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Legend In My Own Mind.

Anyone who knows me well, knows that I love movies. It’s not that I’m the type of guy who can name the cinematographer from One Flew Over The Cuckoo’s Nest or anything like that. I’ve never seen Citizen Kane and I didn’t really like The Godfather. Sacrilege in some movie circles, I know, but I’m not a cinema snob. I just love being entertained by a good movie.

I don’t watch awards shows, and I have no interest in celebrity gossip. I really don’t care who’s sleeping with whom in Hollywood, and don’t understand why anybody else does, either. I will admit, however, that I like hearing that somebody whose work I love is a nice person, too. For example, on the commentary track for Aliens, Bill Paxton tells a story about what a class act Sigourney Weaver is and how hard she works. I love that movie, and that somehow makes me like it a little bit more.

I do have my favorite directors, screenwriters and actors, but only because certain people consistently create or star in movies I like. There are a number of movies I’ve seen a dozen times or more, and I get something different out of them each time. A consequence of this affinity for the silver screen is that I have an uncanny knack for remembering movie quotes, and let me assure you, that’s a useless skill. Pretty sure I’ll need some bit of information that was discarded from my brain years ago, just so I could remember what Frances McDormand said to Billy Crudup in ‘Almost Famous.’

One of my favorite movies is Legends of the Fall. Not because I particularly like the story, but because I got to work on it. While it’s true that I was only an extra, I got paid well for it, and it was a lot of fun.

In 1993, I was an instructor at the Air Reserve Training School at Canadian Forces Base Penhold. It was a full-time job teaching basic training, and I enjoyed it. At the end of one summer session, my boss mentioned to us that she had heard that a major Hollywood movie was filming in Calgary and that they needed extras with military experience. Nobody else from the training school or my unit tried out, but since I had no immediate plans, and it was a paying gig, I thought it would be pretty cool.

At the time, Calgary still had fully operational military bases and the film crew was working in conjunction with the military to ensure they got the right people. I went down for the audition at one of the hangars on the base. The audition wasn’t about acting, it was just so that the production company could find out what your military experience was so they could assign you a position in this fake WWI Canadian Army.

The next weekend, there were 60 of us learning WWI foot drill on a parade square, being yelled at, marched around and basically being treated like we were all back in basic training. Since we were all reservists or regular force members, it was more entertaining than anything else. Their full intent was to run the movie WWI army like a real army WWI army.

We were given rifle training on authentic WWI Lee Enfield rifles. Mine had a stamp from 1917 on one of the metal parts. This was the main reason they wanted people with military experience, and only the 60 from the original weekend were going to be firing weapons. For those unfamiliar with weapons and firing blanks, there is usually something called a BFA (blank firing attachment) fixed to the end of the muzzle on a rifle during training exercises. Blanks can still cause serious injury at close range, and a BFA helps prevent that. During filming, however, the BFA’s were removed as the rifles had to look authentic. This meant that everyone was VERY serious about weapons safety as there was an added element of danger. Only those with weapons training were issued blank ammunition and rifles.

The following weekend, there were 700 more men, and those of us that had been trained the week before were assigned men that WE had to train in the WWI foot drill that we had just learned. Let’s just say that we weren’t ready to go on parade, but they were trying to instill at least a little bit of discipline. They divided us into companies and that’s who we were with for the entire shoot. I’m almost positive that these added guys didn’t have to have military experience, as they were only being used on the shoot for two or three days.

The week after that, we were working full-time. I stayed with a friend in Calgary for three weeks, sleeping during the day, working all night long. We had to be at one of the Calgary colleges each day by 2:00PM, where they would take us out to a location north of the city. Each morning, after shooting, they would bus us back to Calgary at 6:00AM. I never got more than 6 hours sleep those three weeks and almost no time off. That was what we had all agreed to when signing up.

Apparently they had paid a rancher for the use of three or four of his fields for the duration, and they ripped it to shreds converting it to a WWI battlefield. The first time I saw the battlefield, it was eerie. A field full of mud, burned trees, elaborate trenches, craters full of water, and barbed wire everywhere. I found out later, that they put that field back to it’s original condition after filming, and that the rancher was paid very well.

