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Winter Wolf, Six Years Later


It was this time of year in 2020 that I finished painting Winter Wolf.

At the time, I wrote that I wasn’t sure how I felt about it, which is often the case when I finish a painting. You get so invested in the brush strokes and spend so many hours staring at the same thing that your perception gets warped. You just can’t see it clearly anymore.

I learned long ago that I need to give each whimsical wildlife portrait a chance to rest.

And I never know which pieces will resonate with people. Some of my personal favourites don’t connect with those who follow my work. And while I have fond memories of every painting I’ve done, and each has taught me something, several of my most popular prints, the ones that sell well year after year, aren’t necessarily the ones I’d hang on my own walls.

But this one? I love it.

And fortunately, so do a lot of you, especially at the Banff Christmas Market.

It’s not only the right time of year, but the right place to show it off. This year, I’ve ordered an 18×24 metal print of Winter Wolf, so it’ll be hard to miss as people walk the aisles of the Banff train station. And for those without that much wall space, I’ll have plenty of 11×14 prints available.

The Banff Christmas Market runs November 19 to December 13, and I’m looking forward to sharing this one again, along with several brand new paintings making their market debut.

Of course, you don’t have to wait until November. Winter Wolf is currently available as an 11×14 print in my online store.

A quick calendar reminder

My Wild Animals 2027 calendars are available now, and the first orders have already gone out! The 16-month calendars are $17.99 plus shipping. I’ll have them at the Banff Christmas Market, too, but if you’d prefer to get yours ahead of the holiday rush, you can order directly from my website.

Order your 2027 calendar

Cheers,
Patrick

 

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Wild Animals 2027 Calendar

It’s that time of year again, the launch of the Wild Animals 2027 calendar!

As usual, this year’s selection is a blend of new paintings and familiar favourites to help keep you smiling throughout the year.

This is the 8th year Pacific Music & Art has published a calendar of my work, and I know many of you look forward to it.
I’ve ordered what I think I’ll need for subscribers, along with enough to keep me stocked for all four weekends of the Banff Christmas Market, which starts in less than a month. (Already?!)

But don’t wait too long and be disappointed. Last year, I still had people asking for calendars in January after I’d sold out.

The price is the same as last year, which I hope is a pleasant surprise given the price of everything else right now: $17.99 plus shipping. Shipping within Canada starts at $7.50.

Unfortunately, I’m still unable to ship to the United States because of the ongoing trade disruptions. For other international orders, send me an email and I’ll do what I can to make it happen.

The calendar is live in the store. Here’s the link. 

Cheers,
Patrick

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Fall Colours and Construction

Living where we do, it’s easy to take it for granted, and that might seem weird to people who only get to see the Canadian Rockies once in a while. But I’ve talked to other people who live in beautiful places, and they’ve had the same experience.

You still have bills, work issues, family drama, car trouble, and sometimes you forget to look around.

But every so often, the world smacks you right upside the head and reminds you of the stuff you’re not paying attention to.

I took Shonna out for dinner for her birthday last month, and as we left The Stirling Lounge in the Malcolm Hotel to walk to the car, the evening light looked surreal.
There’s a phenomenon around here that we never quite get used to. When the light is right, often when fog or cloud cover is low in the valley but you can still see the peaks, or at certain times of year from certain viewpoints, the mountains look MASSIVE.

Mountains. Aren’t they always massive?

Yes, but sometimes they look twice their size and so unreal that they might as well be CGI or AI. And photos never capture it. You have to be surrounded by the light to see it, and a camera doesn’t do it justice. At least not a photo I know how to take.

I received a very large order of metal prints this week, preparing for the Banff Christmas Market. There were also three dog portrait commissions in there. I recorded some video of unwrapping everything, including closeups of the brand new pieces, but I’ll have to record the voiceover later.

You see, right across the street this week, the town has been jack-hammering concrete and ripping up the ground. Last week, they had to move some utilities first.

It’s a necessary improvement to the street, and it had to be done sometime. Everybody has to deal with construction, I know. But it still made working in my home office with all that very loud noise a challenge.

Fortunately, it’s been a warm fall week, and ridiculously stunning. So when I completed the work that had to be done, I got on the bike and went looking for elk.

Live here long enough, and you get used to seeing them. They’re just part of the landscape, to the point that a lot of locals aren’t surprised or impressed with them anymore.

