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Bias and Bighorns

Driving back to Canmore from visiting a friend in Exshaw, I came around the bend to a massive herd of bighorn sheep. There were 40-50 of them on both sides of the secondary highway and a handful crossing from one side to the other. Thankfully, I had plenty of time to slow down and navigate the obstacle course of rams, ewes, lambs, and the four or five tourist vehicles stopped to take pictures.

Watching for wildlife on highways around here is routine. Rarely have I made that ten-minute drive without seeing one or two sheep.

When I got home, I sent my buddy a text about the largest herd I had ever come across, and he was unimpressed. Like many Exshaw residents who work in Canmore, he’s made that commute for years, so bighorn sheep along the highway are more annoying than enjoyable, especially when winter renders that road more treacherous.

Along with that stretch of highway, you can often find these critters around the junction of Kananaskis and Smith Dorrien Trails on Highway 40 and on the Lake Minnewanka loop outside of Banff. But they can pop up anywhere.

It can present problems with traffic jams and often-shocking displays of poor judgment, but tourists love to see wildlife, and it’s a big part of the allure of the Canadian Rockies.

While I have lived in one of the most popular tourist destinations on the planet for almost thirty years, wildlife is a big draw in many parts of the world. Each has its hierarchy of popular species.

Everybody wants to see a lion or elephant on an African safari, but few have shelled out the big bucks just for a wildebeest or zebra.

Shonna and I are frequent visitors to Vancouver Island, and the big-ticket item there is whales, preferably humpbacks and orcas. Our friends own a wildlife tour company in Ucluelet, and while they usually see plenty of animals on their cruises, they’ve had to be specific that they can’t promise whale sightings. Any company that does, it comes with a caveat; the guarantee usually means you can come on the tour again for free.

Guides know where they’re most likely to find the animals, but luck and timing play a big part. Wildlife doesn’t punch a clock.

Eagles, otters and black bears are a welcome sight out there — sea lions, seals and seagulls, not so much. Large fat sea lions congregate on docks causing costly damage for fishing boat operators and municipalities, requiring inventive countermeasures to keep them away. Sea lions are lazy, noisy and they smell nasty.

However, as a tourist, I’ll happily snap photos each time I see them, and I’ve painted more than one. Not surprising that they weren’t popular prints.

Back here in the mountains, the big sighting for tourists is bears, preferably a grizzly. And if she’s got cubs, well, that might as well be a lottery win. Conservation Officers and Park Wardens spend a great deal of time shooing tourists away from these situations. Summer ‘bear jams’ are common around here, sometimes leading to confrontation.

When a tourist and a stressed bear have a bad encounter, they don’t shoot the tourist.

Wolves and moose are high on the list, followed by pikas, marmots, pine martens, and other elusive smaller critters. But somewhere in there, you’ll find elk, bighorn sheep and deer, animals that aren’t difficult to find. While still exciting for tourists, locals are used to them, and they’re often the reason for traffic delays, or worse, injuries and fatalities from collisions on highways.

For many locals, these animals are a prime example of familiarity breeding contempt. I would imagine the feeling is mutual.
I’ll still take pictures of elk, bighorn sheep and deer, but it’s not nearly as much a thrill as it used to be. I didn’t stop when I came across that herd the other day, despite a safe pullout parking lot close by, but I have before. The reference for this painting was a photo I took at Lake Minnewanka a few years ago when I had explicitly gone searching for bighorn sheep.

While browsing my reference archive the other day, looking for something to paint, I opened that folder with low expectations. An image caught my eye, though, and I thought, “why not?”

Sure, he’s grinning, but the expression isn’t genial like many of my other whimsical wildlife pieces, and that’s by design. He’s untrustworthy and up to something. I wouldn’t turn my back on him. When I asked Shonna for a critique, she complimented the artwork but was less enthusiastic than usual about the subject. When pressed, she simply said, “I don’t like bighorn sheep.”

Clearly, she’s not alone.

But he was fun to paint.

© Patrick LaMontagne

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Playing the Hand I’m Dealt

Rounders, Molly’s Game, 21. I’ve always loved movies about card games and gambling, even though the limit of my experience has been playing low stakes Blackjack at the Photoshop World conference. The most I’ve ever lost is $300 over five days, which is nothing for Vegas. I had budgeted to lose that money from the start, since I’ve got no delusions about my skills.

With about a half dozen obvious tells, likely more, I’ve often said that I would be the worst poker player, so I’ve never bothered. I’m a bad actor; I wear my heart on my sleeve.

So this week, I’m not even going to pretend to have it all together. I haven’t got the bandwidth, and I’m confident most of you can relate. The pandemic has been going on for longer than any of us expected, and regardless of where you stand on the whole thing, I’m sure you’re as tired as I am.

