Category: Digital Painting

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Red-tailed Hawk

I’ve wanted to paint a Red-tailed Hawk for quite some time but could never seem to find the right reference. Though a common bird, my sightings in the wild have often been a comedy of bad timing.

If I happen to be out with my camera, I’ll see one flying high but never stationary. I can pass three or four of them sitting on fenceposts alongside the highway, with nowhere to pull over if I’m driving.

The shots I took on that first visit to the Alberta Birds of Prey Centre a few years ago didn’t provide what I needed. It was a rainy weekend, and even though I took plenty of photos, the Red-tailed hawk still eluded me.

So, when I drove down to Coaldale to visit the Centre in August, I was on a mission to finally get some reference for this piece. Sorting the photos, I realized there were many possibilities.

I started this painting just over a week ago and was surprised at how quickly it came together.

I asked Shonna’s opinion this morning in the piece’s final moments, and she said that it’s not her favourite pose. She has always been my harshest critic, which is a double-edged sword. On the one hand, she can often spot problems I’ve failed to notice, minor changes that might help the likeness, especially in my portraits of people.

On the other hand, it’s a bit of a kick in the crotch when she’s blasé about a painting. If you think that harsh, I know of many artists, writers, photographers, and other creative types whose spouses and partners are not big fans of their work. It’s probably a good thing.

A couple of my most popular paintings, consistent sellers that people seem to love, are not my own personal favourites. No, I’m not going to tell you which ones, as I wouldn’t want to take the shine off a piece you might like or love.

Not every creation is destined for print. Just as there are paintings I didn’t anticipate reaching best-seller status, there are ones for which I have high hopes that wither on the vine of public opinion. I just paint my funny-looking animals, do the best job I can with the creative tools I’ve got, and release them into the wild.

Where they go after that is out of my control.

Now that I’ve got plenty of reference, with more to take on future visits to Coaldale, I’ll no doubt paint another Red-tailed Hawk in the future. I like most of my paintings while I’m creating them, and for about five minutes after each is finished, but I’m always eager to move on to the next one.

Cheers,
Patrick

 

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A Portrait of John Dutton

When I’m not drawing and distributing daily syndicated editorial cartoons, I’m painting whimsical wildlife portraits for prints and licensing. Add in the usual office administration, marketing, writing and everything else that goes along with self-employment, and that’s pretty much how I spend my days.

However, I enjoy painting portraits of people, most often characters from movies. I usually make the time for a couple of these a year, but I’ve only managed this one in 2021.

I’ve often mentioned that I paint these when I’m feeling the need to reconnect to art for art’s sake or when I’m in a low place creatively, but thankfully I’m not feeling that this year. The whole year has been low for obvious reasons, and I just felt like painting a portrait.

I have no interest in painting the publicity or paparazzi headshots of movie stars or celebrities. The less I know about the gossip or their personal lives, the better. Instead, I’m more interested in the characters they play. Those characters are created by skilled writers, directors, and gifted actors, including the supporting cast and professional crews that bring it all together.

When I painted Quint from Jaws, it wasn’t just the actor Robert Shaw I was painting, but the character he inhabited, written by Peter Benchley, directed by Stephen Spielberg and brought to life in a scene with Richard Dreyfuss and Roy Scheider.

I love movies, but we’re living in an age with great television, too, with plenty of writing and acting that can easily go up against any Academy award-winning film.

One of the shows I’ve enjoyed most in recent years is Paramount Network’s Yellowstone. Written and often directed by Taylor Sheridan, Yellowstone chronicles the lives of a generational ranching family in Montana, led by the patriarch, John Dutton.

It’s simply a great show, but not for the faint of heart. If you’ve got issues with language, violence, nudity, sex, lawlessness, smoking, gambling, alcohol, and more, you should seek your entertainment elsewhere.

There are no flawless heroes here. Instead, it’s a family of broken people, each with their dark pasts and demons. One moment they’re prey, the next predators, and you’re never quite sure when they’re right or wrong. But with incredible writing, scenery, and rich characters played by a stellar cast, it’s never dull. I am fulfilled and disappointed after each episode because I must wait a week for the next one.

But I’m glad they dole it out. If they released the season all at once, we’d easily gorge ourselves on it in a few days.

