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Featured Artist Interview - Phil Brown
BY
Alex
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Every time a portfolio is created on the network, a group of super-groovy design freaks will gather to throw a party and welcome the new kid on the block. That is when the exquisite folder of works will be bookmarked and the beautiful imageries of our new member will be celebrated and announced with the utmost respect and honor.
The practice goes on. The only thing is, this time the incredible bookmark was not only shared between this bunch of super-egoistic creative aliens, it was further disseminated and spammed to every name visible on the over-crammed contact lists, like aliens invading Mother Earth. Most importantly, it got to you.
Before we go on any further, don’t mistake our kindest intentions. This bookmark was sent to you for one reason – it made us smile. And we wanted the “Smiley Virus” to infect the grumpy monster hiding behind the thick flesh coat you had always yearned to burn.
In our nation and in perhaps in yours as well, there was said to be a seventh sense called the “feel-good ratio”, an instinctive acumen that helps detects the levels of endorphins and determines the sights if they’re cheese or chalk.
For some reasons, we suppose Philip Brown had some strange acquaintances with this seventh sense. The way he merged his colors, the way he dipped his pen for the “accidental marks”, the way he made us almost believe he milked the cow before he actually drew it, nothing just felt wrong about it.
That’s the magic. The-Feel-Good-Ratio.
How high is yours?
TAXI >> Greetings Phil! Hope all is going for you. Let's begin with a simple introduction about yourself?
Phil Brown >> Well, my background is graphic design, which is what I trained in. Eventually that led to teaching the subject for a few years. I loved the exchange of ideas involved, which made for a stimulating environment creatively. In fact, it was teaching that got me working so much in my own sketchbook again and dreaming about being an illustrator.
TAXI >> Do you still remember your first drawing/sketch? Has your illustration style evolved since?
PB >> Hmmm.that would be a long time ago! In school I used to draw very tightly. My art foundation course was the best year of my life with regard to training, but the emphasis was always on observation and the rigorous life drawing sessions, which although useful, have given me a tendency to think "if it doesn't hurt doing it, it can't be any good". It has taken me a while to break out of that mindset as an illustrator. Often, my most successful pieces are the ones that were the simplest and quickest to do.
TAXI >> Are you currently enjoying the ideal job as an illustrator? Any difficulties you love to hate?
PB >> Every job is different, as is every art director. It is hard to say what my ideal job would be..I have a theory though - no matter how great the job one lands is, there is always the nitty-gritty bits to trawl through. Any job can become a wearing task if you don't keep up the momentum in the process. I like to work quickly and boldly where possible and not worry overmuch about making the "perfect" image. For me, the hardest part is the initial composition work - once I have decided on the idea and the elements needed, a mixture of fear and impatience take over as I grapple with the composition!
TAXI >> Your works range from nostalgic animals to punk kids. Where do you draw inspirations for such extreme subjects?
PB >> I think it's the process of drawing - certainly with the dip pen – the physical sensation of making marks on the paper combined with an idea for a character leads in certain directions - the Dirty Rat drawing is a good example, where the extremity of the subject matter came out of spontaneous drawings I was "feeling out" in my sketchbook. Animals do crop up quite a bit in my work. You can get away with a lot in stretching the drawing and still being persuasive, so they are great for a huge range of things. Also, there is a huge variety to choose from! When I start new character work, the inspiration comes from simply drawing shapes, abstract to begin with, but then I start to see more expressive things in what goes down on the paper and develop from there. With the other non-character based stuff, I use things like getty images on the web, plus my own book collection, to find starting points.
TAXI >> You mentioned on Computer Arts Magazine that "using a dip pen allows for accidental marks, which tend to add energy to the piece", are there any other tools that are indispensable?
PB >> Photoshop, a pencil, biros, a scanner. Those are the most essential, but I get bored easy, so I tend to have a large selection of media to hand. I have just been drawing straight on wood with the pen, which worked okay. There's some results on the website.
TAXI >> To date, what is the biggest surprise the creative industry has greeted you with? Well, make it 'shock' if there is really none.
PB >> To be honest and not to sound cheesy, I think that the positive reception the work has had for the most part is kind of a surprise - I spend hours looking at the stuff and it is very difficult to judge it objectively. I can look at older pieces and hate them to their core, but then someone pops a mail to me saying something nice about one.
TAXI >> Like we did? Describe THE perfect weekend. A milkshake, cocktail or plain ol' coffee?
PB >> I'm a red wine guzzler actually (and it don't have to be the weekend either). Coffee after.
TAXI >> Do you ever fight with your two kids over Marvel Comics? How are you managing your "second childhood"?
PB >> Not yet! My kids are a little young for Daredevil yet, but they like the colours in my Hellboy editions. Being a dad is MENTAL. My wife and I both work from home and a work day is certainly not what it used to be! Thomas often comes in the studio to see the latest piece and claims it for his wall. Its great to have the ability to draw wacky things for them. I have also become an avid fan of Maisy the Mouse and Kipper the Dog. Top. They beat Hellboy hands down.
TAXI >> Fast Forward. How do you intend to retire?
PB >> On serious welfare probably.
TAXI >> What's planned for the coming months?
PB >> Flippin heck...a test run on some t-shirts will be going ahead on the Phil Brown site, as well as some prints. The shop bit is in the works – watch this space. Other stuff..well that involves my secret identity (in true Marvel style) and I can't go blabbing about that now can I?