I’m struggling.

My motivation is deep in the red, I’m easily distracted, I don’t want to talk to people, and I’ve got a short fuse. If one more person tells me to hold on just a little while longer, especially a politician, well, I’m just gonna…

…well, I’m just gonna hold on a little while longer.

Because what else is there?

In keeping with my current short attention span, and complete lack of inspiration to write anything motivational or upbeat, here are simply some updates.

Calgary Comic & Entertainment Expo

Despite that they moved it from the usual April date to the August long weekend this year, Expo has once again been cancelled.

I know they made the right call, but it’s still one more gut punch in a long series of them.

It wouldn’t have been a good year even if they had gone ahead. With the U.S. border likely to remain closed, or perhaps just opening by then, the big celebrity guests they need to draw people in won’t be showing up.

Expo boasts close to 100,000 people over four days on a good year, moving between multiple convention halls. A few years ago, it was the sixth biggest Comic-Con in North America. But it is mainly an indoor event, and I don’t think people are ready for that yet.

Shonna and I are three weeks past our first vaccine shots and likely will have our second by then, but like many others, I’m pretty shell-shocked by this whole experience. After running my booth all day, I’d probably spend the first hour back at my hotel room having a Silkwood shower.

It would be a significant investment of time and funds in a year when both are in short supply. I wouldn’t expect to recoup my costs, let alone make a profit. Now, that’s not always the goal because I enjoy seeing many of you each year. While I’ve talked to quite a few of my favourite Expo people over email during this lock-down, it’s hardly a substitute for seeing them in person.

And I also love introducing new people to my funny-looking animals. So I will miss not being there again this year.

Fingers crossed for next year.

Continuing Education

I’ve been taking a marketing course over the past couple of months, which has been pretty damn impressive. I’ll be happy to tell you about it soon, but it has been hands-down one of the best investments of my time in a lot of years. It granted me a new perspective on promoting my work and a new appreciation for those of you who’ve come along for the ride.

Continuing education is always a good investment, and when you’re self-employed, it’s an absolute necessity. Technology changes so fast that it’s hard to keep up, but it’s worth the effort.

I gave a video presentation to a Grade 7 class here in Canmore this week. They’re doing a module on editorial cartooning, and I was asked to talk to them about that side of my work. I’ve done several of these in person at local schools over the years, but this was a new experience. While many people are having regular meetings over Zoom and Google Meet, I haven’t. I enjoyed becoming familiar with the technology, and it went smoothly.

After my twenty-minute presentation, sharing some cartoons and talking about the work, there was one question about drawing and digital art. I explained to the students that they were fortunate to live in one of the greatest times in history for learning to do anything they want. It’s all out there on the internet waiting to be discovered.

But they have to be willing to put in the work, always the most essential ingredient. There are no cheats or shortcuts around it.

What’cha working on?

Of course, I’m always drawing daily editorial cartoons.

But I’m also working on a new painting of a Bighorn Sheep, something I hadn’t planned. It began from a frantic rough sketch when I just needed to put something (anything!) onto a blank page to keep the demons at bay. This Bighorn has attitude and a little sarcasm, might have a screw or two loose, but sometimes those are the most fun. My Ring-tailed Lemur comes to mind. He’s not all there, is he?I’ve also started a character portrait from a streaming series and have gathered references for another character portrait from a movie. Many of you already know that when I’m feeling lost and overwhelmed, I’ll paint portraits of people to try and reset things. Those don’t contribute to my bottom line, but they usually do help my mental health. Usually, I paint one of these in late fall or winter, but there is nothing usual about this time in which we’re living.

Here’s one I did in November 2019 of Quint from the movie Jaws.
I’m trying something new, writing the story behind one of my favourite paintings. It’ll be a small e-book, a free downloadable pdf for followers of A Wilder View. It’ll feel like a chapter of the art book I’ve always wanted to write. I figure if it works out, and I write a few more, I’ll have enough of them to actually populate a book and won’t have any more excuses for not publishing one.

Sometimes I have to trick myself.

Housekeeping

I’m planning to design a new website, but in the meantime, I’m making improvements to the existing one.

I’ve added some new payment options to the online store to make it easier for you to add one of my whimsical wildlife prints to that bare section of wall you’ve got. You really should put some artwork there, y’know, maybe a Smiling Tiger or a family of Owls. I’ll let you choose.

In addition to the existing credit card payments and Paypal, I’ve added Stripe and Apple Pay as additional payment options. That’s right; if you’re an Apple user, you can buy with a thumbprint.

And if you live in Canmore, I’m always happy to take payment by e-transfer, and I’ll deliver free of charge. Just send me an email for those orders instead of going through the store.

