Welcome back to another special Patreon first episode of Across the Byfrost.

I am doctor Norbert coming to you from an artist's retreat where we will be interacting with other similar reminded artists about their process and about their influences and just you know, what makes them tick.

And it'll be revealed very shortly.

Why I am at this retreat, But first let us talk to the person, the person who masterminded this topic episode, my dear co host, Who are you?

Hello, I'm Jamie.

I'm coming at you from an MTP fanatics bedroom where the walls are covered in all my favorite art from MCP.

Yeah, I'm gonna I'm gonna go ahead and reveal this more book because I want to send the email.

So we've got on the amazing Patrick Brown.

Hey, Patrick, Hey, thanks for having me.

Hello, thanks for jumping on.

So for anyone that doesn't know Patrick Brown, you are the kind of the current I guess, main artist or the most prolific artist for Marvel Crisis Protocol right.

Oh yes, yes, I've been working with them for about five years now.

Yeah, I think it's Yeah, it's been great five years.

That means is that release since released?

Since since I started basically, yeah, jumping on board, and yeah, it's been working for it's been really good, Like it's it's my favorite job I've had so far.

It's been amazing.

Wow.

Nice, that's cool.

So I'm going to assume that you haven't listened to much of this podcast, so I'll quickly fill you in on all the episodes you've missed.

The base of what happens is we get a character box, we talk about all the stats on the card, and then we go, oh, my god, this art is amazing.

Which artist is it?

And we go, oh, it's Patrick Brown again.

So there's been about probably twenty episodes in a row now where we've been like, oh, it's Patrick Brown again with this amazing artwork.

So we have to get you on.

So I'm glad you had it.

I feel we've finished the circle of Across the by Frost, So yeah, I'm glad you had.

That's awesome.

Well, Jimmie, So perhaps we should get started a little bit about your background Patrick, before you got involved with an MCP thing, Can you tell us a little bit about how you became an artist and maybe what kind of work you've been doing up to this point.

Sure, Yeah, before a time at Mass Games, I was working with Marvel and I was working with them for about eight and a half years and it was dream job, absolutely amazing.

And the way I got into that was.

It's kind of funny because I never knew that I could even get a job as an artist, you know.

I was always just doing it for fun and doing art's been a huge hobby of mine my entire life.

So yeah, I was just suggesting that you weren't a professional artist meeting that was the way you major living until you got this Marble.

Gig, That's right.

Yeah, I was just doing it.

Wow.

On the side, I used to be a graphic designer and that was my living and yeah, I really enjoyed that too because it's somewhat creative, but my true passion is art.

So yeah, from an early age, I would say, from yeah, sixteen onwards, I was really trying to hone in on the art, I guess more and trying to I even touched into digital art and I just went from there.

So from twenty onwards it really started to I started to share it online more so basically I was really into fan art anything that I loved video games.

I'm a huge gamer, love movies, TV shows.

I would draw it.

So it really gave me an excuse to kind of, yeah, try and do a new picture.

And that would be like a stepping stone almost to growing as an artist, I suppose.

So yeah, by the time I, you know, with my graphic design job, which I was working working for at my local newspaper, and I was the main graphic designer there, and yeah it was I was.

I was actually really lucky because for some reason, that job, especially when I started, allowed a lot of free time.

And you know, the graphic design work alone and there might be two or three hours worth, but then the rest like five hours instead of just sitting there, you know, maybe googling or seven yeah, go on the internet or something, but I would actually draw and I'd be like, okay, I'm just going to start drawing.

And that's when I started to hone my skills more.

Very thankful for that, because I know a lot of people who are passionate about art have full time jobs and yeah, you know, they don't get that opportunity to yeah, you know, have that much time into it anyway.

And then Markoy quickly we quickly interrupt you.

Sorry, starting out, you starting out in a in a newspaper is like the most superhero origin story ever.

Such a good point.

You're like, Peter Parker, Yeah, your boss draw me pictures of Spider Man.

That's hilarious.

I've never thought of it like that.

It really was like a second family as well.

