Category: Inspiration

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Sharper Focus and Closing Books

After a lifetime of saying I’d never get one, something my buddy Darrel has delighted in reminding me since, I woke up on a September morning in 2017, wanting a tattoo. It was my design, and I figured I’d get it somewhere like my shoulder. Rather than object, and much to my surprise, Shonna suggested that if it meant that much to me, I should get it where I could see it.

It was great advice, and I enjoy seeing it on the inner forearm of my drawing hand. It still has profound meaning for me and has become the logo for my business.
People often ask what it means. If I’m that solitary dot in the middle, my best chance of connecting with others is through my artwork, represented by the bear claws. But just as important is the reverse, where nature, wildlife and the world around me deliver the inspiration to create more art. 

A fortunate byproduct of getting that tattoo, and probably the best part, was my introduction to the tattoo art world and making new friends with some incredibly talented people. My friend Derek, one of the most skilled and generous creatives I know, has helped me become a better artist. Several of his clients have become my customers.

Tattoo art fans will wait years for an opportunity to have their favourite artist use their bodies as a canvas. Hanging out at the tattoo shop, I’ve met people who have travelled from all over the world to Electric Grizzly for Derek’s artwork. Many tattoo artists have such fans. Sometimes, their wait list becomes too much, and the artist can’t keep track. When that happens, they often post on their website or social media that Books are closed.

That means they’re trying to manage their time, serve the clients they’ve already booked, and prevent their schedule from getting out of hand. Their books may stay closed for months or open briefly to fill a cancellation.
I have been frustrated the past few years that it seems I can never get as much done as I would like to, still failing to find traction. I have too many ideas, too much ambition, and little time to do it all. As fiction writers need to aggressively edit and ‘kill their darlings’ to make for a better story, I must abandon some things to make progress on the ones that mean the most to me.

Editorial cartoons remain a daily commitment, along with sales and marketing. I need to write posts, maintain my website, communicate with clients, pursue licensing opportunities, package and ship online sales and do my bookkeeping. That stuff doesn’t often change.

But it’s the long-game projects where I’m failing, and the only way to correct that is to decide what’s important, at the expense of all else.

This week, I started on sketches for a commission of three cats. I recorded some more of a painting for an upcoming video. I shipped tote bags and print orders, and I drew cartoons. I resumed an online course on Adobe InDesign for Illustrators so I can try, try, try again to make some progress on the book, which is also why I made time for these bears this week.
I haven’t painted anything in a month and needed to get back into the groove. These were supposed to be rougher sketches, but it’s difficult to stop once I get going. These are neither sketches nor finished paintings, but somewhere in the middle.

I have another commission for three dogs on deck and have agreed to paint another dog a little later for one of Derek’s clients, who became one of my collectors.

I did not get as many wildlife paintings done last year as I wanted, which bothered me. I have too many works-in-progress waiting for my attention. So, to borrow from tattoo parlance, my books are closed. I can’t take on any more commissions, projects, or distractions that hinder my progress on these priorities.

Hopefully, in the coming months, you will see more new pieces from me and a sharper focus on the work I want to do most.

Cheers,
Patrick

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A Cartoon for the Calgary Expo

The two sides of my business rarely intersect. But while there’s nothing political about my whimsical wildlife animals, I have sometimes used one of my paintings in an editorial cartoon. Just recently I used my Angry Bear painting in a cartoon about the stock market.
I’ve used a polar bear or two in cartoons about climate change. And when Kevin Costner was the parade marshal for the Calgary Stampede in 2022, I used my portrait of his Yellowstone character, John Dutton, in a cartoon.
The Calgary Herald currently runs my cartoons more than any other daily newspaper in Canada, and they’ve been publishing my work for more than twenty years. How often, depends on how the editor of the day feels about my work in general. Everyone has their favourite artists.

The income from syndication comes from volume, where many customers pay a lower rate to run the same cartoon. When I draw a Calgary Expo themed cartoon, I’m not doing it for the money. It’s for my own enjoyment and to promote the event. I drew this Calgary specific Expo cartoon this year, knowing full well the only paper that might run it was The Calgary Herald.But it’s also fair comment about a positive event that brings a lot of people and revenue to the city. Though many refer to it as Comic-Con, it is so much more than that, a massive fan experience with 100,000 people coming through this show in four days. Some are there to get a celebrity photo or signature, others to add to their pop culture or art collections, and many come for the cosplay, to dress up and let their freak flags fly. I suspect most people come for the spectacle, to run away with the circus for a few days.

We’re in the final week of a federal election and defending against an unwarranted trade attack from our formerly closest friend and ally, so I had no idea if the Herald would run a silly Expo cartoon right now. But, I drew it anyway and enjoyed the work. While having coffee in my hotel room this morning, it was nice to see the cartoon published in today’s Calgary Herald.
If you’re coming to the Calgary Expo, I’ll be chained to my booth from opening Thursday to closing on Sunday. I set it up yesterday, and I’m ready for the chaos. Come by and say Hello!

Cheers,
Patrick

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The Ringleader

Some paintings come together easily. A reference photo may immediately inspire an idea, I’ll sit down and mock up sketches, and it will almost feel like the image creates itself.

