Tag Archives: Interviews

The people behind the fascinating LEGO models we feature here are just as interesting! Read interviews with notable LEGO builders, LEGO book authors, LEGO set designers, and many others right here on The Brothers Brick.

Podcast of Keith Goldman’s Logan’s Run

If you’re interested in learning more about Keith Goldman‘s Logan’s Run diorama, you can now listen to a well-made podcast on Small World.

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Build-em-up-tear-em-down, an interview with Alex Eylar

When it comes to Lego and photo lighting, no one has a better reputation than Alex Eylar. Having emerged from his Dark Ages in 2007, Alex has made an impression on the community through his diverse and often pop culture-referencing creations that are photographed with realistic and atmospheric lighting. It is my pleasure to interview the man behind the camera about his take on our favorite hobby.

Nannan Zhang: Talk about what you like to build.

Alex Eylar: I tend to just build whatever I feel like, whatever inspiration hits, without really sticking to one theme or another. I admire the people who can stay in one theme and just put out hit after hit, but I’ve got a total LEGO-ADD that keeps me bouncing from theme to theme. I even had to title that one folder “The Unclassifiable” because the things just didn’t fit into one theme or another.

NZ: So it’s really just the spur of the moment?

AE: Oh, absolutely. I keep a Word Document on my desktop that has all sorts of random ideas in the shortest of shorthand. I get an idea, I jot it down, I build it or try to build it and fail miserably.

NZ: It’s interesting that you keep an actual list of ideas, how long is it?

AE: Generally about four or five projects long, but that includes things I’ve been thinking about for years and will probably never get to finish. Purgatory from Dante’s Inferno is a great example.

NZ: That list is actually much shorter than I expected, I know someone who has over 120 ideas on his list.

AE: Mind if I ask who?

NZ: I heard this from “Big Daddy” Nelson a few years ago. You’re on a building streak lately and cranking out some great models, what’s the occasion or inspiration?

AE: The occasion is free time thanks to summer and zero social life, and the inspirations are movies and internet. Big movie geek, so I’m always seeing things I want to build, and spend as much time online as I do and you’re bound to see things that pique your interest.

NZ: I’m guessing you liked Inception?

AE: Oh my yes. Best movie of the year so far, in my opinion.

NZ: And you built some MOCs based on that?

AE: I had to. Any movie with visuals as good as that has to be built. A tilted, spinning hallway; come on.

NZ: How long did it take you?

AE: Maybe three hours from start of the build to the last shot taken.

NZ: What about photography, was that a huge process?

AE: It can be; it depends on the project. If it’s something small like that, and only requires one shot, it won’t take that long, but if it’s enormous – “Containment” enormous – it’ll take its sweet time.

More of our interview with Alex after the jump: Continue reading →

Bounty Hunter CubeDudes at Star Wars Celebration V [News]

Fan of Angus MacLane‘s CubeDudes will be delighted to know that a second set featuring bounty hunters will be available at Star Wars Celebration V. Click on the image below for more info and an interview with Angus on StarWars.com.

Via FBTB

Deborah Higdon: Who’s Freddie Mercury? – Boilerplate & Beyond Vol. 14 [Interview]

At first glance, it appears that Keith Goldman has been joined by Edward Estlin Cummings for the 14th installment in our series of interviews. If all-caps is yelling, Deborah Higdon whispers her answers to Keith’s questions. Thankfully, Deborah’s answers are worth the extra effort to hear. Without further commentary on capitalization from me, take it away, Keith!

They say that our hobby is dominated by mannkinder, and the closest we come to the feminine touch are our beloved bevy of gay men and the unfortunate epidemic of man-boobs. Our community meetings and events are virtual sausage festivals, with only the occasional long-suffering wife or girlfriend to break up the monotony. Even my own beloved interview series has been as they say in the armed forces “a mile of %&#@”, and with that in mind I sought out not only a great builder…but a real live woman. Many of you are familiar with Deborah Higdon for her outstanding architectural models, minifig scale furniture, and hatred for capital letters.

I sat down with Deborah at the Palladium where the Ottowa Senators were tied going into overtime in round one of the NHL playoffs. We talked about how the O-Train got its name, high-sticking and how to assemble a Frojista from Ikea without an allen wrench.

