Category: Life Lessons

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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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The Purge

On New Year’s Day, I threw out my Photoshop World Guru Awards.

It wasn’t an impulsive move, but something I’d thought about many times the last couple of years.

When it comes to endings and beginnings, it would make more sense for each person to have some serious annual reflections on his or her birthday, truly the turning of a new year for each of us.

But New Year’s Day works for most because it’s the turning of a big number and a new calendar.

I began the year with a new painting. It’s not something I do every year but were I to have a tradition, that seems like a good one to me. Start another trip around the sun by making the work I love most a priority. It sets a precedent.

Following a couple of hours of painting, however, I suddenly had the urge to clean up my office.

For the most part, I keep a tidy space, but like anyone, papers pile up, items land in corners, and unoccupied floor space suddenly gets filled. Then it all begins to gather dust.

My office occupies the entire second bedroom of our townhouse condo and most of the time; it’s well organized. We’re not big consumers, so we don’t have much clutter. And still, even with shelving in the closet, bookcases, two large desks and ample drawer space, stuff accumulates.
My closet is floor to ceiling shelving. In multiple large alphabetized bins is my inventory of hundreds of prints. Boxes of canvas prints, support materials for my booth at Expo, large rigid print mailers, foam core backer board, cellophane sleeves, magnets, coasters, aluminum prints, a variety of packing material, and other sundries that go with this art-for-a-living operation. This is just one end of it, the other looks similar.

If allowed free-range, it could quickly turn wild.

In drawers, you’ll find replacement ink cartridges and paper for my printer, pens, paper clips, staples and the supplies that go with any office. Add to that empty, half-filled and filled sketchbooks of various sizes, and plenty of art supplies for sketching, even though these days, I primarily work digitally.

Among those necessities, there exists the things I hang onto that have outlived their usefulness.

Dozens of art prints I’ve bought from other artists over the years that I always intend to frame and put up. Many people have a collection like this, but especially artists. We love to buy new pretty pictures, even if they’re eventually filed away with the ones we’ve bought before.

There are images of my own work, special edition productions I’ve done where I’ve printed too many, just to be on the safe side. There’s nothing wrong with them, aside from the low demand, but I can’t seem to recycle them, and giving them away feels like a slap in the face to those who actually paid for one.

Odds and ends of packing material with no use, kind of like the stale ends of a loaf of bread, kept in the unlikely chance they might be of use later.

There is a large box of computer cords and other gadgets or parts, either obsolete or won’t connect to any current equipment, but there was that time years ago when I needed something like that and didn’t have one. Just don’t ask me to recall when that was.

Finally, on the top shelf, there are empty product boxes. For the iPad, iPhone and Apple Pencil I bought more than two years ago. Just in case I need to return one? A box for a camera lens, to replace the one that broke when I slipped on a Vancouver Island beach more than two years ago. I still have the broken lens, too, because it was expensive.

What it all comes down to is something called sunk costs.

You can find long explanations of the term online, a lot of them having to do with accounting and business expenses, but the short version, as I understand it, is that we often make bad decisions and hang onto things, because they once had value, even if they don’t anymore.

Say you bought a computer monitor ten years ago. Even though it has dead pixels, the colour shifts, it makes a weird humming sound, is too small for your current needs, and the one you’ve got now is so much better, that old monitor still sits in the corner of your basement or garage, taking up space. Because you spent good money on it and somehow keeping it around means you didn’t lose that money.

We keep things long after they no longer have value to anyone because throwing it out not only feels wasteful, but we think that if we keep it, the money isn’t really gone if we still have the thing we bought.

It’s the reason I have TWO four-shelf bookcases full of books even though I haven’t opened most of them in years. Some I have yet to read, but most of them are art books I don’t open anymore and likely never will again. But I spent money on them, so it seems like donating or recycling them now meant I wasted money when I bought them in the first place, even though that isn’t true.

What about Kijiji?  I could still get five or ten bucks for some of this stuff. But since it isn’t wise to invite strangers to my home, that means I’m going to sit in a parking lot somewhere, waiting for somebody to show up on time, if he shows up at all, to make $10, when I would make more than that spending my time working on a cartoon or painting.

Time is the most valuable resource we have and turning my old stuff into a travelling yard sale is a poor use of mine.

A good friend of mine is a whiz with musical instruments. He’ll pick up a beat-up guitar at a pawn shop, take it home, disassemble it, clean up the parts, install new ones for broken pieces, and give it new life. Then he’ll sell it for more than the original cost and his time, making a tidy profit. He enjoys both the hunt for the instrument and bringing it back to life.

That’s not the same thing as trying to get $5 for an old pair of PC headphones that are long obsolete.

In addition to those headphones, and another set, a portable drawing table, some promotional valise type carrying cases, and various other odds and ends, I donated a large box of stuff to the local thrift store last week.

