Category: Business

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Artistic License and Creative Risk

In late 2009, right around this time, I began work on my first whimsical wildlife painting, a Grizzly bear.

By the time I walked into a gallery in Banff in Cascade Mall in January, I had three. The Grizzly, a Raven, and an Elk.

The manager treated me well, the owners did not, and on a tip, I barely got my stuff out of there before they shuttered the store overnight a couple of years later.

But it led me to a store in Canmore called Two Wolves, where the two women who owned it treated me very well. They ultimately closed up shop, but I learned a lot, they urged me to seek a license with The Mountain on T-shirts which turned into a nice four year deal and opened other doors.

In Banff, when the first gallery closed, I sought out another and that’s how I ended up at About Canada retail gallery. We’ve had a very nice relationship for the past 7 years. It’s all been consignment, which means that I supply the prints; they pay me when they sell, and the cheques arrived every month without fail.

Richard and Alison taught me a lot about the business, they offered helpful suggestions, delivered harsh truths, and were always willing to try something new. Initially, they just wanted mountain animals, but I convinced them to try some others. My Otter painting has been their bestseller for a number of years, followed closely by the Bald Eagle, neither of which is associated with these mountains.

Because they had treated me so well for so many years, About Canada had exclusive rights to sell my work in Banff. It’s also the only place that sells my matted prints and canvas with consistent sales. The other is the Calgary Comic and Entertainment Expo in the spring.

Earlier this year, they decided to retire from About Canada and put it up for sale. They had a large number of my prints and canvas on hand, and I authorized putting my stuff on sale with everything else. After a busy summer, it’s almost all gone.

With that in mind, I’ve decided to make a big change.

Many successful artists will stock up and hit the road, especially this time of year to do multiple gift shows and sell their wares. I know a few who make the bulk of their annual income at Christmas markets. If my funny looking animal paintings were my only income, I would likely be doing the same thing.

Because of my editorial cartoon deadlines, I have to produce at least one cartoon every day, some days more than one. Following the news keeps me here, but since I dislike driving long distances, especially in the winter, working at home suits me well.

Oh yeah, and I loathe Christmas. Bah, Humbug.

With that in mind, I’ve chosen the licensing model. The artist creates the art, then signs contracts with companies who sell it on prints and other products. They do all of the work and promotion it takes to get the items into retail stores, on websites, produce the goods, ship them, invoice, collect and the artist just collects a cheque. If the artist is smart, he/she will never give up copyright and a reputable licensee won’t ask for it. All of my current licenses are non-exclusive on paper, but I’m careful not to sign with direct competitors.

I’ve had a number of licenses for my work over the years with a few different companies. T-shirts, decals, phone cases, online art sales from multiple companies, and Art Licensing International currently represents me, based out of the US. They currently have 54 of my images out for licensing.

Now you might be thinking “cha-ching!” but when I sell an item through a license, I get a very small percentage of that sale, anywhere between 5% and 15% at the high end. That’s also from the wholesale price, not the retail price.

My licensing agent also takes a cut for any licenses they procure for me, so the percentage gets lower still.

Why would I bother? Same reason I sell syndicated cartoons to weekly newspapers for a lower rate than I would a custom cartoon.

Volume.

The money isn’t made on one sale, it’s made on MANY sales of the same image. That first Grizzly is still one of my bestsellers nine years later.

My licensing agent gets me deals I can’t get on my own. They have the connections, the professional sales people, the legal expertise, and the means to deliver. Through my agent, I recently signed a two year license for one image to a company in Spain for a nice flat fee. How would I ever get that on my own?

I’ve seen one of my T-shirts on a Netflix show and Ozzy Osbourne was wearing one recently on TV. I have clients all over the world that I could not get on my own and best of all, it creates momentum. One license begets another and so on. Licensing is how artists get their work into Wal-Mart (and then retire!).

So licensing is proving to be the model that works best for me right now, allowing me to create more work, while somebody else sells it. It is a long game, and one license can take years to bring in decent revenue, but that time will pass anyway and all I did was provide the images.

As regular followers will know, I have two different printers who both deliver great products. My digital prints are produced in Victoria from Art Ink Print and are sold at The Calgary Zoo, Toronto Zoo, Discovery Wildlife Park, the Calgary Expo and online. These aren’t on consignment. When I deliver to these places, it’s an immediate sale of product to the retailer. I’ll still be supplying prints directly to those customers.

My canvas, giclée matted prints and acrylics are produced in Calgary at ABL Imaging and those are sold at About Canada in Banff and Reflecting Spirit Gallery in Ucluelet. Those are consignment sales, which I’ll no longer be doing.

I have over thirty paintings currently in stock, and that’s expensive. To get a good price on prints, I have to order more than I need, so I have multiples of those images, with the backer board, mats, bios, and cellophane sleeves to go with them. I don’t mind telling you that at present, I have hundreds of prints in stock.

They’re all neatly organized and inventoried, but they’re here, ready to deliver when there’s an order. They don’t expire and are well protected, so it’s an investment in future sales. Many of these prints won’t be sold until spring at Expo, especially now that I no longer have About Canada to sell the matted prints and canvas.

When Shonna and I were on Vancouver Island, it was a business trip as well as a little vacation. We visited licensees, my printer, I took a lot of reference pics for paintings and I was on the lookout for more ways to sell my work.

I saw my Otter T-shirt in a few stores in Victoria, which never gets old. I also saw lots of art from many talented artists. Art cards, magnets, trivets, coasters, and prints all with excellent printing quality, well packaged and presented.