The Build

Keith Goldman: In your Flickr profile you mention that you’re a frustrated architect at heart, a condition that is not unique in our hobby, how does that influence your subject matter or building in general?

Deborah Higdon: oooh, we’re starting off with a serious question. ;-) considering i mostly choose to moc buildings, i’d say the influence is pretty strong. strangely, i admire historic architecture most, probably equally for the craftsmanship that went into the details as well as the design of the building itself. i say strangely because i don’t tend to build historic styles. when admiring architecture, i prefer historic. when designing a complete house, i prefer modern, and not just because i find lego lends itself more “easily” to modern styles, it’s not about “easy”. modern building allows more leeway for an active imagination. on rare occasions, i think it’s fortunate i didn’t become an architect – i don’t think i could put up with the physical limitations of engineering (what do you mean i can’t have a waterfall flowing between the 2nd and 3rd floor, falling out of the wall to the sea below?) i’m not sure that i’d have been all that good at satisfying the client 100%. compromising something based on æsthetics would be very difficult for me. the influence also comes from the design blogs i’m addicted to. i’m trying to quit, looking for a blogs anonymous group, know any? the first step is admitting the problem.

KG: You’ve built extensively in both minifig and microscale. What do you like and dislike about each scale and would you ever consider mixing the two?

DH: i don’t think there’s anything i dislike about any scale. i might dislike the infamous proportions of the minifig, (i tell myself, it’s just a toy) but as all my afol friends know, i’m not fond of the minifig itself in my mocs, (blasphemous talk, i know. i know how tbb originated, sorry andrew!) so no problems for me. but all the houses and furnishings that i build are built with the minifig in mind. microscale building is my spouse’s favourite – it costs less, takes up less space to store and less time to build – he wins in all ways. as for what i do like about these scales, i like replicating. i think of the miniatures i used to collect. i looked for high quality representations of handicraft (shaker furniture, farm tools) but i never wanted a doll house for them, and certainly never the dolls to go with them. i see the houses that i build more as architectural models that happen to be in minifig scale. i’ve seen others mix the scales with great execution, but i’m not tempted yet.

KG: On both Flickr and Facebook you quote Einstein on curiosity:

The important thing is not to stop questioning. curiosity has its own reason for existing. one cannot help but be in awe when (one) contemplates the mysteries of eternity, of life, of the marvelous structure of reality. it is enough if one tries merely to comprehend a little of this mystery every day. never lose a holy curiosity.

What role does curiosity play in your building and what do you think about most often when you build? World conquest? Work? Freddie Mercury? The mysteries of the universe?”

DH: curiosity is huge for me, bane of my mother and father’s existence i was. i’m always looking at buildings, doors, windows, stairs, furniture and design elements and asking how can i make that in lego, what pieces can i use? can i make it on a smaller scale? can i make it look realistic. how can i make it stronger, can i get it to a fest? can i think of a new use for this piece? needless to say, i talk to myself a lot. thinking you ask? i think about dessert, martinis, new shoes, what makes people tick, what makes people not tick, what makes clocks tick. oh, sorry, i digress. you mean when i’m building. hmm, i think about chocolate, dark chocolate, which leads to dark chocolate bricks, and then leads to me lamenting that lego doesn’t make cream bricks, then the lack of earth colours in the palette comes to mind then i forget what i was going to build.

i certainly don’t think of world conquest, i’m canadian, we don’t have that gene in our makeup. i never think about work, never, not while in the building zone. who’s freddy mercury? never mind, i can google him. sometimes the mysteries of the universe cross my mind.

More of Keith’s interview with Deborah after the jump: Continue reading →

Dave Shaddix: I say it’s time to gas the nest – Boilerplate & Beyond Vol. 13 [Interview]

For our 13th installment, we join Keith Goldman as he interviews Dave Shaddix, usually one of the first to comment on these very interviews. As with Soren, Dave uses a few words that our more sensitive readers may find offensive. Once again, you’ve been warned. Take it away, Keith!

Unlike previous entries, this week’s builder isn’t a crusty 10-year veteran of the hobby, media magnate, self-stylized reverend or even Australian.