This was NOT one of those paintings.

I’ve had more than a few frustrating experiences painting where the work didn’t seem to want to come together. I’ve beaten myself up about it, wrung my hands and thought, “Well, I used to know how to do this; I guess I don’t anymore.”

Eventually, I’ve made it through, and some of those paintings became bestsellers.
This painting has been something entirely different. Even though I had a clear idea of what I wanted it to look like, I couldn’t get it to feel right. It was inspired by a photo I took at the Calgary Zoo, and I even had the name of the piece before I painted the first brushstroke.

I came very close to calling this piece finished a couple of months ago. But I showed it to my artist friend Derek, who kindly told me what I already knew. It wasn’t working. The faces were laid out too uniformly, like a tic-tac-toe grid, and the personality wasn’t there.

So I went back to the beginning, discarding dozens of hours of work to start over again. The difference this time, however, was that I looked at it as one piece containing several characters rather than several characters I created separately and then assembled into one piece.
The first go round, I used a specific reference for each lemur I painted and drew them all individually. Even after I assembled them, I kept going back to the individual references for each, and it wasn’t easy to keep track of it all. I made it far too complicated.

When I started over, I abandoned the individual reference. I focused on the expressions and characters without worrying about making each look like a specific reference because I didn’t need it. Lemurs are lemurs; they don’t look all that different from each other. As long as the central character had the most personality, the others were the supporting cast, even though their details were still necessary.
The key to getting this piece back on track was to stop painting individual trees and just paint the forest. Even though this was a challenging painting, with a lot of redrawing and direction changes, I learned from the frustration. These kinds of lessons always contribute to better work in the future.

On Marc Maron’s WTF podcast this week, director James Mangold talked about lessons he has learned in filmmaking. He said that even though you need to start with a plan, if you hold it too tightly, you don’t leave any room for discovery in the process.

The finished piece still doesn’t quite match my original inspiration and vision. And while there are still the same nine lemurs as before, they’re more dynamic in their placement, different angles, placed higher and lower. There are more tails here and there, and I added hands for the ringleader as the central character.

But when I spend too much time with a painting, I can’t see it with fresh eyes anymore, so I don’t know if it’s any good.

What’s worse is that January and February are tough for me, as they are for many people. We’ve been enduring a period of bitter cold the past couple of weeks, and that always sucks the life out of me. I’ve forced myself to go for a few hikes and bundled-up bike rides to get out of the house and exercise, but it’s been a slog.

It’s also a time of year when I spend a lot of money on my business. From the final 50% booth installment for The Calgary Expo, the deposit for registering for the Banff Christmas Market, my first quarterly tax installment, paying for new promotional items, test prints for new products, plus restocking prints for anticipated spring client orders and Expo, and all the materials that go with that, it’s a part of self-employed stress I never get used to. It’s a maxim as old as time that you must spend money to make money, but nothing is guaranteed, so it’s always uncomfortable.

Finally, with the editorial cartoon side of my work, I must follow the deluge of bad news that breaks daily because he-who-shall-not-be-named continues his insane barrage of verbal and economic attacks on Canada. As much as I’d like to turn off the news to preserve my sanity, I can’t do that and still do my job.

All of this, aside from the 51st-state bullshit, is business as usual for this time of year. But when it piles on, it usually puts me in a pretty dark place.
Under these circumstances, my perception of how any finished piece looks is distorted. I have no idea how I feel about this painting and probably won’t for a while. I feel more relief that it’s finally over than satisfaction with the result.

I’ve done several paintings in my career where I’ve felt indifference for them upon completion but grew to love them over time. Maybe this will be one of those, but I have no way to know. Artists tend to put too much pressure on themselves and make more out of their work than they should, and I am no exception. Ultimately, it’s just a painting of some funny-looking lemurs, and I have spent enough time on it.

“Art is never finished, only abandoned.”

Nobody knows if Leonardo da Vinci really said it, but it’s an oft-repeated quote because of how much it resonates with artists, that there is always room for improvement, and perfection isn’t possible.

With that in mind, I’m moving on and will start a new painting in a day or two.

Cheers,
Patrick

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Raptor Rain

Painting the wet look in this one was challenging because I had to decide where to draw the line. I could have added more rain in the background and foreground, but I’d risk it looking too busy. The same could be said for the water droplets I painted on the feathers. More definition might equal more distraction.

Had I made the eagle wetter, it would mean flattening the feathers, making a dome out of the crown of its head. More accurate, perhaps, but I like painting fur and feathers, so I kept the wet look but still showed the definition. Maybe it had just given its head a shake.

Ultimately, I chose to go with what I do best: the detail in the face, expression and personality. Too much time spent on painting the forest might mean nobody sees the tree. A painting is not defined only by what you include but also what you choose to leave out.

I already have a bald eagle painting that’s been popular for many years in both prints and licensing. It often feels that if I paint more than one of an animal, the second might not be as good as the first, or at least as well received.

That’s foolish, of course.

People like both of my Snow Leopard and Snow Queen paintings. I’ve watched snow leopard fans choose between them at markets, and neither is the consistent winner. I’ve also painted more bears than any other animal, and there’s no chance I’ll stop anytime soon. I’ve also heard no complaints.

