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What’s the Worst That Could Happen?

This past weekend, I returned once again to the little cabin near Caroline that my friends and I rent from time to time, this trip booked in early December.

With one eye on the forecast, my plan was to head up Thursday morning, with Jim and Al coming up later that day when they finished work.

The owner’s son, Wilson, called me Wednesday evening to ask me what I was driving. He said there was a large section of the road covered in water and he was concerned that it might be too deep for a car. I drive a Pontiac Vibe, a modern version of a station wagon.

I thanked him for the call, and then spent the rest of the evening dealing with all of the what-ifs flooding my overactive imagination. At the darkest end of the unlikely scenarios created by my obsessive psyche, I’d try to go through the water, underestimate its depth, water would splash up into the air intake, damage the engine, and I’d have to buy a new car.

An unrealistic and foolish prediction, I know, but when my mind goes exploring these dark places, it’s like trying to talk logic to a kid throwing a tantrum in a supermarket. The pin is out, the grenade thrown.

Never mind that I had already been presented with simple solutions. Wilson has said if I got there and it wasn’t passable, I could just come back to their house, load my stuff into their truck and get to the cabin that way. The other option, wait for Jim and Al to arrive, and ferry my stuff in their truck.

The silly thing about this whole scenario is that whenever life presents me with unexpected situations, I don’t curl up in the fetal position. I’ve never shrunk from a challenge, unable to cope.
I once stopped on the side of a highway in a winter storm in northern Alberta, the first responder to a scene where a guy had hit the guardrail and was lying on the ground outside of his car. Lucky for him, I was a new EMT at the time, and handled the situation without hesitation. As a student on my EMT practicum in Calgary in the early nineties, I once pushed my way through a room full of firefighters to help a dying AIDS patient, because everyone else seemed afraid to touch him.

During the 2013 flood, when we had to evacuate our home, Shonna and I dealt with it. No tears, no freaking out, we just worked the situation.

My track record of handling unexpected situations and difficult problems is pretty solid, especially if I don’t have a lot of time to think about it.
A few years ago, while with these same friends, we were driving up a familiar dirt road to a lake we frequent in BC. It can be challenging at times, but most often, slow and careful gets the job done. Almost to the lake, we stopped to admire the view and I heard a hissing sound. Sure enough, a flat tire.

I’d barely begun unloading my gear before Al and Jim were jacking up the car, and putting my spare donut on it.

To make sure we got our preferred spot, they took half of my stuff with them up to the lake and I had to drive back down the road to the highway and then to Canadian Tire in Invermere to get it changed, about three or four hours round trip.

Now, had you told me a day or two before that I was going to get a flat tire on the road up to the lake, my mind would have turned it into a disaster, throwing up dozens of unanswerable what-if questions. What part of the road? Is the rim damaged? Will I be able to get out of there? Is the rest of the car damaged? Was the spare good enough? Can you even drive on that road on a donut? Was it really worth the risk or should I just cancel?

Even knowing the unlikelihood, my mind goes straight to the worst case scenario in a futile attempt to control it.

The irony is that I don’t remember any other specifics from that weekend other than the fact that the weather was great and we had a good time. What I remember most is the flat tire, and it’s not a bad memory, it’s just another story to tell.

The whole thing was an inconvenience. I wasn’t even that put out by it. Had a nice lunch at a café while waiting for the car to be done and I got out of gathering and splitting wood, which is the first chore to be done on arriving at the lake.

All because I didn’t know about it in advance, so I couldn’t worry about it. Every year, I worry about that road and on dozens of trips, that’s the worst thing that has ever happened to me.
Fast forward to this past weekend.

I woke up in a better frame of mind, determined to simply deal with whatever I was presented. I have winter boots and hiking boots, but never had the need for rubber boots. Given the warning call about the water, however, I stopped in Cochrane and picked up a pair.

Upon arriving at the house, Wilson met me and said it might not be as bad as he initially thought. I told him I’d head down and if it wasn’t passable, I’d come back.

On the road down to the cabin, I came to the water hazard across the road, put on my rubber boots and walked through. It was about three car lengths long, maybe six inches at the deepest. Sure, you wouldn’t want to race a car through that, but it certainly wasn’t impassable.

All of that worrying for nothing. Story of my life.