There were two companies that stood out for me and I took pictures of the information on the back of the cards for reference when I got home.

The next time I stopped in to About Canada, I had a chat with Richard about the companies as he dealt with both of them. As he knew I was thinking of taking my prints in a new direction, he offered to send me their contact info, which I gratefully accepted.

In fact, he sent glowing introduction emails to the two people and cc’d me on them. See why I liked working with these folks?

Both companies contacted me and offered me contracts. Either would have been a good bet, I think, but after careful consideration and a long chat on the phone with the owner, I decided that Pacific Music and Art was going to be the best fit for my work.

From here on out, things will change on the printing front.

Pacific Music and Art will now be able to get my work into many more retailers in Canada and the US, with their sales reps doing the legwork to best represent my funny looking animals. For the reasons I’ve mentioned above, I just can’t create the work and meet my deadlines if I’m on the road going from store to store, building relationships with retailers, ordering and packaging the prints, shipping and delivering them, and doing all of the work that goes along with that.
Through Pacific Music & Art, my work will now be available to retailers on aluminum prints and magnets, art cards and other paper products, coasters, trivets, coffee mugs and more. It’ll be introduced to hundreds of retailers that I would never be able to reach and I’ll have more time to paint and have less stock to buy.

I am no longer bound by exclusivity in Banff, but my work will still be available at About Canada, in addition to other local retailers in Banff, Canmore, Lake Louise, and Jasper.

Over the past few weeks, there has been a lot of prep work getting the first sixteen images ready. While the artist normally wouldn’t have to do a lot of the formatting and sizing work for all of the different products, I volunteered and was provided the templates.
Sizing the paintings for the different products required cropping them, a little squeezing and squashing, and making sacrifices, especially when a square painting had to be put into a horizontal template. I would rather make those decisions than a designer unfamiliar with my work. I’m proficient with Photoshop, so it was time consuming, but not difficult. After a couple of very long days of prep, I uploaded over 165 images to their server.

The fall catalog went live this week and my Otter is on the cover. I’m thrilled to be included among these well-known artists including Andy Everson and Sue Coleman.
The owner, Mike, was driving through here on Friday, a combination business and personal trip. He was visiting local retailers and introducing my work to them, many of whom were already familiar with it as I’ve been in this valley for 24 years.

We met for coffee in Canmore late Friday and had an enjoyable chat for more than an hour. He’d brought samples to give to the retailers and his Alberta reps, and he told me to take what I wanted from quite a large selection. I had to restrain myself as I have more than enough of my own work in my house. I settled on a couple of magnets, a few coasters, a trivet and a small aluminum print, along with the catalog. The quality of these items exceeded my expectations and I can’t wait to see them in stores around here, as he’s already got quite a few orders. One store on Vancouver Island took all 16 images.

I’ve been at this art business for quite some time now and I try to temper my enthusiasm with healthy doses of reality and even cynicism, but I’m pretty excited about this one. It’s exactly what I’ve been looking for and will free up time and money to pursue new things and allow me to create more artwork.

While it’s sad to see my relationship end with the owners of About Canada, I am grateful for the opportunity to see my business grow in a new direction. Without risk, there can be no reward and I’d rather fail reaching for something better than worry about keeping what I’ve got.

Art Ink Print does my digital prints, Harlequin Nature Graphics is my T-shirt license and now Pacific Music and Art will be a major license for me, all of these companies are in and around Victoria, BC. Considering how much we love Vancouver Island, it’s amazing how many reasons we now have to go there.

As always, thanks for reading.

Patrick

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Selling Out Selling Art


A student from the Alberta College of Art and Design recently asked to interview me for an assignment. I was happy to oblige. While in Calgary to drop off prints at the zoo and take some photos, I made time to meet her for coffee last week.

It got me thinking about the road traveled.

My first paying gig as an artist was as the editorial cartoonist for the Banff Crag & Canyon newspaper. I drew my first cartoon in May of ’98, so it’s been just over twenty years. I’ve been a full-time artist since 2006.

Over my career, it has always been easy to find resources in order to become a better artist. While I started with books and magazines, no matter what style of art you want to learn today, there are talented teachers on the internet willing to share their skills, often for a very reasonable price.

Google: “How do I learn to draw?”

While you can peruse countless lessons, videos, books, articles, buy all of the best materials, tools and hardware, unless you practice, you will never become good at anything.

People want the skills, but a relative few are willing to invest the countless lonely hours drawing and the years of bad artwork, most of which will be incredibly unsatisfying and unpaid. I have a hard time looking at my earlier work, but all of that led to all of this.

Creating art for fun can be a great hobby and escape. I’ve encountered many skilled artists with no designs on becoming pros. They are content to draw, paint, sculpt, or play simply for the joy of it, with no illusions.

As for me, I am a commercial artist. It’s how I make my living.

I’ve encountered plenty of artists over the years who’ve told me that I was selling out by selling art, that they wouldn’t dare sully their creative process by putting a dollar amount on it, that real art is made for creativity’s sake alone and not for financial compensation.

That’s bullshit.

I enjoy being an artist, but it’s my job, and just like any other. There are many necessary parts of my job that I do not enjoy.

In the past couple of weeks, I’ve had to reformat paintings to conform to multiple templates for a new licensing contract. Sixteen images had to be resized, cropped, and uploaded in eleven different formats each, many of which were uncomfortable compromises. Over two days, it took about fifteen hours, during which I still had to meet my daily editorial cartoon deadlines for my clients across Canada.

