Blog

Posted on by — 4 Comments

2026 Calendars, Christmas Totes, and What I’m Painting Now

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.

In the meantime, if you missed it, here’s my recent Three Cats Commission video.

While I won’t be taking reservations for calendars or tote bags, A Wilder View subscribers 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.

Cheers,
Patrick

Posted on by — Leave a comment

Cat Commission Challenge

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.

Thanks for watching.

Cheers,
Patrick

Posted on by — 6 Comments

Cartoons, Critters and the Space In-Between

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.

That’s not nothing.

Cheers,
Patrick

 

Posted on by — Leave a comment

Suspension of U.S. Sales

Dear Friends,

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.

Cheers,
Patrick

Posted on by — Leave a comment

Thank You, Carol

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.

And I got to do it one more time in the cartoon.

Posted on by — 2 Comments

A Break from the Office, but Not from the Animals

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.

Cheers,
Patrick

Posted on by — 4 Comments

Three Cats at Last

You’ve all heard plenty about the three-cat commission I’ve been working on in recent months, so I’m pleased to finally reveal the finished painting of Fable, Mortdecai, and Jack.

Commissions are always challenging, involving plenty of photos and communication before I ever put down a brush stroke. I can’t get the likeness and personality right if I don’t know the subject.
While Mortdecai has some white in him, they’re all still black cats. Both black and white animals, wild or domestic, bring their own difficulties, mostly because they’re not really either. Black fur is defined by the light it reflects, and white fur has similar challenges. It’s the shading that gives the features depth and form.

These challenges don’t make them less desirable to paint, though. One of my favourite animals to paint is a raven. I enjoy working blue highlights and accents into black feathers and fur, finding that balance between too much and too little. That love of painting light on dark was a big part of this commission.
Tobi, my client, has a thing for ravens. A lot of the art in her home features them, and I can’t say I blame her. Shonna and I admired some striking raven pieces on her walls when we visited. Shonna likes ravens, too, and longtime followers might recall the aluminum print photo I gave her for her 50th birthday. You can see and read about it here.
Tobi has been following my work for quite some time. Along with other art in her collection, she owns many of my 11×14 poster prints and a few metal pieces. For this delivery, she had also ordered a custom 16×16 square-cropped metal print of my Winter Raven painting, along with the cat commission.

Tobi had requested a square version of that painting to match the size of the Blue Beak Raven metal print she already had, and I was happy to accommodate.Commissions require a lot of back-and-forth. My clients need to be part of the process, otherwise I may not be able to deliver what they want. I’m fortunate that those who have hired me to paint their pets have almost all been engaged and enthusiastic. They dig up photos, share stories, and talk about personalities and quirks. All of it helps me do my best work.

Tobi was a joy to work with. She gave me dozens of photos of all three cats, shared their backstories, and talked about their most prominent features. She also gave me plenty of time, which I’ve needed this year. The only pressure was self-inflicted.

Commissions are a significant financial investment, and I don’t take that lightly. Once someone has paid their 50% installment, I’ve got a ticking clock in my head that gets louder the more time passes. Between editorial cartoon deadlines, marketing, and other projects, I’m always trying to carve out time for whichever commission is on deck.
Because I knew three cats in one painting would take more time than any other commission I’ve done, I shared work-in-progress shots with Tobi and with all of you. I don’t usually do that, but since she’s been following my work for so long, I knew she could tell the difference between sketches, roughs, and a finished piece.

Sharing those early stages turned out to be a good decision. It’s tough to make three similar-looking cats look like individuals, but Tobi’s feedback on each cat helped me make subtle adjustments before the detail stage, which led to better likenesses for all three. Best of all, I could reassure her that I was making steady progress.

When I finally showed Tobi the finished painting on a Sunday morning a couple of weeks ago, I nervously waited for her reply. I always expect the worst until I hear otherwise. Thankfully, she didn’t make me wait long.

“The painting is PERFECT!!!! I’m absolutely dying over here, somewhere between laughing out loud and choking up a little bit, because you’ve captured all three of the boys so amazingly!! Their expressions and personalities are spot-on, I don’t even understand how it’s possible! I am overwhelmed and absolutely thrilled with it!”

That kind of reaction never gets old.
Once the metal print arrived, this shot taken with a lot of light, I arranged to deliver it to Tobi’s home in Calgary. Shonna came along for the ride, and we enjoyed the reveal in person. We also wanted to meet the cats, of course, but in true feline fashion, one ran away, one watched us from up the stairs, and the third never showed. Our old cat Muse was like that, too. Great with us, no time for anyone else.