Instead I bring you an everyman from Anytown, U.S.A, who might be known better for his quick wit and devil-may-care attitude than for his growing library of great models. Dave Shaddix isn’t exactly a noob, but he also hasn’t been around long enough to be as jaded and rigid in his way of thinking than many of us gray-beards.

I sat down with Dave 2 miles from the US/Mexico border in Dave’s home state of Arizona. We talked about the Gadsden Purchase, Sabbath with Ozzie vs. Sabbath with Dio and what really happens to all those tourists who go missing every year in the Grand Canyon. We also talked about LEGO.

The Build

Keith Goldman: Like many builders out there, you’ve got a long term project going on. How long has your Papa Roach stage been in production and what are the challenges of a long term build from a relative newcomer’s perspective? Is your cousin and Papa Roach front-man Jacoby Shaddix involved in the process?

Dave Shaddix: I’ll first define ‘relative newcomer’ so that we’re all on the same page as far as timelines are concerned. I started building again about nine years ago with my oldest son; yeah it’s the DUPLO brick that brought me out of my dark age. As he grew, I started buying and building more age appropriate sets with him which eventually led me to the internet where I quietly trolled sites like Brickshelf and MOCpages from around 2006 to 2008 when I started posting on MOCpages. Arizona’s first LEGO retail store opened in the summer of 2008 and our LUG formed up immediately after. In short, 2008 is the year I became an actively-engaged AFOL who was fully out of the closet. Now that we have my own private definition of ‘newcomer’ out of the way, let’s move onto the question.

I started planning the Papa Roach project in October of 2009. It was pretty vague at the time and I was heavily leaning towards minfigure scale. I realized that the project needed to be all about the motion and mood of a live concert early on and I decided on a scale that is about 2x miniland. I began putting bricks together around October when I started building the band members.

The more I worked on the project, the more I learned and the more I had to build. Project creep started taking its money-draining grip on me and before I knew it I was looking at a structure that is more than 150 studs in width and almost 70 bricks tall and making whirlwind trips to Los Angeles to talk to the band and get detailed photos of them, their equipment, and the crowd. Given the scale of this project, you can guess that money plays a huge role and has slowed me down considerably. I guess the biggest obstacle that I will need to overcome is how to decide when enough is enough.

As far as the guys being involved in the project, they’re busy men and I try to leave them alone to do their jobs. That being said, Jacoby, Jerry, Tobin and Tony are some of the coolest guys you’ll meet and have answered every call and question I have asked. Whether you like their music or not, they are a kick-ass band and incredibly down to earth. I am lucky to have what little of an inside track as I do. I was given full access to the stage during sound checks to photograph the equipment; I mean I actually got to sit at the drums. When they were touring with Motley Crue, I was actually given a ‘Crue Skag’ for my birthday. Skags aside they are pretty excited about the project and want to see it finished as much as I do.

KG: I think it is fair to say that everywhere except LEGOLand (who just refuses to get on board) the all powerful minifig, and minifig-scale rules both the product line and the hobby in general. As the outspoken leader of the anti-minifig movement, would you care to outline your patently ridiculous stance?

DS: Anti-minifig, Keith? How could you do this to me? Twist my words… I thought we were friends! Saying I am anti-minifig is like saying that someone who is pro-life is anti-choice. I love those little dudes as much as the next guy! And I really like seeing the new diversity LEGO seems to be finding with its torso types and new flesh colors. I’ve done more than my fair share of vignettes like my armed robbery and ‘LifePod 23” and minifig only posts, ‘Blackstronauts’, “Boy Band” and even a concept for your ‘Fear the Black Planet’ contest. There is really a lot more fun to be had with the minifigure, and I am not going to count myself out of that action.

My gripe with the community is how much they seem to embrace minifig scale and none other. And even then, I think they have the scale all wrong. LEGO is a great medium and it often seems a shame to me that the majority of builders out there limit themselves to the worship of a little plastic doll. I would love to see more miniland scale MOCs and more sculpture produced on a regular basis.

More of Keith’s interview with Dave after the jump: Continue reading →

Joe Meno: The real difference between European and American builders – Boilerplate & Beyond Vol. 12 [Interview]

For interview number 12, Keith Goldman turns to an Editor-in-Chief of a major LEGO media outlet not named Andrew. Take it away, Keith!