I realized that I wanted to paint John Dutton, played by Kevin Costner, about the middle of last season. Tough as nails, Dutton tries to keep his ranch and family together, while outside interests plot to take it away from him, piece by piece. Even though he knows he’s fighting a losing battle against progress and the future, he won’t resign himself to his inevitable fate.

As often happens when I want to paint other characters, I won’t know what I’m looking for until I see it. Near the end of last season, there’s a scene where Dutton is sitting on his porch, and he looks off to the horizon in the fading light. The moment clicked with me, and I had found my reference, thanks to Cinematographer Ben Richardson’s lighting and cameras.

I painted the scene more sepia tone than the reference, with more contrast, making my own choices for the painting. I like to be inspired by moviemakers and their vision, but I don’t want to create a carbon copy. Otherwise, what’s the point?

I started this painting in July, and I worked on it for a couple of hours here and there whenever I could find the time. I had planned to have it done before the fourth season began this month, but the paying gigs always take priority. So this past week, I put in the last ten or so hours over a few days. With no deadline, there was no reason to rush it, but I also didn’t want this painting to last for too much longer. As much as I loved the work, the best part is calling it done.

If you’re already a Yellowstone fan, I hope you like my rendering of this great character.

If you haven’t yet seen the show, I envy you. You get to start at the beginning with almost four seasons of great storytelling ahead of you.

Cheers,
Patrick

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Flight or Fancy

When you create art for a hobby, it doesn’t matter how you spend your time. It’s an escape, a leisurely pursuit. You can read about art, sketch, watch videos, take courses, visit galleries, or attend workshops or clubs devoted to the same goals. You can doodle for an hour, then throw it in the recycling.

But when art is your work, how you spend your time and energy is directly related to your income. If you’re not making art that sells, you’re risking your financial security. Bill collectors don’t take good intentions as payment, nor do they accept the absence of a creative spark as an excuse.

Anyone who has ever held any job knows what it’s like to have a horrible night’s sleep and wake up feeling unmotivated to do anything. But you haul your ass out of bed and go to work anyway. Because your boss is unlikely to accept “I’m just not feeling inspired today” as a valid reason for not showing up.

Talk to anyone in a creative field who does it for a living, and they’ll tell you that waiting for inspiration is for amateurs. Professionals get to work, even when they don’t feel like it. Art for a living is no different. You stick to a schedule, show up every day, and you do the work, even when you don’t want to.

But just as people in many fields go away for conferences, take additional training in the latest techniques, or keep up to date on industry literature to remain competitive, artists also need to make time for the unquantifiable.

The only way to improve on skills is to invest in them, even when it feels like you’re not getting any work done.

Whenever I start a new painting, my intent is most often to create a production piece. If it’s a painting of an animal, I want the result to be a print or an image for licensing, something that goes into the inventory to generate future income.

On occasion, I’ll make room for a character portrait for my own enjoyment (I’m working on one right now), but when it comes to the whimsical wildlife, I don’t often make time for sketching, or experiments, or ‘let’s try something and see what happens.’

But I should.

Even though I never went to art school, I know enough from talking to artists who have, that sketching and playing around is essential. It’s where you find your happy accidents, those unexpected gems that pop up simply from drawing for fun or practice.

My Grizzly, the very first whimsical wildlife painting in 2009, was an experiment. I was trying something new to see what might happen, and it eventually changed my entire career, leading me to the work I enjoy most.

It’s an easy bad habit to get into, judging the art I create to be only as valuable as its revenue. But, unfortunately, that’s a short-sighted view of what has been a long career and will hopefully continue to be.This eagle-in-flight could have become a production piece, but I got to a point where I realized that even though I enjoyed it, I didn’t feel like taking it any further. It was good practice; I recorded it, so I get to show another time-lapse, but this is as far as I’m taking it. It’s more than a sketch but less than my usual hyper-detailed renderings. Click here or on the image to see the full sized piece and the 2-minute video.

I’m going to accept that it was a practice piece and creative time well spent.

Sometimes, that’s enough.

Cheers,
Patrick

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Made in the Mountains

I signed up late for The Mountain Made Christmas Market at the Canmore Civic Centre, but since I had the stock, the time, and it was close to home, I couldn’t think of a reason not to give it a try.

