Category: Digital Painting

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Banff Christmas Market and a Diamond Art Club Release

The weather outside was frightful last Friday and Saturday, but the Bow Valley avoided the worst of the big storm that rolled through Alberta on the weekend. Still, I have lived in this valley long enough to know that the 25 km stretch of highway between Canmore and Banff can quickly become treacherous.

Driving to the Banff Christmas Market last Friday morning was fine, but with the forecasted heavy snow, I brought an overnight bag just in case I needed to find a room at the inn. I drove home that night, but it wasn’t fun. The wind made for intermittent whiteout conditions, and finding where the road ended and the ditch began was a white-knuckle experience, as was making my exit into Canmore.

As snowplows had been out all night, the drive in on Saturday was better: icy but clear enough. The downside was the insecure, reckless over-compensators tailgating and passing in the hammer lane at 130 km/h. When many of those idiots inevitably hit the ditch, they unfortunately take others with them.

Slow down. Nobody thinks you’re cool.

The weather was likely partially responsible for slow sales on Friday. Thankfully, Saturday and Sunday were much better. Not the phenomenal sales from the first week, but still very good, similar to the two weekends I did last year, and I was happy with those.

As the storm passed, Saturday and Sunday became spectacular Canadian Rockies winter postcard days. I’ve lived here thirty years, and more than once this weekend, I stepped outside and still marvelled at how pretty it was. It was a festival atmosphere with live music and wood fires burning in the courtyard.

Thanks, and welcome to everybody who signed up for A Wilder View. And an even bigger appreciation for subscribers and collectors who came out to Banff just because you read about it here. There are often people I only see at the Calgary Expo each year who are now showing up at my booth in Banff at Christmas. When I offer the opportunity to sign up for my emails, the response is more often that they are already on the list.

Even more satisfying is how many tell me they enjoy the writing as much as the art. That’s nice to hear since I’ve sent more than my fair share of less-than-positive posts over the years when art-for-a-living sometimes gets frustrating. Thanks for sticking with me through those posts. Ultimately, it’s the warts and all that inspire my funny-looking animal paintings.

Occasionally, I’ll meet farmers or ranchers at my booth who generously offer to let me come and take photos of their critters. A couple who lives northeast of here have Clydesdales and a miniature donkey. I’ve long wanted to paint a donkey, and they shared some fun photos with me. Their property is right on the route I take to the cabin I rent with friends a few times a year, so I’m looking forward to stopping there in the spring. While I can always paint from stock photos, taking my own reference is often a big part of discovering the personality that’s part of my signature style.

And, of course, all the dogs who show up at the market are a big perk at this event. Some are just looking for a free handout and lose interest when they realize there are no cookies in my booth, but other dogs are happy to soak up the unlimited attention.
One of the dogs I get to see all month long is Tojo, who belongs to one of the staff. He’s a friendly Akita puppy with a stunning brindle fur pattern resembling urban camouflage. He’s got a wonderfully sweet temperament and loves the outdoor cold. Though provided with a comfortable bed and a safe, warm space outside, you can often find him happily sleeping on a pile of snow.
When he’s brought inside to warm up or for a wander, he visits the different booths and enjoys the pets and scratches we’re all happy to give. His face reminds me of a bear’s, which makes me want to paint him.

Everything is selling well, whether stickers, magnets, coasters, postcards, calendars or prints. The clear bestseller, however, is still that Highland Cow. I was happy to get my print resupply on Friday from Art Ink Print because I did indeed sell out of my initial stock this weekend. If you’re an artist looking for a great printer, I highly recommend them.

Contrary to my last post about letting the calendar supply run out, I’ve only got half a dozen left now, so I ordered more from Pacific Music & Art. It seemed silly not to restock a proven bestseller. I also restocked my ample supply of Highland Cow magnets, which also sold out this weekend.
Seriously, what is it with this painting? I don’t understand it, but as I said to Mike at Pacific, I won’t look a gift cow in the mouth.

My resupply should be here for the weekend, and I’m confident I’ll be good on stock for the two final weekends.

I won’t lie; I’m tired at the halfway point. In the four days in between each market, I’m drawing editorial cartoons for my newspaper clients, catching up on admin and bookkeeping, and trying to get a little rest before the next round.
Meeting people who enjoy my work and seeing those discover it for the first time is great. It’s fuel for the creative tank, a reminder, “Oh, yeah, THIS is why I’m doing it. These paintings make people happy.”

But it’s also incredibly draining for somebody like me. I am an unapologetic hermit most of the time, preferring to spend most of my time alone working at home. So, thirteen days of high-input interaction with lots of people is a double-edged sword.

However, every one of these markets is a necessary and valuable learning experience, and I come away from each with lessons that inform future events. Without talking to people in person, I wouldn’t know what they like, which paintings resonate with them, and why. I get inspired by these conversations and interactions and am gratefully humbled when I hear how much some people enjoy my funny-looking animals.

Here’s to another successful Banff Christmas Market, the second of four, as I prepare for the third. If you haven’t made it out yet, something to consider in the next couple of weeks.

______

Diamond Art Club is one of my favourite commercial licenses. A cross between paint-by-numbers and cross-stitch, it’s a unique product and a fun hobby with a dedicated fan base. I hear from plenty of people who have found my work because of diamond art kits.