And still, in retrospect, I’m glad he called. With so much spring melt and what became three beautiful sunny days, anytime we were out of the cabin and off the deck, we had to wear rubber boots because there was water and mud everywhere. I would have destroyed my hiking boots or shoes. I even went for a hike down to the Clearwater River, which meant crossing a creek three times, something I could only do in the rubber boots.
It was a great weekend. Sunshine, lots of laughs, no politics, spent time with the horses, and got to hang with Jingles a little. Sure would have hated to have missed it over what amounted to little more than a big puddle.

This is the part where I’m supposed to say that the lesson learned is not to worry about every little thing, to let it go, to just take life as it comes, but the truth is that I’ve been presented with that lesson countless times and I still haven’t learned it. I know you can’t control everything and that it will always be the thing you DIDN’T think of that bites you in the ass.

Like angry beavers.
It’s just the way I’m wired, and as annoying as it might be to my friends and family, it’s nothing compared to how much it bothers me, because the noise of it never stops. But I’m always working on it. I still manage to face my worries, rather than hide from them. Feel the fear, and do it anyway.

I also know this…if everything always went according to plan, if nothing ever went wrong, if it was always sunshine and rainbows, it would be pretty damn boring.

And I’d have nothing to write about.

Cheers,
Patrick

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Kartooning Kenney

When I first started editorial cartooning twenty years ago, I would spend hours nitpicking details, trying to get everything just right. I wasn’t a very good artist then, but it wasn’t for lack of effort.

Obsessing over the details, often with one eye on the clock before I had to get to my day job, my wife would often caution me about trying to turn every cartoon into The Sistine Chapel.

To this day, whenever I spend a lot of time on a cartoon, we refer to it as a Sistine Chapel.

I realized quite some time ago that many of my competitors and colleagues became editorial cartoonists because they were political animals who enjoyed drawing, whereas I was the opposite. I liked to doodle in my spare time and stumbled upon the gig that would change the course of my life because of an ad in the weekly Banff paper. I was 27 years old. Before that, I paid very little attention to politics or the news.

While learning to be a better artist, I was also learning to follow politics and the news.

In the days when many newspapers had their own in-house cartoonist, that artist could spend an entire day on a cartoon, coming up with the idea, drawing the sketch, presenting the editor with a rough, and delivering the finished cartoon at the end of the day by deadline.

He (they were almost always men) didn’t have to worry that another cartoonist was going to take his spot in the next day’s paper.

These days, with so many newspapers having laid off their staff cartoonist, many use syndicated freelancers, so it’s a dog eat dog world of not only coming up with the cartoon, but getting it drawn fast in order to meet a much earlier deadline.

Quite a few of my weekly newspapers want their cartoons before 9 o’clock on Monday morning in their own time zone. I work weekends.

On top of that, with clients in many provinces, I also have to consider that even though the Alberta election has an impact on the entire country, a cartoon on that topic might not resonate with a weekly paper in Ontario. While I will still send them those cartoons, I will make sure I send them other cartoons so they have more options from which to choose.

What all of that means is that a part of my brain is perpetually on the lookout for cartoon ideas, I am always planning the next day’s (week’s, month’s…) cartoons, and trying to come up with the best use of my time so that the cartoon will still consist of a number of ingredients. It should be funny, but sometimes intentionally not funny. It should be an insightful comment on an issue, but sometimes just a joke about dog poop thawing in the spring. It should be well drawn, but often a simple drawing will suffice to get the message across.

I’m supplying not only an artistic comment for an editorial page, but also a product for my client, and they won’t wait until I’m ready to send it if they’re up against deadline and other cartoonists have already sent in submissions.

I rarely take days off, but that serves my nature. I’m always working on the next cartoon, the next painting, the next blog post, or preparing files for my licensing clients. When I hear friends talk about looking forward to their retirement, I’m just trying to work as long as I can, hoping my eyesight and dexterity hold out before age robs me of both.

Add to that the tenuous nature of a daily deadline for a struggling industry in a gig economy and there are days when I feel more like a factory worker pushing out widgets than an artist. I don’t often get to put as much into a cartoon as I’d like.

Every so often, however, I make time for a Sistine Chapel.

A little background…

The province of Alberta was ruled for 44 years by the Progressive Conservative Party.

