I’m a little overwhelmed this week, plenty to do and not enough time. It’ll pass, but that’s why this is just a short update on a couple of things.
Happy Color 2.0 Thanks to those who emailed me to say the Charmers’ Club 2 collection went live on the Happy Color app this week. I knew it was coming sometime this fall but, frankly, I’d forgotten all about it.
With art licensing, there’s often a long gap between signing contracts, uploading images, and when the products actually launch. Regular readers might remember an interview I did with X-Flow Games, the company behind the app, back in July. You can read that post here for more on why I enjoy working with them.
If you haven’t tried the app, it’s a free download for both Apple and Android. When I tried it the first time they licensed my work, it turned out to be a lot more fun than I expected.
I also noticed a bunch of new subscribers to A Wilder View over the past couple of days, and I suspect that has something to do with the new launch. If you discovered my work through the Happy Color app…welcome! I hope you enjoy the ride.
Christmas Bear Tote Bags I was pleased and relieved today to receive the first Christmas Bear tote bags. This was another big investment in a new product for the Banff Christmas Market, but they turned out great.
Best of all, it’s the last product order I’ll need before the month-long market begins on November 20th. With just over a month to sign and package prints, enter inventory into my sales app, update spreadsheets, and finish everything else I’ve got on deck, I’m grateful not to be waiting on any more deliveries. Shipping By the end of next week, I expect to have the 2026 calendars, new tote bags, and prints added to the store. Once that’s done, I’ll reactivate it and let you know when I’m taking orders again. I’m holding off one more week to see if Canada Post keeps operating before I reopen. With no deal in place, they could strike again at a moment’s notice. Fool me…what is this, three times? Four?
It’s with mixed feelings that I can say most of my stock for the Banff Christmas Market has arrived.
My restock of metal prints came in last week, along with a large order from Art Ink Print in Victoria, who handle my 11×14 poster prints. That shipment included both my own stock for the four Banff Market long weekends and a big order for the Calgary Zoo, which I delivered on Wednesday. Each of my poster prints is hand-signed, and the Zoo got the very first print of my latest Snowy Owl painting. It’s always a nice feeling to see a new piece in print for the first time.
Another large order from Pacific Music & Art arrived yesterday. They’ve licensed my work for several years on a wide range of products. People often tell me they’ve seen my art in stores across Alberta, BC, Alaska, and the Pacific Northwest. Those are all Pacific products. They also produce the calendar many of you look forward to each year. That means I get to sell my own artist edition while the same calendar reaches stores I could never reach myself. Some of you on Vancouver Island have even told me you already picked up your 2026 calendar before I got mine. If you’ve ever bought a magnet or coaster from me at the Calgary Expo or the Banff Christmas Market, those are Pacific items, too. I already had several designs in stock, but yesterday’s delivery topped up my inventory for the market. So yes, you have to spend money to make money, but placing large orders like these is a serious expense, often weeks or months ahead of actually selling anything. Anyone who’s ever kept retail inventory knows the feeling. It’s something I never get used to and it puts me on edge.
That’s the “mixed” part.
While I’m happy with this year’s calendar order and confident in my usual sales projections, the Canada Post labour dispute has thrown a wrench in everything. Normally, early calendar sales through my online store help offset these upfront costs.
Announced late last night, as of Saturday, Oct. 11, Canada Post is moving from a nationwide strike to rotating strikes, which should get some mail moving again, just not reliably. So for now, my online store will stay closed until I see what happens. But until Canada Post proves this isn’t just a temporary pause before another shutdown, I can’t risk taking online orders that might end up stuck in limbo. I’ll plan to reopen by late October. My last outstanding order, custom tote bags featuring my Christmas Bear painting, has shipped from Montreal by courier and is scheduled to arrive next week. Thankfully, that one’s unaffected and on track.
Like every other small business caught up in this dispute, I just have to wait and hope for a resolution soon… or find a way to make this year’s Christmas sales work despite it all.
So yeah, I’ve been angry and stressed. I won’t pretend otherwise. Even with rotating strikes, which should get some mail moving again, the uncertainty means gritting my teeth, clenching my jaw, and trying to accept what I can’t change while working on what I can.