I sat down with Joe in his BrickJournal offices above the Second Empire Restaurant and Tavern in beautiful Raleigh North Carolina. We talked about never forgiving Disneyland for removing the Adventure through Inner Space attraction, General Chow’s chicken vs. General Tso’s chicken, and why America is still not out of Iraq. We also talked about LEGO.

The Build

Keith Goldman: You are so busy hop-scotching around the globe, living the dream of mannkinder everywhere….do you still have time to build? What percentage of your LEGO life is devoted to actual building? What motivates you to make time to build?

Joe Meno: Do I still have time? Usually, I make time.

I live in a strange world where my job is showing what others build (among other things), which inspires me to explore more, but doesn’t allow me the time to focus on actual building. My building time has declined quite a bit (and because of that, I don’t buy many sets — I need to build them!!) in the past few years, so what I do now is devote time to one big project each year.

Last year was my Just Another Day at the Bay micro layout, and the year before was Wall-E. This year, I had two projects, but one was too small (my iPad) and the other failed miserably (the NXT shark — it sank upon it’s first test swim in the tub.)

I build when I can because it’s a way to keep in touch with my roots in the hobby. And it’s hard to take someone seriously about a subject when they have little or no experience in it…so I build to keep my credibility.

KG: As an international man of LEGO mystery, you are uniquely qualified to comment on building styles from around the world. Is there any difference between building styles here in the States and abroad? Is there any real difference between builders?

JM: Good question — it’s something I have to look at every so often. The building styles of a region are a reflection of their environment, for the most part.

The US style of building is simple with detail, which shows best in space building. The European style in train layouts is much more refined, but that’s because the architecture is much richer there, the train is much more common there, and the AFOL community there is about one generation beyond the US community. The Far East building that I have seen has been a completely different design direction driven by mecha design.

So the best train builders are in Europe, the best mecha is in Japan, and the best space stuff is in the US. Keep in mind this is a general observation — there are outstanding builders everywhere of every type.

And the real difference between builders? Europeans can hold their alcohol MUCH better! :-)

More of Keith’s interview with Joe after the jump: Continue reading →

Shannon Sproule: LEGO bricks are a listless bunch – Boilerplate & Beyond Vol. 11 [Interview]

For interview number 11, Keith Goldman heads back to Australia for the second time. Take it away, Keith!

My next guest is an Australian builder who loves long walks on the beach, kittens, and seafood. Although he would never admit it, Shannon “Ocean” Sproule has quietly become a household name in the hobby through his ‘less is more’ style and often comedic models, and enjoys a big following on both MOCpages and Flickr. Shannon also created the ‘Cyborg Racers’ fad that swept MOCpages and abroad.

I sat down with Shannon Sproule in my hometown of Las Vegas, Nevada, backstage at the Excalibur Hotel showcase where he was performing with a dozen of his countrymen in the Thunder from Down Under all-male revue. We talked about how Vegas consumes 60,000 pounds of shrimp a day, studded thongs, and the horrible truth of what really happened to Paul Hogan. We also talked about LEGO.

The Build

Keith Goldman: Describe your strengths and weaknesses as a builder. What have you gotten better at over the years, and what remains a challenge?

Shannon Sproule: It might sound funny but I don’t consider myself to be a very good builder; I think ideas are my strength and I force them into mocs through lazy building or sheer stubbornness! Patience, or lack thereof, is definitely a weakness of mine. I can rarely be bothered finishing a model properly; it’s enough that I achieve the essence of an idea in a build and the viewer can fill in the details themselves. I’m like a LEGO impressionist, or so I like to think! Random studs here and there, no-matter, it’s the spirit of the creation I focus on. Minute changes to details can alter the appearance of the whole model which can be a slippery slope.

KG: When is a creation ever really “finished”?

SS: I’ve gotten better at general building skills I think through experimenting and receiving great tips and advice from other builders. I’ve got more tricks up my sleeve these days as far as technique goes and although I rarely try anything too advanced, it’s nice to have them there when and if I need them. Large and highly detailed mocs are a challenge. My mind wanders a lot and it’s hard to stay committed to one project for a decent amount of time so most of my stuff ends up quite simple and uncluttered.