Jackie and Shadow on the FOBBV webcam in their nest in Big Bear Valley, California

I’ve seen plenty of eagles on several trips to Vancouver Island and on visits to the Alberta Birds of Prey Centre in Coaldale. A few years ago, a subscriber (Hi, Eileen!) sent me a link to a wildlife cam near her home in Big Bear Valley, California. Ever since then, right around this time, I enjoy checking in on Jackie and Shadow as they try again for another viable clutch of eggs. Nothing so far, but fingers crossed.
Though we romanticize eagles, imagining them soaring high in the sky for the sheer joy of flying, they’re experts at energy conservation and efficiency. Flying takes a lot of effort, and unless it’s for food or mating, an eagle is most content sitting in a tree all day. That’s also why some scavenge and eat carrion when available rather than hunt for fresh prey.
They have exercise runways at the Birds of Prey Centre, and the flight training is fun to watch. Though they try to release most rescued birds back into the wild, it’s not always an option and some become residents. The staff weigh the birds to keep them hungry enough that food is still a motivator. When it’s time for exercise, food rewards entice the birds to fly back and forth on the runways.It doesn’t take many trips for the eagles and hawks to get tired, and bald eagles and other raptors will overheat if they fly a lot. They cool off by holding their wings open and panting like dogs. After training sessions, especially on warm days, the eagles return to the open aviary for a shower. Placed on a perch, the staff hose them down, and the eagles obviously enjoy it.
I’ve taken several wet eagle photos on multiple visits, and had the idea for this painting a few years ago. My recent trip down there this summer reminded me to paint this raptor in the rain.

Cheers,
Patrick

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The Grizzlies

“How long does it take you to paint one of these?”

It’s one of the most common questions I get.

Do I include all the time and travel? Taking, sorting and editing reference photos? How about sketches and roughs? What about the paintings where I took the reference a few years ago but wasn’t inspired by them until much later?

I’ve never completed a painting in one sitting. It’s usually one or two hours at a time. When I’m not painting, I draw editorial cartoons, do my bookkeeping, admin work, format and order products, email clients, and try to have a life, none of which is on a schedule. Sometimes, I start a painting and don’t return to it for a week. Right now, I have at least five paintings in different stages of completion.

So, technically, I have no idea how long it really takes to complete each painting.

But rather than bore a market booth customer with a complicated, existential answer to a simple question, I usually ballpark it and say, “Somewhere around 15 or 20 hours.”

I don’t know if that’s more or less than what they expected.
The spark for this painting was reference photos I took at the Calgary Zoo in June of 2023. I enjoyed watching long-time grizzly resident Skoki straddle a log while resting his arms on another log across it. It reminded me of somebody bellying up to a bar to order a drink.

He sat there for a good long while and I took dozens of photos of him turning this way and that. The painting that first came to mind was four or five grizzlies sitting at the log, like buddies at the bar. I even figured I might call it Grizzly Bar.
I did some drawings shortly after that and returned to them whenever I had the time. While Skoki was the inspiration, I used several bears in my photo archive as reference for the bodies and faces. If nothing else, I figured they would be good sketches for the book I’ve been talking about for years, but to my eternal shame, never deliver.
Once I had several sketches, I pieced them together, trying to find a composition I liked. The five grizzly bear buddies soon became five members of a family. It reminded me of a grizzly bear version of a Sears family portrait photo shoot. Refining the shapes so they fit together, and reimagining the expressions meant losing a lot of the sketch detail I had already drawn, but that’s just part of the process.
Many paintings begin as one idea but take on their own life while I work. I have no idea how many hours I’ve put into this piece, but it’s more than any painting before.
Rather than work in colour from the start, as with other paintings, I started this one in greyscale because I wanted to play with the values and experiment with the scene. Once I had a good starting point, I painted colour in the background and foreground, leaving the grizzlies for last.

I’ll confess I don’t much like painting landscapes or scenery, so I wanted to get that out of the way to get to the part I love most — the bears, of course.
Initially, the berries in the foreground were bright red. But when I showed this work-in-progress image to my buddy, Derek, at Electric Grizzly Tattoo, he suggested they might be a distraction from the bears. It was a helpful critique. So, I toned down the berries and made them a deeper burgundy and blue.
As brown bears come in many shades, from dark brown to red to blonde, I had initially planned to have a more noticeable colour difference between the five. But it looked weird, and I didn’t like it, so I erred on the side of more subtle variations in fur colour.
One of the nice things about working digitally is that at the end of each painting session, I can look back at the image when I opened the file and compare it to progress at the end of a session. It’s often a big difference, and that’s satisfying. However, when a painting nears completion, two hours of work may be barely noticeable before and after. That’s usually how I know it’s time to call it done.