Prior to that, I was in contract negotiation with that company, back and forth, making changes to the wording, all amicable and professional, but time consuming.

On Sunday, I drew three cartoons to send out Monday because I spent that day reconciling my books for the past three months so that I could file my GST remittance with the government. The day after that was month end invoicing for all of my editorial cartoon clients across Canada.

And still, editorial cartoon deadlines had to be met.

Tomorrow afternoon, I have a meeting with the owner of the aforementioned company as he will be driving through town. If I’m sending mixed signals, let me clarify. The setup work and contract stuff was tedious, but the license itself is exciting and I’m looking forward to sharing the details very soon.

My point is that I have spent as much time this week on the administration and promotion of my art as I have creating art, and that art was all cartoons.

I’ve only squeezed in a couple of hours of painting in this week. That’s it. But I’m hoping to find time for it this weekend, which is why I still get up at 5am on Saturdays even though I don’t have a cartoon deadline that day.

I painted my first funny looking animal in 2009 as an experiment, to try something different that might end up being a more marketable print than the caricature portrait commissions I was doing. Ironic that it was looking to sell more art that led me to the work I enjoy most and a whole new product that changed my whole direction. Commercial art led me to photography as I knew I could paint better images if I took my own reference. It is unlikely I would have found either of those if I wasn’t trying to grow my business.

None of this is complaining, I assure you. Everybody has parts of their job they dislike. That’s why it’s called work.

Quite often over the years, I’ll get emails or questions from young artists asking me for advice on how to create art for a living, which I’m happy to answer.

They become less enthusiastic when I tell them the single most important thing they can do is learn the business of art. Bookkeeping, contracts, licensing, customer service, meet deadlines, keep regular hours, pay your taxes, stop wasting time on social media, be polite to your customers, under-promise and over-deliver. Be accountable and professional.

It’s tedious and you’ll spend all of that time wishing you were drawing or painting instead. You’ll make so many mistakes, but you’ll learn from them and be better for the lessons. Whenever I work with somebody new, especially when it comes to licensing, a voice in the back of my head is always asking, “How is this person trying to screw me?”

Cynical? Yes.

Appropriate? Absolutely.

People take advantage of artists because we not only allow it, we encourage it. Artists are the biggest pushovers around. We not only want you to like our work, we want you to like us, too. Here, just take it for free.

These days, I have enough experience that the warning signs are easier to spot, but I don’t imagine myself immune to more lessons down the road.

I have been screwed more than once in this business. I will get screwed again, but hopefully not in the same ways, because then I won’t have learned anything.

Most of the time, however, the person on the other end of a negotiation is fair, professional, accommodating and a pleasure to work with. But most of the people in your neighbourhood are probably nice, too, and yet you still lock your doors at night.

This business of art is always challenging and the learning is never over. It’s hard work, all the time, and it’s not for everybody.

Creating art is easy. Selling art? That’s the hard part.

Cheers,
Patrick

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What’s in a Name?

For the past nine years, I’ve been creating whimsical wildlife portraits of animals, caricatures of the real thing. Sometimes they’re quite exaggerated, other times not so much.

When I first began the initial series, I decided to call them “Totems.” What that meant to me was paying homage to the animal spirit meaning of the word. The personality and character I paint in these animals makes them feel alive to me. I’ve had some unique and special experiences with animals in recent years and can’t help but feel a connection with them, so it’s for personal reasons that I decided on that name.

Over the past few years, I’ve been getting more licensing contracts, my work is being sold in more places and if things go according to plan and align with my intentions, I hope to see them in many more retail outlets across Canada and the U.S. in the coming years.

With that in mind, and knowing the underlying current of the internet, good intentions are often misconstrued as opportunistic machinations. I’m paranoid by nature, always anticipating the worst case scenario, because I see it every day while following the news. I suspect that it’s only a matter of time before somebody accuses me of cultural appropriation.

By using the word Totem, it could be perceived by indigenous groups that I did so to either pretend that I have some connection to native heritage or that I used the title to capitalize on the word for that reason.

The word Totem has a number of meanings, but clearly I am using it in the animal spirit sense and with cultural appropriation such a sensitive subject (and rightly so), it would be naive of me not to imagine that some members of indigenous groups might see it as just another white guy trying to make money from their culture.

That isn’t the case and has never been, but I’ve got about as colonial a background as you’re ever going to find. Any argument I made after the fact would just look like I was just trying to cover my ass in the face of controversy, rather than ceasing the practice because I chose to.

On one hand, given the fact that I’ve regularly faced controversial opinions and arguments against editorial cartoons I’ve done for the past twenty years, I don’t like caving to opposition in an age where anyone who is offended is perceived to be correct simply because they’re offended.

On the other hand, a phrase I learned in my five years in the Canadian Armed Forces Reserve comes to mind often in my life.

“Is this the hill I want to die on?”

I paint my funny looking animals because I enjoy them, they make people smile, and it’s a nice way to use my talent and skill to make a living creating art. I certainly don’t want these paintings to be tainted with a controversy that’s easily avoidable. The paintings are important to me, the names are not. It doesn’t change how I feel about them or whether or not those who like my work will continue to follow it.

It was only the portrait style caricatured head-shots that were called Totems, but I’ll no longer be continuing that practice. Some might not agree with my reasons for this change, but I believe we’re supposed to grow in this life and this feels like the right thing to do.

I have removed the word from the portfolio and gallery titles and will be going through the blog to do the same to the titles of those posts. While it will be impossible to remove all references to them online, the point is that I won’t be doing so in the future.

