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Bad for Business

If you’re wondering why you haven’t seen any new paintings in the most recent posts, it’s because I’m having trouble focusing on that. I did get up at my usual 5 am with the intention of painting this morning. I’m in the early stages of a little Corgi right now, but not making any headway. Instead of painting, I ended up surfing apocalypse news stories, brainstorming cartoon ideas for the only topic in town, and fretting over finances.

I’m sure that most people are doing the same thing, minus the cartoon idea part. That’s pretty specific to my profession.

This kind of ruminating and brow-furrowing is unproductive, bad for business and even worse for mental health.

How many of you are sleeping well right now?

Don’t answer that.

One thing that will come out of this, for the businesses that survive it, will be some interesting innovation, born of desperation. Many are trying to come up with new ways of making money to stay afloat, some I’ve seen are rather clever. And I think when this is over, a lot more people will continue to work from home, for companies that find it benefits their bottom line.

While they haven’t announced it yet, much to the growing impatience of vendors and attendees, the Calgary Expo is undoubtedly a wash this year. There’s no way this will be over in a month, at least not to the point where 90,000 people are going to want to get together in extremely close quarters. If you’ve ever been to a convention that size, social distancing is impossible. All the hand sanitizer in the world won’t help you in that Petri dish.

Since I’ve got plenty of stock right now, I’m going to assess my options and hope to have some specials and deals to announce in the next few days. I know extra funds are in short supply right now, but there might be something enticing for you.

As a recent customer said in the memo section of his order, “I’ve got to have something to look at while in quarantine.”

In the meantime, I wrote another post for Wacom this week, 9 Tips for Working at Home for Artists.  Even if you’re not an artist, give it a look, especially if your work and home are suddenly the same things.
Hopefully, I’ll find my painting mojo soon, but it ain’t happening today. I’m probably going to tidy my office and do inventory.

Hope you’re all well and making what you can out of this overabundance of uncertainty.

I’d make a horrible life coach. 🙂

Cheers,
Patrick

© Patrick LaMontagne
Follow me on Instagram @LaMontagneArt
Sign up for my newsletter which features blog posts, new paintings and editorial cartoons, follow this link to the sign up form.

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9 Tips for Working at Home for Artists

Our current global situation is unprecedented, and we’re each trying to figure out how to adapt to the new normal. We all face similar challenges; how to stay healthy while still getting groceries, staying connected with our family and friends, and planning our day to day with limited resources for however long our self-isolation lasts.

Each profession, industry or walk of life, however, will have specific hurdles to overcome, so this is directed at creative types.

Most of us find ourselves confined to quarters right now. You might be a professional artist who already works from home or one who works for a company and suddenly finds yourself working from your residence. You might be an art student home from school or a hobbyist who now has some extra time to devote to creating art.

Whatever your situation, I hope some of these tips give you ideas and inspiration to make the most of this challenging time.

I’m a professional artist, a nationally syndicated editorial cartoonist for newspapers across Canada and a painter of whimsical wildlife. My painted work is licensed internationally on many products through different companies and sold as prints in several zoos and via my online store. I’ve been working from home full-time for the past fifteen years and part-time for five before that. I’d like to share with you some productive practices I employ to make the most efficient use of my time. I’ve learned most of these from correcting my own mistakes over the years. Here goes…

1) Set Up a Work Space

I work from a dedicated office in my home. When I’m in this space, it’s work time, so it’s easy to make that mental shift when I walk through the door. Occasionally, I’ll work at the kitchen island if I want a change of pace, but the majority of my work is done in front of my Wacom display, sitting at my desk.

I get that not everybody has the space for their own office. Twenty-five years ago, we lived in a tiny apartment, and my workspace was a small desk in the living room, jammed in beside the TV. When I sat at that desk, however, it was creative time. Facing the wall was a big part of that because there were no distractions in front of me.

2) Get Dressed

It is tempting when confined to your house or working from home to let yourself go a little, and that’s fine, but staying in your pajamas all day or throwing on a robe without showering will not put you in the right mindset to work. Get up, shower, and put on clean clothes. You don’t have to wear a power suit or anything silly like that, but being clean and presentable counts. It will make you feel like a professional. Walk your talk.

I wear pretty much the same thing every day unless I’m going out. My lounge pants could very well be used as PJ bottoms by some, but I wear them for comfort and a t-shirt. If it’s chilly in my office, I wear a hoodie. But it’s all clean clothing every day. If somebody comes to my door, I am presentable and don’t need to apologize for my appearance. How you look impacts how you feel.

3) Establish a Routine

If you’re new to working from home, a routine is vital. You’ll be forming new habits in your new work environment and what you prioritize will determine your success. I have no boss other than my clients, but I get up at 5 am every day, even on weekends. I do some moderate exercise, meditate for 15 minutes, shower and grab my coffee and am at my desk by 6.

This is my routine, and by sticking to it, I get a lot done.

Obviously, you don’t have to get up as early as I do. I’m a morning person and established that time when I needed to get cartoons drawn and sent before going to my regular job. When I went full-time at home, I stuck to that because it works for me. Find what works for you and stick to a schedule.

I am at my creative best first thing in the morning, so I make sure I’m ready to work during that time. I save the afternoons for admin work and other parts of my job that don’t require my best creative skills.

It is too easy to sleep in, laze around, watch some TV, and figure you’ll do some work when you feel like it. Before long, hours have passed; you haven’t done anything, and then you beat yourself up for your failure.

Talent will only get you part of the way. Success comes from self-discipline, in all things.

4) Avoid the Kitchen

You’re at home; all of your favorite foods are available. It is effortless to make multiple trips to the kitchen and have little frequent snacks. A few crackers here, a cookie there, some chips, a handful of nuts. Before you know it, you’re gaining weight and can’t figure out why.

Stick to regular meals, and if you’re not getting your usual level of activity, make meals smaller than what you’d typically eat. You won’t starve and can adjust as needed. This goes back to having a routine.

5) No Excuses

If you have a primary focus in the art you’d like to create, then get to it. Don’t wait for inspiration to strike. That’s an excuse used by artists who don’t want to work. In my experience, the work comes first, and the inspiration follows.