Wrap it up, LaMontagne!

Live video presentations, streaming TV, buying stuff from our phones, we’re living in a sci-fi movie. We should be saying “Wow” a whole lot more often, instead of complaining when the Wi-fi gets slow. A lesson we’ve all learned this year is how much we’ve been taking for granted.

I got nothing else.

Cheers,
Patrick

© Patrick LaMontagne
Follow me on Instagram @LaMontagneArt

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A Smiling Lion

To see all the little painted hairs I suggest watching this full-screen. Here’s the narrative from the video…

On a recent Saturday morning, I woke with no idea what to paint, which meant going through my photo archives, looking for reference.

None of the photos spoke to me and I began to feel uneasy.

A brown bear? No I’ve done a lot of those and just finished one. I’ve painted plenty of bears. An owl or an eagle? Painted lots of those, too.

On it went. Having painted more than 80 production pieces, plus commissions and portraits of people, finding something new is a challenge. I wanted to choose an animal I’d enjoy painting but would also appeal to others.

Was it just a bad morning or worse —the beginning of a rut?

The peanut gallery of internal critics, those loudmouths in the cheap seats, they love this stuff. Whenever self-doubt finds a foothold, that chorus of cretins is ready to attack.

“You had a good run. Time to go get a real job. You weren’t that good at this stuff, anyway. But you already knew that, didn’t you?”

I tend to overthink these things.  Lately, I’ve been focused a lot on trying to figure out what my audience wants to see, the people who already follow me and support my work.

What I forget, however, is I didn’t know what they wanted to see in the first place. I painted funny looking animals and the people who liked them hung around for more. The more I painted what I wanted; the more people showed up. I don’t recall taking a poll asking if I was painting too many bears.

As I looked through hundreds of reference photos, I tried to ignore those inner voices telling me why each was not good enough, that I’m not good enough. They can’t be silenced, but they don’t deserve the spotlight or center stage.

A favorite line from the movie, Dr. Strange goes, “we never lose our demons, we only learn to live above them.”

In my frustration at failing to find the one reference image that spoke to me, the one with the perfect lighting, composition, that captured a moment, I stopped looking and started writing this narrative, instead.

And in the writing, I found a little clarity. The advice I would give another artist in this situation applies to myself as well.

Paint what you like. Stop worrying about the marketing, the likes and shares, the sales, the prints, the licensing, the niche, the pressure, the noise. Stop anticipating and giving in to the critics, real or imaginary.

If you’re creative for a living, the business stuff is important, no denying it. You can’t wing it and pretend that money is just going to flow to you. You must think like a business owner, treat it like a job, and remember this is how you pay your bills.

But not all the time.  Otherwise, what’s the point of being an artist for a living?

I went back to the archives with a different goal, to paint something for me. If other people like it, great. If not, I’ll paint something for them next time.

Once I got past all the critical voices in my head, I really enjoyed this piece. I immersed myself in the long hairs in his mane, the short hairs on his muzzle, the dark shadows that defined the larger shapes, the warm colours in the fur, the bright highlights, and that contented smile on his face, which put a smile on mine.

Sure, I’ve painted lions before.

I’ll paint lions again.

That’s OK, because each will be different than the last. And all will be time well spent.

© Patrick LaMontagne
Follow me on Instagram @LaMontagneArt

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The Delight Is In the Details

I began a new painting last weekend, which will have a high-speed painting video to go with it. I didn’t intend to paint this animal right now, but the video narrative will explain the choice and why I tried to talk myself out of it for all the wrong reasons.

A week into it, I’m enjoying the work a lot more than I thought I would because I stopped overthinking it and surrendered to having some fun.

With daily editorial cartoon deadlines, the usual admin work, and other myriad tasks that go with self-employment, I usually reserve Saturday mornings for painting. I paint throughout the week, of course, but if I’m home, Saturday morning is usually my sacred painting time. Sundays are one of my busiest days of the week because I draw two editorial cartoons to send out first thing Monday morning.

This week was a little different.

Shonna and I were fortunate to book our first vaccines for mid-morning on Saturday. Grateful to get our shots; it was obviously our top priority.

While it doesn’t happen every year, there have been times where I haven’t felt that great the day after my annual flu shot, a common possible side effect with any vaccine. A couple of friends both felt a little under the weather the day after their COVID shots, so I planned to take Sunday off if needed. This meant getting my editorial cartoons done on Saturday.

I had still planned to get up at five on Sunday as usual, but with the cartoons done, I realized that I could paint all day if I felt good. If I didn’t, no big deal.

I woke feeling fine, more than a little relieved to have received the first shot, so I spent the day painting hair, fur and features. I don’t recall the last time I switched up that routine, but I might do it again. I enjoyed the freedom of having the deadlines done a day early.