For you digital painters, this was a very big file with a lot of detail. The finished dimensions are  30″X40″ at 300ppi. Near the end of this piece, with seven layers, the working file size was over 1.5GB. Thankfully my computer can handle it, but I still closed and reopened the program every half hour or so to prevent any lag. With a file this big, a crash can happen and losing an hour of work is a real risk.
Deciding whether I like a piece or not takes time, but I’m pretty happy with how this turned out. I liked my Meerkat piece when I finished it, but it took four weeks of it hanging on the grid wall beside me at The Banff Christmas Market before I realized it’s one of my personal favourites.
Because of the current uncertain economy, I’m not yet committing to doing puzzles again right away. But when I do, I think this grizzly family is worthy of consideration.

What do you think? Let me know in the comments.

Cheers,
Patrick

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Banff Christmas Market and a Diamond Art Club Release

The weather outside was frightful last Friday and Saturday, but the Bow Valley avoided the worst of the big storm that rolled through Alberta on the weekend. Still, I have lived in this valley long enough to know that the 25 km stretch of highway between Canmore and Banff can quickly become treacherous.

Driving to the Banff Christmas Market last Friday morning was fine, but with the forecasted heavy snow, I brought an overnight bag just in case I needed to find a room at the inn. I drove home that night, but it wasn’t fun. The wind made for intermittent whiteout conditions, and finding where the road ended and the ditch began was a white-knuckle experience, as was making my exit into Canmore.

As snowplows had been out all night, the drive in on Saturday was better: icy but clear enough. The downside was the insecure, reckless over-compensators tailgating and passing in the hammer lane at 130 km/h. When many of those idiots inevitably hit the ditch, they unfortunately take others with them.

Slow down. Nobody thinks you’re cool.

The weather was likely partially responsible for slow sales on Friday. Thankfully, Saturday and Sunday were much better. Not the phenomenal sales from the first week, but still very good, similar to the two weekends I did last year, and I was happy with those.

As the storm passed, Saturday and Sunday became spectacular Canadian Rockies winter postcard days. I’ve lived here thirty years, and more than once this weekend, I stepped outside and still marvelled at how pretty it was. It was a festival atmosphere with live music and wood fires burning in the courtyard.

Thanks, and welcome to everybody who signed up for A Wilder View. And an even bigger appreciation for subscribers and collectors who came out to Banff just because you read about it here. There are often people I only see at the Calgary Expo each year who are now showing up at my booth in Banff at Christmas. When I offer the opportunity to sign up for my emails, the response is more often that they are already on the list.

Even more satisfying is how many tell me they enjoy the writing as much as the art. That’s nice to hear since I’ve sent more than my fair share of less-than-positive posts over the years when art-for-a-living sometimes gets frustrating. Thanks for sticking with me through those posts. Ultimately, it’s the warts and all that inspire my funny-looking animal paintings.

Occasionally, I’ll meet farmers or ranchers at my booth who generously offer to let me come and take photos of their critters. A couple who lives northeast of here have Clydesdales and a miniature donkey. I’ve long wanted to paint a donkey, and they shared some fun photos with me. Their property is right on the route I take to the cabin I rent with friends a few times a year, so I’m looking forward to stopping there in the spring. While I can always paint from stock photos, taking my own reference is often a big part of discovering the personality that’s part of my signature style.

And, of course, all the dogs who show up at the market are a big perk at this event. Some are just looking for a free handout and lose interest when they realize there are no cookies in my booth, but other dogs are happy to soak up the unlimited attention.
One of the dogs I get to see all month long is Tojo, who belongs to one of the staff. He’s a friendly Akita puppy with a stunning brindle fur pattern resembling urban camouflage. He’s got a wonderfully sweet temperament and loves the outdoor cold. Though provided with a comfortable bed and a safe, warm space outside, you can often find him happily sleeping on a pile of snow.
When he’s brought inside to warm up or for a wander, he visits the different booths and enjoys the pets and scratches we’re all happy to give. His face reminds me of a bear’s, which makes me want to paint him.

Everything is selling well, whether stickers, magnets, coasters, postcards, calendars or prints. The clear bestseller, however, is still that Highland Cow. I was happy to get my print resupply on Friday from Art Ink Print because I did indeed sell out of my initial stock this weekend. If you’re an artist looking for a great printer, I highly recommend them.

Contrary to my last post about letting the calendar supply run out, I’ve only got half a dozen left now, so I ordered more from Pacific Music & Art. It seemed silly not to restock a proven bestseller. I also restocked my ample supply of Highland Cow magnets, which also sold out this weekend.
Seriously, what is it with this painting? I don’t understand it, but as I said to Mike at Pacific, I won’t look a gift cow in the mouth.

My resupply should be here for the weekend, and I’m confident I’ll be good on stock for the two final weekends.

I won’t lie; I’m tired at the halfway point. In the four days in between each market, I’m drawing editorial cartoons for my newspaper clients, catching up on admin and bookkeeping, and trying to get a little rest before the next round.
Meeting people who enjoy my work and seeing those discover it for the first time is great. It’s fuel for the creative tank, a reminder, “Oh, yeah, THIS is why I’m doing it. These paintings make people happy.”

But it’s also incredibly draining for somebody like me. I am an unapologetic hermit most of the time, preferring to spend most of my time alone working at home. So, thirteen days of high-input interaction with lots of people is a double-edged sword.