In the last election, they managed to anger Albertans so much that people voted for the New Democratic Party en masse and they won a majority, which for this province was a huge upset, a dramatic swing from right to left. I figure people voted for them out of protest in order to give the Conservative Party a spanking to remind them who they worked for.

I don’t think anybody expected the NDP to win. I sure didn’t.

In 2017, the two right wing Progressive Conservatives and Wild Rose parties merged and now the new United Conservative Party is trying to take Alberta back from the NDP in our current election.

Many who support the UCP blame the NDP for anything and everything that has ever been wrong with Alberta, which is ridiculous because the whole reason they got elected was that the previous government had screwed everything up so badly having been corrupted by their sense of entitlement. Since the Wild Rose was made up of former PCs, nobody trusted them either.

Of course, when I say stuff like this, people think I support the NDP, which I don’t. I’ve drawn plenty of cartoons critical of the current government, but when it comes to the lesser of evils, they most certainly are, for one reason.

Because the UCP is led by Jason Kenney.


Jason Kenney was a career federal politician, whose past positions on some pretty important social issues weren’t very popular. Having followed federal politics for many years, I’ve formed the opinion that Jason Kenney’s primary interest is Jason Kenney and if the UCP doesn’t get elected, it’ll be because he’s in charge.

I don’t trust him. A lot of people don’t trust him.

My impression is that Kenney realized he was never going to be the Prime Minister of Canada, so he came back to Alberta, said all of the right things to get people angry, pointed a finger at the NDP, said they’re to blame for everything and thank heavens he showed up just in time to save us from ourselves.

All he’s missing is Make Alberta Great Again embroidered on his fresh off the rack cowboy hat, to go with his pristine blue pickup truck.

The current Premier, Rachel Notley, has a lot of hard work to do. She’s made some unpopular choices with Albertans and there’s plenty of room for improvement. I’m not a fan of hers, either. The primary goal of every party anywhere is to get re-elected and the NDP are shoveling hard.

But Jason Kenney is irresponsible, reckless and dangerous. He is preying on fear and outrage, and will divide Alberta even more than it already is. He is not the solution to what ails us.

So when I decided to draw this cartoon, I allowed more time than I’m used to. I spent hours on the sketch and drawing, painted in little details that nobody will see, tried some stuff that worked, discarded other stuff that didn’t and probably sacrificed a second cartoon that could have been completed had I rushed this one through.

Regardless of where (and if) it gets published, it was well worth my time.

Because it was fun.

Cheers,
Patrick

To see the rest of my current cartoons, here’s the link to that page, updated each week.

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Jingles

In January  of last year, my buddy Darrel and I rented a cabin in central Alberta and were instantly taken with the place and the area around it. A couple of months later, my friend Jim and I went out there and he fell for the place, too. Since then, he’s gone there on his own, introduced another friend to it, and we’ve all had more than a few repeat visits over the course of a year. I’ve been there five times.

The owners of KB Trails have been welcoming, friendly and we’ve all enjoyed getting to know them. We’ve invited them over for drinks while we’ve been on their property, they’ve returned the favour, and Jim and I were even invited for a horse-drawn sleigh ride through the woods.

We wondered if they thought we were a couple.

As always, I’ve often got the camera at the ready, because you never know when an unexpected critter will show up and capture my eye. On those multiple visits to the cabin, I’ve taken plenty of photos of their horses and will shortly be working on my first painting from some of those. I’ll often hang on to reference for quite some time before I get to it. I take a lot of pictures out there.

One of my favorite things about the cabin visits is Jingles. She’s a great ranch/farm dog, friendly to all, likes to be around people, but definitely not a pampered princess. She’s happiest outdoors and Bob and Karen have told us that she’s only interested in sleeping in the house on the coldest of nights. I expect this past February saw her inside more than usual.

But most of the time, Jingles is content to be by Bob or Karen’s side, or out holding court over her 320 acres. She’s always happy to see people, but she tires of it quickly. Squirrels to chase, property to patrol, a dog with things to do.

I remember on one of Bob’s visits, we’d been sitting on the back deck and once the chill set in, the three of us went inside to warm up by the fire. I called Jingles to come in and she did. But it wasn’t long before she was looking expectantly at the door and Bob said she was getting antsy to go back outside. So I opened the door and without hesitation, Jingles was out into the snow.