But I’m a wildlife guy. If I’m biking along a trail and a squirrel starts cursing at me from a tree trunk, I’ll stop and take its picture. That just makes it curse more, like a sailor, which means more pictures. Dude, it’s your own fault. I didn’t even know you were there until you swore at me.

I feel the same way when I see an elk. I just want to take its picture.

Now, you never want to get close to these animals, especially during calving season in the spring or rutting season in the fall. And having lived in this valley for 32 years, I know better than to do something stupid to get a photo. Too many tourists learn that lesson the hard way.

But a bull elk with a full, impressive rack, so proud and sure of himself? You only get to see that at certain times of the year. And that’s what I was after.

The trail system in this town is second to none, and it’s one of my favourite parts of living here.

The Town of Canmore has issues to solve. Name a town that doesn’t. It’s ridiculously expensive to live here. You’d almost faint at some of the grocery prices, and businesses struggle to find staff who can afford to live and work in the community.

It’s a dark joke that people think everybody who lives here is rich. For the record, you’re thinking of those with second homes here, many of whom only live here part-time and complain about the taxes.

But one thing this town has gotten right is its commitment to getting people to walk and bike more and leave their cars at home. Our trail system in and around town? I’d challenge you to find a better one in Canada.
So I went up to Three Sisters by the golf course, down along the Bow River, to Millennium Park, and other places where elk are known to frequent.

For a couple of those days, I didn’t see any. Just lots of evidence they’d been there.

Yes, I’m talking about poop.

But while I wasn’t finding elk, I was still riding the trails around town through some of the most beautiful landscape you’ll see anywhere in the world, in my favourite season to see it.
This is Quarry Lake, on the road up to the Nordic Centre. It’s a local swimming hole in the summer, with a nearby dog park, and just a lovely place to be. Hard to believe it was once a scarred strip and open-pit coal mining operation.

Many of the shots in this post are right off well-worn and paved trails, next to neighbourhoods and the Bow River. You can cut in and out of one stunning postcard after another.

When I finally found a herd of elk on Tuesday morning, it was by accident.

While on the river trail near the old train bridge, I stopped my bike because I noticed a couple of cow elk moving around in the trees below the trail.

I circled around to the neighbourhood on the other side, locked my bike to a sign post beside the local pickleball court, and walked into the trees, carefully, because elk blend in very well.
I stood there for a few minutes and saw an elk lying down about twenty feet away. I hadn’t noticed her until just then. Within a few minutes, giving themselves away by their ear twitches, I realized the whole area was full of elk, most of them lying down in the fall brush.

Unless you were really looking, you couldn’t see them. Then you couldn’t NOT see them.

Fortunately, they were all in front of me, and I was able to back off and watch from a safer distance. But it was a thrill. And it dawned on me, with all these cows, there must be a bull. That’s how this season works. One big bull and his harem.
I eventually spotted him, just munching away on leaves or grass, far enough away that I wasn’t worried. I managed to get the above shot, but it’s unremarkable. Handheld at 300mm, in the shadows. To get the shot I’d really want, I’d have to get too close to be safe.

My last time being charged by an elk was while living in Banff, when I was younger and faster. I don’t need to experience that again.

On Wednesday, I’d already been working since 5:30 a.m. at my desk when the construction noise outside reached peak volume around 9. So I grabbed the camera, got on the bike, and went out again.

This time, I’d just crested the river trail near Millennium Park when I saw a big bull on the other side of the dry tributary of the Bow that only holds water part of the year.
A few cows were heading into the trees, and I managed to get a couple dozen shots of him before he disappeared into the woods after his harem.

I’ve already painted a bull elk, a  personal favourite piece called Bugle Boy. I’ve since retired it because it wasn’t a bestseller. From my experience, elk aren’t particularly popular paintings. At least, not the ones I’ve done so far. But maybe someday I’ll paint the one that changes that.
Regardless, I’ll keep chasing the shots.

Because taking the photos and imagining what I might paint has become as much a part of the experience as the artwork itself.

Cheers,
Patrick

 

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My Little Tree Hugger

A new painting finished this week. I now have all the planned images completed for the bear book, plus a few I didn’t expect to finish and include. Now I just need to write some more stories and put it all together in InDesign.

This painting, which I’ve called Treehugger, was originally supposed to be the cover of the book, but my publisher needed one sooner than that. I’m still happy with Crossed Paws in that prime spot, and this new piece will have a two-page spread in the book.
Regardless of which painting ended up on the cover, however, it was always going to be Berkley. I’ve painted her more than any other bear.