However, every one of these markets is a necessary and valuable learning experience, and I come away from each with lessons that inform future events. Without talking to people in person, I wouldn’t know what they like, which paintings resonate with them, and why. I get inspired by these conversations and interactions and am gratefully humbled when I hear how much some people enjoy my funny-looking animals.

Here’s to another successful Banff Christmas Market, the second of four, as I prepare for the third. If you haven’t made it out yet, something to consider in the next couple of weeks.

______

Diamond Art Club is one of my favourite commercial licenses. A cross between paint-by-numbers and cross-stitch, it’s a unique product and a fun hobby with a dedicated fan base. I hear from plenty of people who have found my work because of diamond art kits.

Five different diamond art kits are available: my Otter, T-Rex, Sea Turtle, Snow Queen and their certified bestseller, my Smiling Tiger.

While I’ve known it was coming for quite some time, I can finally announce that Diamond Art Club has added my Two Wolves painting to their catalogue. As part of their Black Friday specials, it will be available on November 29th.

Here’s their official announcement from their Facebook page, with my own added text identifying the difference between my painting and the diamond art conversion.


For all of you Diamond Art Club fans, I hope you enjoy this new addition. And if you put one together, I’m always happy to see pics of the finished pieces.

Cheers,
Patrick

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Last Call for Critter Captures

As the colder weather approaches, animal photo opportunities become less plentiful, and that scarcity, real or imagined, makes me want to take more pictures.

Considering I have thousands of neatly organized reference photos I have never used, for well over a hundred animals, running out has never been a problem. But it’s hard to ignore the impulse to stock up, just in case.

Hey, squirrels store way more than they need for the winter, too.

Time ticking was the prime motivation for my trip to the Alberta Birds of Prey Sanctuary in Coaldale last month. Releasing two hawks into the wild was worth the trip alone, but after editing and sorting my pictures, I’ve also got dozens of new photos I can paint from.

Still open until September 30th, Discovery Wildlife Park usually closes from October to the end of April. But during the pandemic, they created a holiday lights drive-through feature. With the worst of the health crisis thankfully over, their impressive Light The Night experience has continued to grow, open this year from November 15th to January 5th.

With winter gift shop stock in mind, they placed a surprising end-of-season order for prints and stickers. I always like to deliver those in person so I have an excuse to take photos.

I had driven to Coaldale in a torrential rainstorm, but that meant great light for pictures when I arrived. In an unwelcome repeat, but with the same result, I drove to Innisfail last week in another storm. When I got there, the weather was so foul I was the only person in the park.
While I had lunch with my zookeeper friend, Serena, a couple of other people arrived. Coincidentally, they were also longtime friends of the park. Rather than the usual bear education presentation we’d seen several times, Serena gave the three of us a behind-the-scenes personal tour and visit with the bears.
Cold, dark, and windy, the rain at least let up for a few hours. While the pictures I got weren’t impressive photographs on their own, some of these shots will be amazing for reference. I’ve written before about how sunny days aren’t great because they can wash out detail in the highlights and shadows, but an overcast day provided some very exciting photos of bear fur and features.
If that weren’t enough, Serena has been hand-raising an orphaned raccoon since he was tiny. Shonna I got to see him earlier this summer, but on this day, he was getting his first look at a much bigger world, as he was let loose for a bit to run and play in a large enclosure. If you’ve ever seen a cat or dog with the zoomies, imagine that with a raccoon. He was having a very good time.
After the park, I took my parents out to dinner in Red Deer and spent the night at their place for a nice, albeit short, visit.

This past week, the cool fall weather has shown up. Though I’m not a fan of the winter that follows, fall is my favourite time of year. The light on the mountains around here is softer and ever-changing, and we get some beautiful sunrises, which I can see from my office window. And when the larches change colour, it’s like somebody spilled brilliant yellow and orange paint all over the place.

Though I generally dislike driving, the route south on Highway 40 through Kananaskis, up to the Highwood Pass is an exception. It’s the highest paved road in Canada and the spectacular scenery is some of the most beautiful in the world. While busy on weekends, self-employment affords me the luxury of going during the week. Thursday was a pretty day for a drive, and even though the larches haven’t changed yet, they’re beginning to. Traffic was light, the weather was great, and I enjoyed the 40-minute climb from Highway 1.
Several years ago, a local photographer told me about Rock Glacier, just off the highway below the Highwood Pass. He had said that if I wanted to see pikas, that was the place. It’s a massive scree slope of rocks, and I can’t even guess how many of the little ‘rock rabbits’ call it home.

It’s hardly a secret, as the site has two extra parking lanes and several Alberta Parks educational signs about the critters.

Their peeping is unmistakable, but it can be hard to see them as they’re very small and perfectly camouflaged among the rocks. It’s only their darting movements that give them away. I’ll admit that chasing them around the rocks is part of the fun. They’ll scurry along routes only they can see, pausing on rocks along their path, perfect for photo ops.
Their primary motivation is food, so they’re usually en route to one of the small patches of grass and vegetation among the rocks, where they’ll stuff their faces before running back to their stash. It’s fun to watch.