We were really great, a great team, and I wake the night shift, so it was like all the all the suits would go home and designers and everyone would put the paper together and have a laugh and yeah, it was really good.

Patrick.

Can I say ask was this drawing line drawing with pen and paper or something or were you just doing it digitally?

A bit of everything.

So I would actually sketch on pencil and paper, an entire sketch until I'm happy.

I would scan that into the computer and then.

Yeah, I would start doing like the black outlines and the inks on the computer.

And yeah.

The Examiner, the newspaper that I used to work for, They're called the Examiner and in Tasmania, great newspaper, and yeah they had that's the first time I let how to use a graphics tablet, like you know, the pan on the digital surface and it all took off from there.

That really just amped things up for me.

And anyway, eight years later working for the paper is when Marvel contacted me.

Because I would put my work out, I would share it online all the time, and yeah, it just caught the right eyes, thankfully, and they offered me a role.

I actually thought it was a scam at first.

I thought this is gonna be real.

Yeah.

Yeah, but it was and it took off and it was very scary because I had to quit my job and work from home and dive in the deep end.

Yeah.

Is that like, you know, you're now on our artists roster, you know you work full time?

Or do they kind of just throw things that you and they need them?

Yeah?

And then what are we talking about?

Is this like to do film like film you know, panels or something like that.

I forget what they call it, where you know they sketch out of film times?

Yeah?

Or is it for the comic books like what aspect of Morrow are we talking about?

Oh?

Yes, it was more of the the kind of art that you might see on boxes and like shops, like toy packaging, t shirts or kids backpacks, all that kind of stuff.

They would launch waves of, you know, anything, so I would be I did like the entire Guardians of the Galaxy.

It's like the cartoony kind of.

Style comic art, I suppose you could say, And that would go on all the packaging for all the toys and things and Spider Man as well.

So that was very exciting for me because I'm a huge Spider Man fan and yeah, and I got to, yeah, do the Spider Man for It was based off the TV show that was being released in the recent season, sorry animated show.

And this was back in about twenty fifteen onwards, say twenty sixteen.

You know that one.

I think it's so Yeah, but that was.

Very exciting because I got to actually throw my style into it and do a lot of things creatively as well.

So there was some concepts here and there, but the studio at Marvel were absolutely amazing.

They actually had a studio team that did most of the concepts there.

But it was great to be able to really get into that.

Yeah, so many different things, different projects here and there.

Where were you posting your art, so maybe you can give other people some tips about like where you found where you think you had the most visibility.

It used to be started off on deviant Art and that was great and then it kicked off with i'd say my Facebook fan page and then Instagram as well is probably the biggest at the moment, so and that's yeah, that's where I get most of the yeah, the following, and I can connect with everybody.

It's been great.

So did you have.

Any interests or you know, maybe some daydreaming about becoming a comic book artist, so actually drawing panels or is that you know, that storytelling aspect not really what you do.

I have thought about it before, but it's kind of a whole new, whole different world for me because I know I know other artists that have done it, and it's very time consuming, and I think that I enjoy single pictures more like an entire piece that's all put together, and I.

Think that, Yeah, I don't.

I'm not quite sure if I would be as passionate about comics.

To be honest, I don't think.

I know.

I can do it, and it is very exciting for me, but I think it would be a bit too much for me.

Yeah, yeah, you know, as I understand comic books, though the covers are usually done by a separate artist, not the artist who does the work inside, and it's just a one off essentially.

I'm sure that'd be something up here.

Yeah right, yeah, yeah, yeah I did.

I did do a bunch of comics for Marvel as well.

That was another great part of working with them.

And I used to do the covers for the Brian Bendez Miles Morales Spider Man comics and I did about twenty or twenty one covers.

It was a long series running and it was great.

And then so that was really cool.

So I actually got to do the covers for those, and yeah, the art inside's different, so amazing.

That was super cool.

Your background, I mean, you said you're a big nerd when it came to a geeky culture.

But was your art prior to this focused on superhero art or at least even more specifically Marvel superhero stuff or where is it broader than that?