The main tent in the staging area consisted of two large connected circus tents, one full of tables and chairs like a beer tent where everybody would gather at the beginning and end of shooting and where they would put us if they had an hour or so with nothing for us to do. The other half of the tent was wardrobe and makeup and let me tell you, it was incredibly organized. They fitted each of us for authentic WWI uniforms that they got from a prop house in London. These were real WWI woolen uniforms. We were shown how to put them on, complete with puttees. It was a factory of efficiency, and everyone was incredibly professional.

They treated everyone fairly, but tolerated absolutely no screwing around, especially in the beginning. Because they were issuing working firearms, there was ample security on set and they double checked everything when it came to signing weapons in and out. The first day, about 20 of the 700 were kicked off the set for not following the rules. It wasn’t open for debate and they gave no second chances.

Each day, we’d be briefed on what was going to happen that night along with constant safety briefings. We would then march in formation, according to company, down to the battlefield. They really ran it by the book.

For those first three nights, the ‘army’ just basically ran across a muddy field, back and forth all night long. It was very well lit, but it was tough. Most of those runs were rehearsals. We were to pick our own path, know where we going to run, so that when filming began, nobody was running into each other, we all knew where we were going. We knew where the explosions were going to happen, and there were tech guys sitting in holes all over the field. From the camera side, they couldn’t be seen, but from our point of view, it was a bunch of guys in bright jackets in plain sight with control boards in front of them. Their job was to detonate the squibs (movie explosives) on the field. With 700 guys running across, these guys were pros. NOBODY was hurt by an explosive during the whole shoot, to my knowledge.

In the beginning, somebody would come up the line, I think it might have been one of the assistant directors and just start pointing at every third or fourth person before every rehearsal. “You’re dead, you’re dead, dead, dead, dead…” and this just meant that somewhere in your run, you fell down, and we were told specifically not to ACT. You just fell, and then stayed still. When they started shooting, a couple of guys were kicked off set for being ‘theatrical’ when they died, mugging for the cameras.

It was cold and rainy some of the time, but they had constructed the trenches with shelters in them that the cameras couldn’t see, and they would get us back to the circus tent to get warm regularly. Lots of coffee and tea, plenty of food for everybody, ample time to rest up for the next scene.

Once the first three days were over, that’s when the real fun began. Initially we had to go through metal detectors going through to wardrobe in our underwear and t-shirts, just so you couldn’t bring in cameras or recording devices. Anything like cigarettes, lighter, stuff like that, you could just hold in your hand so they could see it.

Interesting side note about cigarettes. They’d let the smokers smoke during filming of the daylight trench scenes to add to the authenticity, but they’d give out hand rolled cigarettes that looked like they’d been run through a washing machine and then rolled in mud. I tried one, and it was horrible.

With just the 60 of us, and the cast and crew, they slacked off on the security a little because we’d earned a certain degree of trust. They started to allow us to bring in cameras, with the understanding that they could only be used at certain times and never be pulled out during filming. While I didn’t take these photos, they were taken with permission. Unfortunately, all of these you see here are scans of small prints, and my scanner sucks. Still, you can click on any of them to see them a bit larger.

Our company went from about 50 guys down to 10 after the first three days, and we all got along really well. With no women on the set aside from crew, it was just a bunch of overgrown boys playing army in an amazing playground, and what could be more fun than that. The cast and crew were fantastic, and I don’t recall one personal bad experience the whole time.

Some memorable moments:
Brad Pitt.
The first night the actors came into the trench, everybody was a little nervous. Close quarters in the trench, so they had to squeeze between us. One guy in my company got a tap on the shoulder and when he turned around, Brad Pitt was trying to get by. He kind of stammered, “Oh excuse me, Mr. Pitt,” to which Mr. Pitt replied, “F**k off, call me Brad.”