Cheers,
Patrick

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Liftoff for LaMontagne Art


My first website came to life almost two decades ago in 2000, built with a piece of Adobe software called Dreamweaver. It was clunky, frustrating, images would end up where I didn’t want them, text would be misaligned and I hated website design.

A few redesigns of my own followed, but in 2011, I hired a professional to create something new for me and he did a very nice job. Erik at Bernskiold Media introduced me to WordPress, dealt with all of the coding issues on a poorly designed theme I’d bought, and for the past seven years, my website has done its job well.

But just as a new car is great when you get it, technology changes, little things you once tolerated become inconvenient distractions, that rattle near the rear right fender gets louder (what the hell IS that?!) and you start thinking trade-in.

When I first started Cartoon Ink, my business was editorial cartooning, custom caricatures, and illustration. I didn’t have the foresight to see twenty years down the road to the work I’m doing now. My last name is sometimes difficult for people to say (La-Mon-Tang), and like a number of people around that time, I thought I was being kind of clever and unique by the play on words of Ink vs. Inc.

As time wore on, my work became better known and more people now associate my name with my work, rather than Cartoon Ink. I’m still a nationally syndicated editorial cartoonist and draw those every day, but my painted work is just as important, so I figured it was time to own that.

Six years ago, I bought patricklamontagne.com and a few years later, I bought lamontagneart.com. But cartoonink.com has been in use for a very long time and most of my clients, friends and family contact me through email tied to that name. There’s a lot of material out there in the world with that web address on it. Business cards, prints, magnets and plenty of other products direct people to find me through cartoonink.com. So, it will still live on, both in email and as a web address. If you type in cartoonink.com into your web browser, you’ll still end up here. In fact, all three of my domain names will bring you to this new website.

When I first decided I needed a new site, I considered doing it myself. I know a couple of friends who have had great success with that. But I also knew the work involved and even with some really good drag-and-drop options out there, I wanted it professionally done. I didn’t see the benefit in banging my head against the screen when there are plenty of skilled web designers who can design a better site than I in a fraction of the time. I hire professionals to do what they do best so that I can spend my time doing the same.

Erik did a great job for me for quite a few years, but we don’t travel in the same circles anymore. He lives in Sweden so the time change can be challenging in the design phase, and I wanted a new perspective, even though it’s not as big of a change as one might think.

I also wanted to buy Canadian.

At the recommendation of a long-time friend, Ken, who used to build my computers and host my site, I hired Dustin at Robb Networks and we really got along well, both personally and professionally. I’ll just give him a ringing endorsement right off the bat, without reservation. I wouldn’t hesitate to work with him again or refer his services to anyone looking to improve their web presence.

Coding stuff that confuses the hell out of me is simply a second language to him. I had told Dustin I wasn’t in a rush and I meant it. He already had a full plate of work which is always a good sign and I was willing to wait. When he told me earlier this month that he was ready to get it done, I didn’t expect it to go as quickly, or as smoothly as it did. Seemed like one day we’re choosing a WordPress theme and the next we’re talking about launching it.

This wasn’t a complete redesign, just the introduction of a new theme, getting rid of things I didn’t like, adding a few I wanted, but when you go behind the curtain, it has very much the same content as before. It was like replacing the body of a car but keeping the rolling chassis.

So, other than the name, what’s changed?

On my last site, I chose a black background to make the images really pop. What I didn’t think about, however, was the blog. There’s over ten years’ worth of writing in there and it was less than a year into that last site that somebody sent me a private message saying the white text on the black background was tough to read.

That has stuck in my head for years, because she was absolutely right. That was the first thing I wanted to change.

I wanted a clean, minimalist look. No motion graphics, no floating panels when you scroll down, no extraneous bells and whistles. I wanted the images to speak for themselves, front and center.

There is a new logo, to go with the new name. On the site, there is text below the logo to identify where you are, but the text isn’t actually part of the logo. For those of you who read the story of the tattoo I got last year, you’ll recognize it. It was never intended to be my logo when I designed that. After living with it for almost a year, however, it fits.

The portfolios are now divided into Creature, Character and Companion, to showcase the three different types of paintings I do. I’m keeping the number in each to twenty or less. Since I’ve painted more than fifty animals for prints and a lot more than that in different stages of detail, it was tough to choose.

The store looks much better and I’ve added an additional close-up image to each print page so you can see the detail I put into these paintings. A lot of the current prints are on sale and will be retired when that stock is depleted. I’ve got plenty of animals I want to paint and need to make room for them.

I haven’t written anything in the blog since November as I toyed with the idea of phasing it out in favour of the newsletter, which I’ve been sending out regularly. Now that I have the new site, I’ll be reviving the blog. Instead of the entire article or post being in the newsletter, you’ll get a preview of the first paragraph or so and then if you’d like to read more, a link will take you to the full post. After all, the whole reason I have a newsletter is to attract more interest and eyes on the work. The best place to see that work is here.

This was a big deal, rebranding my business, and I’m pleased with the decision and the new site.

Thanks for taking the time to be here, especially if you got here via the newsletter. Your support is greatly appreciated. If you’re new to my work and want to come along for the ride, you can sign up for my newsletter here.

Now that this site is up and running, I’m off to paint some more funny looking animals.

Cheers,
Patrick

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A Visit To Harlequin Nature Graphics

This trip to Vancouver Island has almost become an annual thing, and I always return home with plenty of reference photos and renewed inspiration for painting. Back at the desk, having gathered another collection of pics, but an added bonus on this trip was being able to pay a visit to Harlequin Nature Graphics Ltd. in Cobble Hill.