I'd say, yeah, much broader it definitely.

I definitely did a lot of Marvel art.

But I would say most of my old fan art that I used to do is a lot of video game art mostly probably eighty percent maybe a video game art, I would say, yeah, just a big gamer.

Yeah, but a lot of Spider Man, a lot of everything like that.

Venom I love.

Drawing Venom, and I was lucky enough to yeah with when I was working with Marvel and they had me do a venomized series, so I got to as the maximum Venom I think, and they turn all the superheroes into symbiot versions of themselves.

It was really fun.

Yeah, yeah, super exciting.

There's a game mode in Moral Crisis Protocol where you can have that happen.

So yes, yeah, that's amazing.

It's one of the best best ones they made.

Actually, that's cool.

And yeah, the best part about working with the Tommy Mask games is like, yeah, I've been doing.

Mostly Marvel stuff with them.

I do a bit of a lot of different things, but yeah, Marvel, it's been super exciting.

I love it.

Let's round off what you were doing.

So you said you were working with Marble the studio for about eight years.

You said, that's right.

Yeah, and then when basically when COVID hit, things kind of died down a little because they they kind of paused everything for a little while, you know, everyone went on lockdown, so and then.

Things kind of shifted after that.

I was trying to just reach out to different companies just to try and get by, you know, and as a freelance artist.

So, and that's when, Yeah, Tomy Mask Games gave me an opportunity and it kind of kicked off from there and it's been very busy since so and.

Now it's yeah, one of one of their main artists.

It's been great doing Marvel Crisis Protocols.

Just yeah, it's a really cool game.

Can we say so that you didn't have any contact with a studio before?

It was a cold reach out to you essentially, is that right?

That's right.

Yeah, they they came to me, offered me some work, and I wanted to know if I would like to do some art for them.

So, had you known about the miniature or a gaming hobby?

Had I known about top Mask Games before that?

Do you mean?

Or just the hobby?

The type of game that they meet, something familiar I've heard of, Yeah, like tabletop gaming and things like that.

I have.

I had heard of it.

Yeah, I'm not too familiar most mostly, but.

Yeah, I did know about it a little bit here and there.

And they explained that to me, you know, exactly what it was.

And yeah, even sent me a big Marvel process sorry Marvel Criss protocol pack.

Like I got a box sent to me.

It was really cool, and me and my son were like setting it up a little bit here and there, so it's great to have a hands on look at it also.

Yeah, yeah cool.

So all right, so here you are.

You've got your first assignment.

I guess they give you a couple of testing pieces.

So maybe you could talk a little bit about We'll talk about the process in a moment, but maybe you could talk about how the relationship began and how it seems to have warmed up to the point where you may be they're main, if if at least, one of the main artists that they use.

Yeah, yeah, great, it's been so basically, I it started off with just yeah, doing character after character, and yeah, for the games, and as you know, there is for each character, there will be an injured side and a healthy side, you know, for the cards.

So that's that's another thing I always keep in mind as well.

So every time I'm assigned a character, it's basically times too.

So yeah, and that's really fun because I set out, they pick you know, two poses.

I'll set out like a sheet of just rough sketches and pose options basically, and then they'll pick two of them, which is really cool.

But yes, I've.

Been doing a lot of that recently, and it's just kind of been NonStop here and there, and just over time, I think, as I've been doing it so often and my art, you know, even working for this company, it just keeps you know, you keep growing, I suppose as an artist, and it just helped kind of cement me more into the style, I think, or just because it was so you know, I started to get used to it and understand their ways.

We have certain ways of doing.

Lighting and edge lighting and colorization of the shadows and things like that, which is a kind of a unique.

Style for crisis protocol.

So yeah, so you're saying that there's a somewhat of a house style that they asked you to try to adapt your art too.

Definitely, but it's kind of originally mostly for my stuff.

It's been locked into my style basically, so they kind of I think they kind of hired me for my style and then we adapt to that.

So I've kind of been learning from the beginning what they need as well.

