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Licensing and Diamond Art Club

When a company needs artwork for a product, they’ll often contract an artist to use their work in exchange for a future royalty percentage on sales.

Depending on the product, percentages can be small. But if the company sells a lot of that product, it can add up to a significant portion of an artist’s income.

This is licensing.

Some artists don’t like licensing because they think they’ll lose control of their art and it will be stolen. That has happened to me more than once, and to every professional artist I know. Sometimes you don’t even know about it until long after the fact, and most of the time, there’s nothing you can do about it except tell them to stop.

Most of the licensing companies I’ve worked with are professionals. They use the art how they say they will, pay me regularly, and it’s a mutually beneficial relationship.

They don’t always use the images I want them to, or as many of my paintings as I’d like, but that’s not my call. They’re running their own businesses, and my art is often a tiny part. Once they license the work, it’s theirs to market how they see fit if they keep to the spirit of the agreement.

Harlequin Nature Graphics licenses a handful of my images on T-shirts. DecalGirl offers several of my paintings on cases and decals for electronic devices. A dozen other companies around the world have licensed my art through an agency for cross-stitch, fabrics, canvas art, and other products.
My most significant license, of course, is Pacific Music & Art out of Victoria, BC. Thanks to Mike and his staff, my work is on coffee mugs, water bottles, calendars, art cards, magnets, coasters, trivets, notebooks, and more. During the first year of the pandemic, his foresight to put my work on face masks was a welcome flotation device when other parts of my business were under water.

I regularly encounter people who tell me they’ve bought some of my art at stores I didn’t know existed in towns I’ve never visited. One local friend recently returned from a trip to Vancouver Island and told Shonna, “Pat’s art is everywhere!”

At the Calgary Expo this year, a very nice woman came into my booth and loudly proclaimed, “That’s my otter!”

I laughed and replied, “I beg to differ, Ma’am. That’s MY otter!”

She had bought the image as a framed art card in a BC store more than a year ago, and it hangs in her kitchen.
I get my licenses in three ways. The first is through an agency. They will contact me and propose a contract with a client. I have first right of refusal on every deal, and I have politely declined the opportunity a couple of times. They represent many artists, so it’s not a very personal relationship.

I look up every company in every proposed agreement. Sometimes it conflicts with an existing license; other times, their site looks unprofessional, I don’t like the product, or it’s just not a good fit. But most of the deals they send me are worth a try, and I give them the go-ahead.

Sometimes I look for a license because I think my work will fit a product or I like a specific company.

The third way is that a company will reach out to me. They’ve seen my work somewhere, looked around my website, saw images they liked and want to talk about a license.

About a year ago, Diamond Art Club contacted me to discuss access to my catalogue. The contact was professional, sent me a great information package for prospective licenses, and they were upfront about their royalties and payment schedule—no red flags.

I looked through their professional site and was impressed with how many high-end brands and artists they have under license. There’s no credibility question when a company has the official DC Comics and Harry Potter licenses.

I had heard a little about diamond painting kits but didn’t know much about the hobby, nor how massive it is. The simplest explanation is that it seems to be a blend of paint-by-numbers, cross-stitch and a little bit of the classic lite-bright toy. So rather than butcher the explanation, I’ll refer you to their site’s excellent description. Click here or on the image below.
After a couple of weeks back and forth with contracts and questions, I uploaded my art to their servers and tried to put it out of my mind. They were clear that nothing would likely be available until the end of the year. Licensing is often a long game, depending on the product, and each company’s lead time is different.

The production pipeline on these kits is extensive. First, there’s research with customers and retailers to determine which images to produce, then assigning an image to a designer who will turn a piece of art into a kit. Following that, the kit must be manufactured in large quantities and shipped. It’s more involved than most products I’ve encountered.

I don’t know the timeline for when the world is normal, but I was forewarned that it is much longer under the shadow of the pandemic.

It has been a year since I signed the contract with Diamond Art Club. I checked in with them every couple of months, and they were friendly and accommodating as they explained the different stages of delay. And I’m just one new artist. They no doubt have hundreds of other pieces in the pipeline, all affected by the same delays every company in the world has faced these past couple of years.

The first image Diamond Art Club put into production was no surprise. My Otter is one of my top two bestsellers everywhere, a close tie with the Smiling Tiger.

I’m glad they started with that one because if it does well, there will no doubt be more of my images on these kits in the future. Given the popularity and quality of these kits, I certainly hope so.
My sample arrived this week, and I was eager to open it. The first thing I noticed was the fantastic design of the packaging, both outside and in. The tools and pieces are well organized and labelled. The quality of the otter image on the canvas is superb, and there’s nothing about this kit that looks cheap and thrown together. At 23″X17″, it’s a fairly large image.

If I were into this hobby and bought one from Diamond Art Club, I would feel like a valued customer. As a licensed artist, I feel my work is represented well, and I’m pleased to be involved with this company. I hope it’s for a long time.