Five different diamond art kits are available: my Otter, T-Rex, Sea Turtle, Snow Queen and their certified bestseller, my Smiling Tiger.

While I’ve known it was coming for quite some time, I can finally announce that Diamond Art Club has added my Two Wolves painting to their catalogue. As part of their Black Friday specials, it will be available on November 29th.

Here’s their official announcement from their Facebook page, with my own added text identifying the difference between my painting and the diamond art conversion.


For all of you Diamond Art Club fans, I hope you enjoy this new addition. And if you put one together, I’m always happy to see pics of the finished pieces.

Cheers,
Patrick

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A Scottish Cow in the Canadian Rockies

The first weekend of the Banff Christmas Market is over, and I am pleasantly surprised by how well it went. It was well organized, my booth location is ideal, and sales were phenomenal.

The Calgary Expo in April has long been an important event for me. It’s a fun show, and I enjoy it. But, including the Wednesday setup, it’s five very long days, and I’m usually wiped at the end. However, It’s often my biggest single payday of the year, so the effort is worth it.

Shonna texted me Sunday asking how things were going, and I replied, “These are Expo numbers.”

From revenue alone, I did better than Expo 2019 this weekend, and that was an excellent year. But sales figures for different venues are sometimes apples and oranges. With Expo, I must pay for a hotel for four nights, parking, electricity for my lights, and dining out. My booth for a four-day Expo also costs more than twice what this four-day weekend cost for the Banff Christmas Market.

For anyone considering these kinds of shows for your own business or side hustle, your expenses directly affect how successful a market really is—location matters. Banff is only a 25-minute commute, something many Canmore residents do for work every day.

Factoring in the significant reduction in expenses makes this past weekend the best sales I’ve ever had anywhere, including Expo. And I’ve got three more weekends to go, though the rest are three days, not four. Winter arrived on Monday with more snow in the forecast this week, so that might affect attendance, but I remain cautiously optimistic.

Hey, that’s a big step for me.
If things continue this way, the stock I ordered for all four weeks will be just about right, aside from two exceptions. I will likely sell out of calendars before the final weekend, and given that I can’t sell them online while the postal strike is on, I won’t order more. Once they’re gone, they’re gone.

However, the biggest surprise with this show is that some bestselling prints didn’t perform as well as they usually do, but other designs took up the slack. I keep detailed sales records, so when all four weekends are done, I’ll have a better idea if this is an anomaly or an overall difference with this audience at this venue.

Some advice for prospective vendors. Keep track of everything! You won’t remember a year down the road, and your sales records will inform your ordering choices.

By a considerable margin, this show’s bestseller has been my Highland Cow painting. I ordered what I thought would be enough for four weekends, but I will easily sell out by this coming Saturday. I have a long history and excellent relationship with Art Ink Print in Victoria, and as I wrote this post, they let me know that a rush order of Highland Cow prints are on the way by courier. So, even if I sell out of them this weekend, I’ll have new stock for the following two.

One of the best parts of this show is that it’s dog-friendly. I regularly come out from behind my table to meet four-legged attendees, as do other vendors.

A happy surprise this weekend is that former commission clients Jeremy and Jenny brought their two big dogs, Luna and Sally with them from Calgary for a weekend in Banff. I saw them at Expo this year, but I haven’t seen Luna since I delivered her painting a couple of years ago; it was a real treat. Since I have her painting on display in my booth as an example of my custom paintings, I took the opportunity for a picture.

It’s not a great photo, but you get the idea. Her expression did not disappoint.

An especially nice feature of this market was being able to bring replacement stock each day. On Sunday, instead of having to tear it all down and pack it home, I spent twenty minutes taking inventory, covered the booth and left, knowing it’ll be secure all week. This Friday, all I need to do is show up, put a few things back in place, and I’m ready for another weekend.

I hope to see more of you over the next three weeks at the Banff Christmas Market. I’m in the Banff Train Station building, sharing the grounds with 150 other vendors selling exciting and interesting things. It’s a festive atmosphere with cozy outdoor fires, food and drink, surrounded by some of the most beautiful scenery on the planet.

Cheers,
Patrick

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Painting Timber

After seven years living in Banff, Shonna and I bought our modest townhouse condo in Canmore in 2001. We live in an end unit, which means only one neighbour. Anybody who has had the experience knows that whoever shares your walls has a direct impact on how you feel about your home.  Considerate neighbours are worth their weight in gold, and in an ideal world, you get what you give.

This brings me to Chris and Cindy, who rented the place next to us for the past eight years — the best neighbours we’ve ever had.

We didn’t socialize in each other’s homes, but we’d hang out in our shared driveway or backyard, drinking coffee and becoming friends. Chris was home all day like me, and in a bizarre twist of fate, he is also a digital cartoonist and animator, though not full-time. It was great to have somebody next door who spoke the same language.

About five years ago, in the middle of the day, I was walking back from taking the garbage to the dumpster and saw Chris sitting on his front step. Standing on the strip of grass beside his sidewalk was a large puppy.

As she saw me approach, she politely sat down, and that’s when I fell in love with Timber.
Cindy volunteered with the local SPCA shelter here. And though they had fostered another dog that eventually went to live with her parents in Calgary, they hadn’t found the right one for them until they met Timber.