When Bob was ready to leave, she showed up to jump in the truck and off they went.

Like most dogs I’ve encountered, Jingles doesn’t like having her picture taken, but despite that, I’ve managed to get plenty of shots on our past visits and knew that I’d eventually find the time to paint her. I began this last month and while a slow start, the past few sessions on this have been quite enjoyable and I’m pleased with how it turned out. I do plan to paint her again in the other style, but this was the right choice for this painting. Here’s a closeup.

Before I started writing this post, I wondered on which visit I took the reference pic. I figured it was either in January or March. Turns out I finished this painting exactly one year from when I took the reference. March 11th, when Jim and I were there. Quite the coincidence, and completely unplanned.

We’ll be at the cabin again later this month for the first visit of the year, with more to follow, no doubt.

Cheers,
Patrick

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2020 Calendar & New Prints

I can finally announce that by the end of April, my first calendar will be available in more than 50 Save-On-Foods stores in Western Canada. More than once over the years, I’ve walked into a store somewhere and have been surprised to see my own art staring back at me, whether on a T-shirt in Victoria or on a coffee mug in Banff. Now I can look forward to seeing my funny looking Otter in a display rack at my local grocery store.

This  2020 calendar is now available for purchase from me directly. These will retail for $12.99, but I’m offering them for $12.00 (plus tax and shipping). If you’re local, I’ll even deliver free of charge. If you’d like to order one (or two, or three, or…), send me an email with your address and I’ll be happy to make that happen. I’ll accept e-transfer or Paypal for mail orders. In person, I can take debit, credit, or Apple Pay. Cash works, too.
There are also three new prints available in the online store. Happy Baby, Peaceful Panda and Walking Wolf. Hard to believe I’ve painted more than 60 production pieces, with just over 40 currently available as prints.

Back to the brush strokes.

Cheers,
Patrick

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The F Word

February is always a melancholy month for me. My motivation is at its lowest, and what little optimism I normally have is reduced to crumbs in the bottom of the bin. It’s also the month I’m most likely to feel that my business is a breath away from failure. When the weather is bad and it’s bitterly cold, as it has been this past month, the weight of that seems even greater.

With year-end books being delivered to the accountant this week, a tax installment for the current year due next week, inventory and booth costs for next month’s Calgary Expo, and the ever tenuous nature of the newspaper industry, it’s easy to feel that it’s all about to end. Especially in February.

That’s called catastrophizing, kids. It’s a cognitive distortion common for a lot of people, self-employed or not.

Perception isn’t reality, but it sure feels that way. This time of year, I’m often staring at a blank page with no inspiration to fill it. In this business of creativity, that can get a little scary. My tendency to go right to the worst case scenario often triggers unsolicited advice from a familiar voice that resides in the darker corners of my mind. It’s loudest in winter. It never shuts up in February.

“Looks like you’re done. You had a good run, but who were you kidding? It’s not like you were any good at this anyway. You should probably start scanning the employment section, though I can’t imagine anyone will want to hire you with that 13 year gap in the résumé.”

One of the most common things I’ve heard from people over the years is that being an artist isn’t a real job, that all I do is draw and colour all day when everybody else has to work for a living.

It used to piss me off. Over time, I’ve realized that it’s a waste of time and energy to explain my own circumstances to people. Everybody’s job is hard but most people are under the impression that the conditions of their own employment (or self-employment) are the most difficult.

We’re all so busy worrying that other people don’t understand how hard things are for us, that we fail to realize that we just might be guilty of the same. One of the consequences of our outrage culture is that empathy has become scarce, despite our penchant for sharing tragic news articles on social media.

Thoughts and prayers. Repeat.

Some will tell me how great it must be to be an artist for a living, to draw and colour all day, to realize a dream. My initial thought is “Are you kidding me? It’s a lot of work, and I have to follow soul-sucking politics for a living, and it’s not just about creating the artwork, you have to sell it, and in a down economy, art is a luxury and when times are tough, people stop buying luxuries, and, and, and…”

In quiet moments of reflection, however, I realize that what they’re really telling me is that their own dreams and ambitions haven’t been fulfilled and they imagine mine have.