I’ve learned about licensing, however, that I have no clue what will do well or for how long. Certain paintings may be incredibly popular with the people who like them, but will a new product find a new audience? I have no idea.

So, while I wait and see, I let these companies do what they do best, and I’ll keep painting new portraits of whimsical wildlife for their future consideration.

Because that’s what I do best.
If you’d like to learn more about Diamond Art Club, head to their site and check it out. Right now, you can get 20% off your first order with the code SUMMER20. While they have a large assortment of fantastic art, might I suggest a certain Otter as your first piece?

Cheers,
Patrick

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The Circle of Prints

I’ve painted over 100 animals since 2009, and I can’t keep them all in stock. Even five of each is a lot of inventory. So whenever I bring in new ones, I’ve got to retire some. Some paintings seem to be perpetual best sellers, while others have their day in the sun for a few years and then wane in popularity.

To ensure a reasonable price from my supplier, I have to order prints in volume. So when a print plays out its best days, it’s no longer worth ordering a large amount. That’s a good indication it’s time to let it go and give a new one a chance.

Today, I’m retiring three prints. The Bald Eagle, Black Bear and Grizzly have been removed from the store. They’re still popular on other items through my various licenses, but not as much as prints in my online store. I get attached to these paintings as each has a story and takes many hours to paint. This round of retirees is especially bittersweet as this Grizzly was the first animal I painted in my whimsical wildlife style, the bear that started it all. But I’m always painting new grizzly bears and black bears, so there’s no shortage of that subject.

As much as I like my Bald Eagle painting, I’ve taken many excellent references at The Birds of Prey Centre in Coaldale, Alberta in recent years, and I’m looking to paint a new one.

With a new print order just arrived, the Beaver and Two Wolves are back in stock, so if you’ve been waiting for those, thanks for your patience.
Of course, no new order would be complete without some first-issue prints. My latest paintings, Snow Queen and Duckling, are now available in the store! I love seeing the first prints of a new painting; these were no exception. There’s just something about a print that makes the work complete.
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All prints are 11″ x14″ with a white border, and it’s easy to find an off-the-shelf frame as it’s a standard size. In addition, each is hand-signed and comes with a backer board and artist bio in a cellophane sleeve.

If you have any questions about the available prints or vinyl stickers, feel free to drop me a line, and I’ll be happy to answer. Otherwise, take a browse through the available paintings and see if there’s one that catches your eye. And a reminder that all images (even the retired ones) are available via custom order, as canvas or metal prints.

Cheers,
Patrick

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Special Deliveries

Art for a living is a lot more than the general assumption that I’m just drawing and colouring all day. Like any business, there is a balance between creating or producing something and selling or marketing that something.

After Expo cleaned me out of stock, an excellent problem to have, I had to re-order prints and the packaging that goes with it. In addition, I needed to fill orders for my retail clients and have stock to sell at an upcoming market and on my online store.

Even though I work with excellent vendors who deliver outstanding service, we’re all familiar with the supply chain challenges that still create delays. But over the past couple of weeks, all orders have finally arrived. I’ve spent many hours signing and packaging each print and the past week delivering them. Now I’m preparing for this Saturday’s Mountain Made Market at the Canmore Civic Centre.
Last week, I drove to Innisfail to Discovery Wildlife Park for the first time this year to deliver the largest print order they’ve ever placed and their first order of my high-quality vinyl stickers.

I had recently updated their park map and flyer for them, and It’s already printed and available for guests. In addition to financial contributions, there are always other ways to help your favourite causes and organizations, especially if you have the marketable skills they need.

Of course, there’s no point driving those couple of hours without taking reference photos and spending time with the staff and animals. Timing and luck delivered a beautiful warm day.

At Expo this year, my friend Kayla, a zookeeper at the Calgary Zoo, said that she wanted to come up and see Discovery Wildlife Park and meet their head keeper, Serena. So I told her I’d be going up soon, and we timed it for her days off. I arranged it with Serena to make sure it was convenient, gave Kayla directions, and met there on Thursday morning.

Here’s Serena on Thursday, feeding last year’s fast growing rescue cubs, Bos and Piper.
The Calgary Zoo and Discovery Wildlife Park have a great relationship. Staff from one will often visit the other, participate in educational and training days, and learn from each other’s procedures and policies.

So, I was happy to introduce Serena and Kayla and connect them for what ended up being a partial professional development day. Of course, I was delighted to tag along and eavesdrop while snapping photos.
We got to meet their new wolf pups, though only the keepers who feed them are allowed to touch them. The vet has prohibited any other contact until the pups have their vaccinations next month. But I got plenty of photos, and there will most definitely be a painting coming this year.

On Monday, I was again on the road to deliver another print order to the Calgary Zoo. In the almost ten years they’ve been selling my prints, this was their largest order, a good sign for what we’re all hoping is an economic recovery year.