KG: It seems pretty clear that you were inspired by the completely awesome toys of the 1980’s: what are some of your favorites, and is it just nostalgia that drives your interest?

SS: Ahhh, toys of the 80’s…

As a loner through my school years imagination was a great comfort to me, so my toys and my drawings played a big part of my childhood; if I wasn’t playing with or building toys I was sketching designs for cooler ones. My uncle has been an avid toy collector most of his life and always had way more toys than me, the childless bastard!

I guess it’s nostalgia that drives me and there’s a cute and innocent feeling with LEGO that I like to tap into, that playful look I really enjoy.

KG: Do you find that building affects your mood or vice versa? Do you have to be in the right mood to build?

SS: I’m always in the mood for building but if I get stuck for a few hours (or days) on something it definitely gets me down. I feel like I have to achieve something every time I sit down to build or it’s wasted time (which it isn’t really because learning comes from mistakes. Or so I try to tell myself…) Music really helps me create, especially aggressive music like metal. LEGO bricks are a listless bunch, lying around all day, they need some discipline. One has to attack them if one is to achieve anything, you see?

More of Keith’s interview with Shannon after the jump: Continue reading →

Dan Rubin: The last thing you need is some clown trying to buck the system – Boilerplate & Beyond Vol. 10 [Interview]

For interview number 10, Keith Goldman chats with on one of our own. Take it away, Keith!

Although my next guest prefers to build in one genre, he is a bit of a Renaissance man in the hobby. Dan “Happy Weasel” Rubin has been an Ambassador, Administrator for CSF, convention coordinator, Brother Brick, active WamaLUG member, contest sponsor… And the list goes on. Dan and I have twice shared the low-budget convention experience, and the abject terror of a fellow AFOL emerging from the bathroom in a pair of too-tight red briefs… and nothing else. Dan is also a lawyer, but we won’t hold that against him for the purposes of this interview.

I sat down with Dan Rubin during my trial for manslaughter in the nation’s capital. During a recess for a witness to compose himself, we talked about art-school chicks, Gymkata vs Rexkwondo and the horrors of Kentucky. We also talked about LEGO.

The Build

KG: How early in your build process do you decide the color scheme in a build? You’ve publicly declared a foot fetish and admitted that this MOC was based in color scheme, off of this sneaker, is there any other garment, item, or device you have taken inspiration for your palette?

DR: The color scheme of a build is a very early choice for me. Usually, I’ll decide on a shape/style, and then the color scheme is the second choice, before I put two bricks together. That is, unless I want to try to create a shape that I’ve never attempted before, and I have to prototype it. Sometimes I’ll change the exact placement of stripes, and finer details of a color scheme as the build progresses, but the color combination, and general color blocking are early decisions.  

As far as inspiration is concerned, I suppose that it can come from just about anywhere. The shoe-inspired ship is definitely the most explicit example of an inspiration for a color scheme among my builds, though. I built a police ship once that drew its color scheme from the ubiquitous “black and whites” of the LAPD, but since that was intended to be a lineal descendant of the inspiration, I’m not sure it’s what you’re looking for.

Right now, I’m working on something in dark blue and lime, which is a color scheme I cooked up playing around with the colors while sorting. As you may have noticed, I like contrast between the colors of my models. I’ll usually use one neutral color for greebles, and then two more colors that will set each other off, or possibly just one color that contrasts with the greeble color (dark bley is a lot less neutral than old light gray, for instance).

KG: Can you think of any attitude towards building that you used to adhere to that you no longer do?

DR: This is a tough question, it’s going to take some thought. Generally speaking, I’ve had to make LEGO building a far smaller part of my life lately, as real life issues have taken hold, but that’s not really an attitude towards building as much as it’s a forced change in priorities. Lately, I have been trying to embrace colors that I once disliked. I’ve tried to take on orange and red in particular, as well as lime, to which I used to be ambivalent.

When I first joined the AFOL community, all the spacers were building in themes, and I jumped on that bandwagon. Lately, I’ve been trying to cast my net wider, and embrace any idea that I find, rather than trying to force another creation on a theme that’s likely already stretched thin. That’s not to say that I don’t build things into a theme on occasion, but I am trying for more variety. 