Here’s a sneak peek at some of the detail so far. And no, it’s nowhere near done yet.

As Shonna worked at her part-time job Sunday evening, I decided to watch Kong: Skull Island again, a light, fun, monster movie. Here’s the trailer if you haven’t seen it.

The original King Kong was released in 1933. That’s 88 years ago! The original monster was stop-motion, clunky, and laughable by today’s standards, but it was an incredible achievement at the time. Since then, each of the eleven King Kong remakes has pushed the realism envelope a little more.

I watch a lot of movies more than once and get something new out of them each time. This was no exception. The camera got close to Kong’s skin, hair, eyes, and I frequently paused the movie to take a good look at the incredible realism they achieved.

One of the things I love most about movies today is the extra content. From Director’s commentary to behind-the-scenes features, I enjoy seeing how movies are made, the artistry and collaboration of hundreds of creative professionals coming together to realize a shared vision.

In one featurette, Jeff White, the Visual Effects Supervisor and Creative Director for ILM Vancouver, explained how they brought Kong to life. While he talked about the structure, rigging, muscles and skin, it should come as no surprise that I was most fascinated by how they achieved such realistic hair.

“He’s covered in about 19 million hairs. A lot of the detailed styling and sculpting of the hair is all done by hand. We had two artists working on it for almost a year, just on getting all the different styles and looks to his hair.”

He then went on to talk about how messing up the hair was a big challenge because, in the story, the fur would get wet and damaged, which would change the texture and consistency.

Two artists worked on hair for a year?!

I have a lot of patience painting hair and fur because I enjoy it so much. I’m always trying to achieve a new level of realism. While I never quite get there and will eventually abandon a painting to move on to the next one, I’m now inspired to try even harder.

Granted, for two artists to devote that much time to get the hair right in the movie, they had to be compensated, so their bills got paid. I would imagine there were more than a few days where that meticulous detail got tedious, especially when the software started acting up, as it always will from time to time. This would have been an incredible amount of challenging hard work.
But when they saw their efforts come to life on the big screen, for it to look so delightfully real and terrifying, I can only imagine their pride in the accomplishment. I also suspect they both still noticed flaws that nobody else would see.

Because that’s what artists do. We are always our own worst critics.

This morning, while continuing to work on the current painting, I decided I’m not going to rush it. I’m taking a little more time on this one to push it further because I’m enjoying it so much.

I’ll be pleased to share the finished piece and the video that goes with it, though I don’t currently have an idea when that will be. But even if I’m happy with it, it won’t be long before I see the flaws, wish I’d done something different, and try to do better the next time.

Because that’s what artists do.
© Patrick LaMontagne
Follow me on Instagram @LaMontagneArt

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A Turtle and a Grizzly

Two new prints are now available in the store, the Sea Turtle and Grizzly on Grass.

All of my prints are professionally printed in Victoria, BC at Art Ink Print. Their commitment to quality and consistency means I never have to worry about what I’m getting when the shipment arrives. Despite having used their services for several years now, I’m still impressed each time I see a proof for a new painting. I can’t remember the last time I’ve had to make a colour adjustment and re-proof.

It can be frustrating sometimes to buy an art print, then have to spend three or four times as much having it professionally framed. That’s why each print in my store is 11”X14”, a standard size that makes it easy to find a store-bought frame. Each print is hand-signed. Not to worry, that website address is not on the actual print.
To purchase either of these prints, click on the images, or browse around the store to choose from more than 50 available paintings.

Cheers,
Patrick
© Patrick LaMontagne
Follow me on Instagram @LaMontagneArt

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Collars and Colours on Canvas

A couple of months ago, I shared a finished commission piece of Bomber. Here’s the link to that post.

This was a unique experience for a few reasons. The person who hired me was not the person with whom I had worked or who received the painting— it was a gift commission. As I mentioned in that post, the experience was ideal. The gift giver and the recipient were terrific to work with, and I have nothing but fond memories of that commission.

The recipient often works for periods of time in one province but lives in another, and not the next one over, either.

So when it came time to ship the canvas, Bomber’s Mom asked me to send it to her work address, so when she was missing being home with her dog, she’d have the art to keep her company. I kind of liked that.
I finished this painting in February and shipped it shortly after. While Sharon has seen the image and was happy with it, she didn’t get to see the 12”X16” canvas until last week.

I’m proud of the quality of my poster prints; otherwise, I wouldn’t sell them. The quality available today versus what was possible and affordable twenty years ago is night and day. Art Ink Print in Victoria does my poster prints, and it has gotten to the point where I rarely need to proof them because they do such a great job. They know my work and how it’s supposed to look. I can rely on them to make it look the way I want it to, and I never have to apologize to my customers, as the prints they order consistently exceed their expectations.