Aidan Quinn.
One morning, when we were all getting ready to board the buses back to Calgary, the crew needed one company to stay behind to film some daylight stuff. Turned out that whoever stayed wasn’t going to get to go back to Calgary at all that day. The 10 of us were asked, and we said, ‘sure.’ We were having fun, although we were exhausted. The scene was with Aidan Quinn and he felt bad that we had to stay behind. After the scene was shot, we were told to get back to wardrobe and they’d give us a clean change of uniform, and then we could find a place to nap.

While we’re getting changed, Aidan Quinn walks in with a cigarette hanging out of his mouth, carrying a flat of Labatt Genuine Draft and said, “where do you want it?” He sat and had beers with us for about an hour, posed for photos with some of the guys, and said thanks for sticking around.

No Egos
One night, had to be about two in the morning, they kept having technical trouble with something. Could have been a camera, lights, I don’t know, but it was a very cold night. They kept debating whether or not to send us back to the tent. Finally, somebody called out for runners from each company and they brought back heavy duty coffee containers to the trenches. We all had our own cups in the kit they gave us, so while they didn’t want us to leave the set, they still wanted us to be warm. This happened once in awhile, and there were strategic holes in the trenches for modern items to be hidden when shooting started, including those coffee containers.

Thinking they had the problem solved, they brought Brad Pitt and Henry Thomas into the trench, and by this time, we were fairly comfortable around them. They were nice to us, kidding around, that sort of thing. The problem, whatever it was, persisted, so they were going to pull the actors back to their trailers until it was solved. Brad Pitt said, “we got coffee, we can wait here.”

He and Henry Thomas sat and chatted with us for over an hour, answering questions, telling stories, laughing a lot, just hanging out in the cold like the rest of the guys.

Taken Care Of
One very telling experience about how well we were treated. One night, near the end of the third week, our company was running across the battlefield in some scene, explosions going off everywhere, firing our weapons, and a squib exploded very near me. I wasn’t in any danger because I knew that whoever set it off knew exactly where I was, but we had been told that if an explosion went off near us, even if we hadn’t been told to die, we were to fall down. So, myself and the guy nearest to me both collapsed, right into a crater full of water. We managed to keep our heads out of the water, as well as our rifles when we fell, but just laid there until we heard CUT. It was a good two minutes in that cold water and I was soaked. As soon as the director yelled cut, he sent in a crew to get us out of the water. They got us out of the field quick, into a van, drove us to the circus tent and into fresh dry uniforms very quickly. They gave us coffee and wouldn’t let us leave until we assured them we were warm enough to keep going. Best of all, we didn’t ruin the shot.

There are plenty of other things that happened on the set, but what I remember most is that the actors in that movie were genuinely nice guys and treated everybody with respect. The crew treated us well and on the last day of filming, the director, Edward Zwick, told us all that we had performed beyond his expectations. He said that it was like working with stunt men, not extras, which was nice to hear.

The experience of Legends of the Fall reinforced my love for movies. It didn’t make me want to be an actor. Hell, it didn’t even make me want to be an extra again, but working on that one movie just reinforced my love of the art form. It even changed how I watch movies, because sometimes I’ll see a certain camera shot in a movie, and I’ll remember that I know how they do that. It’s probably one of the reasons I enjoy Director’s Commentary on DVD’s so much, too. That’s where all the stories are told.

I’ve still got photocopies of the script and some storyboards, some photos I took and others took for me. I’ve even got some videotape that somebody from the crew sent to one of the guys in my company weeks after filming, showing unedited dailies, including some with the actors.

There are a number of scenes that I can pick myself out in the movie, just because I recognize myself or guys in my company. But for the most part, there’s only one place you can definitely see me in the movie, and that’s this one below, that I copied from a YouTube clip. I haven’t seen it in awhile. When I showed it to my wife, she said, “you look like a baby!” It was, after all, 18 years ago.