TAXI >> You must be relieved to come to the last question. If there's a TAXI in front of you right now, where will you be heading to?
PB >> Courchevel for two weeks skiing in January.
The practice goes on. The only thing is, this time the incredible bookmark was not only shared between this bunch of super-egoistic creative aliens, it was further disseminated and spammed to every name visible on the over-crammed contact lists, like aliens invading Mother Earth. Most importantly, it got to you.
Before we go on any further, don’t mistake our kindest intentions. This bookmark was sent to you for one reason – it made us smile. And we wanted the “Smiley Virus” to infect the grumpy monster hiding behind the thick flesh coat you had always yearned to burn.
In our nation and in perhaps in yours as well, there was said to be a seventh sense called the “feel-good ratio”, an instinctive acumen that helps detects the levels of endorphins and determines the sights if they’re cheese or chalk.
For some reasons, we suppose Philip Brown had some strange acquaintances with this seventh sense. The way he merged his colors, the way he dipped his pen for the “accidental marks”, the way he made us almost believe he milked the cow before he actually drew it, nothing just felt wrong about it.
That’s the magic. The-Feel-Good-Ratio.
How high is yours?
TAXI >> Greetings Phil! Hope all is going for you. Let's begin with a simple introduction about yourself?
Phil Brown >> Well, my background is graphic design, which is what I trained in. Eventually that led to teaching the subject for a few years. I loved the exchange of ideas involved, which made for a stimulating environment creatively. In fact, it was teaching that got me working so much in my own sketchbook again and dreaming about being an illustrator.
TAXI >> Do you still remember your first drawing/sketch? Has your illustration style evolved since?
PB >> Hmmm.that would be a long time ago! In school I used to draw very tightly. My art foundation course was the best year of my life with regard to training, but the emphasis was always on observation and the rigorous life drawing sessions, which although useful, have given me a tendency to think "if it doesn't hurt doing it, it can't be any good". It has taken me a while to break out of that mindset as an illustrator. Often, my most successful pieces are the ones that were the simplest and quickest to do.
TAXI >> Are you currently enjoying the ideal job as an illustrator? Any difficulties you love to hate?
PB >> Every job is different, as is every art director. It is hard to say what my ideal job would be..I have a theory though - no matter how great the job one lands is, there is always the nitty-gritty bits to trawl through. Any job can become a wearing task if you don't keep up the momentum in the process. I like to work quickly and boldly where possible and not worry overmuch about making the "perfect" image. For me, the hardest part is the initial composition work - once I have decided on the idea and the elements needed, a mixture of fear and impatience take over as I grapple with the composition!
TAXI >> Your works range from nostalgic animals to punk kids. Where do you draw inspirations for such extreme subjects?
PB >> I think it's the process of drawing - certainly with the dip pen – the physical sensation of making marks on the paper combined with an idea for a character leads in certain directions - the Dirty Rat drawing is a good example, where the extremity of the subject matter came out of spontaneous drawings I was "feeling out" in my sketchbook. Animals do crop up quite a bit in my work. You can get away with a lot in stretching the drawing and still being persuasive, so they are great for a huge range of things. Also, there is a huge variety to choose from! When I start new character work, the inspiration comes from simply drawing shapes, abstract to begin with, but then I start to see more expressive things in what goes down on the paper and develop from there. With the other non-character based stuff, I use things like getty images on the web, plus my own book collection, to find starting points.
TAXI >> You mentioned on Computer Arts Magazine that "using a dip pen allows for accidental marks, which tend to add energy to the piece", are there any other tools that are indispensable?
PB >> Photoshop, a pencil, biros, a scanner. Those are the most essential, but I get bored easy, so I tend to have a large selection of media to hand. I have just been drawing straight on wood with the pen, which worked okay. There's some results on the website.
TAXI >> To date, what is the biggest surprise the creative industry has greeted you with? Well, make it 'shock' if there is really none.
PB >> To be honest and not to sound cheesy, I think that the positive reception the work has had for the most part is kind of a surprise - I spend hours looking at the stuff and it is very difficult to judge it objectively. I can look at older pieces and hate them to their core, but then someone pops a mail to me saying something nice about one.
TAXI >> Like we did? Describe THE perfect weekend. A milkshake, cocktail or plain ol' coffee?
PB >> I'm a red wine guzzler actually (and it don't have to be the weekend either). Coffee after.
TAXI >> Do you ever fight with your two kids over Marvel Comics? How are you managing your "second childhood"?
PB >> Not yet! My kids are a little young for Daredevil yet, but they like the colours in my Hellboy editions. Being a dad is MENTAL. My wife and I both work from home and a work day is certainly not what it used to be! Thomas often comes in the studio to see the latest piece and claims it for his wall. Its great to have the ability to draw wacky things for them. I have also become an avid fan of Maisy the Mouse and Kipper the Dog. Top. They beat Hellboy hands down.
TAXI >> Fast Forward. How do you intend to retire?
PB >> On serious welfare probably.
TAXI >> What's planned for the coming months?
PB >> Flippin heck...a test run on some t-shirts will be going ahead on the Phil Brown site, as well as some prints. The shop bit is in the works – watch this space. Other stuff..well that involves my secret identity (in true Marvel style) and I can't go blabbing about that now can I?
TAXI >> You must be relieved to come to the last question. If there's a TAXI in front of you right now, where will you be heading to?
PB >> Courchevel for two weeks skiing in January.