Our culture of showing off only our best adventures, photos, accomplishments, relationships, accolades and successes is creating unreasonable expectations in others and in ourselves. And even though we really do know that somebody’s carefully curated online persona is not an accurate representation of their reality, we can’t help but envy the fantasy, the media package they’ve chosen to share.

But that’s all it is, a promotional ad campaign for the lives most people wish they had.

If you find yourself looking to someone else’s life or circumstance with envy, take a moment to consider that there is some undesirable part of their experience that they haven’t shared with you. I guarantee it.

Those frequent perfect couple pics might be hiding an unhappy marriage on the rocks. The beach vacation full of selfies might have been funded with the last dollar on the fourth maxed out credit card before somebody claims bankruptcy. That always positive person who shares motivational memes might be masking their own pain from unrealized expectations and is desperately faking it until they make it.

We’re each our own hot mess, in one way or another. We’re all disappointed. We’ve all got pain.

Don’t envy somebody their job, their vacations, their car, their house, their stuff, their posts. You’re never seeing the whole picture. Heard that before? It bears repeating.

Now, there are certainly those whose example is worthy of admiration. History is full of people who’ve inspired others to greatness. But look to individuals because of their character, how they treat others, what their values are. Learn from them, but don’t deny your own potential.

The only real comparison worth making is who you want to be today against who you were yesterday, and it’s not measured in likes or shares. Last I checked, there aren’t tallies on tombstones, though I wouldn’t be surprised if that’s coming soon.

So much of this crap is just unimportant noise.

This landscape, these thoughts, this frustration, this angst, this is where I dwell in February.

But it’s finally March and at -1C today, it felt like frickin’ summer. Just as the bears are waking up and emerging from their dens, I expect to soon escape these familiar winter blues and find myself inspired by spring. I’m not there yet, but I soon will be.

Any day now.

Cheers,
Patrick

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John Malkovich – a Portrait

Whenever I’ve painted portraits of actors, it’s been a character I like from a movie, rather than a portrait of the person playing the part. This one is an exception.

There was a lot of hype surrounding the movie Bird Box, mostly because the media reported that some were mimicking the characters and doing silly things while blindfolded. Despite hearing some negative reviews, I guess the gimmick worked well on me, because I gave it a chance while drawing one evening.

I didn’t find the movie terrible, but it’s not one I’d rush to watch again. It struck me as a poor man’s copy of A Quiet Place, but it was certainly watchable and I didn’t count it a waste of my time. A shame that the characters were forgettable, however, since it featured accomplished actors.

One of those, in a supporting role, was John Malkovich, an actor I’ve always liked and admired.

As often happens when I paint movie characters, it wasn’t something I had planned in advance. There was a scene where Malkovich turned and it struck me that I wanted to paint him from that moment. The light, the composition, his expression, who knows?


Aside from one commission last year from Canadian Geographic Magazine, where I was tasked with painting Rick Hansen, I paint portraits of people for my own enjoyment, to challenge and improve my skills. A couple have attracted attention after I posted them on Twitter years ago, most notably Martin Sheen and Canadian astronaut Chris Hadfield, but I don’t ever expect the subject will see the portraits I paint of them.

Now that I’m off social media entirely, there’s no incentive to tag them or add a dozen hashtags, which I think is a good thing. It takes away the pressure for likes and shares and leaves me free to paint how I like without wondering how it will be received.
I started this on the iPad Pro in the procreate app, then brought it to my desktop and painted the second half in Photoshop on my Wacom Cintiq 24HD display. The brushwork was initially a lot smoother while I nitpicked the details to get the likeness right, but in the final couple hours, I added layers of texture and grunge to rough it up. Seems to better fit the character and feel of the movie.

There are some other portraits I expect to paint this year, but for now, it’s back to the funny looking animals.

Cheers,
Patrick

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Checking Out of Social Media

I’ll be leaving Instagram in about a week.

You might disagree with this choice, but I’m used to that. People told me I was foolish to quit Facebook and Twitter over a year ago. That decision had no effect on my business, but paid off big for my mental health.

So-called online marketing experts will say it’s best to be authentic.

Well, this is about as authentic as I get.

Instagram is not a creative space, it is a vehicle for delivery or denial of dopamine hits, and like any addictive substance, what once made you feel good, you eventually use to keep from feeling bad.