As with all commissions, there’s a great sense of accomplishment when I deliver what a client has hired me to do. It’s humbling enough that anyone would buy the whimsical wildlife artwork I create on my own. But to hire me to paint their furry family members in my style is about the biggest compliment I get.

For all of you who have hired me to paint your pets, I remain grateful for your trust, and I hope your paintings make you smile each time you see them. And for those still waiting, thank you for your patience. I’ll do my best to make it worth the wait.

After I sent Tobi a selection of finished images for her use, something I include with every commission, she replied, “This has been such a great experience, and one that I’ll definitely be talking about for years to come.”

I’m working on a video about this piece and will share that with all of you soon.

Cheers,
Patrick

Posted on by — 2 Comments

A Little Breather

After wrapping up the three-cat commission I’ve been working on (and talking about) for the past couple of months, I needed a reset. Not a full break—but something without expectations, pressure, or deadlines. Just a chance to paint for myself again.

This little ground squirrel was that piece.

I worked on it here and there earlier in the week; no plan for prints, products, or licensing. Just a personal palate (or palette) cleanser to clear my head and get back into the rhythm.

Here’s a closer look at some of the fine detail work, my favourite part of the process.

It also became another step in learning how to better share my process through video. There were a few frustrating moments along the way—some technical hurdles and workflow issues—but I’m learning as I go, and it’s starting to feel more natural. I’ll get there.

Watch the Video

I share a bit more of the backstory, including why I needed this piece after the cat commission, and what this kind of no-pressure painting means for my creative process.

If you enjoy it, a like or comment goes a long way. And subscribing helps bring my work to more people—which means I can keep making and sharing more of it. Thanks for following along.

Cheers,
Patrick

Posted on by — Leave a comment

Licensing Spotlight: My Animal Art in the Happy Color App

In 2022, X-Flow Games reached out to license my artwork for a paint-by-numbers app called Happy Color. I hadn’t heard of it at the time, it’s not really my kind of thing, but I don’t often find licensing clients; they usually find me.

You can usually tell pretty quickly whether a company is going to be a good fit. My contact at X-Flow was friendly, professional, and well-versed in licensing. They had a solid contract, clear payment structure, and efficient process.

While most licensing agreements are royalty-based, paying monthly or quarterly based on sales, some companies opt for a flat fee for time-limited use. That’s how X-Flow operates. Since Happy Color is free to download and monetized through ads and in-app purchases, the royalty model doesn’t apply.

My art wasn’t released in the app until two years after our initial discussions. That kind of delay is common in licensing. Each company has its own schedule for product launches, and while my work may be part of it, I’m not involved in the rollout or marketing. My only job is to stay quiet until they go public.

I’m fortunate to have a loyal group of subscribers and supporters of A Wilder View. I’ve often written about shady companies that steal artwork, and how difficult it can be to deal with that. As a result, many people are quick to alert me when they see my work somewhere unexpected.

So when Happy Color released The Charmers’ Club last year—a collection of ten of my animals—I actually found out from several fans of the app who asked if it was legitimate. I was happy to confirm that yes, it was authorized, and that I could finally promote it.

Earlier this year, I spoke with Happy Color again. Someone new had taken over the conversation, but like her predecessor, she was professional, friendly, and easy to work with. Must be something in the company culture.

After some back-and-forth, they selected a new batch of images to license. The first collection had been well received, so they planned a larger promotion this time around.

Subscribers might recall a recent post where I teased two licensing opportunities I couldn’t talk about yet. This is the first one.
Once the new collection was finalized, X-Flow asked to interview me to help promote the current images and tease the upcoming fall release. I can’t share the newly licensed paintings until they do, but I’m looking forward to seeing them in the app again soon.

If you haven’t tried the Happy Color app, I recommend giving it a go. It’s a relaxing, pleasantly addictive little distraction. I’ll admit I had low expectations at first, but after colouring several of my own pieces, I get the appeal.

Below is the interview X-Flow released today in the app, you can see screenshots from their social media featuring my artwork and Q&A throughout this post. You can download Happy Color from Google Play or the Apple App Store and follow Happy Color on Facebook and Instagram. To read the interview on the app, go to their News tab on the bottom and you’ll see it there. At the bottom of the interview, it will take you right to my current collection, The Charmers’ Club.

Enjoy!

