is created....

It takes days, weeks and even months for concept artists and designers to create the two dimensional artwork that will eventually be used as reference by the sculptor to create the stunning figures we all display on our shelves.

Jin Han (above) is one of those concept artists whose work has unknowingly been seen by thousands of action figure collectors and toy fans the world over.

Having worked on lines like McFarlane's Dragons and Playmates' Kong, there's no doubt Han has fans of all ages - they just don't know they're fans of his work because of the role he plays in the creation of their favorite figures.

Jin took the time to give Figures.com an in-depth look at what it is a concept artist does, what he's personally worked on, his favorite part of the job and much more....

Figures.com:Thank you for taking the time to answer a few of our questions. First things first - please explain exactly what it is you do.

Jin Han (JH): I'm a concept designer/illustrator. I do a little sculpting on the side, but I haven't had a chance to touch my wax pen for nearly six months. I have a few unfinished sculpts sitting in my studio, but luckily, they're not for paying clients. (laughs)

As for the work I do; I've been involved in projects designing toy/action figures, character designs for animated and feature films and illustration for comics, short stories, and advertising.

Figures.com: How did you first become involved in the toy industry?

JH: My first break came in early-2005 when McFarlane Toys posted a bulletin on their website looking for sculptors. I put a really shabby digital portfolio together and sent it off. A few weeks later, I got the email saying that the job was available if i was still interested.

This surprised me because I didn't have a lot of experience sculpting. Before I was hired, they asked me to sculpt something new, so they could see an example of what my skill level was. Looking back, that try-out sculpt just wasn't all that good. It was a mutated guy with clumps of clay for the body, and a semi-detailed face of a monster, but they thought I had a solid portfolio of drawings, so I was primarily hired based on that.

Figures.com: How does your work affect the final product or collectible the fans eventually display on their shelves?

JH: Toy designers need to be able to conceptualize every functioning aspect of what you see on the shelves. From overall design, functions and play-patterns to paint schemes, it's up to the designers to figure it all out. Then it's passed on to the engineers to make those ideas function properly on the actual toy. It's a great way to make a living, but you really have to love the job. It isn't always fun and games, even when you're designing toys!

Figures.com: Where do you get the ideas for your designs and what dictates how you create a toy design?

JH: They come from many hours spent zoning out and wandering around in my head. You need to have the requisite library of images, historical and scientific data, and storytelling resources stored in your head and on your bookshelf. Then it's up to (using your) melon (and) the reference (to) combine a polar bear with a bumble bee and design a creature that will terrorize a small town in Florida.

A lot of it also comes from studying and examining everything that I come across during any normal day. I'm always trying to update myself with new information, whether it's a drawing/painting technique or a bit of information about crab fishing I learned while watching Discovery Channel.

As for what dictates my steps in creating a toy; it's the client. Your creativity is in a constant state of flux when you work in the toy industry, because there are limits to the client's budget. One day, you will be extremely limited to how many features and accessories you can add to a toy; others, you can go nuts because the budget is there to make an action figure with 15 points of articulation, and tons of weapons. There's a lot of give-and-take involved; a trick for designers is to OVER-design a figure, and after all the revisions and cost-cutting measures have been tended to, you may end up with what you wanted in the first place.

Strictly speaking as an artist; when you begin designing anything, you have to make sense of what you draw. Always ask yourself the 'whys' and 'hows.' Sure, it's cools to draw a big guy with a massive arsenal of guns, gadgets, and tattoos covering his body; but you have to be able to explain the function of each gadget, and history of where the tattoos came from. Even if you draw a random detail, make something up about it in the end. As long as it makes sense, all those little details will really bring your designs to life.

Figures.com: What toy lines have you been a part of?

JH: Some of the more notable toy lines I've been a part of are McFarlane's Dragons: Series 2-6, Spawn 31, King Kong and Pixar's Cars. There are (also) so many cool lines that haven't been given the green light (yet) and my favorite designs are actually scattered in that group...

Figures.com Which line that's been released so far is your favorite?

JH: My favorite lineup that's been released is McFarlane's Dragons: Series 3. That entire line was based on my designs - yes, even the infamous Komodo Clan "Lizard" (below)the fans were raving about. It was also the first time my designs were taken into production and having an entire line of figures (based on my designs) was especially cool.

Figures.com: Which single figure is your favorite?

JH: My favorite single figure that I've worked on is either the Sorcerer Clan boxed set from Dragons 3 or the Komodo Clan boxed set from Dragons 4 (above). Everyone at TMP just does such a great job making these figures, it's hard to choose against them when picking a favorite....

Read the rest of the interview here...