Building an Instagram following today revolves around frequent posting of content. Stories, videos, images, ads, all in an attempt to manipulate the algorithm into offering your stuff to an audience that will show or deny approval by tapping their finger on a little heart.

It doesn’t matter if that content is new or relevant, as long as it’s frequent.

To feed that beast, or get noticed by an art aggregator or influencer, I end up creating things simply so that I have something to post, which means the more detailed pieces that take many hours to complete suffer from inattention and take longer to finish.

Or I have to come up with clever gimmicks or pictures or make up stories that take me away from the work that pays the bills, in a vain attempt to fool myself that it’s advancing my business, when there is no supporting evidence.

Then I waste more time checking to see if anybody has liked or commented, and am always disappointed in the results, no matter what they are. After which I spend more time scrolling through the feed until I realize that the half hour I’ve just wasted on nothing could have been time spent drawing, painting, writing, bookkeeping, or on admin stuff. These are things that actually DO impact the success of my business.

I’ve gone back and forth on this for weeks, read countless articles on both sides of the argument, taken into account the bias inherent in each, while trying to filter my fear of missing out. I’ve explored the extremes of what-if worst case scenarios, the conjuring of which I am a pro.

I tried switching to a business page, to pay to promote my posts, but the only way you can do that is to go through Facebook, which meant I would have to go back on Facebook not only with a personal profile, but with another business page.

That’s like going back to an abusive relationship after a clean break.

Is it possible that the owners of Instagram will have a re-awakening, change their direction and suddenly make the platform better for everybody again? Or is it more likely that its best days are in the past and it has become infected by the same toxic decay plaguing Facebook?

Granted, I could be making a huge mistake, but it’s a risk I’m willing to take.

People said that quitting my job many years ago to become a full-time artist was a mistake, too, and that worked out pretty well for me.

My income comes from a few different sources. There are daily editorial cartoons I email directly to my newspaper clients across Canada, print sales of my whimsical wildlife paintings at venues and shows, and licensing of the animal art where they end up in retail stores or on other sites. I don’t need to manipulate the data to convince myself that these sources produce revenue. The proof is in my bank account.

With Instagram, I have to tell myself it’s worth my time, even though I don’t believe it.

I posted a close version of this on instagram to give people a chance to see it before I pulled the plug. I still run into folks who think I blocked them on Facebook, even though I’ve had no presence on that platform for well over a year. They just missed the announcement.

It might seem like a ploy to get people to follow my newsletter and site. That would be accurate.

The only reason I was on social media was to direct traffic to my business. I’m a commercial artist. This is how I pay my bills. One of the things people forget about social media is that if you aren’t paying for a product, then you are the product. Instagram does not deliver me any value and it’s not paying me for my time, the ultimate non-renewable resource.

I have this website in which I’m invested, regular blog posts, a newsletter and I’m easy to find online. I plan to start recording more time-lapse videos on my YouTube channel, without being restricted to the one minute allowed by Instagram. All of that produces sustainable and searchable content that doesn’t disappear into an attention span black hole.

Cheers,
Patrick

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Peaceful Panda

One of the things I value most in my profession is the relationships I’ve formed over the years.

Discovery Wildlife Park in Innisfail, The Alberta Birds of Prey Foundation in Coaldale, Archipelago Wildlife Cruises in Ucluelet, and of course, The Calgary Zoo. I’ve made friends at all of these places and remain grateful for their generosity in allowing me to get close to so many critters.

Some of my best work wouldn’t have been possible without their assistance in gathering the reference I need to paint my whimsical wildlife paintings. Whenever possible, I’ve tried to ensure these relationships are quid pro quo. I’ve created artwork for them, made donations, or have simply tried to promote the conservation work they do whenever I can.

My prints have been sold in the various gift shops at The Calgary Zoo for more than five years, along with licensed images on other products. During that time, I’ve become friends with the Retail Manager. Kathryn has given me invaluable marketing advice and has always been supportive of my work, helping me put my best foot forward.

In the spring of last year, the Calgary Zoo received four pandas from The Toronto Zoo. The two adults had been there for five years, on generous loan from China, with two cubs born during that time. As per the agreement with China, the remaining five years of the loan, they’ll live in Calgary, although the cubs will be returned to China sometime next year.