As it was a six-foot table space rather than a 10 x 10 booth, and I haven’t used any of my hardware and displays since April of 2019, I set it up in my garage last week to figure out how I wanted it to look. With setup time limited on-site, you don’t want to experiment and solve problems in the final moments before the doors open.

Usually, these events have vendors packed tightly together, but with distancing rules, there were 2m between booths and a building capacity limit, including those behind the tables. So while it meant fewer vendors could attend, it didn’t feel crowded, and we had breathing room. Behind masks, of course.

If you’ve followed my work for a while, you know I’m most comfortable working on editorial cartoons or paintings in my office. I know a lot of artist introverts, seems to go with the profession. We’re good with one or two other people, but crowds sap our energy.

And yet, I didn’t realize how much I missed the interaction at these things.

The show hours were 10-4, and I had a prime corner in the main lobby. With a couple of hours setup on Saturday before opening, restocking on Sunday morning, and an hour of tear-down at the end, it was just a couple of eight-hour days. I even got some painting time in at home in the morning before heading to the venue. Some of these shows have long hours without a break, all day, every day. So I come home exhausted after five days at The Calgary Expo.

Getting to know the other vendors is usually enjoyable. Sometimes you can have a conflict, especially if a neighbour starts pushing into your space, but it’s most often a cooperative, friendly environment. When possible, we help each other out with forgotten supplies, keeping an eye on tables for bathroom breaks, taking orders for coffee runs, chatting during the slow periods, and learning about what each of us does.

Before the pandemic, I only did one or two shows a year. The daily editorial cartoon deadlines prohibit a lot of travelling. Some of these vendors make their entire living doing the gift, craft, and trade show circuit, and they’re pros at it. They’ve got setup and travel down to a science. When it comes to farmer’s markets, some of them go four or five days a week in different locations, a lot of time spent on the road.

While I only had a five-minute drive back to my house on Sunday after tear-down, one of my neighbours was still packing up before her four-hour drive back to Fernie, BC.

Halfway through Saturday, I realized I was having a good time. I’ve written about this before, but I love it when people are surprised by my wall of funny-looking animals. Even behind masks, the positive reaction is obvious.

It’s a good feeling to make people smile, especially since the past year and a half has seen so little of that.

I’ll often have to invite people to come closer, telling them it’s OK, my critters don’t bite. Their hands come up as they point out different ones to their companions. Because I had over 45 different images at the show, with no way to put them all on canvas on the wall behind me, I invite people to flip through the bin of poster prints, assuring them they’re all different.

I get the same questions all the time, and I’m happy to answer them.

“Are you the artist?”

“Did you paint all of these?

“How do you do this?”

And I hear the same comments, without complaint.

“They’ve got such personality!”

“They look cartoony…but real.”

“I love these.”

Yeah, that last one never gets old. Even if people don’t buy anything, it’s comforting that my work helped distract them from their troubles for at least a moment or two. Not a bad way to measure success.

Sales far exceeded expectations, and I couldn’t have asked for a better weekend. What people buy in different places and times of year never fails to surprise me. While prints like the Otter and Smiling Tiger always sell well, people have their favourite animals or a friend who loves owls, cows, or moose. So one person buys a rat, the next person a hippo, and the one after that a Ring-tailed Lemur who’s not quite all there.

But two popular standouts at this show were the Winter Wolf and the Sea Turtle, both newer paintings.

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8X10 aluminum prints and ceramic coasters were big sellers at this show, and I sold out of calendars. Those are all made by Pacific Music & Art, and I’ve already placed a resupply order. I’m adding the Sea Turtle, Winter Wolf and a few others to aluminum art for the next time around.

There will be another two-day Mountain Made Christmas Market at the Civic Centre on December 11th and 12th and a one-day Last Minute Market on December 18th. As this was such a positive experience, I’ve registered for both. This was an enjoyable event because the organizer, Julian, set the right tone and did a fine job of putting everything together. In addition, the Town of Canmore’s building monitor, Maurice, was ridiculously helpful and courteous, and we let him know how appreciated that was.

We’re often quick to point out when others fall short but fail to tell them when they’ve done a great job. People need to hear it, to let them know that it matters.

Now, please don’t get excited and think I’ve found my long-lost Christmas spirit or anything.