You know, they some requests like and it was very cool because I've learned so much working for the company as well, and it's helped improve things little things like if I was doing say skin tones and such a shadows, I would start to just put a little hint of purple in the shadows, which was really cool.

I've never really tried that before.

And edge lighting like a little pop on the side of a character just to make the character pop.

And they would like be like, you know, let's make that like a purple one something kind of crazy, you know, And I really loved that kind of stuff.

So it's kind of been evolving as we're going.

And yeah, it's been really cool, just kind of setting the style and locking it in.

And yeah, you mentioned.

You mentioned just now as well, the healthy and injured side perspective.

It must be quite fun as an artist to be able to, you know, almoyst have two takes that character.

I've really enjoyed your injured side.

I'm thinking of a few characteries and like Angela and Doctor Strange and X twenty three, they're not just like with a bloody nose, like they also come back with like a different kind of like determination in them.

And we've really we've noticed that right now, but yeah.

Very much.

So.

Yeah, yeah, we find that you seem a bit more.

A motive.

I find the injured side to be a bit more have a more emotional attachment to it somehow than the healthy side.

Which is great for the game as well.

It's like perfectly in tune with the rules.

I don't know if that's even conscious, because the way the game works is when you flip, you come back all powered up and ready to do all that stuff, right, So it actually works with the game really well.

But yeah, it's just something we Yeah, it's not just like, oh that now they've got a black eye, and you know, it's like there's a different.

To think of that.

It's funny you say that, because yeah, as I'm drawing those and I'm always keeping that in mind, and I do bring across personality or some kind of essence I like to you know, yeah, have them more slumped over or yeah, just that expression on the face to bring that across a little bit more and that's really fun for me.

And then the hero side, Yeah, the healthy side will be more heroic or a lot stronger in a yeah demeanor kind of thing.

So cool, So we should we should go into the process a little more now then, So you mentioned that you make a bunch of sketches and kind of you know, here's some poses and you kind of give that to AMG.

Do they give you any kind of brief at the start, you know, Okay, we want you to do Angela.

Do they say you know what she should look like, what she should be doing, or is it kind of up to you.

No, it's it's kind of very broad in a good by, it's very freeing almost.

It's it's you get to sign the character, whether it's yeah, so doctor strange or something rather, and that's that's kind of it.

It's like, okay, you go and I'll get some references so I know what their suit looks like and everything involved, and it'd be you know, it's really just it from there.

It's like I will then take that and just lay out a sheet and just do gestures very rough.

And yeah.

Once I have fifteen to twenty different poses that I really like, like I like to throw.

A lot of energy into them.

I'm really I've always been big on.

Adding energy into characters, as in like flow, a little bit of pop and yeah, and then I'll send that off with all numbered and then yeah, I'll get I'll get something back and a couple of choices and we'll kind of run with that from there, which is yeah, really fun.

It's kind of exciting once I send that off and I wait till the next day and I get to know which ones are they going to pick because I have a few favorites.

Sometimes you know.

Your e're in Tasmania, correct, that's right?

Yeah, yeah, So how does that work with the time difference because they're on the west coast of California or the United States?

So how is it?

Are you behind them then?

Still are they front of you?

I think I'm in front by twelve hours, I believe.

Oh yeah, so, and I think it's kind of like, say, my nine o'clock in the morning would be probably.

Three o'clock in the afternoon for them.

I would say, okay, so there's some overlap to have some live discussion.

Yeah, yeah, yep, yep.

We have a lot of a lot of calls and connect it's very good.

We Yeah, I have a great, great friendship as well, and it's been Yeah, it's been really good.

Jimmy, you want to carry on then in your process question?

Just speaking of friends, you just reminded me of something.

Actually, are you aware that Will Shik has your spectacular Spider Man tattooed on him.

Oh really, I didn't.

Yeah, he's very proud of it, and we should talk about that because that is going to be one of the most iconic pieces of art that exists in the game so far.

And just where did that come from?

The upside down thing?

It's just it's just chef's kisses.

So was that your initialized idea?

Was that given to you or how did that come about?