The challenge is usually to get a few pictures before they run out of range, but twice on this visit, I was delighted to see one running toward me. With each pause, I’d get a better shot until one eventually ran right by my foot, intent on a patch of green behind me. All I had to do was circle it and take more photos. They didn’t seem to mind my presence as long as I avoided quick movements.
It can get cold up there at 2200m (7200 ft), and I always pack extra layers, but it was a pleasant fall morning, and I only needed a light jacket. On a few visits, there’ve been ten or 12 other people, often photographers with much bigger lenses than my 70-300mm, doing the same thing. But on this visit, I spent an hour and a half crawling over the rocks and snapping pics with the whole place to myself. Nobody else stopped.
On each drive up to Rock Glacier, I usually see black bears or grizzlies, but none this time. They’re likely still low in the valleys, eating as much as possible before winter. But they can show up anywhere around here, and on these excursions, I’ve always got bear spray on my hip. Aside from the above pic of a line of bighorn sheep walking the top of the ridge, I only saw the wildlife I came for.
Though I have kept dozens of pika photos over the years, I’ve always felt I hadn’t quite got the one I wanted, that perfect photo to paint from. I finally got one on this trip, but I haven’t shared it in this post. It’ll just have to be a surprise.

Now, you might be thinking, “I’m seeing plenty of photos lately, but where’s some new artwork on this artist’s website?”

I am working on several pieces and a commission right now. However, taking photos for future paintings is also a big part of my work. I can’t paint ‘cartoony, but real,’ if I don’t know what real looks like, and taking photos always inspires new paintings. Though I often plan to paint a critter and then go looking for reference, it’s frequently the photos that come first, inspiring the paintings that follow.

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The Grizzlies – A Work in Progress

With two commissions and several other projects on the go, it was tough to get traction this summer. I’m also spending a lot of time planning for the Banff Christmas markets that begin in November. As it spans four long weekends, I’ll soon need to figure out how much stock to order.

But first, there are two paintings I want to finish, so I’ll have them available for print and puzzles.

This week, the printed 18″ X24″ stretched canvas of a recently completed commission arrived. I’m delighted with how this painting turned out, and most importantly, so is the client. I’ll deliver it the first week of September when the client visits Canmore. After that, I look forward to sharing it with all of you.

The second commission is coming along nicely. But I’ve also been working on the group of bears I’ve been chipping away at for some time now. The original plan for this piece was five adult bears sitting at a log in the woods, like a group of friends hanging out and chatting. I drew six of them separately to give myself options.
However, when I dropped and dragged them together into one image, the digital canvas was very long. A long horizontal canvas has appeal for a canvas or metal print. However, from a commercial perspective, it would limit what I could offer for licensing and paper prints.

To make all five bears fit, with a bit of personal space between each, I’d need to compose them in a way that would leave a lot of space above and below. But that would make their faces much smaller, and I’d have to paint more foliage and background. Or I could stretch them vertically, but then they’d look far too distorted.

This is where working digitally is a blessing. While experimenting with each bear sketch, pushing and warping features, I soon realized another option for this painting. What if I made it a family of bears with older cubs, looking almost like teenagers?

Now, I know nature doesn’t work like this. The father is long gone by the time the cubs are born, which is good because he’d be a significant threat. As for Mom, she chases the cubs away at two or three years old.

I don’t paint reality.

It didn’t take long to fall for this new composition and abandon the old one. A family meant I could group them closer and have more fun with their expressions. Pushing, pulling and warping each of the sketched bears destroyed the initial sketched detail, but I probably would have had to do that for my original vision as well.

The sketches were just templates, and each contributed to this discovery.
Once I was pleased with the group layout, I dropped the layer’s opacity and traced over the shapes and basic features. I did this several times, refining with each pass.
Then, I got to work on the shading, detail, expressions, and character. I do that right up until the end of every painting, as personality is the most essential part and is where I have the most fun. And with this painting, I’ve got five faces to discover instead of one.
This piece seems like a family posing for a Sears portrait or the opening of a sitcom like Family Ties or Growing Pains. I’m going to call it ‘The Grizzlies.’

It reminds me of my great horned owls painting, One in Every Family, which is still a bestseller ten years after I painted it. I had a lot of fun with that painting, and that finished piece didn’t match my initial intent, either. My owls painting won Best in Show at Photoshop World 2014 in Las Vegas, awarding me the camera I still use today to take much of my reference. It’s now a trusted old friend.

There’s still a lot of work to do on this piece. Refining the light and contrast, adding colour to the bears and a lot more detail, but I’ve finally found the spark in this piece. This painting felt like one more thing on the to-do list a couple of weeks ago, but I’m now into it and enjoying the work.

Cheers,
Patrick

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You Never Know What Will Find You

About a month ago, Shonna was able to take a couple of days off, and we drove to Red Deer to see our parents and spend a little time at Discovery Wildlife Park. A scorching and bright sunny day, less than ideal for photos; we only spent a couple of hours at the park. But we got to visit with our friend, Serena, and meet the baby orphaned raccoon she was looking after.
Despite the bright sun, I got some shots of the two black bear cubs. There might be inspiration for a painting or two in the few photos I kept, but I will let them simmer and review them in a few months. My mood and circumstances can colour my perception, so shots that don’t inspire me in August might push the right buttons in January.
Although I prefer to take my own reference photos whenever possible, I am not interested in becoming a professional photographer. Connecting the dots between aperture, shutter speed and ISO and understanding how they work together, it just seems like math and bores the hell out of me.