Having just endured two back-to-back elections in Alberta, plus the last year and a half of uncertainty and stress, it was nice to talk with people without the whole conversation revolving around politics, the pandemic, and polarized opinions.

Thanks to all of you who signed up for A Wilder View at the show. Chris S. won the calendar and sticker draw, and I’ve already delivered it to him. I enjoyed chatting with all of you, and I welcome your feedback, so don’t be shy about leaving a comment on a blog post or sending me an email from time to time.

Coming up next week, I’ll have a new desktop/device wallpaper download for all subscribers. I think you’ll really like this one. It’s one of my favourite paintings, and I hope it will put a smile on your face, even if I don’t get to see it in person.

Until next time, thanks for being here.

Cheers,
Patrick.

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Mountain Made Christmas Market

I haven’t done this event in a few years, but when I saw it advertised last week, it got me thinking. It’s a small local market, which makes it easy to do last minute. I have plenty of prints, coasters, calendars, aluminum art, canvas, stickers and magnets in stock. It’s a six foot table, rather than a 10 x 10 booth, so setup will be rather simple; much like my first setup years ago at the Calgary Expo, with the benefit of a lot more experience. With the new location at The Civic Centre, it will be right downtown, inviting for walk-in traffic. As they still had space for me, I think it will be well worth my time.

And it gets me out of the house.

Late last year, with no shows on the horizon, I surrendered my credit/debit machine back to Moneris to save on the monthly rental fee. With the worldwide tech shortage and shipping delays, I wondered if I’d be able to get a terminal in time. But I ordered it on Friday and it arrived on Monday. It’s incredible that not long ago, cash was king at this kind of market. But today, with plenty of companies in the mix, it’s easy for anyone to take credit cards, debit, chip-insert, tap, Apple and Google Pay, all through a separate terminal connected via Bluetooth to an app on your phone, with funds deposited directly into your bank account.

As that was the only minor hurdle, I’m back in business and looking forward to spending the weekend meeting new people and introducing them to my work.

If you’re out and about in Canmore this weekend, stop by to take a look, or to just say Hello.

Cheers,
Patrick

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Whimsical Wildlife Furniture

While I find it hard to put into words the joy I get from painting my whimsical wildlife, it’s even more gratifying that many others like it as well.

Art is a personal thing. What pushes one person’s buttons might solicit a dismissive ‘meh’ from somebody else. Whether movies, music, painting, drawing, writing, dance, cooking, or myriad other creative pursuits a person can explore, there are more than 7.7 billion people on the planet, each with different gears that make them tick.

My funny-looking animals aren’t for everybody, but they do have a following. And for that, I’m grateful.

( I’m going to apologize in advance if I get any of the following details wrong, Brian. It’s been a weird year, and my memory files might be a little corrupted. )

Brian signed up for A Wilder View at the beginning of this year, but I don’t know when he discovered my work. However, I know that he really likes it, and his kids do, too. Brian has called me a couple of times after finding my work in stores, looking for more.

I know that he has masks, coffee mugs, and other items, but he recently told me he was working on a special project featuring my artwork. You see, Brian is building a coffee table for his son, with a tiled top. What makes this a unique art project is that the tiled surface consists of trivets featuring my paintings.

Brian had already purchased a handful of trivets he found in stores, but he needed a lot more and wanted to know if I could make that happen for him. Since the trivets come from Pacific Music & Art, and I knew that the owner, Mike, would be as intrigued by this project as I was, I put them in touch.

Mike assured me he would help Brian bring his project to life.
Earlier this week, Mike was in Alberta and Saskatchewan visiting retailers and vendors, and family in Calgary. While there, he met up with Brian to deliver his order of 25 more trivets for the table. It was the first ceramic printing for some of the newer paintings.

On his way back to Victoria, Mike met with some retailers in Canmore, and he and I got together to catch up. He shared these photos of Brian’s project so far, and Brian graciously allowed me to share them. The picture shows a rough mock-up, and Brian said the finished project would look different.
That means I can look forward to sharing more photos later, and hopefully, I’ll get to take those myself if I see the finished piece in person. The whole project is incredibly flattering.

Over the years, people have sent me photos of their collections of prints, wearing face masks in different locations, coffee mugs on desks, displays from retail shops and countless messages from all over the world, talking about my funny-looking animal paintings. It always makes my day and motivates me to keep painting more. Thanks for that.