I sent an additional poster print of this commission to the person who hired me, a little bonus and keepsake.

Despite how much I like my poster prints, I’ve been telling people for years that my work looks best on canvas. There’s just something about the added texture of the fibres and the giclée print quality from ABL Imaging in Calgary. It makes the image pop, the colours look richer, and I’m always pleasantly surprised when I see the first canvas printing of a piece.

A little unsolicited advice to artists; if you’re going to print your work, don’t go for the cheapest you can find. People will pay for quality. You want to look at your own prints and think, “yeah, I’m happy to put my signature on that!”

I took photos of the Bomber canvas before I shipped it but didn’t want to share it until after Sharon had seen it. The photos still don’t do it justice, because iPhones have a tendency to wash out the lighter areas, which you can see in the top image and closeup. Even still, why would I want to dilute her moment of seeing the painting at its best?

She sent a message last week with this…

“I wanted to send you a note to let you know I finally made it back to ___ and just opened the package. You were right, it does hit different in person! It’s even more perfect than the picture. It’s up hanging in my office now and will remind me every day of home.”

There are few things I like better than happy clients.

If you’d like more information about commissions, you can read about them on my site, either in the post I linked to at the beginning of this piece, or on my Commissions page.

Cheers,
Patrick

© Patrick LaMontagne
Follow me on Instagram @LaMontagneArt

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The Musing Meerkat

Many artists I know have multiple shelves full of art books. I only have about a dozen of this type of book. Any more than that and some would probably never get opened more than once. As it is now, the ones I have only leave the shelves about once a year. But I’m still tempted to buy every time I see a new one.

Some notables include The Art of Tangled, a favourite animated movie, Drew Struzan’s Oeuvre, and Sebastian Kruger’s Stones. And I’m not even a Rolling Stones fan, I just enjoy Kruger’s study of them.

One of the things I love is the sketches and smaller illustrations peppered throughout these books. They’re usually unfinished doodles, sometimes chicken scratches, often looking like last-minute additions to fill up too much white space. But this accent art is deliberately and carefully chosen to compliment an illustration or story.

I enjoy seeing the bones of an illustration, the gestures, the rough idea, where the artist might have begun and what changed between the concept and finished piece. You can learn quite a bit from what the artist discarded.

I’ve long wanted to do an art book, but it’s always over the next hill.  You readers that have been with me for years (thank you!) will recall my mentioning this once or twice (probably more). I could make any number of excuses, but it’s a pretty easy truth to admit — I haven’t made it a priority. There are plenty of stories in my more than a decade of blogging about my art, and I’ve got much more finished work than I need to fill a book. Hell, I even have a publisher who wants to make it happen.

So the failure to launch is all mine, a victim of fear, perfectionism and procrastination. I have visions of boxes of books in my garage, gathering dust for years.

However, even if I conquer the imposter syndrome, one ingredient that is still missing is all of those little sketches and rough illustrations that I enjoy so much in other art books. I barely have any.

Even though sketching for fun, drawing from life and for practice has long been proven to make an artist’s skills better, I haven’t been in the habit of doing so for many years.

Almost all my work ends up being a finished painting. I spend a lot of time beforehand planning it out and choosing the correct reference. I experiment while I’m painting, but all of it leads to having a fully rendered piece done at the end of each beginning.

One of the reasons I bought an iPad Pro and Apple Pencil was that I wanted to do more digital sketching. The procreate app is an incredible bit of software. It’s better for digital drawing and painting than Photoshop was for most of my early career. Plenty of artists are doing finished work on it, some impressive stuff.

But I haven’t been using it as often as I thought I would, at least not for drawing.

I recently went through my photo archives and grabbed a bunch of reference I liked, but not enough to contribute to a finished production print. I uploaded many of these to the iPad and promised myself that I would make more time for sketching, drawing and painting that I may or may not show to people, but eventually, they might be good accent pieces for an art book.

I started on this meerkat earlier this week. I got it to a point where it was a decent sketch, and I could have put it away and started something else. But I was having so much fun with it (dammit!), I didn’t want to stop.

Before I knew it, I was painting in little hairs around the ears and muzzle, adding finer detail work,  and experimenting with a different brush style. While not quite as refined as some of my other work, this could be a production piece.

And because procreate has a great feature where you can record every brushstroke, I could export that, edit it, add some music and voila — a high-speed short video with some fun music to go along with the brush strokes.

Once again, I have failed at creating some rough sketches but succeeded in having some more fun rendering a funny-looking animal painting. I’ll call that a win.

As for sketching, I’m probably going to have to set a time limit — 10, 20, or 30-minute sessions, and I have to stop when the buzzer goes off.

