As I progressed through my MA in Character Animation at UAL, I began to seriously consider becoming a 3D character designer, especially in vinyl toys and IP creation. I’ve always been drawn to characters that carry strong identities, not just visually, but emotionally and culturally. For example, characters that reflect social values, subcultures, or nostalgic references that resonate with specific audiences. This curiosity led me to investigate what makes designers in this field successful and how I could follow that path.
Through research, I discovered that vinyl toy design requires more than just 3D skills. A designer must understand branding, storytelling, market positioning, and licensing. My training in anatomy, 3D modelling, and animation, using software like Blender, Maya, C4D, and Rhino, gave me a solid technical base.
To understand the industry, I examined key players in China and the UK. In China, POP MART, 52TOYS, and IP Station have built global fanbases. POP MART, for instance, earned 13.04 billion RMB in 2024 (POP MART, 2025). In the UK, studios like Kidrobot cross between animation and toy design. I noticed a strong overlap between IP development, toy design, and storytelling aligning with my academic focus.
My earlier working experience in China, as a designer assistant, helped me understand user research, branding, and visual production. Later, directing the LIAF promotional animation allowed me to lead a team and create a marketable original IP. These experiences showed me the importance of consistency and narrative in character design.
Although I initially believed I had already developed the right skill set, the experience of leading a project from concept to execution revealed deeper challenges. I struggled to align the character with market trends, merchandising potential, and cross-media scalability. This helped me understand that sustainable IP design demands more than execution skills—it requires a cultural and strategic lens.
To expand my understanding, I’ve started studying artists like Kenny Wong and Amanda Visell, analysing how they fuse personality, narrative, and visual language to build enduring character brands. Simultaneously, I am sketching and prototyping my own small-scale IP with the goal of testing its resonance both digitally and physically.
This process has given me clarity and confidence. I now understand the multidisciplinary nature of this role, and I am actively aligning my skills and experiences to fit the demands of the industry. Rather than viewing my career as either animation or toy design, I now see myself as an IP storyteller operating across platforms.
References:
- PR Newswire (2025) ‘POP MART Releases 2024 Financials: Revenue Surpasses 13 Billion RMB, Net Profit Reaches New Peak’, 26 March. Available at: https://www.prnewswire.com/news-releases/pop-mart-releases-2024-financials-revenue-surpasses-13-billion-rmb-net-profit-reaches-new-peak-302412989.html (Accessed: 19 May 2025).
- Kidrobot (2025) Kidrobot – We bring art to life. Available at: https://www.kidrobot.com/ (Accessed: 17 May 2025).
- Visell, A. (2025) Amanda Visell – Official Website. Available at: https://www.amandavisell.com (Accessed: 20 May 2025).