She is what folks around here call a Morley mutt, named for the First Nations reserve just outside the mountains. They’re often strays or abandoned from the city, but many I’ve met have become the most friendly dogs around. Whether true or not, it’s a well-known joke around here that Canmore has more dogs than kids, and I love that about this town.

Chris and Cindy are doting dog parents, and Timber is their spoiled child. With two or three-hour walks each day and the best health and food she could ask for, that dog won the lottery. And so did they. She’s not a needy dog, doesn’t require your attention, and frankly, doesn’t tolerate it from many people. She’s not aggressive, just disinterested.

The best line I ever heard about her was from Cindy. “Timber is three cats in a dog’s body.”

Much to my welcome surprise, however, Timber likes Shonna and me, and the feeling is mutual. For Timber, that means she’ll tolerate the hugs, kisses and mauling for five minutes instead of no minutes. When she’d had enough, she’d go inside, leaving Chris and I out on the step with our coffee.

One of my favourite things was getting a text from Chris every day or two, with a photo of Timber sitting on the grass in front of our door, not hers, with the caption, “Dog on the lawn.”

I’d drop whatever I was doing, scurry down the two flights of stairs from my office, and open the door to a wagging tail, exclaiming, “Hi Baby!” or something like that, and then I’d maul and hug her and tell her she was pretty.

The running joke was only then would I offer a less than enthusiastic, “Oh, yeah…hi Chris.”

It was often the highlight of my day.

I think I only heard her bark three times in the years she lived next door. Two were playful; one was not.

Chris and I stood outside one night talking about a large black bear frequenting the neighbourhood. Timber suddenly started growling and let out a large bark at the fence next to our property. Knowing his dog, Chris guessed the bear was in the yard on the other side of the fence. We retreated into our homes.

Shonna and I often said if we ever heard Timber barking next door, we’d run over to check what was wrong. Thankfully, neither Chris nor Cindy ever fell down the well. (That’s a Lassie reference. Ask your grandparents.)

I have taken many pictures of Timber over the years and always planned to get to a painting. But as art is what I do for a living, I rarely have time for personal projects anymore. And with best-laid plans, I never got to it.

Life in this valley is ridiculously expensive, and when you’re paying a premium for rent, even the beauty of the Canadian Rockies can lose its lustre. Add to that a property management company that seemed to find any reason to target Chris and Cindy for the slightest infraction while letting others around here get away with everything; the day came when they’d had enough. Though we didn’t want to see them go, we couldn’t blame them.

Cindy and Chris bought a home in Calgary in the spring. Before they left, they hired me to paint a portrait of Timber in my style.

While they already liked my work and wanted to give me free rein, I asked for guidance, as with all my commission clients. Before long, I got the personal requests I like. Timber is always wearing a bandana; though she has many, they have a favourite. It has a faded hand-lettered label, and Chris sent me more reference pictures. Canmore dog tags are little hearts, whereas Calgary’s are rectangles. We opted not to put any writing on it, as it would be an unnecessary distraction.

Chris also wrote a long, sarcastic, entertaining email with hilarious details, telling me how many whiskers Timber has on each side of her muzzle, the exact Pantone colours I needed to match on different parts of her face, and other ridiculous technical specifics.

At some point in our many exchanges, I sent the following sketch with something like, “Done. Pay me.”
He printed and framed it and sent a photo of it hanging on their wall.

Because they knew I would undercut myself, they sent the first installment before I could uncomfortably ask for one. Their timeline was “sometime in the next five years.”

I wasn’t about to take advantage of their generosity, so I prioritized it as much as possible. I always want to give every client my best effort, but because I know this dog so well, I obsessed over this painting, probably for much longer than I needed to.
I sent the finished image, and they were thrilled, which made me doubly happy. Because they already had a shadowbox framed 18X24 canvas of my Wolf painting, they wanted Timber’s to match.
 
When it arrived, however, there was a slight blemish near the bottom of the canvas, a flaw that wasn’t on the image file. It was minor, but once you see that kind of thing, you never unsee it. While damage is rare, my printers have always been great with replacing problem prints. Still, the turnaround time meant I couldn’t deliver until the week before Christmas, as Shonna and I wouldn’t be able to get into Calgary together. We haven’t seen them since they moved.

I foolishly tried to repair the canvas with a gold paint pen, which probably worsened it. Without the materials or experience I’d need to fix it, I took it to my friend Derek Turcotte at Electric Grizzly Tattoo and asked if he could help. He’s an incredible airbrush artist.

Derek said he was willing to try. I assured him he couldn’t make it worse as I would have to replace it anyway.
I brought it to Derek’s house a couple of days later, and he matched the colour, finely sprayed the small area a few times, and saved the canvas. You can’t tell there was ever a problem, and you can still see my underlying brush strokes. I held the canvas while he painted with the airbrush, so we staged the above photo after the fact, knowing I’d want to write about it.

If you’re reading this, Derek, thanks again for your help, buddy. You’re awesome.
Of course, the best part of any commission is delivering it to the client, especially when it’s this personal. Shonna and I drove to Chris and Cindy’s place in Calgary last Saturday. Chris correctly advised that I leave the canvas in the car until after we saw Timber so it wouldn’t get damaged. We pulled up, and once out of the car, Chris let Timber loose on the front lawn. She was excited to see us and ran out for attention we were eager to give.

She was wearing the same bandanna.