I’ve read plenty of books, watched videos and taken classes, but I’ve never got ‘the hook,’ that thing where you connect to something on a level that makes you want to pour all your energy into becoming better at it.
I know that hook because I have it for drawing and painting. I can spend hours detailing little hairs or working to get the texture of a bear’s nose just right. I am confident that would be incredibly dull for most people.

I admire plenty of photographers whose artistic skills inspire and baffle me. The art they create and capture is impressive. But when I see their work, I don’t think, “I want to do that!”

What I do think is, “I want to see a coastal grizzly walking out of a Vancouver Island rainforest!” or “Yeah, that’s a beautiful shot of a bald eagle grabbing a salmon, but I’m gonna need a closer zoom of that face to see her expression.”

I love the experience of taking photos, especially when it involves critter faces. I paint personality in my images because that’s what I see. I instinctually imagine animals as characters, and the twitch of a lip or crease in an eye ridge suddenly becomes an anthropomorphized expression I can exaggerate.
So, while I revel in learning a photography trick or technique that helps me take better reference, like David DuChemin’s tip this winter that allowed me to capture much better detail shooting ravens in the snow, I’m always thinking about the painting.

If I take a photo where the light isn’t great, and I can’t fix it well enough in Photoshop, a picture that would easily be in the discard pile for a professional photographer might still inspire a painting. My Smiling Tiger is a bestselling image, and I based it on a blurry, grainy reference photo I captured at The Calgary Zoo. Any self-respecting photographer would have deleted it on the first pass.

While I consider taking photos an integral part of my creative pipeline, that’s only the beginning.
At the end of July, on the day I sent my last post, I headed to the cabin north of here with my friend, Darrel. With my current workload, time off hasn’t been a priority, so leaving for a few days felt irresponsible, but we had booked it months ago and paid our deposit.
Though most of Alberta had been dealing with heavy wildfire smoke that week, it completely cleared up by the time I got to the cabin and stayed that way the whole four days we were there. The temperature even dropped to a comfortable level and we got some welcome rain. In fact, on the first night, it cooled off so much that we wondered if we might need a fire in the wood stove. Given the oppressive heat we’d just escaped, we had no appetite for that. But wearing long pants and a hoodie seemed strange that evening, given how uncomfortable the past month had been.

With the developing situation in Jasper, evacuees finding out that 30% of their town had burned down, it was impossible to completely relax or shut off the news. The weather reports warned of the potential for tornadoes and violent storms in our area due to the rapidly changing temperatures. Thankfully, those never materialized, but it still meant keeping one eye on the phone.
Even though I couldn’t turn off my busy brain, it was good to get away. We did what we always do: sat around talking, napped on the decks in the afternoon, walked around the large property, and played guitar, cards and Scrabble. Yes, we’re boring old men.

While I slept well the first couple of nights, I had bad dreams the last two. On the third morning, I woke up from one about 5:30 and tried and failed to go back to sleep. Darrel and I are both early risers, and while I’m up before then most days at home, I like to sleep a couple of hours longer at the cabin. So, I wasn’t impressed.

Though we have separate bedrooms, it’s a small cabin, and I didn’t want to risk ruining Darrel’s sleep by moving about that early. I quietly dressed, grabbed my camera and crept out the back door for a walk.
It was a very pretty and delightfully cool morning, and I knew there would be plenty of time to nap on the deck later in the day, so my mood improved. I wandered up the road, spooked a few deer and watched them take off across the neighbour’s newly cut and bailed hayfield. I kept my eyes peeled for other wildlife, hoping for an owl or coyote.

At the top of the long dirt road is a treed area that falls away to forest on both sides. That time of morning, that section of road was dark and shaded. I briefly saw a long, little critter standing tall on its hind legs on the side of the road before it squealed and ran down the steep bank to the forest floor below. I don’t know the critter’s gender, but with a 50/50 shot, I’m going with she instead of it.
The base of the tree she ran up to escape was twenty feet below me down the steep bank, so her ‘safe height’ now put her at eye level with me as I stood on the road. And she was NOT happy about it.

But I was thrilled, shooting pics of this sassy little pine marten as she grunted and squealed at me. She didn’t seem to know if she should climb higher or go back down. After a few back-and-forth scurries, with pauses to glare at me and curse my existence, she opted for down and made her escape.
Though I had done what I could to boost my exposure compensation to account for the dark area in which I was shooting, I needed to keep the shutter speed high to try to capture this quick little marten. In the end, none of the pictures I got were very good, but I enjoyed the moment. I don’t know if I have ever seen a pine marten in the wild, but I was pleased with the early morning treat.

While the pics I got aren’t good enough for reference, I’ve added a pine marten to the list of animals I hope to encounter on future cabin visits.

I’m certain she feels differently.

Cheers,
Patrick
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Work-Life Balance, Retirement and Shades of Grey

When people return home from a vacation, they can get the blues, a hangover from the trip unrelated to any spirits they may have consumed. It’s that depressing realization that even though you just had a positive experience you’d been looking forward to and a necessary break from work and the routine, that’s over now, and it’s back to the grind.