If you’ve got your own photos or stories to share with me, don’t be shy. I’m happy to receive them and would love to share them with others, too.

Cheers,
Patrick

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One More

One of the reasons I enjoy taking my own reference photos for paintings is that the animals often surprise me.

When I began painting these critters, before I took my own photos, I’d often have a pose in mind, and I’d go looking for it on the internet. I’d eventually find something I liked, but it would often look similar to the pose I used for a previous painting of a different animal.

If it were a stock photo, I’d pay the licensing fee for reference. Failing that, I’d contact the photographer, arrange for a high-res image and pay or barter for the use.

Australian photographer Scott Portelli allowed me to use his underwater photo for my Humpback Whale painting in exchange for a rolled canvas of the finished piece. Moose Peterson allowed the use of several of his animal images in exchange for my drawing a caricature of him and a business partner for a course they taught. We already had a connection through Photoshop World, so he was familiar with my work.

I paid a U.S. park warden $100 for his photo I found online for my first Wolf painting. He confessed surprise at my offering to pay since that image had been stolen and published illegally more times than he could count.

The problem with online reference photos is that I know that no matter what I find, there’s a good chance another artist has used the same image. Certainly, I’ll paint it with my spin and style, and it won’t look the same as another artist’s work, but it will undoubtedly share similarities.

By taking my own photos, it stands a better chance of being unique.

On a recent visit to Discovery Wildlife Park in Innisfail, I had another opportunity to take photos of their black bears during their presentation to the public. As I’ve known the keepers and staff for several years, they allow me into the large enclosures with them, though I’m behind a hot-wire. It’s an electric fence about a foot off the ground that the animals avoid, for obvious reasons. The keepers, however, interact up close and personal with the bears.

These animals are all orphans and rescues who came to the facility under conditions prohibiting their release into the wild. Many of them have been raised here since they were very young. They receive exemplary care and clearly have an affectionate relationship with their caregivers.

The keepers use the bear presentations each day to educate the public about wildlife. They teach how to be bear-aware while hiking, what to do if you encounter a black bear or grizzly in the wild, how to use bear spray, and keep a clean campsite so that the local fauna doesn’t learn to associate people with food.

The hope is that by educating the public, fewer orphans will end up in captivity, remaining in the wild where they belong.

One of those rescues is a big black bear named Gruff. With a genial and gentle personality, he has been hand-raised at the park since he was a cub.

Sadly, Gruff had a rough start in life. A hunter poached his mother in the Grande Prairie area, and people passed the frightened little cub from home to home.

Fish and Wildlife eventually confiscated the sick and frightened cub, and my friend Serena, the head keeper at Discovery Wildlife Park, was asked if she could take him.

He was malnourished, in shock from his ordeal, and sick from untreated pneumonia that has since resulted in permanent left lung damage. Because he was in such bad shape, Serena didn’t know if she could save him. But with proper food, medication, round-the-clock care and a lot of patience, Gruff has grown into one of the most beautiful black bears you could ever see.

He is currently eight years old and 709 pounds at his last weigh-in.

I’ve painted Gruff several times, and I expect I’ll paint him again as I enjoy his expressions and antics. The bond between him and the keepers is evident, and he never fails to put a smile on my face.
While visiting in June, I was happily snapping pics of Gruff when he made a clumsy attempt to sit up from lying on his back. He looked right at me, with his tongue out, and immediately reminded me of a large guy trying to do a sit-up. With the camera on rapid-fire, I got quite a few shots of this funny situation and was delighted at the photos when I got home.

As none of them were quite right on their own, I used three different reference pics for this piece. One had the best head position, another one revealed a better overall pose and the third, while a bit out of focus, had some lighting I liked.

Could I have found these shots online, taken by another photographer? Unlikely. Would I have even thought to have looked for images like this? Not a chance.

I could list dozens of paintings I’ve created that have been inspired by situations and experiences I couldn’t have anticipated. It’s why taking the photos is as much a part of the finished pieces as the paintings themselves. Each of them has a story and conjures up fun memories.

Whether it’s a pose, lighting, or simply a look, I can’t tell you how many times I’ve discovered future paintings while sorting through photos.