Interview with Patrick LaMontagne
From the Happy Color App

“Cartoony but Real” World of Patrick LaMontagne

Q: Patrick, your signature style—expressive wildlife that’s “cartoony but real”—is instantly recognizable. How did it all begin?
Believe it or not, it started with a bear. That first grizzly I painted back in 2009 wasn’t supposed to look whimsical—I didn’t even think in those terms back then. But people responded to it. So I painted another. Then another. And somewhere along the way, it became the work I loved most.
The phrase “cartoony but real” actually came from viewers at shows. The first time I heard it, I thought, yeah, that fits. Then someone else said the exact same thing. So I figured—if that’s how people see it, why fight it?

Q: Has living in the Bow Valley shaped your work?
Absolutely. That first grizzly bear was inspired by the wildlife here. We have them in our backyard. I love them—but I’m also a little scared of them. I don’t sleep well in a tent because of it.
This place, the Canadian Rockies, is a constant source of inspiration. The animals, the light, the landscapes—it’s all right here.

Q: What was it like seeing your work featured in the Happy Color app?
Honestly? At first, I was surprised. I looked at the app and thought, paint-by-numbers? People still do this?
Then I tried it—and totally got it. It was relaxing and kind of addictive.
When the first Happy Color collection launched, I hadn’t even announced it yet—but my subscribers spotted it right away. They were excited… and a few were worried it was art theft. It wasn’t—and I loved getting to share that moment with them.
Seeing my animals in that format was a joy. I loved how the collection was presented. I even coloured most of them myself.
Q: Let’s talk about joy. How does it play into your creative process?
I’d be lying if I said it’s always easy. Like a lot of artists, I’m my own worst critic. After hours alone with a painting, I start to focus on every flaw.
But then I share it. I see someone smile, or I get a heartfelt message. And suddenly, it’s not about perfection—it’s about connection. If my work made someone feel something, then I’ve done my job.

Q: What’s your creative process like, from blank canvas to final touches?
I keep things simple—just a few brushes. I start with a sketch, lay down flat colours, then rough in light and shadow. From there, it’s all about refining.
One trick I use constantly is flipping the canvas horizontally, along with my references. Artists have done it for centuries—it helps spot mistakes instantly. I swear by it.

Q: You were creating digital art long before it became mainstream. How has that journey evolved for you?
I’ve never been a traditional artist in the classic sense. I didn’t study oils or watercolour. I just liked to doodle.
My digital journey started in high school—pixel by pixel with a mouse on a Macintosh, just for fun. Then came my first Wacom tablet, bundled with Painter Classic. From that point on, I was hooked. Digital was my home.

Q: How do you stay authentic in an AI-driven world?
These days, with AI and filters flooding the space, I often have to explain that my work isn’t AI-generated. That the computer doesn’t “make” it—I do.
It’s frustrating sometimes, but it also motivates me to show more of my process. That’s one reason I’m focusing more on YouTube now.
Q: How do you know when a painting is done—when the character is “alive”?
Ah, the eternal question. Leonardo da Vinci said, “A painting is never finished, only abandoned.” I get that. There’s always another hair or feather you could tweak.
But eventually, the personality shows up. You reach a point where adding more doesn’t help—it might even hurt. That’s when I know it’s time to let go.

You can enjoy coloring Patrick LaMontagne’s collection The Charmer’s Club in the Happy Color app now.
A new collection is on the way this autumn—stay tuned for more wild and whimsical news!

Posted on by — 2 Comments

Something a Little Different (New Video)

The good news is I’ll be finishing the cat commission this week. The bad news? My very patient client gets to see it first, of course.

That said, I’m pleasantly surprised by how well it’s turning out. It’s been a big challenge, but more on that when I’m able to share it.

In the meantime, I’ve published another YouTube video.

This has proven more difficult than I expected, not because I don’t enjoy it, but because I don’t want these videos to be just me sitting in a chair talking to the camera, or simply showing my hand painting on the screen.

Those types of videos are popular (and I’ll keep doing them), but I want to offer more than that. I’d like to share videos more often, and doing the same thing every time would get boring, not just for you, but for the guy recording them.

So on that note, here’s something a little different. I had fun recording the footage, but I won’t lie; editing it with new software was an exercise in frustration. It took far longer than I’d like, but I’m sure my speed and efficiency will improve with each one.

I’m learning a lot. Mostly from my mistakes.

Hope you like it.

Cheers,
Patrick