Today we’d like to introduce you to Paul Copeland.
Hi Paul, thanks for joining us today. We’d love for you to start by introducing yourself.
Started as a Japanese toy fanatic at 12 years old. I’ve always been a fan of toys as I was born in the ’60s. So, I had so much access to some classic toy lines. Mostly Monster and space toys. Thing makers, creepy crawlers, and “Strange Change” machines back when they used real hot heat, as well as Hot Rod Culture Finky Creatures and Model Kits. My Father was a pro Model builder so I always had exposure every time we would hit up the Hobby shops; we did this almost weekly on his Payday. It wasn’t until the mid ’70s until I would discover there were amazing vinyl, plastic, and diecast toys from Japan. Even as a younger child, I had no idea there were any toys of Giant Monsters, in Japan it was blooming industry. So, I did my chores and was a good kid until my parents could drive me up to Downtown LA’s little Tokyo to load up the counter. There was a slight resurgence of vintage-style Vinyl toys in the ’80s by a Japanese company called M-1 Go. I got to know the owners as they frequented LA to purchase Movie Props. And the fire was lit. I wanted to make a vintage-style toy. A sort of resurgence in Japan had begun in the late ’90s and I got to know many of the new makers. Through friendship and fun conventions on Japan trips I had earned their confidence and they helped me produce My first toy “Boss Carrion” which was inspired by vintage Elephant squeaky toys, which I also collect. Boss Carrion is produced from copper plated molds from the same factories which produced the vintage vinyl toys. I paint and package them here in San Diego. I’ve been doing this for over 10 years now.
We all face challenges, but looking back would you describe it as a relatively smooth road?
‘There have been a few challenges. Many pieces are very limited, or one-shot pieces at a Gallery or Convention. And working out a fair system was the first challenge. The introduction of the Raffle system made it fair for everybody. People were sleeping or camping on unsafe streets overnight, so this had to stop. So, the random number call and line-ups at specific times was a good move. Another problem was secondhand sales or “flipping.” This took some policing but after all these years and such saturation variety available and many new toy makers things have smoothed out. I am a collector as well, so selloffs and tradeoffs are going to happen. I can’t take that personally when it is within reason. Times get hard. I have also learned a great deal about international business. You can’t be pushy. It requires great patience and always an even give and take. Risks and some sacrifice.
Can you tell our readers more about what you do and what you think sets you apart from others?
As well as sculpting my toys, I paint them, package them, and ship them. I wear many hats! I’m very proud to be a major influence in the toy scene. I also Like to give advice and be the sage for those who wish to try.
Can you talk to us about how you think about risk?
The first risk was not knowing if there could be a market. But I was greatly proven wrong. It exploded along with the “Art Toy” scene. With Japan-made soft vinyl toys (or “Sofuvi” as they are called) there have been many converts! Sometimes a toy sculpt might no be strong with some people; freedom is nice, but you have to watch out for self-indulgence. It can end up a dud and only end up paying for the molds it was made in. You have to allow for risks, unfortunately. It’s a delicate balance as well as making a living with doing something you really love. It can be similar to music. Having been also inspired by the 80’s DIY punk movement, I think I could have pre-conditioned for it. You can wear your heart on your sleeve and you have to be careful and think before you leap so I avoid debates, and there are MANY on the public and private forums. “Upward and onward” is what I always say.
Contact Info:
- Website: www.Paulkaiju.com
- Instagram: Paulkaiju
- Facebook: Paulkaiju