When I came across the photos of Gruff, looking like he was trying to get in shape, there was no doubt of a painting. But, before I put the first brush stroke on the digital canvas, I already knew that I would call it ‘One More.’

I imagine it 10 feet high on the wall of a gym somewhere.

Here’s a high speed video of ‘One More’, from start to finish. Prints of this piece are available NOW in the store.
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© Patrick LaMontagne

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A Different View on The Calgary Expo

Although it was a miniature version of the usual event, I spent Sunday at the Calgary Comic and Entertainment Expo. I have no regrets about passing on a booth this year as I still think it would have been more expense than revenue, but a day at the Expo made me realize how much I miss it.

When I’m a vendor, there’s little opportunity to walk around to meet and talk with other artists, aside from my immediate neighbours.

The best I could hope for in previous years is showing up a little early to take a quick tour, but it’s tough to chat with other vendors while they’re trying to set up for the day. Shonna has occasionally worked my booth with me on the busier days, and she’s a big help, but people want to talk to the person who created the artwork, so I stay close to my own customers.

This time, free to wander, I met some talented artists, asked questions about their setup and advice on products they sold, and enjoyed talking shop without having to rush back to my booth. But, of course, when potential customers stepped up, I quickly moved aside and let the vendor go to work.

In my experience, fellow vendors are always willing to share information. At my first show in 2014, I didn’t know anything, so I was grateful for the constructive criticism and advice that came my way. Now that I’ve gained my own experience, I try to help newbies when they show up at my own booth with questions.

I spoke with quite a few vendors who sell vinyl stickers along with their prints and other products. When I showed them my first sticker pack and asked their advice/opinions, all agreed that I was selling them for too little. For the size of my stickers, the vinyl and design quality, a four-pack for $15.95 is a lot less than the current market price.

So, after careful research and consideration, I’ll soon be increasing the price of those stickers in the store to $20.95. As I learn more about the sticker market, I’m optimistic and excited about the possibilities. They’ll undoubtedly be prominent products in my Expo booth in April.

It was also great to reconnect with Alexander Finbow, the owner of Renegade Arts Entertainment, a growing publishing house right here in Canmore. Alex has published several award-winning graphic novels, comic and children’s books by international authors and artists. It seems they’re well known in the industry but still a well-kept secret here in the Bow Valley.

Having arrived on Sunday at 9:30 that morning, I had plenty of time to accomplish my own goals before my buddy Derek arrived with his daughter and her friend around 1:00. The owner of Electric Grizzly Tattoo here in Canmore, he’s an accomplished tattoo artist and skilled painter, so it was nice to walk around with somebody who’s as much into the art as I am. Also, even though I’m not a ‘kid person,’ I will admit that seeing a couple of nine-year-olds excited about comic and cartoon characters I didn’t know or recognize was fun.

And if it weren’t for the kids’ excitement about a booth full of snakes and lizards, I might have missed the opportunity to face up to one of my phobias.

Hairy spiders have always given me the creeps, but I don’t like being afraid of them since they’re such fascinating creatures. So when I realized that I could hold one, courtesy of Calgary Reptile Parties, I had a quick argument in my head. I knew that if I chickened out, I’d beat myself up all the way home and likely wake up the next morning regretting it.
So, I stepped up and let a hairy tarantula crawl around my hands and arms. She was delicate, fragile, light and gentle, and after a few seconds, I was more afraid of flinching and maybe hurting her. While not quite the same as close contact with a bear cub, a wolf, or an owl, it was an exciting critter experience, and I’m glad I did it.

The fear in our heads is usually so much worse than reality.

I also bought some art, something I rarely do at this event, since I never have the time to look.
Edmonton artist Sabrina O’Donnell does more than 25 shows a year (pre-Covid) and gave me some of the best advice on selling stickers. She based this little Canuck Crow piece on a news story she read about a Vancouver crow who stole a knife from a crime scene. I liked her rendering and that the work tells a story.
I bought a couple of books from Toronto cartoonist Scott Chantler. Both are graphic novels/stories about real people and histories. I’m not big on comics or graphic novels, but I like his art and the subject matter and found his work inspiring. Always worth it to explore another’s approach.
Finally, I bought a piece of art to hang in my office, something I’ve not done for a long time. Regular readers know that I’m a movie fan and will paint character portraits from time to time. I enjoyed the 2019 Joker movie, especially Joaquin Phoenix’s performance, so when I saw this piece by Alberta artist Sheldon Bueckert, I wanted it.