Yeah?

I was because I am very passionate about Spider Man's That's my number one favorite superhero.

I'm a big Marvel fan.

And so when I was assigned that one, I was super excited, and as usual, I would put out a bunch of pose options and I'd probably spend a little bit of extra time and yeah, I I remember, I was really glad when that one was picked, and it kind of went from there.

So I came up with that upside down pose and yeah, it went with that, and I would spend a lot more time just getting into it, and yeah, the details super fun, and it was it was cool because it was it was like I could push, you know, the creativity a little bit.

When it comes to the suit.

I could kind of make it my own Spider Man a little bit like when it comes to proportions and things, you know, overall it does just look like, you know, the usual Spider Man, but I yeah, I like to just add that tiny little hint of something that's my own, whether it's the way the webbing is designed on the suit or the ice shape and things like that.

So yeah, and just having my style into it was really Yeah, it.

Was great, too great to be a part of that.

On On Star Wars Chatter Point, I know that they make a point of they'll pick a character like say Mace Windy and they'll be like, okay, so you know, there's the Clone Wars art style, then there's the you know, samu Ja art style.

And for Shoutoupoint, they basically have a sliding scale of like we're aware on that scale it fits.

Do you have anything like that for Marvel characters that they say like, okay, there needs to be somewhere between Tom Holland and this comic book art.

Oh yes, not too much.

It's like a they will let me know if there is something specific.

If you know, I'm pretty sure that I have to stay away from any movie likenesses.

So that's the main thing.

But then yeah, and so I'm kind of probably am leaning more into the comic look more.

But I also get to so let's say, if I'm doing a character, let's say Thor or something like that, and you know, I can kind of we have the mini figure or anything like that, and I could actually you know, push the designs or the concept a little bit in my you know, the way I like it, So I can do exactly the figure.

I'd hope I'm explaining it well, but I but I am allowed to add a little bit more flat whether it's just the seams on the suit or something that you might not see in the figure, so I can kind of enhance the details more, do you know what I mean?

Similar to how the MCU, I suppose, would design a comic accurate suit, you know how they kind of push it a little more and make it a little modernized or just it's kind of looks very few modernized.

Yeah, so I like to add a little bit of that to my suits as well, which is really fun to do.

But overall, from a distance, it still looks comic accurate.

So yeah, Patrick, do they send you a sculptor have pictures of the sculpture already when you before you start the artwork part of it.

I don't know the timing times.

Yeah.

Sometimes, mostly references, whether it's.

You know, of a reference from maybe the comic version and like this is the suit we want, or whether it's a like an old character redo and like here's the old art we need to revamp it or something like that.

Yeah, but that's the two d R and I'm talking about the actual figures.

Do they show you the figures and the way they sculpted them, the creative process?

Yeah, sometimes I'll have like a photo of the minifigure.

Yeah, oh really that sometimes, Yeah, not all the time, only when it's really needed.

I suppose for like a like a they could I could turn it around or have a look at how the back is.

You know, some some references don't show you know that kind of thing.

That's they are handy to have.

Yeah, what would you say is the most difficult part of doing this job?

The most difficult is probably definitely probably time, So there is a lot to do in a short amount of time.

Yeah, that's probably the hardest part.

And the other part would probably be.

Just making sure it's like keeping up the quality, you know, I can't drop the ball.

Basically, I have to make sure that every every character art is top top quality, which is yeah, kind of fun.

It was a little daunting at the start, but it's very you get used to it, and now, yeah, it gives me drive.

You know, it's great to have something to, yeah, aspire to.

And that's the thing, right we try and kind of remind ourselves of that on this podcast is every Marvel character is someone's favorite Marvel character, So you got to, yeah, make sure that you know, even if a character you've never heard of is being drawn or played, you have to be like, I was going to love this.

That's another thing that I really like as well, is getting a character that I that I don't know and drawing it because it's something that I probably never would have chosen, and then I'm like, I really enjoy it, and then I'm always really happy by the end, I'm like, this was so much fun.