They loved the painting, and we spent a great afternoon catching up and visiting. They also have Cindy’s parents’ dog now and she’s a real sweetheart. The two dogs get along great, and it’s nice that each has a buddy.

To her credit, Timber was very patient and accepted a lot more attention from us than she’d usually tolerate. Those old neighbours. So needy.

While we have a new neighbour who is considerate and quiet, it’s not the same without Chris, Cindy and Timber next door. We miss all three of them.

But people make mistakes. Theirs was telling us where they live now.

____
For more information about my custom pet portraits, please visit the Commissions page. Thanks!
____

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Bitter Blunders and Bedtime for Bears

Because I haven’t released a new painting in a while, I did not want to publish yet another post promising something new down the road. So, here’s a new piece: a weary-looking grizzly bear in the snow. I’m calling it Bedtime.

I had planned on sharing a different painting this week. Here’s why that changed.

Over the past twenty-plus years of my art career, both as a syndicated editorial cartoonist and a digital painter, there have been plenty of times when something I’ve drawn hasn’t worked out the way I had planned.

The beauty of digital drawing and painting is that it’s often easier to fix mistakes. I can create a new layer, play around and experiment; if I don’t like it, I delete it and try a different direction. Most creatives are familiar with happy accidents, something unexpected that improves an image. It happens all the time.

There’s always an element of discovery in any illustration or painting.

On the flip side, an image can sometimes become an exercise in frustration. Years ago, a bighorn sheep painting had me pulling out my hair. No matter what I did, I couldn’t get the curl of the horns to look right. They were either too flat, distorted, or just wrong, and every time I messed with them, I’d have to spend hours repainting the detailed texture I ruined.

It’s hardly a unique story. Every artist I know goes through this. For traditional artists who paint with oil, acrylic, watercolour or airbrush, it’s even worse. Sometimes, they try to fix something that isn’t working and get to a point where they’ve just ruined any chance of recovery. The canvas ends up in the trash, and they start over.

I began a painting of a group of Ring-tailed Lemurs months ago. I thought it would be finished this summer and again this week. I can’t begin to estimate how many hours I’ve spent on this painting. It has been one disappointment after another. But I finally got through the other work and deadlines holding up my progress and recently spent several mornings on it.

I was within what I thought was two or three hours of finishing, then realized I didn’t like it. That’s a hard truth to admit when I have invested so much time into a piece.

On my iPad, I took it to my buddy Derek at Electric Grizzly Tattoo. He’s a talented and skilled artist, and we sometimes ask each other for an unbiased eye. I can always count on his constructive criticism and willingness to help me produce a better piece of art. I do my best to return that generosity in kind, and when asked, offer my own thoughts on his paintings.

While Derek liked the individual faces, he agreed that the composition had problems. It was tough to hear, but it confirmed what I already knew.

After I got home, I spent a couple of hours messing with it, still trying to save it. But it was a gut-punch realization that I’d almost have to start from scratch. If I released the painting as is, knowing the obvious problems, even if others like it, I would hate it every time I looked at it.

So, while I’m not quite back at square one, it’s close. I’ve been sketching over the piece and trying new things, and I’m already much happier with the composition.

Reworking it, however, meant destroying what I had already painted. I must redo all the fur and hair, the detail in the muzzles and eyes, and add other elements that weren’t there before.

Whenever I finish the newer version, I will share more about this process, including what specifically I didn’t like and my thoughts on what I needed to change. I will also show you the piece I showed Derek and share why we both felt it didn’t work. But I don’t want to do that until I reveal the finished piece so you can see the comparison.

Anytime you do something creative, there’s a chance it won’t work. Authors have had to discard whole chapters and rehash plotlines when an editor has their way with a novel. Chefs have prepared complicated and ultimately inedible meals from experimental recipes. Filmmakers have spent years creating box office bombs.

As Benjamin Franklin said, “I didn’t fail the test; I just found 100 ways to do it wrong.”

If you’re not prepared to fail, you’ll never succeed.

So, I set the lemurs aside this week and began this bear piece on Tuesday as a palate cleanser before I jump back into the other works in progress I have yet to complete, including those lemurs.

Because when life hands you lemons, paint a grizzly bear.

That’s the saying, right?

Well, it works for me.

This Thursday, I’ll be one of 150 vendors setting up for the Banff Christmas Market. That evening, a locals’ preview event is already sold out. After that, from Friday to Sunday for the next four weeks, you’ll find me in my booth at the Banff Train Station, offering prints, calendars, coasters, magnets and stickers. Tickets are only available in advance on their website, and they go quickly, especially on Saturdays. I hope to see you there.

Thanks to so many of you who have purchased calendars already. I’ve been getting those orders out as soon as they come in, so if you’re waiting for yours, they’re on the way. If you still want one (or two, three, four…you get the idea), you can get them in the store while supplies last.

Cheers,
Patrick

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2025 Calendars Are Here!

After many inquiries over the past few months, I’m pleased to announce that the coming year’s Wild Animals calendar is now available in the store!

While the calendar is a Pacific Music & Art licensed product, I always have a hand in choosing which animals make the cut. In the 2025 calendar, you’ll find a gallery of popular paintings and images appearing for the first time.I love the cover this year. Big Bear on Blue is the latest print I issued earlier this summer and it’s already looking like it will be a bestseller.