A small tube TV I’ve had in my office since we lived in Banff in the 90s went to electronic recycling, along with a radio, and the useless computer cords. I hadn’t turned that little TV on in over a year, not since we killed our cable.

And in a couple of garbage bags that went to the dumpster were my three Guru Awards from Photoshop World.

Winning those awards meant a great deal to me. Professionally, it gave me credibility as an expert in digital painting. The first in 2010 was for the Illustration category, the second that same year for Best in Show. It was a sense that I had finally arrived, that I wasn’t kidding myself about the quality of my work.

It introduced me to Wacom, which led to working with them.

The third award in 2014, was again for Best in Show. The prize was my Canon DSLR camera, which changed my whole process. Taking reference photos became as important a part of my painted work as the painting itself. Today, one doesn’t exist without the other. It was the last time I would attend Photoshop World, a period in my life I remember fondly.

The conference itself has withered in recent years, with attendance dropping off. The community of friends I knew, none of them go anymore. And these days, outside of that group, most people don’t even know what the award represents.

Winning the awards mattered to me, the doors they opened mattered to me, the recognition mattered to me.  Those three large chunks of acrylic gathering dust on the shelf don’t matter to me, and they certainly don’t matter to anyone else. For the most part, nobody spends time in my office but me.

I asked myself, “Do I need to keep these?”

The answer landed them in the garbage bag, and three days later, as I write this, I have no regrets. Those laurels are in the past and if I’m still defining my worth by awards I won 6 and 10 years ago, that’s a problem.

Getting rid of useless stuff feels like dropping a heavy pack after a long hike, suddenly realizing how much weight was on your back.

The awards, the TV, those computer cords and all of that stuff I haven’t touched in years, I can’t give you a good reason why I hung onto any of it as long as I did, other than the fact that at one time, they had value.

If your home burned to the ground, what do you currently own that you wouldn’t even consider using the insurance money to replace? Look around. If it was suddenly gone, would you repurchase it? That’s the first clue you no longer need it.

It’s all baggage, the stuff that belonged to who we used to be that holds us back, shit we carry that prevents us from moving forward.

As Tyler Durden said in Fight Club, “Things you own, end up owning you.”

Up next, the bookshelves.
__________________

© 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
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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Where’s the Camera?

When I was in my early twenties, at the end of my five years in the Reserves, I had the opportunity to work as a paid extra on the movie Legends of the Fall.

It was a fantastic experience, full of great stories. I’ve written about this before, here’s the link if you’re interested.

If the story is moving and you’re captivated, a good movie should allow you to suspend your disbelief. Sure, there might be continuity errors from time to time, and we all know that the science behind a lot of movies is pretty loose. But a good story should keep you interested, a willing participant in the fantasy delivered on screen.

Even movies based in reality will stretch and squash the truth to tell a better story. We welcome the lie because even with amazing real-life stories, the movie version will be better.

People will say they want to know how the magician performs his illusions, but it’s almost always disappointing when you do. The fun lives in the fantasy and when that’s gone, it’s just a trick.

When filming began on Legends of the Fall, there were about 1000 extras. It might have been 600-700, but it was a lot. As it was a First World War epic drama, we were all young men, each in period uniform. We filmed each night, all night long, and while there was plenty of downtime on set, it was exciting when the cameras were rolling.

After the first few days, the main army was sent home, and there were 60 of us left for the next two weeks, all of whom required military experience. The reason was that we fired authentic Lee Enfield rifles in successive scenes and even blank rounds can kill if used irresponsibly.

The main battlefield looked as you would imagine. Mud everywhere, large craters, uneven terrain, burnt trees, and rows of barbed wire fence, with meandering trenches along either side. For the first few nights, all we did was run back and forth across the field, an army whose only enemy was time and money.

We did quite a few rehearsal runs, choosing our routes to minimize collisions, or tripping on obstacles in the way. Before each run, an Assistant Director would walk down the line, pointing to every second, third or fourth man and say, “Dead.”

This meant that at some point during your run, from one side of the field to the other, you were to fall and stay still. No theatrics, no crying out, drop and don’t move. If you weren’t supposed to die, but you tripped and fell, or an explosion went off near you, you were to consider yourself dead, resurrected only when the director yelled, “Cut!”

A few from the larger group were kicked off the set for goofing around. One guy ran across the front of the camera, looked right into the lens and gave a big smile. They dismissed him.

There were huge stadium-style lights on stands, pointed toward the field. We filmed all night long but it was almost like daylight. When you see a night scene in a movie, it’s quite bright so that the camera can see everything. Sometimes they’ll add a deep blue filter to the camera so that a scene filmed during the day looks like night. One of the giveaways for that trick is a landscape scene where you can see shadows or light details in the distance.