On a brighter note, I’m currently working on a dog commission that’s been a welcome distraction. I’d love to focus on that full-time for a week, but for now, the editorial cartooning is paying the bills until the wildlife paintings can contribute again. And thankfully, with each Canada Post strike and job action having taught hard lessons, all of my newspapers now pay by direct deposit. I’m also creating a project for Wacom, featuring their new Movink Pad 11, hands down the best mobile drawing experience I’ve had. Full stop. I’ll share more about it in an upcoming video, which includes outdoor sketching footage. Above is a preview: a small practice piece I’m working on to get comfortable with the included software.
Thankfully, I’ve got a short cabin trip coming up with my buddy Darrel, something we booked a while ago. It’s a pre-market reset before the long haul through November and December. I’m looking forward to a few days of quiet: playing cards, Scrabble and guitar, napping on the deck, and wandering the pastures with my camera in search of wildlife. Fall is my favourite time of year there. Here in Canmore, we got our first snowfall last Saturday. Most of it melted in the valley by Sunday afternoon, but the mountains stayed white for a few days longer. If this isn’t the best view from any Safeway in Canada, it’s at least in the top three. Helps (a little) to soften the shock of the ridiculous grocery prices around here. But I was biking my errands in shorts again yesterday and snapped this pic of Policeman’s Creek.
Back to work.
Cheers, Patrick
If you missed the video I created about the Alberta Birds of Prey Centre and the creation of my most recent Snowy Owl, here it is again.
Many of you have reached out to say you’re looking forward to the 2026 calendars. My plan this week was to announce they were in the store and ready to purchase. But they’re not here yet. And even if they were, that announcement can’t happen.
As I mentioned in a recent post, the reason I refused to take pre-orders for tote bags or calendars, despite plenty of requests, was because I wasn’t about to gamble on Canada Post still being operational when the orders arrived. Turns out I actually know what I’m doing once in a while. Now, between the U.S. government removing the de minimis exemption (making U.S. shipping too expensive and tied up in red tape) and Canada Post going on strike, I’ve had to close my online store yet again.
For locals waiting on calendars, I’ll let you know when they’re available and will do my best to deliver in person. For everyone else, I’m just as frustrated as every other Canadian business whose customers can’t order anything until this current round of nonsense ends.
The one saving grace is that couriers are still moving. I’m expecting a large shipment from my Victoria printer tomorrow, prints for the Banff Christmas Market and a Calgary Zoo order I’ll deliver next week.
I’ll keep you posted (pun intended, through clenched teeth).
I finished this Snowy Owl painting last week, just in time to add it to my lineup for the Banff Christmas Market. The first metal prints arrived yesterday and the poster prints will be here tomorrow.
Normally, I release new pieces soon after finishing them. This one took a little longer because I recorded the painting process, then spent another week writing the story, recording narration, and editing the footage.
I’ve been working on Wacom tablets since the late ’90s, and my current Cintiq 24HD has been with me since 2014. It still runs every day without complaint and gets me where I want to go. But for this piece, I used my newer Wacom Cintiq 16 with my laptop. It’s smaller, but I enjoy working on it, and the tabletop setup makes it easier to record.
Each video I make gets a little smoother. The workflow feels more natural, I’m learning to work with the quirks of the new editing software, and it’s far less frustrating than a few months ago. I especially enjoyed shaping the narrative for this one, weaving in photos, and talking about the Alberta Birds of Prey Centre.
I didn’t make it down there this year, too many projects kept pushing it off until their season was over. Hopefully, I’ll make it a priority next spring.
In the meantime, I hope you enjoy the new painting and the video that goes with it.
Although the first weekend of the Banff Christmas Market is still over two months away, my planning and purchasing are well underway.
Calendars
I’ve placed my magnet and coaster restock order with Pacific Music & Art, along with the newly finished 2026 calendar that many of you tell me you look forward to each year.
Last year, I miscalculated. I ordered what I thought I needed, but after the usual online sales and the first couple of weekends at the Banff Christmas Market, most were gone. I managed a quick restock for the final two weekends, but sales slowed down, and by January I still had about 20 left. I sold a few more, gave some as bonuses with larger print orders, and still have five or six sitting here now.
It’s always a guessing game. I look at the previous year’s numbers, order what I think will be enough, and cross my fingers.
This year, I’m placing one order only. Once they’re gone, they’re gone.
The cover features one of my favourite new paintings, The Grizzlies. Inside you’ll find a mix of new pieces and some perennial bestsellers. I’ll let you know when they’re available.
Tote Bags
I already have Smiling Tiger and Otter tote bags in stock, available now in the store. But I also wanted something seasonal for the Banff Christmas Market, so I created a Christmas Bear design and ordered it last week. It should arrive by the end of October.