You know, you don't really and and you know, going into yeah, having to look at the character traits, their personality, what are their powers, and learning more about them.

You know.

I like doing that kind of stuff too.

Sounds like pretty fun research too, honest.

Yeah, seriously, to be prepared.

Yeah, yeah, I felt that way with when I first joined the game.

I first started playing, Angela was in the game, and I was like, who's Angela?

I don't care about Angela, And then.

Obviously started to play her because she's strong in the game, so I'm gonna sell out and I'll go play her.

And then with the new artwork, it makes me just want to care about it.

And we just did an episode about are we looking up our origin story?

And it's like all these things it's all part of what feeds into it.

And so now suddenly I like Angela as a character and your work as part of that equation, you know.

So yeah, it's it's really cool to see that every every character, you know, the same amount of love is important.

Thank you, which Patrick.

Is there any talk about making the artwork available as prints or anything like that.

No, I don't.

No, there's not really much talk about actually, yeah, turning them into full pieces or anything like that.

It's yeah, the job's usually just about, you know, I always have to make sure they're kind of vertical in proportion, like I would never do a pose this horizontal.

But yeah, mainly just because I know that it's going to end up on a card.

There's only the odd occasion when you know, I would have the odd project where it is for a piece.

It's happened once or twice.

And I believe I could talk about.

The Odin piece which was up at yeah, one of the conventions.

They're Big Wall and his Ravens and that was a giant piece.

Yeah, that was so much fun to do.

Yeah, there was some obviously, Norma and I know this game inside and out because we have to do we do podcasts and all the cards and stuff.

We know everything about it.

I went to what was it, oh UK Games Expo and the Atomic Mask Games.

We've had an enormous like landscape, like you know, kind of hero shot of a bunch of teams fighting I'd never seen before.

I was like, what the hell this exists?

And I don't know about this if I think it was like X Men, you know versus someone brotherhood baby, but I was like, this is amazing.

So yeah, there's so much artwork that's going on in this game that even we don't know about.

So he's trying, he's trying to hunt all those down.

Yeah, it's worth saying that, Patrick, you do sell prints on your website, right of other art maybe non mcp RT, but that's right.

Yeah, I do a lot of my personal art as well, because I still keep it up.

I run a Patreon myself and I like to just yeah, do a lot of my own personal art, and I record all the video processes and such.

So yeah, I do.

I have a lot of I put a lot of my art out there, full photoshop files for people or or it's and that's through the Patreon, but on my website it would be more like, yeah, full pictures that you could get high quality and things.

Yeah, Hannah, our producer, Hannah just became a Patreon of yours.

Oh really yeah great, also a big fan.

We should talk about that actually, So you do kind of like I guess tutorials guides on Patreon and YouTube.

You want to talk about that, that's right.

Yeah, I set that up a while ago actually, probably be around the same time of twenty twenty when covid had kicked off from there, and that was my own it's kind of my own business.

I treat it like an art class basically, where but it's more set out for Yeah, a lot of video tutorials.

I have an entire library over one hundred tutorial videos people can just get straight into and start learning all the way from yes it gets gestures to line art, colors, the entire process of what I do day to day.

So, and I'm always making new pictures for myself as well.

Most recently I.

Did a Bouldersgate three Karlac piece, So working on that at the moment.

Yeah, it's fun, that's great.

Yeah cool.

Yeah.

So Patrick, what could you advice could you give to younger artists when it comes to trying to pursue a career like this.

I mean, should they just work in a newspaper until they get the call?

Well, it's always important to treat it as a real passion and something that you can be close to.

So, and I think the key is to always share your work and don't be shy, you know, even if you don't think it's good enough for you know, put it out there for the world to see, because it really does.

It's a good way to get eyes.

And it also is a good way to slowly build a following as well, because there are people out there that really enjoy your work.

And that's what I used to do when I started off.

I was i wasn't you know, very good at digital art.

I was practicing and kind of training myself self taught, and every time I finished, I would just put it up there.

I didn't really mind what it looked like.