Incidentally, this was a breakfast scene in the WWI camp, filmed at sunset. We were told that Brad Pitt’s character Tristan was riding into camp with scalps around his neck, and we were supposed to part the way. They wanted us to look shocked at what we were seeing but not to exaggerate it too much. While Brad Pitt did come through on the horse and we did get to see that, what we’re actually looking at in this photo is an ATV coming through with a camera on it.

If you’d like to see the actual clip, here’s a link to one somebody posted on YouTube. You can see me on the left of the screen from 2:56-3:00.

I’d like to work in movies again someday, but in an artistic capacity, maybe as a digital painter or a character designer. But for now, I’m happy with the memory that I got to do it once, and it was great. If you ever get the chance to be an extra in a movie, paid or otherwise, I would advise you to do it, just for the fun of it. It really was one of the best experiences of my life.

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Farewell to 2010, a very good year.

Well, that year went pretty damn fast!

I’ll be honest, I tiptoed into 2010, since there were warning signs that the economy was going to hit me pretty hard. Thankfully, I came through relatively unscathed, even though I suffered some bumps, bruises, and frayed nerves. In the end, however, it was a better year than the one before, which is saying a lot, since 2009 was pretty good.

I went back and skimmed some of the blog entries from this past year, and I’m pretty pleased with the way the year unfolded.

Editorial Cartoons

When 2010 began, there had been some pretty big shakeups in the industry. I lost a bunch of newspapers in January when Sun Media told all of its editors to ditch their freelance cartoonists. It seemed every week in January and February, I’d get another phone call or email from an angry editor (not angry at me) telling me my services were no longer required. Some of those editors I’d worked with for years.

Canwest News Service was in severe financial trouble as well, and it was a very scary time for anyone working in the newspaper industry. I seriously thought that this might have been the beginning of the end for the editorial cartoon portion of my freelance career, but as the year went on, I recovered those losses and then some, and it really didn’t hurt me. If anything, it was the wake-up call that I needed to start planning for a future that likely won’t include editorial cartoons.

A few of my colleagues didn’t fare so well, and in the ‘Be Careful What You Wish For’ category, I’m very thankful that I never did get that daily newspaper job that I wanted so badly when I was still new at this ten years ago. Turns out there was a lot more stability in freelancing.

While you never know which cards newspaper budgets will deal in 2011, I’m a lot less nervous about it than I was last year at this time. The big lesson is the same one nature herself has been teaching throughout history; those who adapt, survive. In this economy, that’s true for every profession.

Freelance Illustration

I was more selective about work that I accepted this year. Clients that I like working with who pay their bills took precedence over the ones who began a conversation telling me they wanted it cheap and fast. When I was just starting out, I took whatever came through the door, as most of us have to, but I’ve learned from most of my mistakes, and can now recognize which jobs will advance my career, make best use of my skills, foster relationships with long term clients, and in a perfect world, will be enjoyable to work on.

That doesn’t mean I didn’t make mistakes this year, because I had a couple of big ones. One of them could have cost me a fortune had I not recognized it for what it was before I’d invested too much of my time and money into it. So, I did need to relearn a couple of lessons in 2010.

Get EVERYTHING in writing, and if it sounds too good to be true, it is.

Those Animal Paintings

In January, I posted my third painting in the animal series, the Bull Elk, and in that blog entry, I said, “Hoping to get at least 15 of these done before April.”

I laughed out loud when I read that again this morning. 15 by April?! Sure, if I had NOTHING else to do, that might have been feasible. Not sure where the line is between optimistic and delusional, but at least you can’t say I didn’t aim high.

At year’s end, I have seven of them finished, with two more in the final stages. While I still would like to have fifteen done by April (hey, I didn’t say which YEAR in that blog entry), I’m not going to beat myself up if it doesn’t happen.

When the year began, I was just starting to look into getting prints done, and talking to galleries. As the year closes, I’m regularly doing painting demos in Banff and Canmore, the paintings are selling well in both locations, I’m now getting queries for commission work, and I’m making long term plans for many more Totem paintings in the years to come. It’s exciting, and I’m looking forward to seeing where it leads, because I can’t remember ever enjoying my work as much as I do when I’m painting these animals.