Nobody is saying you have to work a four-hour stretch, chained to your desk. Start with a half-hour. Work for 30 minutes, without checking your phone, going on social media, watching Netflix, chatting with a friend. This is creation time! Start with less and build upon it.

6) Stop Scrolling

The biggest distraction we have, especially in stressful times like these, is our handheld devices. Silence your phone, turn off notifications, avoid social media and the news. You will survive a half-hour, hour, two hours without knowing every little thing going on in the world. Right now, it’s all pretty bleak, anyway, so what are you missing? There is no way to immerse yourself in your art with one eye on your phone.

7) Take Some Training

Every creative needs to keep learning. Even knowing that, it’s tough to make it a priority. I primarily need to use my creative time to produce art to pay my bills. With some extra time at home lately, I’ve been catching up on some online training and enjoying it.

Despite our present challenges, we live in a great time right now. Anything and everything is taught online. And best of all, with money tight for many, a lot of it is free. Not just click-bait teasers with the meat of the instruction behind a paywall, but real valuable art training, more than you could ever take in a lifetime, is available for free from world-class instructors.

You just have to go looking for it, and then make the time to watch, learn, and practice.

I’m an expert in painting and drawing in Photoshop, which comes from twenty years of doing it. And yet, I watched a recent tips and tricks video and rolled my eyes at some skills I could have been using, but didn’t know existed.

8) Try Something New

I’ve known many creatives in my life, and one thing I’ve noticed about most of them; they’re good at more than one kind of artistic expression. I know many painters who are also musicians. A tattoo artist I know is a skilled 3D modeller. An animator I know is a killer character designer. All are creative pursuits requiring different skills.

There was a time when I devoted a lot of my energy to learning Flash animation when many thought that was the direction editorial cartooning was heading. I got pretty good at it, but nobody wanted to pay what it was worth to create. And I didn’t like it much.

I was a bad graphic designer for a short time. Didn’t have the eye for it, nor the interest. I painted caricatures of people. I was good at that, but there wasn’t much call for it, and I grew tired of it.

But all of that work was worth my investigation. All of it taught me something, and I can trace a direct line through each of those pursuits to the painted whimsical wildlife work that is now half of my business. It pays, I’m good at it, and I enjoy it a great deal. I don’t think I would be doing it had I not tried those others first.

Part of trying new things is also realizing what you don’t want to do. By process of elimination, you might find your true calling. But you won’t know until you try.

9) Reach Out

We’re told to self-isolate, but we have the means to connect with anyone in the world.

Everybody is living this situation; we’re all nervous, a little afraid, and misery loves company. Just talking with people like you, who are going through the same thing, will ease tensions. Best of all, you never know what insights or opportunities might come up in an email exchange, Facetime chat or Skype call.

Just this morning, a graphic designer friend in a nearby city recommended a podcast to me that turned out to be one I liked. She was correct; it was right up my alley.

The other reason to reach out to your network is to get work. There might be skills you have that you don’t actively pursue that deserve a second look now. Survival under challenging times requires adaptation and approaching problems in a new way.

Be respectful, open-minded and receptive. The person you contact might not have any work for you, but they could suggest somebody else and offer an introduction or recommendation.

Nobody will give you these opportunities. You have to ask for them. And be honest in your inquiries, because it’s no secret that we’re all navigating strange waters. There’s no shame in saying that work has suddenly become difficult to find, and you’re exploring your options. Right now, that won’t surprise anybody.

They might say no, because a lot of companies are suddenly finding themselves in the same situation. But they might also say Yes.

How do you think I got this writing assignment?

____
(this article was commissioned by Wacom, you can see it on their site here.)

© Patrick LaMontagne
@LaMontagneArt
If you’d like to receive my newsletter which features blog posts, new paintings and editorial cartoons, follow this link to the sign up form.

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Freaking Out


Are you freaking out? So am I.

Over the past few days, I’ve been worrying about how this situation will turn out badly for me in the long run, both for my syndicated editorial cartoons and my licensed paintings.

Yes, that’s selfish.

We’re all in the same boat, dealing with this. We can still be empathetic while focusing on our own needs. Just like they say in that pre-flight briefing nobody listens to, “Secure your own oxygen mask first.”

The what-ifs have been flying fast and furious in my noggin’.

What if more newspapers close? What if retailers don’t order anything for months? What if the zoos don’t order prints for the rest of the year? What if I have to dip into my savings? What if I start going into debt? What if we get sick? What if my parents get sick? What if these restrictions get worse? What if we really do run out of toilet paper?

Yes, some of these could happen, but it’s unlikely for it to be the worst-case scenario, and even less likely I’d be unable to deal with it.

I already spend most of every day working at an accelerated pace, drawing new editorial cartoons as fast as I think of them, painting new images for licensing, fretting the details, trying to make this fiscal quarter exceed the last one.

The available information with this crisis is changing so fast that I’m ping-ponging back and forth between “I can handle this” and “I’m going to lose everything!”

I’m sure most of you can relate. And if not, I’ll have what she’s having!

This isolation home work environment isn’t as unusual for me as it is for so many. But one thing that does come with this job is too much time in my head, leap-frogging from one cognitive distortion to the next.

If you’re unfamiliar with the term, you’re undoubtedly familiar with the behaviour. From the list of the 15 most common distortions, I engage in many of these on any given day, and that’s when times are good.

Right now, they’re lined up in a queue, waiting for their chance to occupy my present thoughts, and they’ve got no concern for social distancing.

The two ringleaders of this gang of hooligans in my own head are Catastrophizing and Polarized Thinking.

Catastrophizing means that I will always jump to the worst possible outcome in any situation I find threatening.

A weird sound in my car means the transmission is going or something equally expensive I can’t afford right now. A month where one newspaper doesn’t run my work as often as they have in previous months means all of my clients are suddenly going to decide they don’t need me anymore. The absence of thousands of followers in my newsletter or social media means nobody likes my art, and I’m going to lose my career. Gaining two pounds this week means I’m going to be 30 pounds overweight in a month.

There is no evidence to support any of this. I’ve got more evidence to support the opposite of every one of these false beliefs, but they feel true, and that’s where the struggle lies.