In the weeks leading up to the Calgary Expo at the end of April, I had no shortage of motivation. There was plenty to do with a specific goal and a big event on the horizon. My tasks were clear, as was the deadline. The show arrived, the effort paid off, and it was a big success.

Usually, after the Expo, I feel inspired to paint, and that held true this time for about a week. This year, however, I got the hangover.

Now what?

So, I was in a bit of an emotional trough in May, which is unusual since I’m often peppy in spring. I’m out on the bike almost daily, as regular exercise is recommended for a lack of optimism. I was still up early to work, but there was a lot of heavy sighing and staring out the window, trying to figure out where to put my limited creative energy for both financial security and artistic fulfillment.

I’ve always got the daily cartoon deadlines and projects on which to work, but it can often be difficult to focus without specific targets.

However, at the end of May, I was accepted for four three-day weekends of the Banff Christmas Market in November and December. And last week, I finalized agreements for two pet portrait commissions. One is a large, active dog with a comical personality, and the other a memorial piece for the smallest dog I’ve yet painted. He was adorable and obviously very loved.

A commission painting is a big responsibility, one I don’t take lightly. It’s a privilege and honour that anybody would choose my style and work to capture their furry family member in a painting, especially for a memorial.

I’ve never painted two commissions at once for two different clients, but each is a welcome challenge. Both clients were fully engaged in the initial back and forth, and I’ve begun with a clear idea of what each is looking for. They offered suggestions, preferences and details that will make for better paintings. That’s always a great start.
The paintings I was already working on need to be done by the end of next month so I can order puzzles and products for the markets. Then there are the sketches, paintings and writing for the book, six editorial cartoons each week, and now two commissions. Finally, there’s the ongoing marketing and admin stuff that’s a lot more work than most realize when they choose self-employed artist as a profession.

For anyone considering that leap, I can sum up the past 25+ years of my career as follows: Creating art is easy. Selling it is hard.

Suddenly, I have a very full plate for the next three or four months, with timelines and deadlines to keep me on track. I’m grateful to have so much to do, especially since a big chunk of it is creating artwork that might make people a little happier.

Hearing people in their fifties start talking about retirement is normal, but I have no such plans. What would I do without my work, finally have time to explore some artistic and creative pursuits?

It’s not hard to find articles and online posts that talk about work-life balance. While it might seem like an encouraging message, to slow down and relax, the pressure often makes people feel worse about their lives, not better. The guilt that comes with some stranger telling you that you’re doing your life wrong is just one more brick added to the load you already carry.

Being told we must pursue a better work-life balance isn’t a carrot. It’s a stick.
Sure, I’ll bitch about being too busy sometimes, but I chose this. Though the landscape will change, as will the work, and it’s unlikely ever to get easier, I plan to create art as long as possible. I don’t know if I could do anything else, now.

Shonna puts up with a lot, living with an anxious, moody, high-strung, obsessive-compulsive artist. But without my creative work to keep me busy, I’m sure I’d wake up one morning with a pillow hovering over my face.

Justifiable. Case dismissed.

I’ve often read variations of phrases like ‘your work is not your life,’ a caution to be careful how much time you devote to your job. But I don’t know who I am without my work. It’s the best part of me. I’m terrified of the day that age or something else robs me of my ability.

So, I’m going to continue to maintain my fitness and health, keep my head on a swivel while biking and driving, and hope to avoid the fickle finger of fate and the things I don’t see coming so I can keep drawing, painting and writing as long as I can.

Be who you are, people. We’re only here for a little while.

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Dave and Martha discovered my art in Victoria several years ago, and getting emails from them is always nice. Usually, they might send a kind comment or something encouraging after A Wilder View shows up in their inboxes. They’re my parents’ age; their son and I were born in the same month and year, a detail they’d shared a while ago.

They’re currently on a road trip from their home in Washington, and these long-time collectors and supporters of my whimsical wildlife art have been here in the Canadian Rockies this week. It was great to meet them in person, and we had an enjoyable visit over coffee on Sunday.

When Dave described what they’d be wearing so I’d recognize them, he mentioned that he was bald. Though I saw them right away while locking my bike, I joked that I was looking for a bald guy, and he was wearing a hat. He shot back that I was greyer than he expected.

OK, I had that coming.

I’ve known for a while that I must spend an hour painting an ‘update’ to my self-portrait to account for more salt in that pepper, especially in my beard.
I’m grateful for so many of you who follow my work, comment on my posts or write emails, sending me wildlife pictures and thoughts about something I’ve shared or the artwork in general. With so much content available to us, that anyone volunteers to receive my emails is humbling. It’s cliché to say that I wouldn’t be able to create art for a living without the support of people who enjoy it, but it’s true. So, feel free to reach out anytime, comment on a post, or just say Hello.

But please, no politics or news links, fake or otherwise. I see way more of that than I want to in the other part of my work.

Thanks for the visit, Dave and Martha. Though you worried you might have been intruding on my time, it was truly my pleasure. Have a safe trip home.
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