In those battlefield scenes, with the cameras on a hill, facing east, all the viewer would see is an army running across a field. There’s smoke, explosions, yelling, screaming, and it looks like chaos.

But that’s not what we saw.

Take another camera, position it on the eastern edge of the field and turn it west, and you’d see another army of production people, lights, tents, vehicles, cameras, and activity just behind the camera. You would also see several figures in bright orange jumpsuits, sitting in front of built-up mud mounds all over the battlefield. In front of them were control boards, their job to set off the pyrotechnics while we ran around them.

If the main actors were involved in any of the scenes, you would see a sawdust trail in the mud, the path they were supposed to run, and the rest of us were to avoid.

When I watch a movie today, if the pace is slow and my mind wanders away from the illusion, I’ll often think about how it was made and ask myself, “Where’s the Camera?”

They film quite a few movies around here in Canmore and Banff. A favourite is The Edge with Alec Baldwin and Anthony Hopkins. I watched it again recently and there are many scenes where they’re supposed to be lost in the wilderness, far from civilization. But if you’re from around here, knowing the true locations is amusing.

One particular scene was filmed just around the corner from where we live, in an open field called Indian Flats. In the movie, they’d just killed a bear, were exhausted and wondering if they were going to make it back to civilization. The mountains loom high above them, and it looks like extreme wilderness.

If the camera were raised just ten feet higher or turned 45 degrees left, however, you would see Highway 1A right beside them, the TransCanada less than a kilometre away, the light industrial area of Canmore and no shortage of local infrastructure.

It’s not something we think about while watching the movie, because we’re invested in the lie. We want to be entertained.

A side effect of that long-ago experience is that I find myself asking the same question in other areas of life as well, where the lie is not so obvious or welcome.

Where’s the camera? What am I not seeing?

While we recently killed our cable because we found we were primarily watching streaming services, I hadn’t been a fan of reality TV for this very reason. When you see people arguing, a scary suspense-filled moment, or a near-death experience on one of these shows, it gives you a whole new perspective when you start thinking about the camera and crew filming the scene. Suddenly, it seems more like a bad performance, not scary at all, and nobody is even remotely close to injury or death. The insurance people would hate that.

These shows not only film conflict, but they try to instigate it. It’s entertainment, but not reality.

The same can be said for all of the selfies and carefully curated images and videos posted on social media.

One of the most visited locations around here is Moraine Lake, near Lake Louise. It gets so busy in the summer that they periodically close the road and limit traffic, because there are so many people up there, taking photos of the Valley of the Ten Peaks.

It’s easy for one person to stand near the edge of the water, take a photo and have it look like they’ve just completed this arduous hike and are in this serene location all by themselves. But move the camera back thirty feet, and you’d see hundreds of other people taking the same photo, right beside a parking lot full of cars and buses.

You’re likely familiar with the beach feet photo, where someone takes a picture of their own feet stretched out before them on a towel or deck chair, the beach and ocean filling the rest of the scene. The caption usually reads, The Good Life or Lost in Paradise.

Meanwhile, move the camera back twenty feet, and they’re one of many people on a crowded beach, at an all-inclusive resort complete with loud music, gangs of drunken college kids and screaming children who’ve had too much sun.

Did you know that you can take a perfect picture of the Sphinx and pyramids while standing in front of a Pizza Hut in Cairo? It’s right across the street. It’s now become an online gag to take the photo from inside the Pizza Hut to capture the scene with the logo on the window. Google ‘pyramids Pizza Hut’ and you’ll see.

My favourite would have to be the one where somebody shows themselves at the gym, or in a contemplative moment looking out at the ocean, or sitting in a Zen-like lotus pose trying to convince you that they’re one with the universe. It becomes completely ridiculous when you consider that they had to set the camera/phone up, put it on a timer, rush back to pose to show you how Zen and peaceful they are before they check the photo, decide they look fat in that one and try it all over again.

Add in photo filters to change the weather or light, some feature manipulators, and a softening filter to make you look younger, which most of the time makes you look plastic.

These exercises in camera trickery happen for two reasons. One, to convince others that our best-laid plans are even better than they appear, and two, to make us feel a little better about our own lives that aren’t quite measuring up to unrealistic expectations.

And while we’re making ourselves feel better, we’re making others feel worse, and they do the same in return when they post their own staged photos. No wonder we’re all so miserable, angry and dissatisfied with life.

Whether it’s movies, reality TV, social media, the news, politics, or any other information we’re fed daily, realize that it’s all designed to sell you something. It could be a product, an experience, or an illusion, but simply put, it’s a manipulation.

A friend’s vacay pics making you jealous? Ask yourself how much time they spent snapping and uploading filtered photos instead of enjoying where they were. They were probably looking at their phone more on vacation than they do at home.

The perfect family Christmas dinner photo? The credit cards are all maxed, the turkey’s overcooked, Grandpa’s drunk and being racist again, and the dog just threw up under the table.