I had a 1994 Eagle Summit for 12 years, bought it when it was already seven years old. I loved that little car, looked after it, and it was fun to drive. I took it to the mechanic many times for regular maintenance, or when things went wrong, most of which were minor. At the end of its life, my mechanic said it was time to send it to the wrecker because this time, the transmission really was the problem, and it wasn’t worth fixing or selling it. So I donated it, got some money for the local SPCA, paid for half of my wife’s new car, and I took hers. And I love this car, too.

The worst thing in my mind actually did happen, and it worked out fine. But it only arrived at the end, not all of the other times I worried that it might.

In 2009, I lost nine newspapers in one day, when a national chain decided to get rid of all freelance cartoon submissions for weekly papers. I thought that was the end of my career. It wasn’t. The next year was better than the previous one.

I had a decent following on social media before I left the big three. A couple of months ago, I rejoined Instagram, and while my audience is growing, it seems slow. Neither decision had any impact on my income.

As for weight, I’m physically fit. As I approach 50, I’m in better shape now and weigh less than I have for most of my adult life. Even when I was at my heaviest, it was only 12 or 15 pounds more than I weigh now, that middle-age belly weight that sneaks up on everybody in their late 30s until you make healthier choices.

I catastrophized about all of it and still struggle with those and many other false beliefs to this day.

Polarized Thinking, also called Black-and-White Thinking, is the mindset that things are either all bad or all good. Logically I know that’s ridiculous. The world is one big grey area and most situations, problems and experiences fall within it.

Accepting that is hard when it seems like we’re taking one big hit after another, especially when all of the information is a BREAKING NEWS ALERT on how many people are sick or dying in the world from our latest foe.

My email alert sound should be a gunshot for how jarring it has become.

There are plenty of cognitive distortions, and I suspect anyone immune to them is a sociopath. Because cognitive distortions are all about feelings and people are feeling creatures.

This heightened level of anxiety is unsustainable, and today I find it waning a little. I’m taking a lot of deep sighs, stretching, and letting my tense shoulders relax a bit. I’m still anxious, of course, but it’s the baseline anxiety I’m already used to. Still not healthy, but I can handle it for now.

All of this makes me uncomfortable, not knowing what comes next. But I realized yesterday that I’ve been here before. When I quit my job 15 years ago, I had no idea if I could make a full-time go of this art for a living. The difference was that it was my choice, and if I failed, I could just get a job to shore up the losses.  Neither of those is true right now, but the uncertainty is the same.

How long will this last? That’s the big question.

But another question worth asking, what if this is an opportunity?

It’s tempting to fire off more editorial cartoons to try to get as many of the open freelance daily spots as possible, but all that will do is dilute my idea pool, lower how much I’m making per hour, and ultimately mean that a lot of cartoons, and effort, will be wasted. So what to do with the time? I can always paint more animals. I’m always complaining about not having enough time to paint. Part of that, however, is that I want to get as many images available for licensing as possible. But I’ve already got a sizeable portfolio; nobody’s buying right now, so why rush to get more out there during this challenging time?

I can work on painting experiments, images that might not be right for licensing now, but could open up avenues later. I now have the time for some exploration, to throw some things at the wall and see what sticks.

I can write. Not just blogs, but fiction, stories I’ve wanted to tell. I’ve already been doing that this year but it’s a struggle to make the time. I have that now.

Or perhaps I could just be bored for a while. Creativity LOVES boredom. When you slow down, turn off the TV, put down the devices, stop panic-scrolling and just sit and simmer, your mind has the freedom to wander.

I’m uncomfortable right now. I’m afraid. I’m stressed.

What if those aren’t bad things? What if there are ideas hidden behind doors in my mind that I’ve been afraid to open? What if I’ve been so focused on keeping the revenue I’ve got, chasing the next dollar, that I’m missing opportunities that might now show up? What if they’ve always been there and I’ve been too busy to notice?

It’s kind of like driving a familiar route every day, and it isn’t until you’re a passenger one trip that you get to really take a look around. Has that barn always been there? I didn’t know there was a llama in with those horses.

Unlike a localized event or disaster somewhere else, we’re all going through this. When this is over, we will all have our individual stories. Nobody’s life is the same right now as it was a few months ago before most of us had ever heard of Covid-19.

How we cope with it will be an individual choice. What changes will we each embrace when we come out the other side, things we’re forced to do without now that later we’ll decide we never needed?

I’m still going to go back and forth between moments of panic and acceptance. I know that. But I also know this storm shall pass, and it is only when things get bad that we grow. Nobody changes when things are comfortable.

A lot is going on in the world besides the coronavirus, even though its shadow falls upon everything. People are dying of things they were already dying from—heart attacks, car accidents, strokes; you name it. Diseases are being diagnosed, houses are burning down or flooding, businesses are folding, relationships are ending, and families are grieving.

And yet, babies are being born. In all this isolation, babies are definitely being conceived. Artists are creating art; musicians are playing music, writers are writing, teachers are still teaching, professionally and otherwise. Discoveries are being made, buildings are going up, and adventures are being planned.

In many parts of the world, people are still pausing to watch a sunrise with a profound sense of gratitude.

Are you still freaking out? So am I.

Take a breath. Take another.

Keep doing that.

Cheers,
Patrick

© Patrick LaMontagne
@LaMontagneArt
If you’d like to receive my newsletter which features blog posts, new paintings and editorial cartoons, follow this link to the sign up form.

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Habit-Forming

The timing of this post might seem like a New Year’s resolution update, but that’s a coincidence. Shonna recently recommended this book she’d found interesting, but had she done so in August, I would have tried these changes then.

Atomic Habits is a New York Times bestseller by James Clear. While I’ve read my share of self-help and pseudoscience over the years, often with more than a grain of salt, I was willing to give this a shot. It didn’t seem like the usual positive-thinking-will-solve-all-of-your-problems tripe.

I wasn’t a fan of the title, but it wasn’t long before Clear explained the reason for it by calling out the definition. Atomic, meaning powerful but also tiny. The premise of the book is that small changes yield big results, building good habits and breaking bad ones.

Full of practical perspectives within, two strategies caught my attention.