This is my first year working with Harlequin and they came highly recommended by current clients. While shopping around for a new licensee for my work on apparel, both the Calgary Zoo and Discovery Wildlife Park spoke well of Harlequin’s quality and service. When I was first considering licensing my images with Harlequin last fall, the fact that they are Canadian, primarily focused on wildlife and that they support wildlife causes were all high on my list of pros.
As this trip is a working vacation, we included in our plans a drive down to Cobble Hill on Monday, from where we were staying near Qualicum Beach. Unless you’re moving from one end of the island to the other, we never seem to have to travel long distances to get where we need to go. Since we’ve always planned our visits for early June, before school is out and vacationing families pack the highways, we usually don’t have much in the way of heavy traffic.
Kevin and Gillian were very welcoming and spent more than an hour giving us a tour of the facility, showing us the shirts, their printing operation, talking about the history of the company and where their future plans might take them. They’re working on a new website at present that I’m looking forward to sharing.
I’d already had a good feeling about Harlequin from the beginning, which is why I signed with them. They initially took on a lot more of my images than I expected and time will tell which designs generate the most interest among their many clients across Canada.

It’s not always reasonable or economical to meet face to face when licensing is concerned. I’ve got licensees in the U.S. with whom I don’t expect I’ll ever be able to sit down and have a chat, but given the option, I’ll always choose to. The opportunity to meet with Kevin, Gillian and their staff was well worth the drive to Cobble Hill and we came away from the meeting with a better understanding of the operation and an even greater confidence in our shared vision for my whimsical wildlife paintings.
Of course, since we were there, I managed to beg a few more shirts in my size, too. Thanks, Kevin!

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You Don’t Say

eaglecrop
Things People Said to Me at Calgary Expo Holiday Market

with real (and not so real) responses.


“You should draw children’s books!”

I hear this a lot from people, along with other ‘suggestions’ from out of the blue.

I could draw children’s books and I’ve had many offers to do so over the past 15 years or so. One of those ended up being very successful for the author and the illustrator to whom I introduced her. They were a good match and the books they’ve done turned out great.

So why didn’t I draw them? I don’t like being around children. I’m not a parent, never wanted kids, and you won’t find me attending the birthday parties that friends have for their kids. Shonna is the same way. We’re monsters. We know. We’re OK with it.

When you create a children’s book, you have to promote it. That means doing readings for children, attending events for children, going to schools where there are children and pretending you want to be there. If I produced a children’s book, there would be a large crowd of people who know me well, shouting, “Hypocrite!”

And they’d be right to do so.

Occasionally I will speak to school classes. I even mentored at the school for a couple of years some time ago, a worthwhile program for kids who showed aptitude in the arts. Once a week, I would go to the school, meet my student in a room near the office and spend an hour on drawing exercises. We’d come up with a project that they’d then present to their class at the end of the program.

I did it because it’s something I would have enjoyed at that age and out of a sense of community guilt, felt I should contribute in some way. There were some good kids, I did my best for them, but it wasn’t personally rewarding and felt like another obligation. Because of that flawed perspective, I won’t do that again. But I will still speak to classes from time to time.

I could have been more politically correct here in my explanation, but I erred on the side of honesty. Feel free to judge me harshly. It’s what makes the internet go ‘round.


“Is this digital? Ohhhh.”

That “Ohhhh” is usually incredibly condescending. What it really says is, “You must have a really good program that changed a photo into whatever this is.”

If I tell them I did it with Photoshop, then they’re even more certain that I’m a fraud.

There are still those who figure if you do your work on a computer, then you’re not really a skilled artist, you’re more like a programmer who just knows how to press all the right buttons.

I could explain at great length about the countless hours I’ve spent working to improve my art skills, through practice, study, and a ton of happy accidents, but I usually just smile and let them have their illusions. As I heard Katey Couric say on a podcast recently, “People aren’t looking for information these days, they’re looking for affirmation.”

You think the computer creates my artwork? Give it a shot.

I’ll wait here.


“Are these photos?”

No. They’re not photos. I use photos for reference, but no photo is ever part of my work.


“So what do you do for your real job?”

This is it. Drawing, colouring and answering stupid…

Sorry. I’ll be nice.


“You should draw an Elephant, Hippo, Badger, Horse, Ocelot, Orangutan, Marmoset, Jellyfish, Narwhal, Praying Mantis, Spider, Kangaroo, Duckbilled Platypus, Anemone, Sloth, Barracuda, Goldfish, Parakeet, Boa Constrictor…(it’s an endless list)“

And will you buying one of those when I do? Just checking.


“They’re all smiling!”
“I just love your work!”
“We bought a print of yours last year and it hangs in our hallway.”
“Is that new? I’ll take it!”

Thank you. Thank you very much.

Cheers,
Patrick

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Showing Up

eaglepat At this weekend’s Calgary Expo Holiday Market, a neighbouring vendor mentioned that it’s probably healthy for us to get out of our own orbits, to network with new people, actually talk face to face with customers. While my instinct is to shy away from that, I know she was right.

She added, “Besides, it’s nice to listen to people tell you how much they like your stuff for an entire weekend.”

Over the course of this weekend, I found myself questioning the value of trade shows, mostly because I’ve gone from doing only the one each year, adding another and am considering more.

So you don’t mistake the following mixed feelings with a misconception that this here hermit artist just doesn’t know how to talk with people, I’ve worked more years in customer service than I have as an artist. I know how to play the sales game.