The politician blaming everything on his opponent and promising you he’ll fix all that ails you? That always changes right after the election, no matter who is in power. The same middle-class family he posed with at that campaign rally now can’t make ends meet, because that same politician eliminated their jobs in his first budget.

Now with deep fake technology and other software, a photo or video is no more evidence of truth or fact than a nosy neighbour gossiping over the back fence.

Fake news works because we choose to believe it.  It’s designed to spread because it plays on our bias. When one person believes one of these lies, they share it with others, and as Nazi propagandist Joseph Goebbels once said, “Repeat a lie often enough and it becomes the truth.”

With a new year upon us, I would make a simple suggestion. No matter what you read, see, hear, or experience, take a moment to consider that you do not see the whole picture, especially if it’s something you want to believe. That should be your first clue.

Ask yourself if the camera is showing you something real.

Ask yourself what it’s not showing you.

Then ask why.

© 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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Write or Wrong

As mentioned in my recent post about painting Quint from Jaws, there’s something about this time of year, I get this panicky, restless, fretting feeling that time is ticking, life is passing by too fast, and there’s so much I need to get done before I die.

There are plenty of problems with that first sentence, aside from the fact that it’s too long.

Right up until sixth grade, I got excellent marks, but then I entered French Immersion, and everything plummeted. What used to come easy suddenly required work.  I was a lazy student, didn’t pay attention, always daydreaming, class clown, none of this should surprise you considering how I make my living.

I squeaked by in high school. Even if I knew the material, I often tanked the tests. My French teacher told me at graduation that I failed my final exam, which made no sense since I was still fluent at the time. She wrote it off as a bad day and passed me with 80%.

In college, I spent a couple of years in Psychology because I had no idea what I wanted to do with my life. I went to class, enjoyed the subject matter (still do), but was put on academic probation my second last semester and wasn’t ‘invited back’ after the last one.

Despite studying, I didn’t do well on the tests.

I suspect it was an issue I have to this day, putting pressure on myself for even the little things, so that during those tests, I would wonder, “What if it’s a trick question? What if I don’t know what I think I know? What if I make the wrong choice?”

That became a repetitive exercise in self-sabotage.

After that, I went to school to become an Emergency Medical Technician. I did well in training, enjoyed the experience, had a successful practicum in Calgary with an excellent preceptor, and despite failing the registration exam the first time (it’s like there’s a pattern here), I received my license.

In the middle of all of that, I spent five years in the Reserves, where I met Shonna. She was also in college in Red Deer, for Hospitality and Tourism, which is why she moved to Banff for her practicum and stayed for the advancement. I moved to Banff after my EMT training to save the failing long-distance relationship and realized I no longer wanted to work on an ambulance.

We were married the following year. Twenty-five years later, there’s no doubt I made the right call.

Between then and now, I worked in tourism and retail, drew my first editorial cartoon in 1998, then once a week for the next three years. I became nationally syndicated, part-time until 2005, when I was able to quit my job working as an Office Admin for a physiotherapist. I’ve been a full-time artist ever since, drawing daily editorial cartoons for newspapers across Canada and painting funny looking animals for prints and licensing.

That’s the Coles notes version, CliffsNotes for Americans.

Despite all of my shortcomings in school, however, I’ve always enjoyed writing. Essays, book reports, poetry assignments, creative prose, I not only liked the work, but I did well at it.

One English teacher in junior high even called my parents to tell them that I must have plagiarized an assignment because the writing was too advanced to be my own. She couldn’t prove it, and my folks backed me up.

To this day, that accusation pisses me off. I hang on to shit. It’s unhealthy.

What most don’t know is that I’ve written two novels. These aren’t ideas, notes, and outlines, but finished books.

I’m not saying they’re any good, but I did the work, spent countless hours for a few years, writing, re-writing, and hashing out characters. I even used up a week’s vacation one year to complete that first book, and when finished, I was pleased with it.  But just like all of those failed tests, when it came time to put up or shut up, I caved.

I only sent it out once and got a charming, encouraging rejection letter.

Rejections are part of the process; the price all writers must pay. I knew that going in, but I never sent it out again. Instead, I wrote another book, and I never even sent that one out once. Both of them have been sitting idle in a drawer and on various hard drives for close to twenty years.
A few years ago, I planned to do an art book, a collection of my animal art and portraits from the past decade or so, along with the stories behind the paintings, of which there are many. I even had a local publisher commit to producing it, one of the highest hurdles in writing a book. It was supposed to come out in 2017.

Since it’s 2019 and there’s no book available on my site, you can guess what happened. I choked.

The material is there, in a dozen years of regular blog posts, thousands of words already written, hundreds of images sketched, drawn and painted, all waiting to be edited, rewritten and put together, but for my crippling self-doubt and failure to follow through.