The first is something Clear calls habit-stacking. We all have habits we do every day, from our morning rituals to how we accomplish routine procedures at work. These are behaviours we do to be more efficient with everyday tasks. Habits, when appropriately used, add some automation to our day, freeing up our brainpower for more interesting things.

Habit stacking involves adding onto an existing habit or series of habits, making the new behaviour easier to adopt. In my case, I’ve been trying to make time for meditation every morning. I’ve been unsuccessful at keeping a regular practice over the years because I could never find the time.

In the fall, I took an eight-week course on Cognitive Behavioral Therapy combined with Mindfulness Meditation, which I found well worth my time. I’ve been meditating ever since but found it easy to skip a day here, two days there and hadn’t yet found my groove, despite my best intentions.

After reading Atomic Habits, I realized I just had to add it to my existing routine. In the mornings, I get up at 5, turn on my computer, go downstairs, start the coffee, have a shower, get dressed, go back downstairs, do a series of push-ups and sit-ups, grab my coffee and back up to my office to start work.

Over the past month, I now meditate for 15 minutes, after the sit-ups, before grabbing my coffee. I’ve inserted it into my usual routine, and it’s ridiculous how easy it was to do because it’s not something for which I need to find the time. It’s now just part of how I start my day.

As an aside, if you’re unfamiliar with mindfulness meditation, suspend your preconceived notions about lotus positions, chanting like a monk and becoming one with the universe. The practice is about being present in the moment. Most of us are victims of endless mind chatter where we ruminate on our past mistakes or shortcomings and worry about the future, while rarely being right here, right now.

I’m not very good at it, but that’s not the point. My mind still goes off on its own on dark tangents, and I have to gently bring my attention back to my breath or a chosen focus. Some days are harder than others, but I still sit there in silence for 15 minutes, and the benefits are evident. There’s plenty of information online if you’re curious.

The second habit-changing practice I’ve adopted from the book involves my office calendar. The jury is still out on whether or not this has become a good habit or bad.

At present, my revenue streams are my nationally syndicated editorial cartoons, which I work on most days but send out Monday to Friday. Then there’s my painted work, which involves commissions, prints, and licensing on many different products through several different companies.

On top of those pursuits, I enjoy writing, but for many years, that’s been confined to my regular blog posts and newsletters. But in recent months, I’ve wanted to get back into writing fiction. I wrote about this in a previous post, so I won’t elaborate here.

In Atomic Habits, the author suggests that one method of adding a desirable habit is to employ a calendar.

I’ll use eating healthier as an example. Each day you have a serving of fruit, you put an X on the calendar. Successive calendar marks will make you want to add more, an absence of them will motivate you to prevent further blank spaces. It’s a visual representation of what you’re actually doing, rather than what you think you’re doing. Eventually, you just become somebody who has a habit of eating fruit.

You can use this for reading, playing an instrument, going for a walk, stretching or adding any good habit to your life. Consequently, you can use the same strategy for eliminating bad habits, marking an X each day you don’t perform a habit you dislike.

I’ve got three creative outlets I want to accomplish each day; Editorial cartooning, Painting and Writing.  All three every day is possible, but not realistic. However, that’s still my goal.

Adding writing into an already busy schedule, I knew that was going to be tough, but I also knew that if I didn’t, I’d suddenly be 20 years older, lamenting the road not taken.

Blog posts and newsletters count as writing, so if I wrote something like this post, I got to add a W to that day. But if I only wrote a sentence or two, I wouldn’t, since I’d only be fooling myself.

Having done this all month, I looked at all of the red letters on the calendar for this month and had mixed feelings.

Clearly the editorial cartoons are where the bulk of my creative time is spent, followed by painting, which makes sense since that’s how I earn my living.

As intended, I’m writing fiction again, something I haven’t done in twenty years. I’m quite a few thousand words into a story that I’m enjoying, even though I have no idea where it’s headed. Without this calendar practice, I believe I’d still be wishing I’d started, just as I have for years.

As I recently heard in a book or podcast, “Writing isn’t hard. Putting your ass in the chair to start writing is hard.”

There were days this month when I wanted to write, but life got in the way. Shonna’s car battery died during a brutal cold snap, -30C and below for more than a week, which took two days of problem-solving, trips to Canadian Tire, and serving as her taxi. Now, I work at home, have the most flexible schedule and I was happy to take care of that stuff. OK, happy isn’t the right word, but I certainly didn’t blame her for the inconvenience, especially since my car was warm and comfortable in the garage.

Add to that all of the other daily stuff that comes with life, year-end bookkeeping, tax prep, month-end invoicing, communicating with clients, all of the usual and unavoidable tasks.

The most startling revelation in this whole experiment, however, was that there isn’t a day off on this calendar. Even on Saturdays, my day with the most freedom in the week, I still get up at 5 a.m. and put in 3 or 4 hours before Shonna gets up.

This might seem like humble bragging, as in look how busy the martyr is, but I’m well aware that just being busy isn’t a badge of honour. If it were, we’d all get a participation medal. Everybody is busy.

No, this is indicative of a bigger problem. Anybody who has ever been self-employed knows how much work it takes, especially in the beginning. Then if you make a good go of it, it becomes less about enjoying the successes and more about hanging on to what you’ve got for fear of losing it.

When the inevitable losses do come, in the usual ebb and flow of life, you end up working even harder (not smarter!) to keep as tight a grip as possible. Pretty soon, you’re taking little time off, are perpetually tired, grumpy, depressed, running on empty and operating from a position of fear. You spend less time with friends, and the concept of spending an entire day doing nothing feels, well…irresponsible.

Like any bad habit, it’s easy to come up with excuses that sound reasonable.

Some of the greatest hits we’ve all said or have heard include…I’ll quit smoking next month when work is less stressful. I’ll start saving money next year because it’s Christmas and it’s too hard right now. I’ll make time to exercise later when I’m not so tired. Any bad habit comes with a dump truck full of enthusiastic excuses that sound good at the time, but ultimately don’t hold water.

I’m too busy to take time off. In reality, I’ve just forgotten how.

So while this calendar habit was supposed to be a motivating carrot on a stick, I ended up beating myself with it, and I’m disappointed. Awareness, however, is the most significant part of solving any problem, so I intend to continue using it to motivate me to write. But it will also serve double duty as a cautionary device, reminding me that having a blank day here and there is ultimately healthier than killing myself for another editorial cartoon.