My (sea) Otter is a perennial favourite, but my River Otter painting is also included this year. New pieces like Spa Day, Highland Cow, and Meerkat also made the final selection.
I’m pleased to see a couple of my personal favourites, too. One in Every Family is a painting close to my heart. Not only did I paint the great horned owls in that image from reference I took up at Grassi Lakes here in Canmore, but the piece won the Best In Show award at Photoshop World Las Vegas in 2014. Has it been that long?

The prize that came with that award was the Canon 5D Mark III camera I still use today to take many of my reference images, and it’s now an old friend. Professional photographers might consider it to be a little long in the tooth, but for me, it’s a workhorse that gets the job done. Who knew it would become such a big part of my process?
Each calendar purchased in the store will be hand-signed by me on the back. Whether you get 1 or 2 calendars, shipping is a flat rate of $6.50 in Canada or $9.50 for the US, all in Canadian funds. But as always, anything over $48 in the store qualifies for FREE SHIPPING. So, if you’re looking for prints, postcard sets, or stickers to go with your calendar purchase, feel free to mix and match. Get yours early to beat the holiday rush.

I will also have calendars available at the Banff Christmas Market every weekend from November 14th to December 8th. Hope to see you there.

Cheers,
Patrick

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The Grizzlies – A Work in Progress

With two commissions and several other projects on the go, it was tough to get traction this summer. I’m also spending a lot of time planning for the Banff Christmas markets that begin in November. As it spans four long weekends, I’ll soon need to figure out how much stock to order.

But first, there are two paintings I want to finish, so I’ll have them available for print and puzzles.

This week, the printed 18″ X24″ stretched canvas of a recently completed commission arrived. I’m delighted with how this painting turned out, and most importantly, so is the client. I’ll deliver it the first week of September when the client visits Canmore. After that, I look forward to sharing it with all of you.

The second commission is coming along nicely. But I’ve also been working on the group of bears I’ve been chipping away at for some time now. The original plan for this piece was five adult bears sitting at a log in the woods, like a group of friends hanging out and chatting. I drew six of them separately to give myself options.
However, when I dropped and dragged them together into one image, the digital canvas was very long. A long horizontal canvas has appeal for a canvas or metal print. However, from a commercial perspective, it would limit what I could offer for licensing and paper prints.

To make all five bears fit, with a bit of personal space between each, I’d need to compose them in a way that would leave a lot of space above and below. But that would make their faces much smaller, and I’d have to paint more foliage and background. Or I could stretch them vertically, but then they’d look far too distorted.

This is where working digitally is a blessing. While experimenting with each bear sketch, pushing and warping features, I soon realized another option for this painting. What if I made it a family of bears with older cubs, looking almost like teenagers?

Now, I know nature doesn’t work like this. The father is long gone by the time the cubs are born, which is good because he’d be a significant threat. As for Mom, she chases the cubs away at two or three years old.

I don’t paint reality.

It didn’t take long to fall for this new composition and abandon the old one. A family meant I could group them closer and have more fun with their expressions. Pushing, pulling and warping each of the sketched bears destroyed the initial sketched detail, but I probably would have had to do that for my original vision as well.

The sketches were just templates, and each contributed to this discovery.
Once I was pleased with the group layout, I dropped the layer’s opacity and traced over the shapes and basic features. I did this several times, refining with each pass.
Then, I got to work on the shading, detail, expressions, and character. I do that right up until the end of every painting, as personality is the most essential part and is where I have the most fun. And with this painting, I’ve got five faces to discover instead of one.
This piece seems like a family posing for a Sears portrait or the opening of a sitcom like Family Ties or Growing Pains. I’m going to call it ‘The Grizzlies.’

It reminds me of my great horned owls painting, One in Every Family, which is still a bestseller ten years after I painted it. I had a lot of fun with that painting, and that finished piece didn’t match my initial intent, either. My owls painting won Best in Show at Photoshop World 2014 in Las Vegas, awarding me the camera I still use today to take much of my reference. It’s now a trusted old friend.

There’s still a lot of work to do on this piece. Refining the light and contrast, adding colour to the bears and a lot more detail, but I’ve finally found the spark in this piece. This painting felt like one more thing on the to-do list a couple of weeks ago, but I’m now into it and enjoying the work.

Cheers,
Patrick

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Bearing the Burnt

Over the past few years, you may have noticed more individuals and businesses abandoning social media promotion.

Buzzwords and terminology aside, social media got everybody hooked on free marketing. Then they changed their coding (aren’t we all tired of the word algorithm?), so customers only see your posts when you cough up the cash. And good luck even then. It’s the drug dealer business model: give ‘em a taste, get ‘em hooked, make ‘em pay.

I was happy to switch to email marketing because social media has become a toxic mess of nastiness and polarization. More importantly, it got to a point where the work to reach followers — and make no mistake, promotion IS work — wasn’t paying off.

As I’ve kept a blog on my website for over 20 years and enjoy writing long-form posts, I prefer to connect with my collectors and followers via email. I get much better feedback, and with no need to focus on useless likes and shares, it feels less frantic. It’s more like driving toward a destination at a reasonable rate of speed instead of weaving back and forth like an angry drunk, looking for the fastest of ten crowded lanes.