Even still, I waited a couple of hours before pulling the trigger to ward off any buyer’s remorse from an impulsive purchase. But right before I left the Expo, I went back for it. Whether it’s Sheldon’s choice of pose, colour, or his style of brushwork that drew me in, there’s just something about the piece I like.

That’s art for you. When it speaks to you, go with it.

I had an enjoyable day, better than expected. It was nice to be a bit of a fan again, rather than working the whole event. I’ve confirmed with the organizers that my booth is good for April, and I can expect to have the same spot I had in 2019. It’s a placement I worked hard to get over several years, earned through seniority.

To all of you I used to see at the event, I’ve missed you, and I’m already looking forward to seeing you again in 2022.

In the meantime, a day with all that inspiring art has filled the creative tank, and I’m anxious to paint. Anybody up for a cute and cuddly painting of a tarantula? ?

Cheers,
Patrick

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Stuck on Brown Bears

My first order of vinyl stickers has arrived, and they are now available in the shop.

For the first (of hopefully many) sticker pack, I chose four of my grizzly/brown bear paintings; Big Boy, Happy Baby, Kodiak Cub, and Peanuts.

These die-cut vinyl stickers are approximately 4” X 5” with some variance for design. They’re weather-resistant, long-lasting, easy-to-peel with a smooth matte finish. Vinyl can be tricky when it comes to full-colour printing, but these look great.
Each pack retails for $15.95 CDN. I’m able to offer free shipping for Canada; no code required. Shipping to the U.S. is a little more complicated as Customs rules now state that any commercial product is automatically a parcel regardless of package size. For U.S orders, the flat rate for these stickers is $9. Don’t shoot the messenger.

The Grizzly/Brown Bear pack was fun to design, and I hope to launch another pack soon.

Cheers,
Patrick

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A Sticker Situation

Before I became a full-time artist almost twenty years ago, I worked at a local sign shop here in Canmore. Some of the valuable skills I learned still contribute to the work I do today. One of those skills was printing and cutting vinyl. I worked on vehicles, signage, and vinyl application on different materials.

A little while ago, my friend Darrel mentioned that he had noticed vinyl stickers on the rear windows of vehicles, some fun and colourful designs. He suggested that might be something I could do with my animal paintings.

As diversifying revenue streams has become essential for freelancers and self-employed artists, I’m always looking for new markets and opportunities. So it seems odd, given my sign shop experience, that I’d never considered vinyl stickers.

While I have an ongoing license with DecalGirl, a company that produces decals for mobile devices and laptops, phone cases and sleeves, their designs are specific to that market.

Some quick online research revealed that stickers are trendy, especially among millennials and younger generations. For the right theme and designs, it’s big business for many artists, especially on craft and sales marketplaces like Etsy.

On a recent visit to the tattoo shop where I hang out from time to time, I asked my buddy Derek about it. He’s fifteen years younger than I am, and his metal supply cabinets at the shop are covered in different stickers of varying size, quality, and theme. It’s a big part of that culture. He agreed that I’d probably do well to offer my work on vinyl stickers.

Since then, I’ve researched several companies, figured out sizing, and ordered the Orca test you see above. The order arrived this week from Jukebox Print. I couldn’t be happier with the vinyl quality and printing, so I’m moving forward on creating more of them.

Derek stuck the first one on a cabinet at Electric Grizzly Tattoo.

To begin with, I’ll be offering a selection of 4 bear stickers, though I’ve not yet chosen which ones will be in the first pack. It’ll be free shipping for Canada, and hopefully, I can offer the same for the U.S., but that’s yet to be determined. Each 4-pack will retail for $15.95 (CDN). The stickers are around 4” X 5”, depending on the design. Each will vary a little in size, but they’re all in that neighbourhood.

I’m still experimenting with the composition and cut-lines, but these are a few I’m working on.
If the first pack is popular, I plan to regularly release new stickers, eventually having several packs in the online store. With my ever-growing menagerie of critters, there’s potential for sticker packs in a variety of themes and species.

Stay tuned!

Cheers,
Patrick