KG: Do you have a different approach for building models for a convention as opposed to a standard internet posting?

DR: Absolutely! There are a lot of considerations that arise when you’re building for a convention, rather than for posting on the internet. Stability is a pretty major difference, as you have to be prepared for tables to be jostled, or worse, your creation to be grabbed in a fragile spot. Viewing angles are also important. Building a diorama for internet posting, you can leave large spans of back-side completely un-treated. When you’re going to display a diorama at a convention, you have to consider where people will be able to view your creation from.

When Nick and I built the Faded Giant, we decided on a triangle shape, which would allow viewing from a much wider angle than a rectangle with three tall sides. It also allowed us to force our own background on more viewing angles, rather than leaving the chaos of the convention hall visible behind the display.

Transport is also a huge factor. When building something to post on the internet, it doesn’t have to be able to fit through the door of your legoratory, or into your car. I built the landscape and most of the vehicles for the Faded Giant display, and they all come apart to be transported. The entire landscape splits into a series of 48×48 baseplates, which all fit in a box about 16 inches tall. The details all got thrown on for the first time at the convention. Similarly, Nick built the building to split into more manageable sections for transportation. After all, nobody wants to carry something six or more feet long.

More of Keith’s interview with Dan after the jump: Continue reading →

LEGO Designer Simon Kent talks about 10213 Shuttle Adventure [Interview]

The announcement yesterday of 10213 Shuttle Adventure is followed today by an interview with Simon Kent, the Creative Lead who worked with Designer Steen Sig Andersen to create the set. Watch the video right here on The Brothers Brick:

Simon talks about some of the constraints that Steen worked under, as well as features of the set.

Soren Roberts: I don’t like the idea of being a reference – Boilerplate & Beyond Vol. 9 [Interview]

We’re nearing double digits in our interviews by Keith Goldman. For our more sensitive readers, today’s interview does contain some fairly strong language. You’ve been warned. Take it away, Keith!

My next guest is a self described “SMOOTH, two-faced, lying bastard” whose models have been the definition of cool in the realm of sci-fi building for the better part of a decade.

I can’t think of a builder who’s been more often imitated than Soren Roberts, and as the cliché goes: never duplicated. Soren is the warrior of the wasteland, the ayatollah of Rock and Rolla!

I’m going to stop because he also has a severe allergy to flattery, daylight, and fools like me.

I sat down with Soren in his blacked-out ’71 cuda, as we prowled early morning downtown Denver Colorado looking for a guy he kept referring to as “That F’ing Girondist”. We talked about Studio Nue, why Snow Crash should never be made into a movie, and whether it is better to use a rusty spoon or a shoe-horn to remove your victim’s eye.

The Build

Keith Goldman: Talk to me about the concept of the “Third Artist” and how it applies to building science fiction models with LEGO. What’s your best advice for somebody who already has a decent grasp of technique, but wants to strive for originality in sci-fi or any other creative genre?

Soren Roberts: The concept of the ‘third artist’ is pretty simple — the first artist makes something original. The second artist copies (or “draws inspiration from”, if you feel charitable) the first. The third artist repeats the work of the second because, hey, that’s what you do.

And in science fiction, especially TV and movie science fiction, you’re lucky if it’s just the work of the third artist — more often it’s the fifth or sixth.

The best advice I can give is to build a clip file of all your influences. Every image you see on the net or in a magazine — if you like it, save it. And it can be anything — I have all kind of pictures of industrial machinery and pressure vessels, but I also have abstract paintings and typography to draw on.

For a while I was drawing a lot of inspiration from early steam warships. And so on.

If you want originality, try to move as close as possible to direct, first-artist inspiration from your surroundings. 99% of science fiction is designed to look like other science fiction, but that one percent stands out and often has a huge, disproportionate influence. It’s really hard to design a future cityscape that doesn’t at least obliquely reference the L.A. skyline of Blade Runner, or worn spaceships that don’t reference Star Wars, because those images were so striking and became so fundamental to our concepts of future cities and spaceships.

KG: You have an art and design background, how does this inform your building? Also, give me a basic concept or two that you think other builders without your background could practically use to make their building better.