When it’s your primary means of interaction, it’s essential to be consistent and send regular emails. Whether sharing new paintings, works-in-progress, reference photos I’ve taken, or writing about inspiring excursions, I need to keep an open window into the work and a view behind the scenes.
Over the past week, I’ve received a few subscriber emails asking if they’ve missed an issue of A Wilder View, because they haven’t received anything from me in a while. I usually try to send an email every week or two. As I write this, it’s been about a month. So, what gives?

Frankly, I’m burnt out. I’ve got the pedal pressed to the floor, the wheels are spinning, and the engine is roaring, but it feels like I’m not going anywhere.

I’m working on two commissions, and they’re both going well. I’m genuinely enjoying these pieces, but I don’t share commissions in progress, as my clients deserve to see the finished paintings first.

This is one of the reasons commissions are a financial investment (i.e. not cheap). When I’m working on a custom painting, it means I can’t work on other art that contributes to my income from licensing, products and prints. Commission clients pay for the painting but also for my limited time.

To be fair to both of my current clients, they’ve each said, “No rush.” While I appreciate that freedom, it takes no time for leeway like that to stretch into several months, which would be an abuse of their generosity. They’ve paid substantial installments, so it’s only fair I make their work my priority.

I have a good friend in BC who ordered a custom canoe from a craftsman here in Alberta. He paid his deposit and was assured it would be ready within a reasonable time frame. It has now been several years, and every frustrated call or email results in a fresh excuse. What was supposed to be a commission that would bring him joy is now a subject he avoids because he’s so angry about the whole thing. He feels like he’s been taken for a ride and ripped off.

I refuse to be that artist. When I pay for something, I want results. My clients should expect no less.

It’s also why I pay my bills as quickly as possible, especially to other small businesses. I know what it’s like to chase unpaid invoices and royalty payments. It makes me feel like a schmuck asking for money I’m owed, sometimes more than once, and it builds resentment. I don’t want my suppliers and customers to share that experience.

The other work occupying my limited time is my daily editorial cartoons. I draw 6-8 every week for newspaper clients across Canada. Lately, the news has been fast and furious with significant events, so planning cartoons can be challenging when it’s been one late-breaking story after another. It cuts into the time I’ve budgeted for the painted work. That’s tough sometimes as there is no growth potential in that part of my work, and it will eventually vanish completely. But it’s a deadline every day and still a necessary part of my income.
This past Sunday, I had drawn two cartoons in the morning and was going to paint all afternoon. Then President Biden announced he was no longer running for re-election, and suddenly, I had to draw a new cartoon for Monday morning. While drawing each cartoon takes a few hours or more, I first have to come up with the idea, which also takes time.
Adjusting course, I planned to paint all day Tuesday but woke to find out that the town of Jasper had evacuated for a wildfire. Suddenly, I had to scrap the cartoon I’d already drawn and sent Monday afternoon for the Rocky Mountain Outlook. Given how our communities are so alike, I had to produce two new cartoons (one local, one syndicated) on the situation and get them out quickly.
Having been through an evacuation in 2013 (water, not fire), and the odds are a little too good we may one day go through that again; I feel for those people. It’s a frightening thing to leave your home and not know if will be there when you get back. As the fire has breached the town of Jasper, and structures are burning, some people will lose everything. What makes it worse is when insensitive, small-minded keyboard warriors post stupid things like, “It’s only stuff.”

That sort of glib comment is neither helpful nor kind.
I have several paintings in progress, a few I expected to be done by now, which is frustrating. Because each features several animals, they take much longer, contributing to the feeling I’m not producing enough finished work.

I have stolen an hour here and there to work on palate cleansers between the two commissions, the two rough bear paintings in this post. One of these sketches is part of a larger painting I wanted to have done before the end of this month, but it’s not happening. Hopefully, I’ll have something finished to share before too long.
In the meantime, I hope you’re having a good summer despite the oppressive heat and wildfire smoke in some places. After a cool and comfortable rainy June, our July has sucked up all the moisture, and our brown grass and crispy trees could use some precipitation.

Here’s to steady rain for a week or two. Soon.

Cheers
Patrick

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Big Bear on Blue

I dropped off a large print and sticker order to the Calgary Zoo in February. As usual, I wandered with the camera, looking for reference pics. I often come home with surprises that sometimes end up as paintings.

It was the first time I’d had the opportunity to see the new polar bear enclosure with the two residents, Baffin and Siku, who came to Calgary via Winnipeg’s Assiniboine Park Zoo. They had been orphaned as cubs, found wandering near Churchill, Manitoba, by conservation officers who deemed them too young to survive on their own.

According to the Calgary Herald (Nov 30, 2023), “Their new home is a $11.5-million habitat that features two acres of tree-filled meadows, a five-metre-deep plunge pool, a series of dens and rock fixtures, and a shallow pool for the bears to wade in.”

One of the interpretative staff told me there are sections specifically designed to give the bears private time when they want it.

For most animal reference pics, I’m looking for face shots to show the detail I like to paint. I got several unobstructed shots of Baffin lounging on a rock on a sunny winter day, but even with my 300mm lens, I couldn’t get close photos of his face. It can take me years to get the right reference, and even when I have the images, I might not paint from them for a long time. So, I figured I’d try again next time.

Still, I liked some of the pics I took and figured I could do some full-body sketches or rough paintings for practice to include in the bear book.