When I run into that publisher here in town or at the Calgary Expo, there is no small amount of shame, and it requires effort not to hide from him. I’m pretty sure he’s moved on. Who wouldn’t?

It’s basic psychology. A simple fear shared by every creative who has ever lived. If I don’t put it out there, it can’t be rejected, judged or ridiculed.

The irony is that when I started editorial cartooning, the odds were stacked against me to the same degree, if not more. And yet, I still drew three to five cartoons every week for two years, earning no money from it. I came close to quitting many times but kept at it.

The same thing happened with the painted work, albeit to a lesser degree as I was already a working artist, but it took a few years for that work to pay dividends.

There were plenty of rejections during that time, more than I can count. I still get rejections every day, whether it’s because a newspaper runs a competitor’s cartoon instead of mine or somebody picks up one of my prints at the Calgary Expo, puts it back and moves on. I can’t imagine how often that happens in retail stores with my licensed products.

I make my living in a profession synonymous with failure.

So why is writing different?

Part of it is that now that I pay my bills with my creative time, the thought of spending it on something unlikely to make money, it just feels irresponsible. I could spend two hours painting or drawing an editorial cartoon, or I could spend two hours writing. Two of those options will put food on the table.

That’s the trap of being creative for a living. When you first start, it’s just great to be creating. Then it’s thrilling when somebody wants to buy what you’ve made. When you realize you can make a living at it, well, that might as well be a lottery win.

Until one day, you reach down to scratch an itch on your ankle and realize there’s a shackle and chain around it. Suddenly it isn’t that you get to create, but that you have to create, as much as you possibly can. Otherwise, it’s back to one of those real jobs.

So when I think of writing a book, whether an art book or a novel, it feels like wasted time. It feels like risking the tangible paying creative work on a pipe dream that is only so much smoke.

The reality is that most writers never make any money from it. The stats don’t lie. For every Stephen King, J.K. Rowling, or Malcolm Gladwell, there are millions of others who will spend their lives writing words that nobody will read.

Over the past year, I’ve felt the urge rising again. I’ve got multiple notebooks on the go, rewrites of the first two books, one for the art book and a new one that has been rattling around in my head. I think about the last one every day.  It’s a good idea, a book I’d want to read, but aside from taking notes, I haven’t written a word.

I’m just afraid it’s gonna suck.

If somebody doesn’t like an editorial cartoon or a painting, I can easily chalk that up to preference. Hey, you don’t agree with my opinion, you don’t find it funny or resonant, or my artwork isn’t for you. That’s art for you, and I’m okay with that. I’ve got close friends and family who don’t like my work. It doesn’t bother me.

The writing is different. Even with blog posts, which I always seem to find time for, I worry that they’re too self-indulgent or narcissistic or first-person, uninteresting, too long, derivative, whiny, redundant, dull.  I could write negative, self-critical adjectives all day long.

With writing, it almost seems like I’m waiting for somebody to give me permission, some panel of experts who will deliberate and deliver their verdict.

“We’ve discussed your case at great length, read through your blog posts and newsletters, and we’ve decided that you’re just not good enough to write anything of substance. We find you guilty of hubris. Request denied.”

Even as I write this, the critic in my mind admonishes, “wait, you’re not going to post all of this bullshit, are you?”

If you’re reading this, I guess you know how that turned out.

In his book On Writing, Stephen King wrote, “If you write, or paint, or dance or sculpt or sing, I suppose, someone will try to make you feel lousy about it.”

For most creative types, the loudest critical voice is usually our own. What I fear more now is not that I’ll write a lot of garbage that won’t be any good, although that fear is ever-present, but that I’ll think about it for another twenty years without writing anything.

Better to risk being a bad writer than a wannabe.

As always, finding the time for anything new is a challenge. Editorial cartooning and painting are each hard enough to make time for, let alone photography, marketing, file prep, bookkeeping, and the other trappings that go along with being self-employed. I do manage to write regular blog posts and newsletters, however, and that’s tens of thousands of words each year.

Since I don’t have kids, I should probably just shut up about not having enough time. Excuses, like opinions, are never in short supply.

One of my favourite movies is Rocky Balboa, the sixth movie in the franchise, written and directed by Sylvester Stallone. You want to talk about writing against the odds; Stallone’s success story with the original Rocky is legendary. How that industry worked at the time, the movie not only should never have been made, but Stallone should never have starred in it. It won multiple awards, including the Oscar for Best Picture.

I’ve watched the movie many times, and there’s an incredible speech about this very thing, letting your fears dictate your path. I’ve included it at the end of this post.

But there is also a scene where the character Marie says to Rocky, “Fighters fight.”

The last time I saw it earlier this year, however, I heard, “Writers write.”

I haven’t been able to get it out of my head.