I was in retail and hotels for years before I became self-employed. I managed a waterslide facility full of screaming children and worked a hotel front desk over multiple Christmas holidays and sold out summers in one of the busiest tourist towns in the world. I’ve smiled through a guest check-in while they’ve told me everything had better be perfect, and again during their check-out when it wasn’t.

I didn’t sit down while in my trade show booth, not once through the entire weekend. Sitting down tells people they’re bothering you and most will just move on. I wasn’t on my phone all the time, or sketching, or standing with my arms crossed. When somebody walked by the booth, I smiled, said Hello, engaged them in conversation, made small talk. If I noticed people looking, but they hadn’t approached, I invited them over to take a look. They most often did and often bought as a result. No sales pressure, just being friendly.

I tell you this not to sound like a martyr. Most people who work customer service know they must do the exact same thing, or at least the successful ones do.

As this Holiday show was put on by the same people who do the Calgary Comic and Entertainment Expo in the spring, they marketed it to their regular attendees. From this vendor’s perspective, that was great as I’ve gotten to know a number of customers over the four years I’ve been doing Expo. Many have purchased more than once and have become collectors of my work. I do look forward to Expo each year, because prior to being a vendor, I was an attendee. It’s an event I enjoy.

There were a number of familiar faces that approached me, asked what was new and bought some more prints. One gentleman, who owns a few of my prints already, bought his first canvas print. A couple of my Facebook followers came by to visit and both bought prints. Up until now, they’ve been names I recognize from likes/comments. It was a real pleasure to talk to them in person and I was flattered that they made the time to come down and see me.

I was able to chit chat with my neighbour in the next booth and as she’s a regular Expo vendor and sells at many other shows, her insight was valuable.

These are the benefits that are hard to quantify. There is no specific dollar value, nothing that can be put on a balance sheet, but the information and connections you gain from networking will most definitely contribute to the bottom line in the future.

As for the cons, those are more personal. I’m a results oriented person, which often isn’t associated with people in the arts. If I’m not using my time well, then I view that time as wasted.

When I go for a hike, it’s because I know that my senior years will be painful and difficult if I don’t stay fit. Most days, I’d rather just stay in and work, but I force myself to get out and walk those 6-10km, often with a 20 pound backpack which includes a couple of cameras. If I see a squirrel, bird, or something larger, I can take a photo that might end up being used for reference. I also come up with cartoon ideas on my walks. I’ll walk downtown on an errand, rather than drive, not because I’m being environmentally conscious, it’s just multi-tasking.

I don’t do idle well. So while I’m standing in the booth in a slow period, saying Hi to people that walk by, just looking ready to engage, I’m thinking that I could be writing on my iPad, or drawing a cartoon in my sketch book, or perusing the news on my phone. But that would make me look unapproachable and that’s bad for sales.

While some can relax for days on end while on vacation, lying on a beach doing nothing for longer than an hour is torture for me. Let’s go tour a ruin, learn something new or have a new experience. Thankfully, my wife has the same outlook.

boothThe trade show experience, as a result, feels like I’m wasting a lot of time that could be spent producing more work. It took me almost four hours to set up my booth on Friday and two hours to tear it down and pack the car Sunday evening. There was also the drive time to and from, which amounted to three hours total for Calgary.

I could have gotten a lot of painting done in that time, a blog post, or a few editorial cartoons.

The idea of doing multiple Christmas shows fills me with dread. I don’t set foot in a shopping mall between now and January to avoid the madness and festival frenzy. The idea of going on tour to different cities to experience that very thing seems horrific to me. Luckily the weather was great this weekend, but I thought about what it would be like doing this sort of thing when there’s a whiteout on icy roads in a packed car, sharing the road with aggressive Alberta drivers looking at their phones. Sugar plums dancing? More like animal prints littering the ditch.

We canceled our Thanksgiving plans this year because the roads were treacherous. Canceling a booth with all of the associated costs would be pricey.

A period of evaluation lies ahead of me. How much of this do I want to do? How much of my best energy (the stuff I rely on to create!) do I spend on this sort of thing, especially at a time of year when that energy is in shortest supply? Psychologically, winter is when I struggle most, when I am much closer to the bottom than the top, for months at a time.

There is a certain amount of self-doubt about this where I think, “Am I just shying away from this because it’s different, out of my comfort zone, or a foreign experience?” But then there is also the confidence that comes with age where you also know who you are and that what works for one person might not work for you. I’m an atheist, but the serenity prayer comes to mind.

Living your life by somebody else’s playbook, especially in a profession where being unique is the ideal, doesn’t make any sense.

On the surface, sales were decent, but if I factor in everything from my print costs, hotel, food, parking, booth rental and power, then my end profit amounted to less than a minimum hourly wage for all of the prep, setup, time on site, tear down and post-work at home.  When I looked at that final number after calculating all of the expense, I thought, “That’s it? For all of that work?”

I don’t feel that way when I get my payments for editorial cartoons, licensing royalties, commissions from the galleries or payments from the zoos. Because when somebody else is selling my work, I’m producing more work.

I’ll be overthinking this for some time. It will factor into whether or not I add more shows or commit to a season of the Canmore Market next spring, summer and fall. I lost money on the first Expo I did and barely made any money on the second, but if not for those first two, I wouldn’t have made money on the next two and this past spring Expo was a really great year. But I also like doing that show, and that matters, too.