I often sketch on my iPad in the Procreate app with the Apple pencil, especially for editorial cartoons. When I want to upsize it and draw or paint more detail, I transfer the file to my desktop PC and continue working on it with my Wacom Cintiq 24HD in Photoshop.

Though I never intended this to be a finished piece, I kept returning to it, thinking I’d just put in a little more time. Before I knew it, I had a  new painting.

The northern lights are a common and popular theme in polar bear art, and savvy commercial artists give people what they want.

But for over a decade, I have heard from retailers and customers that they like my art because it’s different and unique. When the first gallery in Banff gave my work a shot more than ten years ago, the manager said that he wouldn’t have been interested, no matter how good they were, had I brought him true to life animal paintings. That’s what everybody else was doing.

While I still featured a version of the northern lights in this piece, I stuck with a blue colour scheme rather than the usual greens and purples for no reason other than that’s what I felt like painting. I love a blue, white and grey palette.
Titles are challenging. While I prefer to come up with something funny or endearing for each painting, I also need to consider my clients and their customers. Simple identifying titles are often better, especially as my portfolio grows. I already have two polar bear paintings on offer, so I decided Big Bear on Blue was a good description and title for this piece. And I liked it better than Polar Bear on Blue, but don’t ask me why.

With several other paintings in progress, I hadn’t intended to slide this painting into the queue. It was a fun discovery that didn’t take as long as I would have thought, and in case you missed it, I’ve got a thing for bears.

Prints are on the way, and I’ll let you know when this piece is available in the store.

Cheers,
Patrick

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Work-Life Balance, Retirement and Shades of Grey

When people return home from a vacation, they can get the blues, a hangover from the trip unrelated to any spirits they may have consumed. It’s that depressing realization that even though you just had a positive experience you’d been looking forward to and a necessary break from work and the routine, that’s over now, and it’s back to the grind.

In the weeks leading up to the Calgary Expo at the end of April, I had no shortage of motivation. There was plenty to do with a specific goal and a big event on the horizon. My tasks were clear, as was the deadline. The show arrived, the effort paid off, and it was a big success.

Usually, after the Expo, I feel inspired to paint, and that held true this time for about a week. This year, however, I got the hangover.

Now what?

So, I was in a bit of an emotional trough in May, which is unusual since I’m often peppy in spring. I’m out on the bike almost daily, as regular exercise is recommended for a lack of optimism. I was still up early to work, but there was a lot of heavy sighing and staring out the window, trying to figure out where to put my limited creative energy for both financial security and artistic fulfillment.

I’ve always got the daily cartoon deadlines and projects on which to work, but it can often be difficult to focus without specific targets.

However, at the end of May, I was accepted for four three-day weekends of the Banff Christmas Market in November and December. And last week, I finalized agreements for two pet portrait commissions. One is a large, active dog with a comical personality, and the other a memorial piece for the smallest dog I’ve yet painted. He was adorable and obviously very loved.

A commission painting is a big responsibility, one I don’t take lightly. It’s a privilege and honour that anybody would choose my style and work to capture their furry family member in a painting, especially for a memorial.

I’ve never painted two commissions at once for two different clients, but each is a welcome challenge. Both clients were fully engaged in the initial back and forth, and I’ve begun with a clear idea of what each is looking for. They offered suggestions, preferences and details that will make for better paintings. That’s always a great start.
The paintings I was already working on need to be done by the end of next month so I can order puzzles and products for the markets. Then there are the sketches, paintings and writing for the book, six editorial cartoons each week, and now two commissions. Finally, there’s the ongoing marketing and admin stuff that’s a lot more work than most realize when they choose self-employed artist as a profession.

For anyone considering that leap, I can sum up the past 25+ years of my career as follows: Creating art is easy. Selling it is hard.

Suddenly, I have a very full plate for the next three or four months, with timelines and deadlines to keep me on track. I’m grateful to have so much to do, especially since a big chunk of it is creating artwork that might make people a little happier.

Hearing people in their fifties start talking about retirement is normal, but I have no such plans. What would I do without my work, finally have time to explore some artistic and creative pursuits?

It’s not hard to find articles and online posts that talk about work-life balance. While it might seem like an encouraging message, to slow down and relax, the pressure often makes people feel worse about their lives, not better. The guilt that comes with some stranger telling you that you’re doing your life wrong is just one more brick added to the load you already carry.

Being told we must pursue a better work-life balance isn’t a carrot. It’s a stick.
Sure, I’ll bitch about being too busy sometimes, but I chose this. Though the landscape will change, as will the work, and it’s unlikely ever to get easier, I plan to create art as long as possible. I don’t know if I could do anything else, now.

Shonna puts up with a lot, living with an anxious, moody, high-strung, obsessive-compulsive artist. But without my creative work to keep me busy, I’m sure I’d wake up one morning with a pillow hovering over my face.

Justifiable. Case dismissed.

I’ve often read variations of phrases like ‘your work is not your life,’ a caution to be careful how much time you devote to your job. But I don’t know who I am without my work. It’s the best part of me. I’m terrified of the day that age or something else robs me of my ability.

So, I’m going to continue to maintain my fitness and health, keep my head on a swivel while biking and driving, and hope to avoid the fickle finger of fate and the things I don’t see coming so I can keep drawing, painting and writing as long as I can.

Be who you are, people. We’re only here for a little while.