I had thought about doing a subscriber pre-order, but to be blunt, I don’t trust that Canada Post won’t strike again for the holidays. If that happened, I’d be stuck with prepaid orders I couldn’t ship and a pile of unhappy customers. Rather than risk it, I bit the bullet, paid for the order myself, and will sell them in person and online as long as stock lasts.
I’m happy with how the design turned out, and I think it’ll go over well. Because of the lead time, there’s no chance for a second run before Christmas. Once they’re gone, that’s it until next year.
Painting
I’m working on a new commission right now: a senior dog with a lot of character. She’s full of markings and features begging for exaggeration. I’m still in the sketch phase but already looking forward to the painting itself.
My Snowy Owl painting is also coming along nicely. I spent several hours Saturday morning painting feather details, and I hope to finish it this week. It’s a perfect seasonal fit, and I plan to have poster and metal prints ready for the Banff Christmas Market. I’m also recording the process, so I’ll have a video to share once it’s complete.
While I won’t be taking reservations for calendars or tote bags, A Wilder Viewsubscribers will always get first notice and early access when they’re in the store.
A reminder: I still can’t ship to the United States. With the suspension of the de minimis exemption for Canadian goods, the paperwork and costs are just too much for a small business, both in time and money.
When I was working on my most recent three-cat commission, I set out to record the full process. Every painting takes a significant investment of time and energy, but adding a camera, lights, narration, and audio piles on extra work. That part will get easier the more I do it, but I’m still refining my workflow for creating regular videos.
With each one, I learn a little more, cut down on frustrations in editing, and enjoy the process more.
In this video, I share the early sketch work, talk through the messy middle, and explain why commissions carry a different kind of pressure than painting for myself.
It’s funny how often I encounter people who either know me as an editorial cartoonist or a whimsical wildlife painter. For someone who only knows the cartoons, they’re sometimes genuinely surprised at my paintings, and vice versa.
While I share a cartoon at the end of each email to my subscribers and link to the page on my site, I don’t often mix the two, especially at a time when so many confuse political opinions with personal identity. I have shared the odd political rant over the years, but not often. Contrary to what people imagine, I don’t enjoy discussing politics, especially since people usually only bring it up to figure out if you’re on their side or not.
We never used to do that in this country. I’ve been an editorial cartoonist since 1998, full-time since 2006. I’ve known several cartoonists who got into the profession because they liked politics and knew how to draw. I got into it because I liked to draw and figured I could learn politics, which I have. But I have always enjoyed the art first.
I didn’t paint my first whimsical wildlife painting until 2009. It’s now the larger part of my work, but I’m still an editorial cartoonist. I draw one cartoon each week for the Rocky Mountain Outlook, usually on a local topic. But I also draw five or six syndicated cartoons each week, on regional, provincial, national and international topics. The way this job works is pretty straightforward. I follow the news every day, looking for stories that I think are worth commenting on, then I draw the cartoon and send it out to papers across Canada. If a newspaper prints it, that’s when I get paid. Some of my clients are on contract and only run my work. Others buy cartoons à la carte, where I’m competing with other cartoonists for space on the editorial page.
Just like an opinion columnist, every cartoon is my perspective, not some neutral or balanced report. I have never considered myself a journalist. Some readers agree with my take on things, some don’t, and that’s part of the deal. You don’t get into editorial cartooning expecting applause from everyone, and if you did, you wouldn’t last long.
After nearly three decades, I’ve learned that no party deserves blind loyalty. They’re all playing the same games, designed to convince you they’re on your side. The smoother the talker, the more convincing the con. Cynical? Sure. Comes with the territory. One of my favourite lines comes from a Van Halen video for the song Right Now: “Right now your government is doing things we think only other countries do.”
I just went and watched that video again. Decades later, very little has changed. Go watch it.
So while I don’t often enjoy the workplace hazard of following politics and the news so closely every day, because it takes a toll on a sensitive soul, I still enjoy the drawing.
Throughout this post, you see a cartoon I drew earlier this month. The fish and lure imagery isn’t original, cartoonists have used it for decades, long before I ever picked up the pen. There’s a whole catalogue of themes and visual metaphors that get recycled from time to time, not just by me but by every cartoonist in the business. They work, so we put our own spin on them. I’m sharing this one, along with the different stages of the process, simply because I enjoyed drawing the fish. And on the days when the political noise feels overwhelming, when it seems like every headline is just another example of somebody manipulating the public for their own gain, I try to remember that I still get to draw and colour for a living.
