Whenever there was a turning point in an 80s movie, you could expect a music montage. Whether it was rebuilding a classic car, a group of rebellious teens learning to dance, or the karate tournament advancing to the final match, an upbeat song helped the story jump through time without making the viewer watch all the actual hard work.
Did you really want to see the protagonist standing in line at the auto parts store to get an air filter for the ’67 Camaro he’s restoring?
It often takes many days or weeks to complete one of my whimsical wildlife pieces, and I enjoy most of it. Drinking hot black coffee, tunes in my earbuds, I’m quite content to spend hours at a time painting tiny little hairs on a wolf’s muzzle or adding texture detail so the sea turtle’s skin looks real.
But if you were watching this work over my shoulder, I guarantee you would be bored out of your mind.
My buddy Derek is one of the most incredible tattoo artists you’ll ever see. When I hang out at the shop, I’ll often lean over his shoulder to watch. His linework is ridiculously precise, and I’m fascinated at the silky-smooth colour gradients he achieves with a tattoo machine. But eventually, it gets boring. He’ll often have clients that sit for hours all day for three days straight.
I just want to see some of the work in progress and the finished piece.
I’ve been creating time-lapse videos off and on for many years, and even though they can add hours of extra work to a painting, they’re fun to put together.
Sometimes I’ll record a voiceover, something inspirational for other artists, or relevant thoughts on the piece. Over the years, I’ve done a few of those for Wacom, the company that makes the tablets and displays I’ve been using since the late 90s. While I still love their products and will continue to recommend them, the best days of that working relationship are likely behind me now.
Most corporations are still chasing the likes and shares on social media, whereas I am not. I have no designs on becoming an Instagram influencer. I’d rather spend that time creating more art.
The time-lapse videos I enjoy most are the short ones with a musical accompaniment. These days I have a monthly subscription to Epidemic Sound, and it allows me to find the right track to go with a painting, regardless of the mood I’m trying to set.
I record the first part of the video over my left shoulder with my DSLR camera. I must keep in mind that the camera is beside me on the tripod, careful not to bump it. Because I’m recording a digital screen with a digital capture device, it also creates lighting problems.
Movies and TV shows will often add device and monitor screens after the fact in editing because it’s so difficult and time-consuming to record them with a camera.
But people like to see my hand holding the stylus, moving around the display.
For the rest of the video, I use Camtasia‘s screen capture software. I’ve been using it to record and edit since I created my DVDs ten years ago, and it works well.
But when I get down to the smallest of hairs in the painting, making subtle shading changes, and applying catchlights to the wet skin of the nose or around the eyes, it eventually becomes difficult for the viewer to follow the cursor.
And finally, our attention spans keep getting shorter. With slot machine scrolling on our phones, multiple tabs open on our desktops and pinging alerts going off all around us, holding somebody’s interest is a challenge.
I used to record four- or five-minute time-lapse videos, but most people won’t sit through those anymore, so I try to keep them under two minutes. Of course, it means there are significant jumps in the painting’s progress and detail, but it works.
People just want to see some of the work in progress and the finished piece.
Cheers,
Patrick
P.S. As always, feel free to share the video, with my thanks. That goes for anything else I post on this site as well.
I’ve wanted to paint a Red-tailed Hawk for quite some time but could never seem to find the right reference. Though a common bird, my sightings in the wild have often been a comedy of bad timing.
The show hours were 10-4, and I had a prime corner in the main lobby. With a couple of hours setup on Saturday before opening, restocking on Sunday morning, and an hour of tear-down at the end, it was just a couple of eight-hour days. I even got some painting time in at home in the morning before heading to the venue. Some of these shows have long hours without a break, all day, every day. So I come home exhausted after five days at The Calgary Expo.
Brian had already purchased a handful of trivets he found in stores, but he needed a lot more and wanted to know if I could make that happen for him. Since the trivets come from 
Earlier this week, Mike was in Alberta and Saskatchewan visiting retailers and vendors, and family in Calgary. While there, he met up with Brian to deliver his order of 25 more trivets for the table. It was the first ceramic printing for some of the newer paintings.
That means I can look forward to sharing more photos later, and hopefully, I’ll get to take those myself if I see the finished piece in person. The whole project is incredibly flattering.
Early in this editorial cartoon profession, somebody once told me that editorial cartoons are supposed to make you laugh, think, and hopefully do both. I think it was Terry Mosher (Aislin).
When I first created my animal art, I called them Totems but stopped the practice a few years ago.
This past Thursday, I drove the four hours down to Coaldale, Alberta, to visit the 
The Alberta Birds of Prey Foundation began in 1982 when there weren’t any wildlife rescue endeavours operating in Western Canada. Colin has been rescuing, rehabilitating, and releasing birds of prey back into the wild for almost forty years. Birds with permanent injuries or those that can’t be released have been given homes at the centre, a beautiful spot in southern Alberta, right in the middle of a reclaimed wetlands area.
As with any non-profit operation, caring for the birds is only half the battle, and it’s a never-ending quest to raise enough funds and resources. To attract people to the centre, it must be safe, appealing, and well-maintained, a feat they have managed well. The Alberta Birds of Prey Centre is an attractive, professional, and welcoming facility. All the enclosures, aviaries and structures are top-notch, serving as housing and rehab areas for the birds and an educational facility for the public.
I’ve wanted to get down to the centre more than once this summer, but as with all things these past many months, best intentions haven’t always aligned with feasibility. Plagued with long stretches of record-breaking heat, a thick choking blanket of wildfire smoke for weeks on end and the uncertainty of changing pandemic restrictions, this summer has been challenging. Add long hours in the office working to diversify my business, and I haven’t been able to get away.
Over two days, I watched them fly a mature bald eagle, a juvenile bald eagle, and two red-tailed hawks. Bald eagles don’t get their full head of white feathers until four or five years old. One of the staff suggested on the second morning that I lie down on the ‘runway’ to take some head-on shots of the red-tailed hawk. To take advantage of a cushion of air just above the ground, the birds drop down low when they’re flying back and forth, only climbing again at the end.
I could write a few thousand more words on their important work and all I learn whenever I visit the Alberta Birds of Prey Centre. The staff share some fascinating and amusing stories during the flight training presentation and are always available for questions from visitors. Nothing is off-limits, and they’re more than willing to talk about the challenges they face each day while caring for these birds.
Best of all, I finally have more than enough shots of a red-tailed hawk, so many good ones that I’ll have a hard time deciding which to use. Or maybe I’ll have to paint more than one. It’s a good problem to have. Feathers are much harder to paint than fur, especially when intricate patterns are involved, so don’t expect a painting anytime soon. It’ll likely be a winter project, but one I’m eager to start.