While I’m not a professional photographer, I take some decent photos from time to time and she needed some for her own marketing purposes to promote the pandas. The deal was, I could get into the habitat early, in exchange for some of my photos.

The Calgary Zoo is strict about no behind the scenes photography, so I should clarify that I was still only allowed in the public areas, just a couple of days early.
Early one morning at the end of April, Kathryn took me over to the brand new Panda Passage habitat and aside from a couple of keepers, we had the place to ourselves for a couple of hours. Of the four residents, I only saw Da Mao that morning, the adult male. He was active and accommodating, which is a rare treat when it comes to pandas. They spend a lot of their time sleeping.
I ended up with a LOT of nice photos, a couple of dozen I shared with Kathryn, and many others that will serve as good reference for paintings. I’ve already done one painting from that session (above) , and it became a popular acrylic magnet that sold well at the zoo. My previous Panda painting has been a best seller over the past year in their gift shops and I’m hoping this new one does equally well.

While I don’t often share the reference photos I use for paintings, I’m making an exception here to show that my work is more of an interpretation of the reference rather than a copy. This photo wasn’t one of the best quality I took that day and would have been of no use for promotional purposes for the zoo.
It was shot through glass, with a bit of a glare I couldn’t compensate for, not even with a polarizing filter. But with Da Mao climbing up on the log and looking right at me, the pose was a gift I couldn’t pass up. I used other reference for some lost detail, especially in the face.
This is one of the reasons I like to take my own reference. The pose is the same in both photo and painting, but both images are mine, so a photographer can’t say I copied their composition. When I buy stock photos for animals to which I can’t gain access, I try to create an image different than what the photographer took, but when it’s my image in the first place, it hardly matters.
This won’t be the last panda I paint; there might even be another this year. I’m pleased with how this turned out because it’s a full body image but still has that whimsical quality inherent in the rest of my work.

Cheers,
Patrick

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Stretching Style

A new Wolf painting and some new ideas.

One of the hardest things for artists to do when they’re first starting out is find their niche, that style of work for which they’ll be recognized and stand out from the crowd.

For those who’ve not yet found it, it can be frustrating to go looking for something so elusive that one might only recognize it in hindsight. It often comes from trying different mediums, tools or subject matter until something resonates, but you have to dig a lot of empty holes before you find treasure.

Once you find it, and realize it, there’s relief. A sense of traction, that time can now be better spent focusing and becoming really good at that one thing that defines YOUR art.

Twenty years ago, I fell into editorial cartooning. An ad in a local weekly paper in Banff, draw a cartoon once a week, did that for three years, joined a better newspaper where the editor encouraged me to self-syndicate, and before I knew it, it was a good part-time income. In 2006, however, supplying many newspapers across Canada, but with no more room to grow the business, I quit my job and it became my full-time career.

At that time, I would have said my niche was editorial cartooning and I had developed my own recognizable style. I’ve been drawing editorial cartoons for more than 20 years and I still draw seven a week, sometimes more, but it’s only one part of my business.

In 2009, I painted a funny looking Grizzly Bear. It wasn’t long before I realized that I had found my other niche.

With that side of my business continuing to grow, it’s been ten years developing and painting pretty much the same style of whimsical wildlife portrait.  A lightly caricatured head-shot, a goofy grin, sneer, or some sort of amusing expression, coupled with realistic detailed painting of fur, feathers, and features.

I have cultivated a recognizable and marketable style that lends itself to prints, products, and licensing. And while my cartoony critters aren’t for everybody, there are plenty of people who like them and hang them on their walls.

After ten years painting these portraits, and working hard to get them seen and sold, contemplating change is frightening. Once you’ve found a recipe that people enjoy, messing with the ingredients could just as easily make a dish worse instead of better. But a bored creative is an uninspired creative and it will eventually show in the work.

This isn’t about moving away from painting animals, but allowing them to evolve. These paintings often provide the brightest lights in my life, especially when the real-life shadows get a little too dark and threatening. I’ll still be doing the same painted portraits, because I’ve now got plenty of clients that depend on this style for the products in which they’ve invested. I’m a commercial artist. It’s my job.

But like this wolf, here, I’ll be painting more experimental pieces, compositions that deviate from my normal.  I think this one worked well.