The challenge is, of course, finding more time to do it.

Surprises

I was asked to illustrate a 1970 Mach 1 Mustang in a somewhat realistic but still cartoon style by a friend for their annual car club auction. This friend handles all of my computer work, builds my custom computers every couple of years when I upgrade, and is only a phone call away when I need help, so I agreed to do him this favour.

This was very difficult and I wasn’t sure if I could pull it off. I didn’t have much fun while working on it and wished I’d said No. In the end, however, I was quite pleased with how it turned out, and I’d like to try something like this again in the future. I’ve had some nibbles from other car enthusiasts who’ve seen it and while no real bites yet, it was a nice piece to add to my portfolio. And I’m sure I can do better on the next one.


Another surprise was that I bought an iPad, and I’m really not a ‘gadget guy.’ I spent weeks going back and forth on whether it was just a toy or legitimately worth it for my business. When I finally decided to buy one, I kept waiting for the buyer’s remorse to kick in, but honestly, I love the thing (and not just for Angry Birds). It’s a great portfolio display device, an enjoyable magazine and book reader, and an incredible portable sketch pad. Who knew that I would love finger painting so much?

Photoshop World

Las Vegas was easily the highlight of the year for me. I had known before going to Photoshop World, that I’d been nominated for two Guru Awards from the three images I’d submitted, and while I wanted to win, I went into the event expecting to lose, especially for Best in Show. The number of talented people that attend that event means you can’t take anything for granted, so as cliche as it sounds, it really was an honour just being nominated.

I could play humble and say that awards don’t matter in the grand scheme of things, but I’d be lying if I said that these particular ones didn’t mean anything to me. I was very pleased. The icing on the cake was the Wacom Cintiq tablet that came with the Best in Show Award. While I still use my Intuos4 every day for cartooning, that Cintiq is a joy to paint with.

While I plan on returning to Photoshop World again in 2011, it is very unlikely that I will enter the Guru Awards. The work that I would submit would probably just be another in the Totem series, so while it would be new animals, the style wouldn’t be anything they haven’t seen. It would also be very difficult to top the experience I’ve already had.

I’ve met some wonderful new people this year through my work, formed new relationships, built on old ones, and for the most part, I’ve kept moving forward, even though I ground the gears a few times while shifting. It hasn’t always been the smoothest of rides. Despite a few errors on my part, I wouldn’t have done anything differently in 2010, because I’m happy with where I’m at right now. I will, however, be starting 2011 with some course corrections.

But that’s a blog entry for next week. Happy New Year.

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Final Painting Demo of the Year


Last Saturday, I was painting in Banff, but this Saturday, I’ll be in Canmore again for the final painting demo of the year. Still working on the Owl and the Bighorn Sheep, and they’re really starting to come alive. I’m working on the fine details of both paintings and while they won’t be done ’til January, they’re awfully close. Probably another five or six hours left on each.

If you happen to be in the area on Saturday the 18th, and would like to see some digital painting, ask some questions, or just stop by to say Hello, I’ll be at Two Wolves Trading Company from 11-3.

Hope to see you there!

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Painting Demo Prep


A couple of half finished paintings I’ll be working on today at Editions Gallery in Banff. This morning, I’m taking an hour to do my prep.

The prep work for one of these sessions is fairly easy, just making sure I have all of the pieces I need. For hardware, it’s my laptop, Cintiq, spare Intuos4 tablet, iPad, secondary display monitor, connection cords, power cords, and extension cords. For software, it’s having the working files for the paintings, the reference photos to paint from, the Photoshop brush set for live painting and making sure that it’s all working well. Finally, I need to bring any surplus canvas and paper prints to have on hand if the event generates any extra sales.

I’ve done 6 or 7 of these now, and each one gets easier. What’s the difference between the first one and the one I’m doing today? Well first of all, I was incredibly nervous the first time, and today, no nerves at all. As in all things, the hardest part is usually taking the first step. At this point, it honestly just feels like going to a part-time job.