SR: Probably not all that much, beyond the expanded vocabulary — I don’t have a lot of experience in three-dimensional media, so I’m winging it. It informs my color choices, but I’m subject to the same constraints of part availability as anyone else. You can’t really teach a critical eye, just set up the conditions for someone to learn it themselves.

Two of the biggest things I know are how to do the background on someone who inspires me and having a pretty solid process. Being able to dig up more work by someone, or find their inspirations, is tremendously valuable — it lets you pick their brain for ideas remotely. Having a process is just nice for a lot of reasons — speed, certainly, but also for exploring potential alternative designs. I tend to build a lot of details beforehand, and to build several versions of a section I’m stuck on, and pick the version I like. Keeping up the momentum of a build is important.

So, yeah. Do the research on your influences, and have a process that minimizes frustration.

More of Keith’s interview with Soren after the jump: Continue reading →

Fedde: You got to love your monkey – Boilerplate & Beyond Vol. 8 [Interview]

For our 8th installment of interviews with LEGO fans from around the world, Keith Goldman journeys to the land Down Under. Take it away, Keith!

H.P. Lovecraft once wrote “Men of broader intellect know that there is no sharp distinction betwixt the real and the unreal…”

If that is true, then our man Fedde (Karf Oolhu) must be one broad-minded Aussie. Fedde has a wide open, often comedic style and a large following of fans who look forward to his almost daily offerings on Flickr.

I sat down with Fedde in the 2nd floor cafeteria at Miskatonic University where he is currently employed as an adjunct professor of Astronomy specializing in the search for the ancients. We drank absinthe and talked about X-ray art, Sir John Eccles, and whether or not a new horror can be more terrible than the daily torture of the commonplace.

The Build

Keith Goldman: Your builds are known for the wide variety of elements you employ. Have you ever met a part you didn’t like? Has there ever been an element you wanted to use, but just couldn’t find the right way to use it?

Fedde: No, never met a part I didn’t like, but then, I haven’t met them all yet… Oh, some of those large castle pieces (especially the printed ones) are a bit on the rude side, but I’m sure there’d be a good home for them, somewhere.

Pieces I want to, but can’t find a use for as yet? Hard to say.

I do have quite a few packets of pieces I’ve bought on Bricklink, usually as order fillers, things that look cool or different. Most are still in the original packets — I want to use them, but so much other stuff keeps overshadowing them. And quite a few part combos that aren’t able to finds homes yet either.

But to be honest, any part just needs time. An interesting use will appear.

KG: You crank out models at a clip few can match. Is there a reason you favor quick builds to longer, more involved projects? Have you ever hit a creative wall? Do you have a long list of models to call on, or are you more spontaneous?

F: Limited space is a big issue; my smallish bedroom holds basically everything. I do the bulk of my photo shoots on the bed. I’m surrounded by my LEGO, TV, computer, music, my photography equipment; it’s too easy to build, photo and upload within an hour without having to do or move much. I can only really have one decent MOC in progress. Most of my shelves are covered in tablescraps of various types — clear four away, and six try and crowd back in. And spontaneity is a big driver; I’m a very lateral thinking guy. Even when I’ve bought a set because of elements it has for a dio in progress, discovering a new piece will easily create a new build. I have at least a dozen projects all being worked on, in cycle — some will die, some get pushed back by newer growths, some even get photoed and posted. : )

KG: Your models are appreciated in part because they typically have a comedic element. Is there a specific comedian or style of comedy that influences your build?

F: I’ve always been able to see multiple meaning in things, seen the words that are open to misinterpretation, or contain words within words. I love deliberately misinterpreting a MOC’s name or comment; word mis-use is a fun tool.

But I must admit, I’m very fond of the crew of Monty Pythons Flying Circus… And now for something completely different…

More of Keith’s interview with Fedde after the jump: Continue reading →

Cole Blaq: If destiny’s on a break, we control the action – Boilerplate & Beyond Vol. 7 [Interview]

For our seventh installment of weekly interviews, Keith Goldman goes urban. Take it away, Keith!

If you have a Flickr account, and a decent list of contacts then your photo stream has probably been tagged by this week’s builder, Cole Blaq. Legally known as Aran Jitsukawa-Hudson (which is an awesome name and far more interesting than yours or mine), Cole has done what is so difficult to do in our flabby sea of Mannkinder; achieve a truly unique style.