My One in Every Family painting is a popular piece and that was quite different, as was my recent painting of Boston, the forlorn looking dog. They’re not the usual head and shoulders, but they’re still recognizable as my work, in my style.

I’ve got some more ambitious pieces in mind for the coming year. More animals in one image, more full bodied scenes, more story-telling in the paintings. At the risk of sounding arrogant, the head-and-shoulders paintings, they aren’t very challenging anymore. It’s just a matter of putting in the hours, but I know I’ll get there. It’s pretty safe and comfortable.

In art and life, however, there’s no growth when you’re comfortable.

Cheers,
Patrick

Technical stuff: I started this piece on the iPad Pro using the procreate app, then moved into Photoshop on my desktop with my Wacom Cintiq 24HD display. The finished piece is 30” x 40” at 300ppi.

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Boston


From time to time, my buddy Jim and I will visit our friends Babe and Sue at their place in Golden, BC. In the early nineties, while still living in Banff, Babe and friends had built a small cabin high up on the property. A little later, he built his studio on the main landing and when he and Sue retired from Banff, they built a new house across from that.

In the old days (did I just write that?), the cabin was a quiet getaway. Most of the time, as they were still working, Babe and Sue wouldn’t even be there, but they’ve always been generous folks and the cabin has had a long-standing open door policy for their close friends.

No water, no power, haul the gear up the hill on a winding trail. In winter, with infrequent use, the trail had to be broken with snowshoes, first to the cabin, then to the outhouse. We had to pull the gear up by sled.

The not-so-airtight Franklin stove would smoke us out from time to time, but we had to have something to bitch about, usually while we were chopping wood to fill it.

You really earned that first beer. OK, second beer.
In recent years, however, as they’ve moved away from Banff and transitioned to retired life, the reason we visit isn’t for the seclusion, but to see our good friends. Today, it’s hardly roughing it, with fresh coffee waiting for us at the house each morning, a big breakfast in their modern kitchen and a daily shower. They’re wonderful hosts.

I can’t even guess how many times I’ve been out there in the past 23 years.

In all that time, they’ve made plenty of new friends in that area, good people we’ve come to know as well. Birthdays, holidays, or just Friday afternoon in the sun on their deck ‘hey, come on over,‘ visits.

As it’s a rural area on the mountain side, bordering the Blaeberry, all of the homes are acreages of varying size, with plenty of trees providing natural privacy. Close enough to be friendly with your neighbours, far enough to often feel like you’re alone.

Wade and his family live across the road and he’s a big fan of a certain hockey team, which is why he named his dog, Boston.
Shonna and I don’t have the lifestyle for a dog, but if we ever did, I’d want one just like him. I’ve never met a Golden Retriever I didn’t like and I imagine most people feel the same way. In the right environment with plenty of exercise, it’s such an affable breed.

On our last visit in October, the weather was still nice enough to sit outside most of the time. Boston doesn’t always visit, but on that weekend, he was there often, likely because he was getting plenty of attention.

It wasn’t long before I got the camera out of the truck and started snapping photos, something I’ve inflicted on him before. In my experience, most dogs aren’t fans of having their picture taken, and Boston is no exception. He tolerated the snapping fingers to draw his eyes, the kissing noises, the endless calling of his name, but only for so long.

Eventually, he just lay down and looked anywhere but the camera, which was still in his face as I lay down in the driveway in front of him.

If I recall correctly, the reference for this photo was him pleading to Susan, “Please, make him stop.”

Eventually I gave in and went back to throwing the stick for him.

Like most people who take photos of wildlife (or dogs), I shoot on rapid fire. That weekend, I probably took a couple hundred photos of Boston. As is often the case when I select a reference shot from which to paint, it’s not what I had initially planned.

If you’d asked me what I was looking for, before I took any photos, I would have talked about getting him to look at the camera, mouth open panting so it looked like a smile, with nice lighting, of course. Kind of like this.
When I paint a commission, that’s what the client is usually after, so that’s what I tell them to look for in the photos they send me.

As this wasn’t for a client, I had the freedom to paint what I wanted. While going through the reference, it was the “make him stop” pose that I kept considering, and I like how it turned out.

Susan sent me a text the day after I got home from the last visit and said that Boston had come back that morning looking for us. I’ll have to bring him some treats or a new toy next time, payment for being such a tolerant model.

Cheers,
Patrick

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