Having had the joy of meeting her when she was an orphaned cub in April of 2017 at Discovery Wildlife Park, both Shonna and I had several opportunities for close contact with Berkley in her early years, and it was remarkable to get to know such a joyful and gentle bear. And Serena, who raised her, has become one of our favourite people.

Though close contact is no longer allowed for anyone but the keepers at the park, my time getting to know Berkley has been one of the most profound experiences of my life.

It was only fitting that the last piece for the bear book was another painting of Berkley, from reference I took in the fall of her first year.

I often talk about the personality showing up in a piece, that unexpected moment when I’m painting little brush strokes and life just seems to appear. It’s always stirring, often a bit emotional, and more times than I can count, I’ve actually said aloud, “There you are.”

And I don’t even realize I’m going to say it until I do.

On this painting, it was visceral. One minute it was a painting of a bear, the next it was Berkley.

For all the stress, worry and grind that comes with doing this for a living, those moments can’t be bought or planned. They have to be earned. And I’m grateful every time, when the effort pays off.

I’ve painted six or seven bears in the last year, and once the book is done, I’m going to take a bear break for awhile.

They remain my favourite animal to paint, of course, and I have more usable bear reference than I could ever paint from in this lifetime, but too much of a good thing and I might forget why I love them so much. The next time I paint a bear, I want it to be because I miss it.

And I’ve got so many other animals I want to paint, especially the domestic series I’ve been planning for several years. I took the reference photos earlier this year. Now I just need to create the paintings.

Right now, however, my priority is finishing this book and preparing for the Banff Christmas Market, which will be here before I know it.

Cheers,
Patrick

 

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A Bear of a Business

I’ve been working on this sketch painting for the bear book, and since Infinite Painter on my Wacom MovinkPad 11 was already recording the process, I figured I’d keep recording once I brought the piece over to my larger drawing display.

Stopping a piece before I paint any detail feels like I ate my veggies, but didn’t get dessert.

Rather than just talk about the painting, I used the process footage as a backdrop for something I’ve been struggling with lately: the business of art, and why it feels especially difficult this year.

Here’s the video.

Cheers,
Patrick

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Finding a Bear While Finding My Way


Here’s a new painting I didn’t expect.

I keep a wide selection of seemingly random photos in a file in Dropbox that I can grab wherever I am and sketch from. Many are photos I think will be good for sketch reference, but probably not for finished pieces.

I started this one of Gruff from Discovery Wildlife Park a while ago on the Wacom MovinkPad 11, my portable digital display that I’ve been using a lot over the last year. My intention was to get it to the point where I could add it as an accent sketch in the Bear book, something to accompany a block of text, perhaps. It’s the kind of thing I like to see when I read art books, and I’ve included several in my own.

But as is often the case, I didn’t know when to call it done. Before I knew it, I had turned it into a finished piece I’m calling “Who, Me?”

I think this one earns its own full page. I’m pleased with how it turned out. Funny enough, I still have one more painting to finish for the book. But it’s well underway and I’ll share it soon enough.

Because the app I use on the portable display records the brush strokes as I work, I decided to continue recording more of the process as I finished this one.

That turned into a short video about the painting, but also about trying to figure out how I want to make these videos without letting the recording get in the way of the work.

Cheers,
Patrick

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Second Guessing Skoki’s Seat

This is a painting that I’ve been trying to get done for quite a while. Like many paintings, as soon as they’re finished, I haven’t yet got the distance to know how I feel about them.

That comes with time. Some of my favourite pieces only became so weeks or months after their completion.

For the Bear book I’m working on, I wanted to include the grayscale value study I had done earlier, but got it into my head that I should finish it. But honestly, I don’t yet know if I like the finished piece more than the sketch. It’s more detailed, of course, but I get far too invested in these paintings.

When I spend so much time in the details, the personality waxes and wanes and I no longer have a good perspective on them. It’s kind of like repeating a word over and over again to the point where it doesn’t sound right anymore.

And because you won’t find anybody more critical of my own work than me, there comes a time in a lot of paintings where I just feel it looks like garbage, there’s no saving it, and my best artwork is long behind me.

I am not fishing for compliments or extending an invitation to a pity party. This nasty distortion of perception and need to trash our own work seems to be something many artists share.