____

Dave and Martha discovered my art in Victoria several years ago, and getting emails from them is always nice. Usually, they might send a kind comment or something encouraging after A Wilder View shows up in their inboxes. They’re my parents’ age; their son and I were born in the same month and year, a detail they’d shared a while ago.

They’re currently on a road trip from their home in Washington, and these long-time collectors and supporters of my whimsical wildlife art have been here in the Canadian Rockies this week. It was great to meet them in person, and we had an enjoyable visit over coffee on Sunday.

When Dave described what they’d be wearing so I’d recognize them, he mentioned that he was bald. Though I saw them right away while locking my bike, I joked that I was looking for a bald guy, and he was wearing a hat. He shot back that I was greyer than he expected.

OK, I had that coming.

I’ve known for a while that I must spend an hour painting an ‘update’ to my self-portrait to account for more salt in that pepper, especially in my beard.
I’m grateful for so many of you who follow my work, comment on my posts or write emails, sending me wildlife pictures and thoughts about something I’ve shared or the artwork in general. With so much content available to us, that anyone volunteers to receive my emails is humbling. It’s cliché to say that I wouldn’t be able to create art for a living without the support of people who enjoy it, but it’s true. So, feel free to reach out anytime, comment on a post, or just say Hello.

But please, no politics or news links, fake or otherwise. I see way more of that than I want to in the other part of my work.

Thanks for the visit, Dave and Martha. Though you worried you might have been intruding on my time, it was truly my pleasure. Have a safe trip home.
.

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Ring-tail Renditions

When the Land of Lemurs exhibit opened at the Calgary Zoo several years ago, I was excited to get up close and personal with these critters. Lemurs are a matriarchal species, meaning the women are in charge. Only females were in residence at the time, but I don’t know if that’s still true.

Because of disagreements in sample size and the territories surveyed, the number of Ring-tailed Lemurs left in the wild is under dispute. However, one thing experts agree on is that the wild population is in severe decline. Deforestation and hunting means lemurs may go extinct in our lifetime.

The World Wildlife Fund and several other conservation organizations work to educate and support communities in Madagascar to help them coexist with lemurs. Unfortunately, colonies in captivity may one day be the only place where lemurs exist.

One of the interesting features of the lemur habitat at the Calgary Zoo is that the lemurs are free-roaming within the enclosure. People must enter through a controlled gate, where an attendant explains the rules. Once inside, other employees and volunteers answer questions while ensuring the safety of the lemurs.

The enclosure design means the lemurs can go where they like, including climbing atop an unsuspecting person who crouches down for something. With no fence or glass, this open concept makes taking photos a real treat.

Early in 2020, before the world shut down, Wacom commissioned me to record a video using their Wacom One display, along with a voice-over narrative I wrote. I recorded a ring-tailed lemur painting for that project, and it’s one of my favourite pieces, mostly because she looks ready to snap. It’s also a popular print with many of my collectors.

I’ve long wanted to create another painting featuring several lemurs, inspired by the following photo I took in 2017. All these lemurs look a little stunned; harmless goofs, not too bright, except for one.
This photo always makes me chuckle. That evil-looking stare straight down my lens, the squinting focused eyes, the chunk missing from her ear. She reminds me of a gangster saying, “Come closer. See what happens.”
What can I say, I see cartoon characters in real animals. This is why I paint the way I do.

I have considered this photo and the painting I have wanted to create for years. I even have a title for it: The Ringleader. The finished piece will be 7 or 8 of the goofy, stunned faces filling the canvas, with the sinister ringleader in the middle, staring down the viewer.

The big challenge isn’t painting the faces but making them look like they belong together. That’s why I’m working on seven faces in the same file. The ringleader herself is a separate file that I started earlier this week.

I haven’t yet got to the stage where I compose them into the finished piece, but I’m getting there. Once they’re each in position, I’ll need to paint more hair and fur to blend the faces as they overlap. There won’t be any bodies or paws because this painting is about the faces filling the space, but I will paint a few tails coming in from the sides and bottom.
I’m happy with how it’s turned out so far, and I’m also hoping to offer the finished piece as a puzzle later this year.

I’m used to working on one painting, start to finish, posting it, printing it, getting it licensed, and moving on to the next one. While quality is my main concern, I’d be lying if I said I didn’t think of quantity.
So, when I’m working on several paintings at once and more involved pieces featuring multiple animals or more detailed backgrounds, paintings that take much longer than a whimsical head and shoulders portrait can be uncomfortable. It feels like I’m not getting enough done.

However, I’ve realized in recent weeks that there is a silver lining in working on multiple pieces simultaneously. Each painting gets time to rest, and when I open a project I haven’t touched in a week or two, the deficiencies or problems jump off the screen. That’s good because it reveals areas of the image I need to improve.

Last Friday morning, I opened this goofy gallery of Ring-tail Lemurs for the first time in a few weeks. I laughed out loud at the ridiculousness of the seven faces on the screen and said, “They look so stupid.”

And I meant it in the best possible way.

Would I have had that moment if I hadn’t let the painting rest? I doubt it. My comical critters surprised me. What a gift.
The finished piece will be a lot more detailed than the images in progress you see here. But the vision for what I’m trying to achieve is clear in my mind, and I’m having fun discovering each of these faces.

All that’s left is hours of painting to bring them to life.

Cheers,
Patrick