Category: Art Licensing

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New Calendar, New Tote Bag, and a Big Bear Update

At long last, the 2026 calendars and special-release Christmas Bear tote bags are now available in the store.

Unfortunately, it doesn’t look like we can expect any changes that would make shipping to the U.S. feasible again. I’m as frustrated as many of my American customers, but those rule changes didn’t come from this side of the border.

We didn’t break it, so we can’t fix it.
Hopefully, the issues we do have here, namely the ongoing Canada Post dispute, stay at a working stalemate long enough for me to ship orders. I’ll send everything as soon as I can.

But fair warning: if the mail stops again, there won’t be much I can do. I won’t be able to issue refunds for orders once they’ve been sent. If that happens, we’ll just have to wait for Canada Post to clear the backlog once things resume.

Here’s hoping it won’t come to that.

In other new product news, Diamond Art Club has given me the go-ahead to announce a brand-new kit based on my Big Bear on Blue painting, the cover image from the 2025 calendar. They’re calling it simply Big Bear, and it marks their eighth release featuring one of my designs.

They’re a great company to work with, and I’ve heard from many subscribers who’ve enjoyed putting together their official Diamond Art Club kits. If you’re unfamiliar, it’s kind of a blend between paint-by-numbers and cross-stitch.
If you’re on Facebook, here’s the link to their page where you can see the above announcement. The new image releases this Saturday.

All of the other currently available designs can be found here on their site.

That’s it for now, I’m deep in a custom video project with a fast-approaching deadline, a pet portrait commission, and the usual cartoon deadlines keeping me out of trouble.

Cheers,
Patrick

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Happy Color & Christmas Bear Totes

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?

Cheers,
Patrick

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Stocked for Christmas, Stuck with Canada Post

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.


 

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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

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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!