@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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Kayaking With(out) Whales

After a trying year of challenges, both business and personal, Shonna and I had been eagerly anticipating our vacation this past week. Booked in early May, it was the light at the end of the tunnel of our still as yet uncompleted kitchen renovations which occupied our entire summer.

That light didn’t turn out to be as bright as it first appeared.

We wanted to see orcas and other wildlife from a kayak and we did a fair bit of research to not only choose the best time of year to go, but the ideal place to see them. We researched different companies and were confident that we had put our best foot forward in advance.

We had only kayaked once before a few years ago in Tofino and liked it enough that we wanted to try a longer trip.
Because of my workload and commitments to my newspaper clients, I can only take a week off at a time, rarely more than once a year. Whenever possible, I try to have it be a working vacation and since Shonna loves wildlife like I do, it’s usually easy to do on Vancouver Island.

To drive to Vancouver Island would be a total of four extra days on the road, hotel stays, ferry crossings and delays, so we always choose to fly from Calgary to Comox and rent a car. We’ve taken our Island trips like this for years.

On Tuesday of last week, we drove up to Campbell River from the Comox airport, took the ferry over to Quadra Island, and checked into a wonderful little B&B called Chipperfield Hollow, where we stayed on our first and last night on Quadra. We’d highly recommend it.

That evening, we had a pre-trip meeting at a local inn, just a short walk down the road, where we met with our guides from Spirit of the West Adventures. They operate a number of different tour options, but the one we selected was the Johnstone Strait Ultimate. Four days, three nights with a base camp. This company was suggested by a neighbour who used to guide in that area and our research supported that recommendation.

The next morning, we boarded a water taxi for the 2.5 hour trip up to the camp in Johnstone Strait.

Rather than give you an itemized itinerary, let’s just jump to the pros and cons.

First, the good…

The company was top notch. From our initial booking and advance emails we got all summer, our experience with their service couldn’t have been better. While on the trip, the three guides were professional, friendly, safe…I could just go on with positive adjectives.
Shonna and I rented rain gear and sleeping bags from them which were better than expected. The tent we slept in on a solid wood platform was equipped with comfortable Thermarest mattresses, and had an incredible view. The camp in the Johnstone Strait was in a perfect spot, the tents and platforms well laid out, a covered dining and kitchen area, camp toilets, even a propane heated shower in the trees and a wood-fired hot tub.
The food they provided exceeded expectations. From the appetizers and meals at the camp to the lunches and snacks they brought with us while kayaking, we certainly didn’t go hungry. They accommodated all dietary restrictions, confirmed well in advance. I can’t eat salmon or shellfish; so on the first night when they BBQ’d salmon for everyone, I got ling cod fillets that were delicious. Gluten free options, dairy free options, all were available for those who needed them.
The kayaks were in great condition, as was all of the other equipment. Safety was their top priority, not only while on the water, but in camp as well. This included briefings about possible bear encounters, keeping food out of the tents, etc.
Our kayaking trips were enjoyable. Shonna and I shared a tandem kayak the first couple of days, and then we each had a single kayak on the last full day. We kind of had to put our foot down with the other guests the evening before, explaining that we had done our time in the double, and just because we were a couple, didn’t mean we didn’t want to use the single kayaks.

For the first time ever, I checked two bags on the flight. The weather on Vancouver Island can turn on a dime and if it starts raining, it can go on for some time. Even when it stops, good luck in getting anything to dry because of the high humidity out there. So we brought plenty of clothing for that eventuality. We left our extra bags at the B&B on Quadra, but took plenty of clothing with us.

With perfect weather the whole time, we didn’t need most of it. It wasn’t even that cold at night. It didn’t start to rain until we were on the beach on our last day loading our gear to go home. We felt bad for the incoming group arriving in the rain because the forecast wasn’t good.
Each morning, we were socked in with fog, which made for an ethereal dreamy kayaking experience that I consider the best part of the trip. Eventually it lifted and we’d have beautiful sunshine and blue sky for the rest of the day. Better still; the water was a flat calm most of the time, unusual for that area.
When it came to the parts of the trip we were promised by Spirit of the West Adventures, we had no complaints.

The key word, however, is promised, because there are certain things they can’t control, and that’s what took the shine off of the rest.

Here’s what was lacking…

Including Shonna and I, there were 13 people on our trip. I was the only guy. Most of these women were older than we were and it created a strange dynamic. Even Shonna said that a balance of men and women would have been much more preferable. While it’s always nice to hear other people’s perspectives on things and everyone was friendly and nice, it often felt like we were on vacation with our mothers’ friends. It would have been just as weird had it been all guys and Shonna the only woman.