The next time somebody suggests I write a children’s book, get into animation, draw something for their fundraiser, or do a commission for them ‘in my spare time,’ however, I’ve got an excellent visual aid for when I respectfully decline.

I remain a work in progress, just like everybody else.

Cheers,
Patrick

© Patrick LaMontagne
@LaMontagneArt
If you’d like to receive my newsletter which features blog posts, new paintings and editorial cartoons, follow this link to the sign up form.

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2019 in the Rearview

My fuel gauge approaches empty when December rolls around, so I spend it in hermit mode, a little more than usual. We attend Shonna’s office Christmas party, but that’s about it because I don’t have the energy to play the festive role. Celebrating Christmas seems like one more obligation, so I opt out.

In the days between Christmas and New Year’s Day, however, I do get reflective in my seasonal melancholy.  I spent some time last week going through the 2019 blog posts to remind myself of the year that was.

In February, I checked out of social media entirely but then went back to Instagram a couple of months ago. I missed seeing art from those whose work I admire, but I’m still on the fence about that decision.

On the promotion and sales front, there were two significant developments this year.

The first was watching my work spread to many new places, thanks to the license with Pacific Music and Art. Seems a regular thing now for somebody to say they saw my stuff in a store in Oregon, or Alaska, all over B.C. and Alberta, not to mention the calendars and notepads in so many Save-On stores. I had lunch with a friend on Saturday, visiting from Vancouver Island and she said it’s strange walking by the gift store on Mt. Washington where she works, seeing a whole floor to ceiling corner of my art. It’s looking like 2020 will see more of that migration, but it’s my nature to be cautious. Those chickens ain’t hatched yet.

Secondly, the revival of my relationship with Wacom was a welcome surprise. With so many talented digital artists in the world to choose from, I enjoy the ego boost that comes with being a Wacom influencer. I’ve already agreed to another project with them shortly, but there’s a reason they make you sign a non-disclosure agreement.  Must keep secrets.

I painted 11 finished funny looking animal pieces this past year, the latest one above. I called it ‘Sitting Pretty,’ and she’s based on a black bear named Angel, who lives at Discovery Wildlife Park. I’d like to have painted more critters, but I’ll always say that. If I had painted 15, well, it should have been 20.

While there’s something about each painting that I enjoy, if I had to pick a favourite from this year, it would be Snow Day with the three cougar cubs. That was the best of both worlds, a real challenge and a lot of fun. I should have prints of this one available soon.
I painted a couple of dogs for fun, but no commission work this year until just recently. I’m not disappointed by that because I had plenty to do and wanted to focus on more images for licensing. The two dogs I’m currently painting in my whimsical style are for the same client, hoping to finish in a few weeks. They contacted me about the commissions after seeing my work in a BC Ferries terminal gift shop, a side bonus from my license with Pacific.

Two portraits of people this year, John Malkovich and Quint from Jaws, both of which I enjoyed a great deal. I’d always like to have more time for those, but wouldn’t we all like more time for the fun stuff?
Taking into account all of the syndicated cartoons I did this year, plus the custom local ones I draw each week for the Rocky Mountain Outlook, I drew 419 editorial cartoons in 2019. That might be an annual record for me. I have mixed feelings about that. I wonder how many paintings I could have done with all of those hours.

As for the coming year, I’m not big on resolutions. Well, maybe just one. I intend to write a lot more. There’s undiscovered country there and I need to explore it.

There are other things I want to accomplish, both personal and professional, growth I’d like to achieve, and skills I’d like to learn. Try to keep moving forward, best I can, just like everybody else.

Of course, none of this would be possible were it not for those of you who follow and support my work, read my ramblings, and tolerate my eccentricities. We all have limited time and attention in this life, and I appreciate that you spend some of yours with me.

Happy New Year,
Patrick

© Patrick LaMontagne
@LaMontagneArt
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Season’s Greetings – A Video

 

Every so often, I like to record a high speed ‘how it’s made’ video for a cartoon or a painting. I’d love to do more of these, but they’re time consuming.

With the over-the-shoulder view, the kind most people want to see, I used my Canon DSLR on a tripod for the best result. The challenge is that it needs to be close enough to capture the pen on the display, but back far enough so that I don’t bump into it with my shoulder or chair.

I’ve been drawing on Wacom tablets and displays for almost twenty years, so a lot of it is muscle memory. I go through the motions without thinking about the technology. As any artist in any medium can attest, once you’ve been using them for any length of time, the tools become extensions of your hands and arms. You think about the image you’re creating, not about the tools you’re using.

When I record the process, however, the tools are front of mind, which means the cartoon or painting takes longer. There’s really no flow to it and the process feels clunky.

When I’m painting, I can go for an hour without thinking about much else. When recording, I have to stop the camera after about ten minutes. Software is hardly perfect and by recording multiple short segments, it wouldn’t matter too much if I lost one. If I recorded all of it at once, however, that one file becomes a lot more precious.

I don’t record every brush stroke because it would be incredibly boring. I record ten minutes, shut the camera off, draw or paint for ten or twenty more minutes, then record again. There needs to be a big enough change between segments to keep the viewer’s interest.

Once I have enough from the camera, then I’ll often record some screen capture.  It’s no longer the display itself, but software in my computer recording what is happening on the screen. This doesn’t work all that well for painting detailed hair and fur because the cursor, brush and detail is so small, that it’s barely discernible to the viewer.

And again, incredibly boring.

Once I have all of the files recorded, from the camera and computer, I’ll bring them into my video editing software.

How I decided on the length of the video was the music I used as accompaniment. That isn’t always the case, but usual for cartoon videos. I can shorten visual segments, change the playback speed, and more easily mess with the footage than I can with the audio. This Christmas tune is around two minutes, which is a good length for a Youtube video, since our attention spans keep getting shorter.

I didn’t record the whole sketching process because I knew I’d have to mess about with the poses to get all three characters in, plus the talk bubbles.  That’s why you can see my tracing over my own sketch. While that would no doubt be of interest to the beginner or student, not so much for the average viewer.