As with most decisions in self-employment, there are no easy answers. There’s no map. Most of the time, it’s just feeling around in a dark room looking for a light switch. And when you finally find one, it illuminates a very small area and you’re once again squinting into the dark, looking for the next light switch.
beaverpat

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Red Deer Advocate Cover Story

Cover
The Red Deer Advocate interviewed me last week for a feature piece. I had no idea it was going to be on the cover above the fold. My Dad sent me the photo.

Here’s the story…

Doodling for fun, profit
by Susan Zielinski

Patrick LaMontagne can’t escape politics.

But the syndicated editorial cartoonist said that luckily many politicians have interesting faces he can play with.

“Rachel Notley is pretty fun to draw. Her hair frames her face well. She also has very expressive eyes and when she smiles she has good lines in her face,” said the former Red Deerian.

“Ed Stelmach was really tough. I hated drawing him. Jim Prentice was kind of fun to draw. I really loved Ralph Klein. As a cartoonist, I miss him a great deal.”

LaMontagne, whose work has appeared regularly in the Red Deer Advocate since 2007, said he usually collects ideas to draw five to seven cartoons each week.

“This week it’s the Olympics, the Senate scandal, one on extreme weather that I’m working on that right now. The U.S. election is pretty big. I just did a caricature of Hillary Clinton this morning and sent it out.

“At this point I can usually know if there’s a cartoon in a story. Sometimes a cartoon just pops out, then I try and make it a little more original because I know another cartoonist might be making the same connections.”

LaMontagne, 45, of Canmore, said he never intended to pursue a career in the arts.

“I make the majority of my living from my syndication and the rest from my painted work.

“I couldn’t imagine doing anything else now, but this was never the plan. I never thought of going to art school.”

LaMontagne said he was basically a doodler from way back, including in class at Camille J. Lerouge Collegiate in Red Deer.

“I really remember Mr. Molesky, my physics teacher, always giving me trouble for doodling in class when I was suppose to be paying attention.”

LaMontagne was born in Red Deer when his father was posted at CFB Penhold. He returned for high school and attended Red Deer College when his family came back to Penhold for his father’s last posting in 1986. His parents Peter and Maureen eventually made Springbrook (edit: actually Penhold) their permanent home.

LaMontagne first started drawing for Banff’s Crag and Canyon newspaper in 1997 and became editorial cartoonist with The Rocky Mountain Outlook in 2001, the same year he became nationally syndicated.

In 2006, he quit his full-time job as an administrative assistant for a physiotherapy clinic and became a full-time cartoonist.

His work appears in 60 to 75 newspapers across Canada.

Each week LaMontagne aims to tell stories without words. He said some days are more difficult than others.

“Right now coming up with new ideas for the Olympics is tough because I have to do it every couple of years and you can only make so many jokes about the Olympics.”

But the political ups and downs in Alberta is something he can rely upon.

“Alberta politics is something that everyone in the country watches because of the economic engine here, when it sputters, it hurts everybody.”

He said every editorial cartoonist quietly roots for certain politicians, not for their policies, but because they’ve become a favourite to draw.

“I have no party loyalty whatsoever.”

For more information on LaMontagne visit www.cartoonink.com.

Inner

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Saturday Morning Email

My friend Kristina in California sent me a short email last week, asking me if I thought the work on my book might be responsible for the creative block I talked about in my latest newsletter. While it took me almost a week to respond, I realized when I did that I wanted to post it on the blog. I was going to edit it, but thought it was more honest to just post it verbatim.

“Hola! Sorry, I was remiss in responding to this. A little discombobulated as of late.

I honestly don’t know what the issue is this summer. I’ve been giving it a lot of thought and can’t quite put my finger on it. It’s almost like I’m on cruise control or stuck in traffic. Still moving, but feeling like I’m not. The funny thing is that financially, I’m having a great year. Usually there’s been a little growth each year, nothing exponential but creeping progress. 5-7%, that sort of thing, which in business is apparently pretty good. 2015 over 2014, however, there was a small drop for the first time. About 2% down. This year, however, I’m up 15% so far! Now it’s not all about money, of course, but you’d think that would feel like progress, but it doesn’t.

This social media experiment is very interesting. Clearly an addiction, and deleting the apps from my phone and iPad was the right move. It has become a knee jerk reaction to be checking it all the time. I was at the bank yesterday over the noon hour, so a bit of a line, and I would normally be checking the social media feeds. Yesterday, however, I was reading a book on my phone. I’ve been complaining for quite a while now, that I no longer have time to read. Obviously, that’s a choice I made. I also feel less keyed up this week than I normally do and I think that’s a benefit of not feeding the social media monkey. We had a cool thunderstorm here the other day, a real boomer with lightning and a great sky. That doesn’t happen here often as the mountains create unstable systems. Storms don’t gather steam until they roll out onto the foothills headed for Calgary. I was going to record it to get some stills and then thought, “what am I going to do with it?”

The whole reason I’d do that was to share it on social media. Instead, we just watched it. The constant sharing of everything has become insidious. And it sucks up a LOT of time. I get into a conversation and before I know it an hour has passed and that painting time I covet so much has gone away.

Then there’s the other side of it. I miss seeing what my friends are up to and talking to them. I’ve let the assholes control my habits. To avoid the politics, nasty comments and hate speech, I’ve limited my own interaction with friends and family. To promote my own work, I need to post stuff on my pages, but social media isn’t supposed to be one sided. It’s supposed to be give and take, back and forth, otherwise, it’s just one person talking in the conversation. So where’s the line? Where’s the balance? How do I use it effectively to promote my business without sucking up all of my time and still interact with my followers so they don’t feel it’s so one sided on my part?