True, our lead guide was male, but he was there to work and run the tour, so that doesn’t really count.
It’s not like it was planned that way, and only a few of the women knew each other before the trip. There was a balance of genders on the trip before and a balance on the trip after, just not on ours. It should be noted, however, that all of these women were fit and up to the trip. When it came time to haul kayaks and gear, everybody pulled their weight. I even learned a few useful tips from some of the more experienced paddlers.

On one day, with the currents looking like the afternoon might not be ideal for kayaking, we were told to bring some WALKING shoes as we would be going on an easy hike instead. Since we were told to make sure we always had dry shoes in camp, we had our water socks for kayaking, and I had a pair of Keen sandals for this walk.

Turned out that the hike was downright vertical in places, up a winding roller coaster of rainforest trail with criss-crossing roots to navigate. What made it more difficult was that I was carrying my expensive camera in one hand the whole time. The pace was brisk and at one point some of the other guests began asking how much further. The guide told a white lie and said we were at the halfway point when we were actually about a third or less. Four women decided to turn back to the beach and a guide went with them. Had Shonna and I known how much further to the top and how anti-climactic it would be when we got there, we would have done the same.

We had no time to stop and look at the forest around us and it felt a little like a forced march when she and I were in the Army Reserves years ago. Shonna does Cross-Fit every morning and I regularly hike here at home, but the pace and terrain kicked our asses. I don’t know how the guide did it in Crocs.

For our efforts on the return, we were drenched in sweat, I had two very large blisters on one foot from wearing shoes in which I would never do a hike like that, and felt we’d been a little ripped off. We didn’t pay for a kayaking trip to waste an afternoon hiking, something we can do at home.

Needless to say, we both arrived back at the beach pissed off and fuming, biting our tongues. We would have much rather paddled around the sheltered bay or relaxed at the beautiful location of our camp if we couldn’t kayak, perhaps wandering the shore, looking for wildlife.

Shonna and I have lived in the Canadian Rockies for more than 25 years and the main business here is tourism, just as it is for many parts of Vancouver Island. When it comes to seeing animals, there’s a saying in both locales… “Wildlife doesn’t punch a clock.”

That means you can try your best to find the animals you came to see, but sometimes they just don’t show up. We were in the right place, at the right time, and pretty much got skunked.

Technically, we saw two or three orcas. On the trip up in the water taxi, way off in the distance, there were some blows and dorsal fins. Then while at camp, we saw some blows even further away one day, but couldn’t tell if they were humpbacks or orcas. One night, Shonna and I thought we heard blows in the water outside of our tent and figured it must be orcas, but it was so dark we couldn’t see anything.

We think it’s fair that we don’t count these.
We did see a black bear on our beach a couple of times, then later while kayaking in the fog another morning and on another beach nearby. We’re pretty sure it was the same bear and surprisingly, I was just fine with him being that close, despite my earlier bearanoia tale while camping this past May.

Other than that, we saw some white-sided dolphins go by from our camp a couple of times, a seal and sea lion, a blue heron, and countless ravens and seagulls. The only reference pic I got that I can paint from, however, is the blue heron, and the photos I took at Point Holmes in Comox a couple of days ago might be a better choice.

No orcas, no humpbacks, no otters, no eagles. On all of our visits to the Island, this was the trip where we saw the least wildlife of any kind.

At the end of our trip, we spent a couple of extra days in Courtenay, Comox and Cumberland visiting with a few friends we don’t get to see often enough. We kept trying to put our finger on exactly why this trip was a disappointment, and it pretty much came down to the reasons above. We still got to spend some time off together away from work, which is always a plus.
Just as somebody can end up spending days in their hotel room in Mexico from drinking the water, or luggage can get lost, or a hotel reservation can be screwed up, it was simply bad luck. That doesn’t really take the edge off of the disappointment, however, or that our hard-earned money is gone, or the fact that we really needed a good vacation and it didn’t measure up, or that I didn’t come away with any reference photos or inspiration for paintings.

As in all things, shit happens.

Cheers,
Patrick

Some of these pics were taken by iPhone in a waterproof plastic case or are stills from GoPro video, so not as sharp as I’d like. But I wasn’t about to take my good camera out of the dry bag on open water if I didn’t have to. An orca or humpback would have been worth the risk.

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Thank You Notes

One of the more interesting highlights of my art career happened in 2013 when Emilio Estevez wanted to buy the original painting I did of his father, Martin Sheen. I’ve told this story more than once, but if it’s new to you, here’s the link.

While it did generate some media publicity for me, and was personally exciting, it did little for my career. Painting portraits of people is something I do for my own enjoyment and with the exception of one commission I did for Canadian Geographic and the occasional editorial cartoon portrait (usually when somebody dies), I’m not hired for this sort of work and that suits me fine. The editorial cartoons and funny looking animals keep me plenty busy.