These videos, it’s all about compromise for content.

For those interested in the tech part, I draw almost exclusively in Photoshop on a Wacom Cintiq 24HD. This recording, however, was done on a Wacom Cintiq 16 display, as they sent me one in August. I put it through its paces while painting my White/Amur Tiger video.

It’s a nice display and I enjoy drawing with it, so that’s why I chose it again for this video.

For recording and editing, I use Camtasia Studio 8. It’s a simple interface that gives me what I need without complicating things. I’ve been using this software for many years and it gets the job done.

While this video added an extra few unpaid work hours to my Sunday morning, I created it to give my newspaper clients some added bonus content for their websites and social media feeds. In any business, you’ll rarely go wrong by offering added value from time to time.

As always, feel free to share it, along with any of my other work.

Cheers,
Patrick

@LaMontagneArt
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The Infinite Game

The following was part of this week’s newsletter, sent Wednesday 11/13/19. While I write blog posts and newsletters on a fairly regular basis, a lot of what I write in the newsletter is only seen by subscribers, along with some photos, sketches and works in progress. If you’d like to sign up, here’s the link. Enjoy!

In addition to listening to podcasts and music while I work, I’ve always got an audio book on the go.

The one I’m listening to right now is quite fascinating. I told Shonna this morning that it might be one of the best books I’ve ever read (listened to) on why we do the things we do, even when it is against our own best interests.

This book focuses on business, but not the ‘rock me to sleep’ boring facts and figures type stuff. Anybody who has ever wondered why things aren’t working out the way they thought or hoped, would benefit from this book. It’s replete with examples of corporate executives, politicians and world leaders who have consistently failed in their roles due to finite thinking. Conversely, there are some surprising examples of leaders who went against the grain, defied convention, and made positive changes while everybody was telling them that they were crazy.

The book is called ‘The Infinite Game’ by Simon Sinek.

One of the things he has been quoted as saying in the past is “People don’t buy what you do, they buy why you do it.”

Now at first glance that might seem like one of those pithy little sayings that somebody slaps on a meme and shares on Twitter, but in the week or so since I’ve heard the phrase, it’s been occupying a lot of my thoughts. I even went so far as to write it on a post-it note and stuck it to the bottom corner of my Cintiq display.

It feels like a mystery to be solved, because I can’t really say why I do what I do, but I feel I should know.

There are plenty of professions that are much easier and pay more than being a self-employed artist. If it was just about the money, I’d be foolish not to do something else.

Editorial cartooning, if I’m being honest, I just do that for the money. Sure, I still get to draw and be creative with it, I’m engaged in daily critical thinking, practicing and improving my art skills, but as I’ve talked about (far too often) in the past, following politics and bleeding-leads every day for twenty years begins to do long-term damage to a person’s soul.

I show up for that work every morning, put my ass in the chair, draw a cartoon or two and make sure my clients are supplied with what I’ve promised. Editorial cartooning is my day job.

It’s no secret that newspapers are struggling and have seen their best days so the fact that this profession still manages to pay a large chunk of my bills is surprising, but I’m under no illusion that it will still be doing so in ten years. Then again, I said the same thing ten years ago, so what do I know?

Each year prior to this has financially been better than the year before. That is, until this year.

At the risk of breaking the unwritten rule of self-employment, to always shout that everything is peachy and amazing and frickin fantastic (!!!), I’m experiencing my first down year, enough to make me more than a little nervous.

Why would I share this? My editors might read this, not to mention my competitors. Why would I point out the blood in the water?

Because I get really tired of the bullshit we feed each other, pretending we’ve got it all figured out when almost none of us do. I know you’re lying about your picture perfect curated Facebook life, you know I’m lying about mine and we’re all just pretending to go along with each other’s fabrications.

I’ve talked to a LOT of people who are having a tough time this year, business owner friends who are freaking out about the red in their books, but that’s only shared in whispered one-on-one conversations lest anybody finds out. The economy is down, people are scared and when that happens, they spend less money, which affects everybody.

As one of my editors said in a candid conversation yesterday, expecting to have nothing but good years, in business and in life, is incredibly naïve. Shit’s gonna happen and if you can step back and take a long look at it, it might be the required catalyst for positive change that wouldn’t have happened if everything stayed the same.

I began painting my whimsical wildlife portraits ten years ago, not knowing at the time that it would be the next transition in my career. It’s the work I love doing most and if there’s an answer to the question, “Why do I do what I do?”, it’s hidden in those brushstrokes.

The happy accident of all this, however, is that the revenue from licensing this work and selling prints has been increasing year after year, and this year, thanks to companies like Pacific Music and Art, Harlequin Nature Graphics and Art Licensing International, I’m seeing the largest year of growth in that part of my business. So the seeds I planted ten years ago are bearing more fruit.

But it’s hard to see that as all positive when the cartoon revenue that has sustained me well for so many years is experiencing a decline. That’s human nature, and generates all sorts of negative cognitive distortions. Change is always hard, but inevitable.

While working on my local cartoon for the Rocky Mountain Outlook, having already sent out today’s syndicated cartoon, looking forward to working on my current animal painting this morning, I got that familiar anxious feeling, worrying about income.

“Maybe I should get another cartoon done for today instead of painting, just to try and make a little more money. I can always paint tomorrow.”

But clearly Sinek’s book is sinking in, because I thought, “this is finite thinking, focusing on the quarterly profit numbers, at the expense of the long game.”

If I keep putting off painting, then no painting gets done. The work I enjoy most that is laying the foundation for the future of my career, is being set aside for the short term revenue that is unlikely to be paying the same portion of my bills a decade from now.
Focusing on the big picture, I decided to paint instead and made some nice progress. It took me about a half hour to really get into today’s session, to quiet the fearful voice in my head, but it was eventually drowned out by the music in the earbuds and the good feelings of painting three happy cougar cubs. Still a long way to go on this, but I can see the finished image in my mind.

Just as the sixty plus whimsical wildlife images I’ve painted during the past ten years are generating income for me now, this painting will do the same later. I just need to stay focused on playing the infinite game.

Cheers,
Patrick
@LaMontagneArt
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Who Ya Gonna Blame?