In the beginning, I was disappointed if these live sessions didn’t result in sales, but that’s no longer the case. The paintings are selling well now without the demos, so the goal from these appearances is just to generate interest and provide a little education. While somebody may not buy a painting today, they may see one a month from now and remember that they saw me working on something similar. Sometimes having a connection to a painting, having a story to tell about it, makes the image more desirable.

There’s a lot more I need to learn about the publicity and sales aspects of these paintings, and I imagine that will always be the case. So I’ve chosen to keep doing these painting demos on a regular basis, and just consider it ‘on-the-job’ training.

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NAPP-A-THON


Anybody who knows me professionally will have figured out that I’m a fan of the National Association of Photoshop Professionals. I’ve been a member for 6 years and I’ve often told people that if there was only one organization I could belong to, it would be NAPP. I have learned a lot from this affiliation.

Whether it’s their online training, their crash courses on the first day a new version of Photoshop is released, or the great experience of attending two Photoshop World events, NAPP consistently gives me good value. And best of all, I consider so many of the people I’ve met online and in person through NAPP to be valued friends and colleagues, not to mention some of the most talented people I’ve ever run across.

The best thing about NAPP, is that they try to have fun with their training, even though it’s often intentionally cheesy. If you’re not a NAPP member and would like to get an inside look at how they operate and what they offer, tune in tonight for NAPP-A-THON. Even though it’s free, be sure to register in order to qualify for prizes. 7PM Eastern for three hours. Should be fun.

And yes, there will be cheese. Guaranteed.

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Another Painting Demo in Banff


The Bow Valley is usually quite busy this time of year. Whether it’s folks visiting for skiing or other winter activities, shopping for the holidays, or just taking a break from the city and coming out to see the fresh snow on the mountains, there are plenty of people milling about Banff and Canmore on the weekends.

With that in mind, I’m going to be doing a couple more painting demos before the year closes out. This Saturday, December 11th, I’ll be at Editions Gallery in The Cascade Plaza in Banff from 12-2, 3-5, and 6-8, working on the Bighorn Sheep and Great Horned Owl paintings that I currently have on the go.

If you’re in the area, stop by and watch a little digital painting, ask a few questions, or just say Hello.

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Painting Demo


Today and tomorrow, I’ll be doing another painting demo at Two Wolves Trading Co., as mentioned in a post earlier this week.

The images you see here are what I’ll be starting with. At this point both of them are still at 72 ppi, which is only web quality. I still consider these both quite rough. I usually don’t blow an image up to 300 ppi until I’ve got ‘the bones’ of the image done, which I’m pretty sure I’ve got for the bighorn sheep, but not quite for the great horned owl. There are still some structural issues I’m not quite happy with, but that will come with a little more time.

The reason I start at 72ppi is that I even though I have a fast computer, Photoshop doesn’t always do well with really quick sweeping brush strokes when it comes to a large size image with a high resolution. With painting at a lower resolution, I can move the pen/brush as fast as I want without any lag. Lately I’ve found a lot of good results with painting very fast in the beginning at low resolution. It gets to a point where I’m not thinking too much while I’m doing it, and if you ask anybody that knows me well, they’ll tell you I almost always think too much. At this size, I’m just throwing colour and brush strokes around, figuring out what’s going to work and what’s not.

The other reason I start with images at this stage when I do painting demos is that people don’t want to see the first blobs of paint and then be told that eventually it will look like a bighorn sheep or an owl. They want to be able to see the animal I’m working on.

A little different method this time around. I’ll be using my new Cintiq tablet, which means I’ll be painting right on the screen. Another great use I’ve found for my iPad is using it to store my photo reference. Great screen quality, and I can flip through the different images I’m using quite easily.

If you’re around Two Wolves Trading Co. in Canmore today (across the parking lot from Safeway beside Starbucks) between 2-4 or tomorrow between 12-2, stop in, ask questions or just watch. I’m able to talk and paint at the same time.