I’m painting this morning, but actually thinking about Facebook, Twitter, Instagram, Behance, worried that I’m doing it all wrong. In reality, however, ask 100 people how to do it right, and you’ll get 100 different answers. It feels like we’re all being conned.

So this hiatus is giving me plenty of food for thought. I’ve toyed with the idea of just posting less and not worrying about the likes and shares. Or starting up another personal profile and simply not accepting friend requests from toxic people and ignoring the more controversial posts.

But honestly, it feels like I’m a drug addict saying, “well, maybe just a little heroin.”

Funny, this response to you just became a blog post. ;)”

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Space and Time

A third of the way into 2016 and I’m starting to see posts about upcoming events and excursions that used to interest me, but no longer do.

Despite the fact that I broke away from the norm and became a self-employed cartoonist and painter, it might surprise you that I’ve always been somewhat of a people pleaser, or at least that’s my instinct. I’ll usually go along with the general consensus of a group rather than create a conflict for no reason.

Last weekend, with the kids and spouses home to celebrate my parent’s 50th anniversary, my folks and I were talking about how I’m very much like my Mom. That’s a compliment. She’s a class act. But while I’ve inherited many of her skills and talents (that’s where the art comes from), the people pleasing also comes from her. She struggles with it, too.

The irony is that when you do that long enough, it eventually gets old and you start lashing out a little, or get a chip on your shoulder because you’re not getting the respect you think you deserve from friends and colleagues when they take advantage of that character trait. The truth, however, is that people treat you how you teach them to treat you and if you show them long enough that you’re not going to rock the boat, why would they expect anything different?

When those scales begin to tip, however, they can go a little too far the other way before your ship rights itself. I’ve gone along with things I didn’t want to far too often and have also been very militant about not doing anything I don’t want to during this uncomfortable realization.

Early in my career, I was part of a group called the National Association of Photoshop Professionals, NAPP for short. It was a great community full of photographers, graphic designers, illustrators and other creatives. There was a vibrant busy online forum of regulars and I became friends with many of them.

After a few years, I was making enough money to afford to go to my first Photoshop World event in Las Vegas, a conference that was part of that community. The second year I went, one of my images won the Illustration Guru Award and the Best in Show. In successive years, I ended up doing painting demos at the Wacom booth, got to know some of those folks with that company and have made some friends there, too. My last year at Photoshop World was 2014 and I again won the Best in Show Award for my painting ‘One in Every Family.’

It was a good year to end on and say, “Goodbye.”

I know some wonderful people today that I would not have ever met had it not been for that organization and those five trips to Vegas. My career moved forward in great leaps from being a part of that community, from the support I got from the members, instructors and affiliates to the immense treasure trove of knowledge I gained that contributed to doing what I love to do. It was incredibly inspiring, being around so many people who enjoy their work and watching them become better artists as well.

But things have changed. NAPP no longer exists and the organization became Kelby Media. It’s now focused so much on photography that while there are things I could learn, it’s just not enough to justify the expense. Many of those people I looked forward to seeing there each year just don’t go anymore. The whole feel of the experience isn’t what it used to be. The event has changed, and so have I. But, I have so many great memories and it was well worth my time, which is one of the best compliments I can pay.

I’ve also been seeing recent posts about the upcoming Canadian Cartoonists Convention in Toronto. The group was previously the Association of Canadian Editorial Cartoonists but has expanded to allow others to join. I have not been a member for quite some time.

The only convention I’ve gone to was the one I actually hosted in Banff in 2008. It was a lot of work and budget restraints meant I couldn’t do the convention I wanted to, but people came and I did it because I felt I should. Parts of it were interesting as I got to meet some cartoonists I’d only known by their work and reputation.

I remember obsessing over details, working out a schedule, losing sleep many nights trying to make sure I remembered to take care of everything. On the first day of scheduled classes/discussions, we got started twenty minutes late because people just wandered in whenever. One of the older cartoonists told me that this was normal, these guys didn’t really do well with schedules and being anywhere on time.

That was a clarifying moment for me. I remember thinking, “Oh, I really don’t belong here.”

It became clear that my first one was probably my last one. The upcoming convention looks to be a three or four day event of talks, tours, meals and parties and I just don’t see the benefit to me. With limited time off during the year and funds with which to do so, that doesn’t even crack the Top 20 of trips I want to take. Many of these folks are competitors whose business choices have made my life more difficult and some have irreparably damaged industry rates and practices.

I’ve never been a good actor. How do you play nice in that environment, especially when you’re getting nothing out of it?

It occurred to me this morning, that while that convention is going on next month, I will be on my first camping trip of 2016. I’ll be sitting by a lake in British Columbia, relaxing, reading, sketching, taking pictures, enjoying good food and drink with friends I have known for years. That’s where I want to be.

I used to feel I had to apologize for not wanting to be a part of that editorial cartoonist organization, just as I should for no longer wanting to go to Photoshop World. Hell, I wasn’t even going to write some of this stuff down for fear I might offend somebody. See, that people pleaser instinct is tough to keep at bay.

There comes a time when you really do have to look at how many days you might have left (likely less than you think) and ask yourself how you want to spend them. Personally, I’m not going to spend thousands of dollars to attend conferences that deliver no worth to me. I’d rather be working.

The more success you find in anything, the more people will feel free to tell you that you’re doing it wrong, for no other reason than you’re not doing what they want you to do. You can’t change their opinion, and as time passes, you realize you don’t even care to.

Lake