Otherwise, I’m just going to keep painting.

Cheers,
Patrick
© Patrick LaMontagne
Follow me on Instagram @LaMontagneArt

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Spring in My Steps

Twice last week, while working on my latest Grizzly on Grass painting, I got an idea for a post. Instead of simply jotting it down, I ended up writing a thousand words. Before I knew it, I thought, “wait, wasn’t I just painting?”

Winter is nose to the grindstone time for me; low on inspiration and motivation, putting in the hours to get the work done. Spring is the opposite; an abundance of nervous energy, plenty of ideas and not enough time for all of them.

Not having enough ideas is bad, but having too many can be worse, especially when all of them seem important. There is the fear that if I don’t address these lightning strikes right away, I’ll have lost whatever mojo that made it exciting enough to stop painting in the first place when I finally do get to them.

I count on that spring motivation to pull me out of the winter blues. I usually get a lot done in spring and summer. Last year, that spring motivation never showed up, for obvious reasons. I spent most of those months and a good chunk of summer worrying about losing my business.

While it certainly wasn’t a comfortable time, my worst fears didn’t materialize, so all of that worry was a big waste of time, as worry usually is.

I must now be used to this new base layer of uncertainty because this year, the spring high thankfully showed up. I’ve got many things I want to do, not enough time to do them, and I must prioritize what’s important.

As I talked about in a recent post, marketing my work and looking for new ways to get the word out has become one of those priorities. David Duchemin has opened my eyes to possibilities I hadn’t considered, and now I’m seeing them more often. There are plenty of little ways to improve my marketing efforts. Lumped together, it seems like a monumental effort, a mountain to be climbed. But you know what they say about the journey and single steps.

Besides drawing, painting, and writing, I’m trying to add a bit of marketing every day, either research or actual implementation.

Here are a couple of recent changes that I hope are improvements.

Checking Out?

If you don’t have a PayPal account and want to buy something online from an independent seller, it’s clunky to go to the checkout on the site and then keep going when you find you have to set up another account somewhere else.

For some, it’s one step too many and leads to cart abandonment, which translated for the site owner, means you just lost a sale.

Shopping is supposed to be easy.

PayPal is the most popular online payment method, and plenty of people have an account, but if you don’t or don’t want to use one, I’ve tried to make my online store a little simpler at check out.

As of yesterday, in addition to the usual PayPal option, you can now checkout directly with your credit card. My site was already well secured, and while the back-end payment engine is still PayPal, it will no longer take you to another site to process payment; it will happen right in the shopping cart.

Better still, if you’re looking for a specific print, you can now buy directly from the item and bypass the cart process entirely.

Care to Comment?

Blogs were a big thing in the early/mid-2000s. I’ve had mine since 2008. Over time, they seemed to fall out of fashion, criticized for something that old people did. In recent years, however, I’ve been reading about their resurgence. With so much content online, people are again more interested in the stories behind the work and long-form articles. The wheel has come around again, and blogs have integrated with newsletters.

I kept my blog going all of these years because I enjoy writing. I don’t remember when I turned off the comments, but I certainly know why.

Before Facebook and Twitter became the polarized sewers they are today; there were still people who wanted to turn every available comment opportunity into a forum for their political or social grievances, regardless of where they were.

My early work’s foundation was editorial cartooning, so my work attracted quite a few trolls long before that term was in widespread use. The same people would show up on my site and accuse me of being in bed with one political party or another, regardless of what I posted. When it was just on the editorial cartoons, I tolerated it because I felt it only fair to allow a rebuttal to my own illustrated opinion.

That was back when I would foolishly engage in political discussions with strangers. Live and learn.

As my work became more diversified and I’d paint caricatures of celebrities or illustrations for board games, those same commenters would still have something to say, and often it had nothing to do with the post. They had just become used to my site being somewhere they could spew whatever bile they had thought up that day.

When these same people began to drive away others or tried to start an argument with followers in my comment section, I’d had enough and disabled the comments. Think about it, if you were about to check out a retail store and saw people inside having a loud argument, would you go in or keep moving?

That’s also why I deleted my Facebook page and Twitter account. Because Facebook and Twitter are now notorious for anger and bitterness, with people posting and repeating their political agendas all over the place, it’s easy for artists and other self-employed people to get caught in the crossfire, with little means of controlling the damage.

The upside of all that vitriol concentrated on social media is that blog posts like mine are no longer attractive venues for political opinion carpet bombing. People who engage in that type of recreation want as many eyes on their rage as possible and social media is their preferred playground.

Now that I’m focusing more on serving my audience, I thought a little more engagement might be beneficial. People send me emails all the time, something for which I’m grateful. I try to respond to each one. But as my work gets more popular and my audience grows, it can be a little time-consuming. Comments are one way I can still hear what my audience has to say, what they like and what resonates with them, but they might not always require me to reply.