I sat down with Aran on a cold November night, thirty feet over the Autobahn on the backside of a billboard for BMW. We drank whiskey from the bottle and talked about Fritz Lange, the evils of Teflon and the enduring comedic value of the Maginot Line. We also talked about LEGO.

The Build

Keith Goldman: Talk to me about bombing, burning and “getting up” with bricks. How did you develop your signature graffiti style, and what techniques serve as its core?

Cole Blaq: The ride’s quite a while ago, it dropped hard and after that all was left to burn. Getting up, spreading your name and development still continues. The material has changed but the style is still the integral element of self-expression. The context of public space is amiss, but yet it refers and in the proper spotlight this discussion definitely will be continued.

Since I restarted building with bricks in early 2008 I’ve had a vision of creating graffiti styles – it came naturally according to my previous years of expression. My signature was developed long before my brickish time. Now it just reappears into the bricks. Often the style has a certain character next to my signature that originates from the brick matrix and the character of the parts used.

The development with the bricks started with simple drafts to see with what techniques one can approach style-lettering. It started as a simple challenge over at the Urban Culture and Bricks group last May and within a month fully articulated and developed styles were achieved, wherein many of those previous draft builds melted together.

I have developed two basic techniques, one is based on straight slopes and the other one is based on wedge plates. The second technique includes hinges and hinges and hinges in order to break and angle the letters at the right places. With those parts I can shape the letters two dimensionally and in the next step I extend the letters into third space — considering different possibilities. That’s where it becomes really tricky and interesting. I am actually working on another founding structure based upon Technic parts. All these techniques can be modified and intermixed and limitless ways of creating styles are possible – it’s all about experimenting and trial and error.

KG: You are an art history student; does that influence your building? I once used this diorama for an Egyptian history course. Have you ever used the brick for an assignment?

CB: Art history is all about theory, not practice, which is my grande critique of the art historian education: Most students miss empathy for the work, its material and inner pictorial issues. As I have a continuous creative output I see myself in the same line, except I am not offishal, Mr. Offisha. An artistic approach is quite different than model building. Models are nice to build and the experience from that flows into my free works.

It is another issue to create something new, something not based upon a real life or a concept draft. Spaceship designs for example reach within these realms, but are too bound to our standardized perception of what a spaceship must contain.

Bricks have their value; they lay out a foundation and a certain pattern which enables certain things, predominated directions and characteristics.

At the same time the pattern and the material itself limits a free artistic expression. These days I often come to the limits of the bricks being true to my expression. Another problem is the core of a build. After creating a ground structure and building upon it, it is very often impossible to reach back to the core and tweak the structure, if one wants to change things later…
But that’s a topic I continue to ponder: how to approach that part practically and theoretically (due to my art historian studies).

No assignments up to now, but I am working on it and will share my success or cover my face in shame if I fail.

KG: Another fan of LEGO, Jon Palmer turned me on to Banksy. We have debated if it would be possible to do something “Banksy”-like with the medium of LEGO, what do you say?

CB: Yay, the Banksy question!

OK, what is Banksy-like? Banksy set a certain latter in subversive political humor without taking a direct position. Also most people are familiar with the stencil style he applies. If you are talking about his humor, it is possible to depict that kind in any medium. If you’re talking about stencils, its techniques are similar to those used for a silhouette / cut-out principle. Doing brick mosaics with bricksaic and some pre-editing in Photoshop will produce a similar effect. The theme / images with which Banksy plays, the interlocking stencil technique, are somehow copy-able. The biggest issue you’ll encounter is that of public space as the integral canvas / background which will be impossible to surrogate. Even his public space works being exhibited inside the white cube (classical museums and art galleries) raise the same problems. His work relating to the art business is different as it is an examination and debate within that context and also only works inside the gallery.

There are a few people who have managed to bring the brick message to the streets in their very own way. Two of them are Jan Vormann from St. Petersburg and ame72 from the UK.

Seeing Banksy’s kind of black and subversive humor in bricks would be great, but you’ll have to be prepared to question all existing rules and cut your precious little bricks until they bleed.

More of Keith’s interview with Cole after the jump: Continue reading →