I need to share some disappointing news, especially for those of you in the U.S. who’ve supported my work for years.
Starting August 29, 2025, the U.S. is eliminating what’s called the de minimis exemption. Until now, parcels under $800 could enter without duties or customs fees. That exemption is ending, which means every shipment, no matter how small, will now be treated as a full commercial import.
For me, that means:
Even a sticker now requires a commercial invoice, manufacturer info, and a 10-digit tariff code.
Couriers charge $5–15 in brokerage fees on top of duties.
Shipping is already $20–30 for a small parcel, and added costs make U.S. orders unattractive.
The rules keep shifting, and even carriers aren’t sure how things will work. If I get it wrong, shipments can be delayed, fined, or even returned.
On top of that, Canada Post keeps raising rates, and periodic strike threats add more uncertainty. Even eBay has stopped offering Canada Post U.S. labels, warning of returns. Customers are already reporting long customs delays, and when that happens, I’m stuck in the middle with no way to fix it.
The truth is, the extra costs, risk, and paperwork for even a $10 order just don’t make sense for a one-person business. I’d spend more time on customs than painting, which isn’t why you support me.
So for the foreseeable future, I’ll be suspending all U.S. sales, including calendars, stickers, and prints. I’m truly sorry to those of you who were looking forward to ordering the 2026 calendar or adding to your collection. Please know this decision wasn’t made lightly.
I hope circumstances change and I’ll be able to offer U.S. shipping again. Until then, thank you for your understanding, and for all the years you’ve supported my work from across the border.
Whenever I go away, I rarely have time to draw a local cartoon for the Outlook, so I send them a selection of my syndicated cartoons to choose from. Those are the same ones I send to my other papers each day.
I had already done that last week when my former editor sent me a text asking if I had heard that Carol Picard had passed away. I knew she had been in poor health, but it was still very sad news. For her family, of course, but also for anyone in the valley who knew her, and that was a great many people.
Carol had a profound impact on this community. Rather than try to sum it up myself and risk falling short, I’ll refer you to the piece in this week’s Outlook.
Running a syndicated cartoon this week would have felt wrong. I was grateful to find out before I left, so I could draw something more fitting.
It is no exaggeration to say that I might not have had an art career if not for Carol Picard.
In the summer of 2001, Shonna and I moved from Banff to Canmore. My three years of drawing cartoons for the Banff Crag & Canyon were ending, and things there were not working out. Around the same time, though I had not yet met her, Carol and two friends were launching a new paper to serve the whole valley, competing with the established newspapers in Banff and Canmore. Many people thought they were crazy and told them so.
A journalist from the Banff paper, who was joining them, told me about it and said they might need a cartoonist. I reached out to Carol. She knew my work and told me she would love to have me on board. The timing was perfect, and I said yes.
Before long, Carol asked me why I was not syndicated. At the time, I did not know her long history as a professional journalist. I explained that syndication was difficult to break into. Syndicates sell a cartoonist’s work to newspapers and keep half the money in return. They have the connections to get past the gatekeepers. I had tried a couple of them but had been rejected.
Carol scoffed and said, “Just do it yourself.”
Wait. I could do that?
She told me how. Leaving out the dull details, I started drawing more cartoons each week. I signed a few papers for a couple of years, then a few more, but it was a slog. I wanted to quit more than once. Eventually, though, I gained traction, and in 2006 I quit my full-time job to work for myself.
The only reason I am still a working cartoonist today is that I never landed a daily newspaper job. Most of those jobs have disappeared. And had I signed with a syndicate early on, it would never have been worth it. Most of them are gone now as well.
If I had not become a full-time cartoonist, I would not have been in the position in 2009 to explore my whimsical wildlife art, which now makes up more than half of my business and is the work I love most. I cannot imagine doing anything else.
All because Carol Picard made me realize what was possible. That when people tell you no, you find another way.
It is also why the Rocky Mountain Outlook is still winning awards today while those other newspapers are long gone. I am proud to have had a cartoon in every issue since day one.
Yesterday, Carol’s husband, Robin, called to thank me for the cartoon. I had not reached out yet, knowing he would be hearing from so many people offering condolences, and I wanted to give it a little time.
We laughed about a story we both know well. Carol once told me I did not need to thank her anymore, since I already had many times, for the influence she had on my career and my life. But I am glad I thanked her more often than necessary, rather than regret not having said it enough.