Follow politicians for a living for as many years as I have and you’ll realize that they’re all playing the same games, telling the same lies, manipulating the same polls, crying the same crocodile tears, all in an effort to fool us into thinking they’re in it for us, when too many of them are in it for themselves. No matter which party you love or loathe, they’re all guilty of playing politics with your money.
We are reactionary, emotional, instinctual animals operating under the false belief that because we walk upright and know how to work a remote control, it somehow elevates us to the height of wisdom and intellect. And yet, we all fall for basic marketing manipulations every day. It’s the reason we buy all of the food, clothing and trappings of modernity that we think will fulfill us. It’s all sales, and politicians are just elite-level salespeople.

They’re hedging their bets, shoveling promise after promise, just hoping that one of their pretend commitments resonates enough with you so that you will believe that they’ve got your best interests at heart.

Which brings me to social media.
You know it’s gotten pretty bad when the vitriol and rhetoric being passed around by regular folks online makes the politicians look like rank amateurs. The shit people say to each other on Facebook, Twitter, Instagram and in the comments sections of news sites is the reason I killed all of my social media feeds some time ago.

The next time you’re tempted to go on a political rant, or engage in an online argument, consider the following points.

You’re never going to change somebody’s mind about anything by calling them stupid.

If everybody who talks a big game online actually went out and voted, the high turnout would be unprecedented.

The people we associate with on social media generally share our perspectives, so most of the time, you’re preaching to the choir. You’re not convincing anybody of anything except that you both share the same bias.

There are a lot of damaged people out there and some of them, for one reason or another, get pleasure from pissing off as many people as they can. They might not even disagree with your point of view, but they’ll happily fight with you in the CBC Comments Section, usually under a fake name.

On the other side of the previous point, just because somebody agrees with you online, doesn’t mean you’re right. Wisdom comes from realizing that you don’t know everything, and humbly admitting that you could be wrong, as we all are, a lot more often than we think.

Sharing news story after news story on social media, without thinking about where it came from, just means you’re working without getting paid, failing to ask if the story you’re sharing is even from a legitimate news source. You’re now a volunteer propaganda distributor and they’re making money off of you.

If the most interaction you have with somebody these days is online and you’re constantly complaining about politics and raging about it, it will change how somebody views you in real life. They aren’t separate things. Make no mistake, if somebody knows you in real life, they see through your online bullshit.

Ask yourself how likely it is that the person who is arguing against you will change their mind or position based on the fact that you make up cutesy names for politicians (Trudope, Trumpty-Dumpty, etc.) and insult their entire perspective. How likely would you be to change your position?

You have a limited amount of time on this planet. Arguing with strangers about politics is not the best way to spend it. If you were diagnosed with cancer tomorrow, or a family member, or your best friend, would it really matter if a political candidate said something foolish? If this is your one shot at living a fulfilling life, finding meaning, making a difference, how well do those means serve these ends?

The politician or party you’re voting out this time because you hate him so much? That’s the politician or party who replaced the last guy you voted out because you hated him so much. If one was so much better than the other, we wouldn’t keep swapping them.

We compare our own best traits to the worst traits in others, convinced we’re better. We pretend to be virtuous and empathetic online, but race to beat somebody to a parking spot at the mall. We say things to people online that we would never say in real life to another’s face because then you would have to look them in the eye and see the damage you’ve done.

Most people end up voting against somebody they dislike, rather than for somebody they like, the lesser of evils. You leave the ballot box with a heavy sigh, thinking, “well, I did my duty,” but you don’t feel that good about it.

I’m not going to try to fan the flames of democracy here, inspire you to make a difference, or pile on the platitudes about people dying in other countries for the right to vote, or telling you that if you don’t vote, you can’t complain.

Lots of people don’t vote, and they still complain.

I still think it’s important to vote, what really amounts to the bare minimum of participation in the democratic process, but it gets harder and harder to see any benefit as the years go on. With a stage full of disingenuous bad actors, the whole thing feels rather futile, but then again, it always has.
What makes it harder, however, is the false outrage online, the manipulation of some facts, the complete fabrication of others, and how people treat each other, especially when this electoral exercise is in progress.

What’s worse is that people are sharing false information and fake news stories and they don’t even seem to care that they’re being duped, because the fantasy they share supports what they want to believe. But we’ll call out a politician for even the tiniest of lies or indiscretions.

Pot, meet kettle.

You are free to champion one candidate while reviling another. But it is important to understand that your preferences are not shared by everyone else. We all have a bias, we all have different life experience, and we all see the world through a different lens. A person who is trying to make a living in downtown Toronto has different challenges than a person trying to make a living in rural Saskatchewan.

But they probably still have a spouse, children, aging parents, failing health, car payments, a mortgage, a job they tolerate, debts they struggle to pay, and lives that didn’t turn out as well as they’d hoped, or were promised.

We are more alike than different.

This is why social media is so dangerous, because we gravitate toward those with like-minded opinions; we cluster with those people and then go looking for an enemy, which is the cluster of those other people whose opinions and ideals differ from our own. We insulate ourselves from diversity and extinguish our own empathy.

Then we grow to hate each other, a little more every day.

You can’t blame that on politicians.

© Patrick LaMontagne
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Two Wolves

     It was with great pleasure and relief that I finally got another painting finished this morning. I started this piece over a month ago and it was a struggle to find the time to work on it.

With the daily editorial cartoon deadlines, ongoing kitchen renovations, a number of other obligations, side issues and unexpected distractions, each day that I couldn’t find the time to paint was frustrating.

This year’s new license with Pacific Music and Art has introduced my work to a lot more places. Hardly a week goes by without somebody sending me an email from somewhere telling me they saw my work in a store or bought one of my images on a product. My buddy Darrel was just on a road trip out to Vancouver Island and sent me a photo of my Bald Eagle image on some notepads in Harrison Hot Springs, BC.
A woman from Florida sent me an email yesterday telling me how much she loves the Smiling Tiger image she bought on a trivet while on vacation in Canada this summer.

It’s a little overwhelming, but also exactly what I’ve asked for.