I do enjoy telling the story about that experience when it comes up, especially about how genuine and kind both actors were in our communication. Not only did they sign a print for me that hangs in my office, they gave me a signed copy of the book they co-wrote as well, as I’d mentioned in our correspondence that I’d given my copy to my father.
Incidentally, if you haven’t seen the movie The Way, which inspired my painting, it’s one of my favorites. Few films have moved me the way that one still does.

A short time ago, I came across a note card that Estevez included when he returned the signed prints. Or it came with the book, I don’t remember. It was an unnecessary nicety that might not seem like much, but it struck me as a classy gesture.
I remember thinking at the time that I should get little note cards like this. It added more value to the experience, and I thought it might be nice to pass the same feeling on to my clients. Obviously it’s something on which I failed to follow through.

Whenever I send a print out to someone who has purchased from my online store, I usually include a little note on the invoice or on a post-it, just a little thank you in my own handwriting, which is atrocious, by the way.

But on the invoice or post-it, it always feels a little cheap to me. It’s a personal note, sure, but it’s still the bare minimum.

This year, my painted work is being seen in more places than ever before. Thanks to my licenses with Pacific Music and Art, Harlequin Nature Graphics and Art Licensing International, it’s very easy to buy my work online. You can now order a canvas print of my funny looking animals from Wal-Mart, Amazon and other sites in the U.S. through one of my licenses.

But when people order from MY store, they’re getting it from me. I hand-sign the print, I package it, I put the art bio in the sleeve and I’m the one who personally takes it to the post office to ship it. Sure, I’ve included an extra art card or another small goodie when I can, but every once in a while, I’ve thought about that note card from Emilio Estevez.

A couple of weeks ago, I designed and ordered new business cards to reflect the changeover from Cartoon Ink to LaMontagne Art. Those arrived yesterday, along with my new note cards. It’s just a small thing and it adds to the print cost on my end, but I think it’s worth it.

At a time when you can order anything and everything online from an impersonal shopping cart, every so often I like to remind my customers that their purchase is appreciated, that it was bought from a real person. We all work hard for our money, so when somebody thinks one of my prints is worth parting with some of theirs, that’s pretty cool.

It deserves better than a post-it note.

I can’t do anything about the bad handwriting.

Cheers,
Patrick

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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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Brené Brown & The Man in the Arena

As cliché as many might be, good quotes stick around because they resonate with so many people, even though some can be overused until they mean nothing.

That quote by Einstein, if indeed he was the one who really said it, about doing the same thing over and over again, we’re all tired of that because people trot it out every single day, usually on social media. That should be included in the definition of irony.

I was reminded of one recently, however, from a speech by Theodore Roosevelt. It’s usually just referred to as The Man in the Arena, and goes like this…

“It is not the critic who counts; not the man who points out how the strong man stumbles, or where the doer of deeds could have done them better. The credit belongs to the man who is actually in the arena, whose face is marred by dust and sweat and blood; who strives valiantly; who errs, who comes short again and again, because there is no effort without error and shortcoming; but who does actually strive to do the deeds; who knows great enthusiasms, the great devotions; who spends himself in a worthy cause; who at the best knows in the end the triumph of high achievement, and who at the worst, if he fails, at least fails while daring greatly, so that his place shall never be with those cold and timid souls who neither know victory nor defeat.”

As someone who gets a fair amount of criticism, whether it be from people who don’t like my cartoons, my animal art, or my writing, you soon realize it’s just part of the territory. You can’t put yourself out there without painting a target on your back. It has always been easier to criticize than to put your neck on the line and risk something yourself.

When I was younger, I would bristle at the nasty comments I would get, first on forums, then later on social media. Most of the time, it was from strangers, which shouldn’t make a difference, but as any heart-on-their-sleeve creative type will tell you, 100 compliments never seem to matter as much as one criticism.

Sometimes that criticism comes from a friend or family member and when oft-repeated, it can take a toll. But eventually, you realize that someone who makes it a point to criticize often, or lob the same criticisms again and again, well, it’s not about you. It’s about them.

Constructive criticism should be welcomed, especially if it comes from a trusted source who genuinely wants to bolster your success or help you be a better version of yourself. Sadly, that is more rare than the former. I am fortunate to have had plenty of constructive criticism in my time that has made me a better artist.

In either case, you trim your sails accordingly.

Rather than write a long missive on this, I’m going to include links to Brené Brown’s two TED Talks that prompted the writing of this post, since it was she who reminded me of the Roosevelt quote. I could poorly paraphrase her insights, or just let her speak for herself. The first is one of the most watched talks in TED history, the second not far behind.

While drawing a cartoon this morning, I watched/listened to her recent Netflix special that I would highly recommend, called “Brené Brown: the Call to Courage”. In fact, you could probably skip the TED videos and the special would cover most of it, but the talks have some pretty funny moments.

If you’re struggling in the darkness, there might be some light there for you.

Cheers,
Patrick

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