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Photoshop User Magazine


Got a nice smile this month when I opened the December issue of Photoshop User magazine. While NAPP had asked me last month for permission to use my images, I didn’t realize it was going to be such a big spread, so it was a very nice surprise. While this image of the Wolf Totem is the first page of the article, all of the Guru Award winners from Photoshop World in Las Vegas AND Orlando earlier in the year are featured on the subsequent pages, so my Moose Totem is in the article as well. A great spread of images. They even quoted my Photoshop World blog entry.

The above photo doesn’t do the image quality justice. I switched to the Zinio reader and the digital version of Photoshop User when I bought my iPad, so this is a photo of the screen, which never quite works out. The magazine was already great quality, but I prefer being able to zoom in on the images to check out the detail. And it takes up a lot less space on my bookshelf. The actual iPad image of this page looks incredible.

Photoshop User is available on newsstands, but it’s included if you’re a NAPP member, just one of the many perks. Usually it’s 8 issues a year, but just recently NAPP announced that they’re increasing it to 10 issues. For regular readers, that’s a big bonus, as it’s one of the few magazines I read religiously.

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Another Painting Demo


Another painting demo is scheduled for this weekend in Canmore!

Two Wolves Trading Co.

Saturday, November 13th, 2:00PM – 4:00PM.
Sunday, November 14th, 12:00PM-2:00PM.


Of course, if there is enough interest on either day, I’m happy to stick around longer than the times listed above. In addition to the giclee canvas prints, Two Wolves now has two sizes of matted paper prints available for the Grizzly, Ground Squirrel, Moose and Wolf paintings.

For this painting demo, I’ll be working on the next two paintings in my Totem series, a Bighorn Sheep and a Great Horned Owl. If you’re in the area, and are curious about digital painting, come on by and I’ll be happy to answer any questions you might have.

Here’s a sneak peek at the Bighorn Sheep in progress. This is still pretty rough. I begin these paintings at a resolution of 72ppi, so that I can move as fast as I want with any brush, and there won’t be any lag whatsoever. After I get the basic image worked out, I’ll increase the resolution to print quality before painting in the detail.

I anticipate that the horns are going to be the big challenge on this one. There are many ridges, with lots of texture, and to get the detail that I want, I would imagine this one may be the toughest one to date. Then again, wait ’til you see the feathers on the Great Horned Owl.

If you’re in the Bow Valley, hope to see you at Two Wolves on the weekend!

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NAPP-Canada Facebook Page


Having been a member of the National Association of Photoshop Professionals for the past six years, it should be pretty clear by now that I’m a fan.

There are only a couple of organizations I belong to, and this is the one I’d hate to be without. From weekly video tutorials, the latest news and info about the digital image industry, not to mention that these are the folks that put on Photoshop World twice a year, NAPP has almost everything I need to stay at the top of my game.

I consider many of the people I’ve met through NAPP to be good friends, and I’ve yet to meet a more helpful bunch of talented people. While many of the forums you’ll find online often degrade into squabbling playgrounds, the NAPP forum is well moderated, very civil and supportive, and is one of my most valuable resources. I can’t count how many times over the years I’ve had a problem that was solved instantly by posting it on the forums, whether it was specific to Photoshop or just freelancing in general.

Since social media is obviously not a passing fad, NAPP has recently expanded their already active online presence to include localized Facebook pages. In the U.S., they’re focusing on cities and states. Here are the links to the NAPP-Chicago page and the NAPP-Arizona page to give you an example.

Internationally, there are national Facebook pages for different countries. I was asked to run the NAPP-Canada page and I’m happy to do it. While much of the information I post will be related to NAPP events and releases that aren’t region specific, I intend to put a Canadian spin on things wherever I can, which will hopefully involve more than references to Tim Hortons and hockey.

You don’t need to be Canadian to ‘Like’ the page. You don’t even need to be a NAPP member, although when you see all of the great benefits, you’ll probably want to become one. Become a NAPP member, I mean. Not Canadian.

Here’s the link. Hope to see you on the Facebook version of the Great White North. Cheers!