I’ve been an editorial cartoonist for more than twenty years, self-syndicated since 2001 and a full-time artist since 2006. But newspapers have long since reached their peak and I’d be lying if I said I haven’t often looked down the road and wondered how much longer that will be a part of my career. I’m not ready for the end yet, but I’m preparing for it.

Over the last few years, I’ve lost more papers than I’ve gained, most often because some newspapers have stopped running cartoons, have reduced how often they publish or have shut down. Most daily newspapers have sacked their in-house cartoonists and are using freelancers like myself and others. I’m sometimes surprised that the ride has lasted this long for that part of my business.
While I still need that income and it’s an important part of my business, that first funny looking Grizzly Bear I painted in 2009 has led to my still being able to live and thrive in this artist life, ten years down the road. During that time I’ve created more than 60 production pieces. They’re sold as prints in zoos and parks, and licensed through a handful of companies here in Canada and in other parts of the world.

The foundation for this part of my business was laid ten years ago and has turned out better than I could have imagined, all started with a simple experiment, painting this bear.
In all of that time, the daily deadline of editorial cartoons has been priority one, because that’s the monthly income, the clients I supply each day and invoice at the end of each month. I’ve always put the painting on the back burner, to get to when I have the time away from the cartoons. Over the past year, with my painted work spreading faster and further, it has become clear to me that they are both of equal priority; because the painted work I do now will be what pays the bills down the road.

Just as that Grizzly Bear is still one of my bestsellers (and one of my favorite paintings), none of the current licensing would be possible had I not built the portfolio to offer to these clients in the first place.

It’s also tempting to stick to the formula, to paint the head-shot animal composition time after time, because that’s where it started, that’s what initially got these pieces noticed and those are proven sellers.

But that’s not where the magic happens. We too often worry so much about keeping what we’ve got that we fail to imagine what else might be possible.

With that first painting, I tried something new, took a risk on being different, and it led to the work I most enjoy. I love my whimsical wildlife critters. I am at my best when painting them, both in my skill level and how they make me feel. If the politics of editorial cartooning is the poison, these animals are the antidote.

For years, people have been telling me that what makes these images special is the eyes. It’s always how I paint the eyes, I hear this constantly. Then I painted the Smiling Tiger with her eyes closed and it’s one of my bestselling pieces. Had I paid too much attention to what I’d been told and not enough to what I wanted to paint, this image would never have happened.
I feel the same way about this latest piece. It’s a different composition, two wolves who might be sharing an inside joke. A couple of buddies or a romantic couple? It tells a story and while I’ll always be my worst critic, I really like this painting. I hope it’s popular, because right now, it’s already one of my favorite pieces. It’s different from the usual head-shot composition but a risk worth taking.

And it was fun, something I don’t make enough time for.

I took the reference for this painting at the Calgary Zoo a while ago and I felt that I had captured something when I looked at the shots. I knew instantly I would be painting this image. That doesn’t often happen.

As a professional artist, I have to keep in mind that if I don’t produce any commercial images, I don’t make a living. But I have a feeling about this direction, more animals in an image, telling a story, and still in my style. I think there’s something here.

Only time will tell.

Cheers,
Patrick
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A Local Cartoonist

Although I have syndicated clients across Canada and produce cartoons each day for them, I also draw one local cartoon each week for The Rocky Mountain Outlook, the paper of record for Banff, Canmore, Lake Louise and area.

I’ve been their cartoonist since they opened their doors in 2001 and I’ve never missed an issue. In the early days of The Rocky Mountain Outlook, one of the owners, also the Editor, encouraged me to self-syndicate, which meant draw my own cartoons and send them out to other papers in the hopes they publish them. At the time, I’d only drawn one cartoon each week for the Banff Crag & Canyon for a few years and was very new to the Outlook.

The Rocky Mountain Outlook was destined to fail. The cheap seats were full of people who said so.

I was thirty years old, and I had never envisioned a career as an artist. Not even a little. Carol Picard changed my life and it’s hard not to say Thank You every time I see her around town.

For the next five years, I drew cartoons on the side while working a full-time job to pay the bills. Early mornings before work, evenings after work and weekends, with very little money to show for it. I almost quit half a dozen times in those five years. Sometimes I drew five cartoons in a week and made $10 from the one weekly paper that ran one. That kind of thing went on for a couple of years, but it was great practice. I was finally able to become a full-time artist in 2006.

With a lot of experiments in between, eventually the editorial cartooning led to the other half of my business painting funny looking animals, which are licensed and sold in zoos, parks, retail stores and other venues across Canada and internationally. Having been a full-time professional artist for the past 13 years, I’m pretty sure I’m now unemployable in a real job.

Without The Rocky Mountain Outlook, none of that would have happened.

My editor, Tanya Foubert, delighted in calling me today to tell me that the Canadian Community Newspaper Awards were announced for 2019 and I won 1st and 2nd for Best Local Cartoon in our class. While we all know it’s not about the awards, I’d be lying if I didn’t admit that this feels pretty good. It’s the first win for me, although I think I got third one year.

I’ve never submitted to the National Newspaper Awards. Maybe once in the early 2000s. The Outlook submits to the CCNAs on my behalf. Since I have many clients for my cartoons, it’s always been more important to me to keep my editors and publishers supplied, happy (and paying me!) than it was to win an award.

But this one is different, because it’s the Outlook. It’s my local paper. I’ve known these people for almost twenty years. I know what the original owners went through to keep it afloat, against all odds. I know how hard the current staff and leadership work to hold to that original vision.

Once again, I am reminded of Roosevelt and The Man in the Arena.

From the official announcement of the awards on News Media Canada’s site, the first highlight was, “The Rocky Mountain Outlook from Canmore/Kananaskis/Banff/Lake Louise in Alberta picked up the most wins (five), including first place for General Excellence.”

How could I not be happy to be a part of that?

Thanks, Carol.

Cheers,
Patrick

Here are the cartoons that won. The first was about the contentious issue of Calgary’s failed bid for the 2026 Olympics. While not an official tally, half the community seemed to want it more than anything, the other half were opposed.

Second was our ongoing issue with parking in this area. My first cartoon for the Banff Crag and Canyon in 1998 was on paid parking. Everybody’s got an opinion and a solution, but nobody wants to pay for it, or stop driving whenever they want.

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