Early last week, I finally finished three separate dog portraits for a commission client, easily one of the most challenging projects I’ve ever done, which was unexpected. I’ll write about the lessons learned from those commissions in a later post.

I figured getting back to this painting of Skoki would be a nice breather and reset. But this book deadline is very close and that ticking clock is getting louder. And that siphons a lot of the enjoyment away from the work.

I had planned on recording more of it and publishing a video as well. We all consume a lot of video, rapidly scrolling through our feeds, but unless you record your own, you really don’t know the labour involved in writing, recording and editing each one. I just haven’t the time right now.

I have one more painting in progress that I want to finish for the book, and I’m going to try to record some of that, but I still have a lot of writing to do. I know what each topic is and where it goes. I just need to find the time to write it.

And though the layout is mostly done, I need to translate it into InDesign, a program I have never used. But it’s an Adobe product (insert fist-shaking and cursing here), so at least I know how they do things. I don’t think the mechanics of a book layout are that complicated, but I’m about to find out.

When I finished this painting and showed it to Shonna, she said there was a lot going on in the bottom half, meaning it might be a better painting if I eliminated some of it.

My first thought was, “But I spent HOURS on that!”

However, setting ego aside, I cropped it to a closer version, something I can do because the full painting is 40 inches tall at print resolution, and she might be right. Though I’ll include the whole painting in the book, I’m now thinking that when I do a print, I might just use this version.It highlights the face and personality, which is the hallmark of my artwork.

What do you think? If you were going to buy a print of this painting, which version would you prefer? The full body painting or the close crop? I’d love to hear your thoughts in the comments.

Regardless, another piece done, one more to go, and then I’ve got all the images I need or want for the Bear book.

But with all the rest of it, still miles to go before I sleep.

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You Asked For It: The Highland Cow Tote Bag

UPDATE: PREORDER NOW CLOSED

The Highland Cow tote preorder is now closed. Thanks to everyone who ordered! Remaining bags from this production run will be reserved for the Banff Christmas Market.

It’s finally here.

After hearing the same request again and again at the Calgary Expo and Banff Christmas Market, I finally found a tote that works with my Highland Cow painting, horns and all.

For the next 7 days, the new Highland Cow Tote is available for PREORDER.

$42 CAD + GST
FREE large Highland Cow vinyl sticker with every tote ordered
Made in Canada – Canadian orders only – Shipping flat rate $18
Preorder closes SUNDAY, AUGUST 16th at noon Mountain Time

These totes are made to order in Montreal. Please allow up to 8 weeks for production before they arrive to me, with shipping expected to begin in the latter half of October.

Once the preorder closes, the remaining bags from this production run will be reserved for the Banff Christmas Market and will not be available online again this year.

PREORDER THE HIGHLAND COW HERE

I also made a short video about the story behind the bag, why the original tote size didn’t work, and how I finally solved the problem.

 

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Painting Another Bear for the Book

I’ve been working on a new painting called Skoki’s Seat. It’s one of two paintings I need to finish for the new book, along with a few more sketches I’d like to include.

There’s no time off right now. I’m writing this on Sunday, coming up on a 12-hour day. Let me tell you, YouTube editing is a lot of work, but I’m getting better at it every time. At least I hope so.

In this new video, I share some of the painting process, a little of Skoki’s backstory, and how one reference-photo session can inspire several paintings. I also talk about digital painting, my hardware and software, and some of the unexpected work involved in putting an art book together.

Here’s the video. Hope you like it.

Cheers,
Patrick


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Now Available at Alberta’s Own

I’m excited to share that a selection of my prints and stickers is now available at Alberta’s Own Marketplace in Canmore.

After more than 20 years as a full-time artist, it still means a lot when a local business chooses to support my work. Alberta’s Own has built its reputation around celebrating Alberta artists, makers, and small businesses, so I’m proud to have LaMontagne Art included alongside so many talented creators.
If you’re spending some time in Canmore, be sure to stop in and have a look around. They’re right on Main Street, which is closed to vehicle traffic during the summer months, making it a great place to wander the local shops and eateries at a comfortable pace. The views are pretty spectacular, too.

A sincere thank you to Laura and everyone at Alberta’s Own for the opportunity. I’m proud to have my work become part of the shop, and I hope you’ll enjoy everything Alberta’s Own has to offer.

Cheers,
Patrick