In the end, all of this stuff is an experiment, anyway. I could suddenly be inundated with spam or inappropriate comments and might have to turf it all again as I did before. I hope that doesn’t happen, and I’d like to see it become one more small improvement to the overall enterprise.

Time will tell. With fingers crossed and happy thoughts, what do you think? Feel free to comment below.

© Patrick LaMontagne
Follow me on Instagram @LaMontagneArt

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Grizzly on Grass

Yet another painting of Berkley, but for marketing reasons and the potential implication of that goofy grin, I’m calling it Grizzly on Grass.

Aside from their efforts to rescue and take in orphaned animals, one of the things I love about Discovery Wildlife Park is their focus on enrichment. In the wild, animals are kept busy searching for food, defending their territory, and making miniature versions of themselves.

While captivity is never ideal, the animals at Discovery Wildlife Park would likely have been destroyed due to the circumstances that brought them there in the first place. Those circumstances are usually us, people who have either directly or indirectly prevented them from surviving and thriving in the wild.

The animals at the park can’t be rehabilitated and released, either because laws prevent it or they were too habituated already, which is why they needed to be here.

With 91 acres on the property, the park can provide the animals with large enclosures, complete with natural structures, clean ponds and water features. The black bears and Berkley can dig their own dens each year, or they’re given structures they can use if they choose the artificial route. It’s incredible how each bear has a different preference.
They’re provided with as much hay as they want to pad the dens for warmth and comfort. I remember Serena (the head keeper and good friend) sending me pictures and videos the first year Berkley dug her den. Berkley took the hay inside, then came out and dropped a little at Serena’s feet, asking for more, which of course, they gave her. Some bears do get up during the winter, even in the wild, but Berkley has always slept straight through.

If you’ve followed my work for any length of time, you’ll know I have a special place in my heart for Berkley. I was able to get to know her when she was weeks old and had many visits with her in the first couple of years. Discovery Wildlife Park has a large, wooded area where she could climb trees, splash around in a creek, play in the snow and wander around as she liked without any danger.

The personal contact I had with her when she was a cub created a lasting bond, and when I visit her now, she knows me. If I go to one end of her considerably large enclosure and call her, she’ll come from the other end to visit, and we’ll hang out together on either side of the fence. We can’t have close contact these days because even though she’s a very gentle bear, I’m intimidated by her size. My nervousness creates an unknown safety issue.

The park staff are incredibly dedicated and care a great deal for the animals in their care. You need only talk to them and watch their interactions to realize the trust between them. When an animal dies from medical complications or old age, it hits them all hard. They work hard to give the animals the best life they can, despite their captivity.

Survival is no longer a concern for these animals. Their diets and health are continually monitored, and they receive top vet care. The problem with captive animals, however, is that without constant stimulation, they will get bored. As a result, the animals get plenty of enrichment opportunities.

The structures in their enclosures are often changed around, diversions hidden in strange places, along with additional food. It gives them something to explore and dig out. There is a large forested fenced amphitheatre area that acts as another natural playground. The bears and wolves are taken in often and allowed to run around as they like. Not together, of course. There are many rock structures and ponds for them to play around in, with room to run. This new environment gives them plenty of stimulation, and they seem to enjoy it a great deal.

There is a high cost to maintain this type of facility, and they’re always looking for new revenue streams to help. In addition to the gift shop, campground, and winter RV storage, they rely on donations and sponsorships to keep the doors open. If you’ve ever seen the vet bill for a jaguar’s arthritis stem-cell transplant or a root canal, you’d understand.

“I’m in it for the money,” said no zookeeper ever.

When they built the amphitheatre area, they had the foresight to install a fence along one side, with large enough holes along it for camera lenses to poke through. They regularly host small groups of photographers to come and take photos of the bears and wolves in their playground. It’s an opportunity for the animals to play and for the park to raise funds to care for them.

In September of 2019, my buddy Derek, a skilled tattoo artist and painter, and I went up to Innisfail to participate in one of these photo sessions. While I enjoyed taking photos of the wolves, as I always do, I’ll confess that my main focus was Berkley. I just can’t get enough time with her.

The problem is that because she knows me, she kept coming over to the fence to say Hi, which means nobody could get any photos. Serena kept having to call her back. She finally gave me shit and said I was never going to get any pictures if I kept talking to her. I had to turn my back and retreat so Berkley would go back to enjoying the natural playground.
Once she did, we were able to get some great photos. She has a natural smile and brightness in her eyes. People often remark on the personality I create in my paintings. It’s almost like I don’t have to add any with Berkley because it’s already there. She remains my favourite subject to paint, and I can’t imagine I’ll stop anytime soon. There’s just something in that face that makes me happy.