This past week, Shonna and I headed north to visit her Dad and family. It’s a seven-hour drive from here, and we haven’t been up there in quite some time. We planned these dates awhile ago, and thankfully both of our workloads were a little more manageable right now, with good weather for the trip.
Shonna’s parents own a small campground northwest of Fox Creek called Poplar Ridge RV Park. It’s a pretty area with rolling hills and forests, and they’ve spent years adding amenities and improvements. If I were on a long road trip south from Alaska or points north, I would be pleasantly surprised to pull in here for a rest. It’s close to the highway for convenience but far enough down the access road to be quiet and peaceful.
With power, water, and showers, it was plenty comfortable. They had a trailer set up for us, so we certainly weren’t roughing it. One evening, Shonna’s aunt, uncle, and cousin came out from town for dinner, and it was good to slow down with nowhere to be. We also toured around Fox Creek so Shonna could reminisce and see what had changed. After thirty years of marriage, it was nice to revisit some of the places I hear about in her stories.
On Tuesday, the four of us drove to Whitecourt to spend time with Shonna’s brother Cody and his family. He had offered to take us up the Athabasca River on his jet boat, so we met him at the launch. Shonna and her Dad lounged in the back while I stood beside Cody with my camera ready. They’ve seen plenty of wildlife on this river. Every time I take the camera out, I learn something new, usually by making a mistake. This time, I left my new DJI Action Pro 5 in the car, not wanting to keep everyone waiting. That was foolish, since this kind of trip is exactly what the camera is designed for. I could have clamped it to the windshield, pressed record, and left it running. Instead, I relied on my phone for short video clips.
Fortunately, I had my Canon camera and managed to photograph bald eagles and an osprey. Even with the camera settings dialed in, I learned that a jet boat cannot simply shut down and idle on a fast-moving river. They are designed for shallow water but must keep moving at a good speed. Cody explained that propeller boats can’t operate here because some stretches are less than a foot deep. His ability to read the river was impressive, and it was clear you need to know what you’re doing.
One of three bald eagles we saw, this one is a juvenile, hasn’t got the white plumage yet.
So there I was, trying to capture moving targets on a bright sunny day, over reflective water, from a moving platform. The odds weren’t great, so the fact that I got anything worth keeping feels like a win. The birds of prey shots were fine but nothing special. Just as we turned back, Cody and Shonna spotted a black bear swimming across the river, an unexpected treat. None of the shots from the river are good enough for reference, but I never know where inspiration might come from. Seeing wildlife in the wild is always worth it.Even without the river encounters, we enjoyed some friendly domestic critters. Shonna’s parents’ dog, Jetta, is a classic rural yard dog. Her job is to bark at strangers, but once she warmed up, we were fast friends. I like that her grey matches mine. Shonna’s brother’s dog, Tess, is a bundle of energy with no slow setting. I’m surprised she sat still long enough for me to take a photo. Go ahead, try to take the puck. I dare you. But the star of the show was their new kitten, Minnie. Already a people cat, she was affectionate, vocal, and had an intoxicating purr. We joked that they would have to check our bags before we left to be sure she wasn’t coming home with us. Whenever I photograph dogs or cats, I want to paint them, and Minnie was especially photogenic. I now have some strong reference shots, though with commissions waiting and a list of wildlife paintings underway, I don’t know when I’ll get to them. That is why the idea of ever retiring feels ridiculous. There are too many animals to paint. On the way home Wednesday, we stopped at the cabin I often rent with friends so I could finally show it to Shonna. I had checked ahead and the owners said we were welcome to drop by between guests. Shonna and the owners have heard plenty about each other, so the introduction was overdue.
People sometimes ask why Shonna and I don’t go to the cabin together. The truth is she likes projects and keeping busy, while I go there to do nothing with my buddy Darrel. Let’s face it, when I’m away, she also gets the house to herself, so who’s really getting the break? At least now she has some context for my old men at the cabin stories.
I’m not a fan of long drives, but this trip was good. The secondary highway had light traffic both ways, the weather cooperated, and I’m glad Shonna got to see her family. It wasn’t really a vacation, but it was a welcome break from our work.
Trips like this remind me that inspiration doesn’t just come from the studio. Whether it’s a bear crossing a river, an osprey overhead, or a kitten purring in my lap, these encounters all feed the work I do when I sit down to paint.