And that helped build the following from from nothing all the way to a couple of years on deviant Art doing that, and it went up to one hundred thousand followers or so after a few years.

I think it could have been four or five years of just constant And I think that's the key as well.

If you're constant and you're always putting content up like just art, people like that when they know that it's flowing, And yeah, I think that's the key.

And just give yourself a reason to draw.

A fan art is a good one for that.

Find what you like and draw it, and you know it keeps it fun as well.

It really does make it a passion.

So how do you think You're sorry, please continue?

You're yeah, go for it.

Well, how do you think your style has evolved then over the time that when you started doing this to where you are now?

Definitely, I would say it's evolved to be maybe more refined.

I did used to have more of a.

When I was a bit younger, it was a more cartoony style, a little more slightly more wacky, you know, a little more leaning into the loney tune stuff.

I really enjoy that kind of stuff.

That's probably where the energy comes from on the flow.

I really love that.

And then so now I, Yeah, from my early twenties onwards, I started to refine it more.

I wanted to get better proportions.

I was inspired by artists like Ryan Uttley, Umberto Ramos worked with Marvel, he did Spider Man, and they really were like big inspirations of mine that I they inspired me.

I wanted to be kind of similar to that, and so I started to, yeah, shape up my proportions more.

And I really enjoyed that more.

So that's kind of where it started to evolve more.

And and I guess overall must have been more appealing for companies like Marvel to want to get at I guess if I had more cartoony style, it might be more of a maybe would have wento ren and stimpy kind of, you know, something like that.

But yeah, so find what are you aiming for, I guess is a good one.

Yeah, your style, find a style that you enjoy.

Maybe we'll wrap up then with one last question about your influences.

Who would you recommend people take a look at after they finished browsing all of your art?

Of course?

Oh yeah, sure.

David Finch is one of my big inspirations.

Well, he's a great artist.

He inspires me with line art and the black shadows in inking, I guess, and just his proportions and anatomy are amazing.

And Ryan Ottley as well is my probably my biggest inspiration.

He's the artist for Invincible, and I just and I love the a bit of the darker side as well, you know, a bit of the blood and that kind of stuff and edginess.

But also he's very good at Yeah, the way he structures his characters really inspired me.

And yeah, and I'm berdo remas he had that energy, like it did get a little bit more wacky, like it went into Spider Man.

It was a lot more loose and free and stretchy almost.

Yeah, like every character is always robbery and.

I loved that.

So that was a big inspiration as well.

I'm looking at the Invincible art now and I can totally see you in it.

I can see this, Oh yeah, it's great.

Yeah, that's pretty cool.

Yeah, he's a great artist.

Yeah, big inspiration.

Patrick.

We are thrilled that you gave us some of this time.

It's so fascinating not being an artist, it's so fascinating to hear things that you probably think are not not very important or interesting at all, are actually very interesting to somebody like me.

And so I think our fans, our fans would be feeling the same way, especially because they look at the end results and then love it so much but don't realize you know, just how much goes into it and where it all came from.

So this exploration with you has been really fantastic conversation.

Thank you so much.

That's amazing.

Thank you.

I really appreciate it.

Cool.

All right, so remember that you can sign up to Patrick's Patreon as well.

We'll put a link in the description of this.

Yeah, producer Hannah was already a member, so go join her.

And yeah, you can get some art classes and learn how to how to do stuff the Patrick way.

Oh great, Yeah, thanks so much.

And I'm always posting on Instagram as well.

New that's where I mostly put a lot of the Atomic Mess Games characters.

Once I'm allowed to share hut them up there, so yeah, keep an eye.

Out for that.

Yeah, what's your hand on it'd be Patrick Brown Art on Instagram.

Brilliant, excellent.

Yeah, we'll put that in the show notes then as well.

Perfect, all right, Jamie.

Should we call it then?

Yes, let's call it.

Thanks Patrick, all.

Right, and thank you to a Problem, and thank you to all our Patrion members for helping support us and making something like this happen.

It's a really special episode and it was all due to them for allowing to come to be.

So thank you very much, and until next time, cheer Unhappy Game.