Even though she played in the water, scratched and climbed on trees (she’s tough on trees), Berkley looked over often, and I had to be careful not to distract her. But it meant that I got some great pics of her looking right into my lens, including the reference for this painting.
I didn’t want to stop working on this image because I enjoyed it so much. Even though the finished painting is a horizontal composition, I painted it vertically to get the expression right. I’ll confess that if I get this printed for myself, a distinct possibility, I’d hang it vertically above my desk, so that goofy grin can greet me every morning.

I’m looking forward to seeing Berkley again soon. She’s up from hibernation and gaining back the weight lost during her winter slumber. Every year I wonder if she’ll still know me, but she always does, and it’s one of the best feelings in the world.

If you’d like to support Discovery Wildlife Park, you can donate or buy an annual membership on their site. They open for the season on May 1st and will be happy to see you. You can buy my prints in the gift shop and see some of my artwork around the park. Be sure to take part in their daily education talks about how to be safe in bear country and help contribute to wildlife conservation, no matter where you live. Ask plenty of questions. Education is a big part of why they do what they do.

© Patrick LaMontagne
Follow me on Instagram @LaMontagneArt

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Painting and Peak Experience

The pervasive uncertainty of the past year continues. We can be hopeful that we’ll make progress in the next few months, with vaccines, reopening, and putting the economic engine back into gear. However, everything still comes with a big asterisk and question mark.

Even when you know that change is necessary for growth, it almost always comes at a time when we least expect it, and it’s rarely comfortable. There is the change you make happen, change that happens to you, and then change you have to make to adapt.

Over the past year, I’ve spent many hours reading and listening to articles about boosting sales, getting more followers, expanding my reach, and introducing my work to new markets. I worry about the next quarter, the one after that, and juggle the what-ifs, ad nauseam.

Nail-biting, teeth grinding, hand wringing. More than a few tossing and turning sleepless nights and heavy sighs with head in hands.

There are plenty of quotes about worry, how unproductive it is. We’ve all seen the memes.

“When I look back on all these worries, I remember the story of the old man who said on his deathbed that he had had a lot of trouble in his life, most of which had never happened.”
– Winston Churchill

“If you treat every situation as a life and death matter, you’ll die a lot of times.”
– Dean Smith

“Worry is like a rocking chair: it gives you something to do but never gets you anywhere.”
– Erma Bombeck

Envying other artists, looking at their followers, careers, losing sight of the big picture, knowing that comparison is the thief of joy, but still falling for the same trap over and over again, despite knowing that it’s unproductive.

But then there are mornings I find myself at my desk, having had a welcome good night’s sleep, tunes in the earbuds, a shuffle of songs hitting all the right notes, painting tiny little hair’s on a bear’s muzzle. And I realize that I’m grinning.
Psychologist Abraham Maslow coined the term ‘peak experience.’

From an article by Kendra Cherry, “Peak experiences are often described as transcendent moments of pure joy and elation. These are moments that stand out from everyday events. The memory of such events is lasting and people often liken them to a spiritual experience.”

Yeah, I know. It sounds out there and flaky, and you wonder what I’ve been smoking, but I believe in these moments. I’ve had them. While paddling in a canoe on a lake early in the morning as the sun’s coming up, or when a Humpback whale surfaced right beside our boat in the Broken Group Islands near Ucluelet, or when a little bear cub named Berkley decided to crawl up my back and lick my ear.

But most of the time, I have these moments while painting. Usually early in the morning when it’s still dark, about an hour into the work, drinking hot black coffee, the right song in my ears, laying down brushstrokes on one of my funny-looking animals.

It’s the feeling that, within that moment, I’m right where I’m supposed to be. Sometimes it lasts for seconds, others for minutes. It comes on like a wave, a welling up of feeling, like a hypodermic shot of happiness.

And none of that other crap seems important.

This is that living in the moment stuff they go on about in all the mindfulness articles and self-help books. At these times, I get it, and I want to bottle it for those times when I don’t.

That other real-life stuff still needs to be handled, no doubt about it. Ignoring your bookkeeping or taxes, skipping that medical checkup for the fourth time, pretending that clunking sound in your engine will go away — all of that will bite you in the ass later if you’re not paying attention.

Sometimes things work out, other times they don’t, and shit happens.

I wouldn’t say I like it, but I accept it. So, I’ll get to that other stuff.

Right after I finish painting more little hairs on this lovable bear’s face.

“Stop worrying about what can go wrong, and get excited about what can go right.”
– Anonymous

© Patrick LaMontagne
Follow me on Instagram @LaMontagneArt