I had a good visit catching up with their retail manager, Kathryn, and spent some time meeting the new staff, talking about my work, and answering their questions. Since they’re the ones presenting my art to the public and I frequently talk to people who have seen and bought my work there, I’m happy to give the staff any help they need.

Of course, no trip to the zoo would be complete without wandering and taking photos and I was granted yet another beautiful day for it.

No matter how well I plan, some animals prove to be elusive when it comes to reference photos. From poor lighting, posing, vantage point, or timing, it can be frustrating when I can’t get the photos I want. I keep trying, however, as eventually fortune does smile, and it’s always unexpected.
After years of failure, I might have finally got the reference I needed to paint an African porcupine. They had just been given food for which they had to work a little, which is a form of enrichment. The lighting was good, I could get down to eye level, and the little critter kept looking right at me. I was shooting through glass, but if there isn’t much glare and I can cup my hand around the lens hood, that often works just fine. I must have taken 300 shots. I discarded most of them on the first pass, but there are painting reference potentials in those I kept.

From the two visits, I got good reference for wolf pups, a lion, a grizzly, and that African porcupine.

Once this Saturday’s market is behind me, I’ll have a lot more time to devote to painting, and I expect to share a new one with you, already half done, by the end of next week. I have plenty of recent reference stored up and am anxious to work from them.

Just in time for this Saturday’s market, my order from Pacific Music & Art arrived on my doorstep on Monday. I’m grateful to Mike for such a quick turnaround to restock me with magnets, coasters and aluminum art for this weekend’s market. But the best surprise in the box was my first order of the 2023 “Wild Animals” calendar! That’s one of my favourite paintings on the cover, Grizzly on Grass.
The shipment arrived while I was at the zoo, so I sent a text to our next-door neighbours asking them to grab it for me off the step for the third time in recent weeks. For a guy who is home most of the time, all my recent orders have arrived while I’ve been away. My neighbours got the first calendar as a Thank-You, but you can get yours at The Mountain Made Market this weekend at the Canmore Civic Centre.

Next week, I will have the calendars available in the online store; I need to work on the calculations to keep the shipping costs as low as possible. I will let you know when you can order them.

Cheers,
Patrick

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Another Expo in the Rearview Mirror

I’ve had some great Calgary Expo experiences over the years, but this one is certainly at the top. I didn’t realize how much I missed people, especially these people. When I mentioned that to my buddy Darrel in a recent text, he replied, “you’re alone too much.”

No argument there. It’s not good for the psyche, as many of us have discovered these past two years.

From the first afternoon on Thursday to the last on Sunday, reconnecting with familiar faces, repeat customers and introducing my work to new people was terrific. I had forgotten how much fun it was, and I get a kick out of the reactions when some people see my work for the first time.
As I’ve written before, it is human nature to smile in response to a smile, so when people run into a couple of walls and tables full of smiling animals, those people smile, laugh, and say things like “ohmygawd, they’re so cuuuuuuuuute!”

I heard that a lot this weekend. It was like a drug.

The compliments are nice, and I say Thank You. Of course, the sales are important, that’s why I’m there. But making people smile, seeing them light up at the unusual nature of my work, I wish I could bottle that. It would come in handy on far too many days when I am working alone in my office, convinced the world has gone to hell in a handcart.

There have been a lot of those days recently for all of us.

I went into this event with realistic expectations. I wasn’t sure if people would buy much or what the mood would be, but it surprised me that it felt like a regular Expo. People were happy to be out and having a good time, and it was very busy, which I’ll admit was a little uncomfortable at times, considering what we’ve all been through.
I had a fantastic location, and because I was next to a pillar, with no booth beside me, I could stretch out a little, which made the layout even better. I had good neighbours, which always makes the show better, but I don’t remember ever having bad ones at this event. Best of all, not a political or contentious discussion or experience all weekend long, which was incredibly refreshing.

I’m bad with names, but I’m excellent with faces, likely a consequence of this visual profession. I recognized a lot of former customers two and three years later, which surprised many of them.

2019 had been my best year, but I exceeded that year’s sales on every day except for Sunday, and that one was close. But for the whole show, this is now my best year, and I’m thrilled.

Talking with people in person, seeing their reactions, and what they buy gives me a better idea of which paintings are popular. I brought a lot of the Smiling Tiger and Otter, but they sold out. That’s always welcome, of course, but not a surprise.

Of the newer paintings, I can now consider Winter Wolf, Sea Turtle and Grizzly on Grass to be bestsellers. Though I brought plenty with me, I also sold out of those at the show, and I’ll know to bring more next time. I still have some of each here at home, but I can only carry so many.

Here are a few stand-out highlights.

Need a Break?

A big THANK YOU to two couples who were incredibly generous. They’re some of my biggest collectors and supporters for several years now, both at this show and throughout the year, and I enjoy visiting with them. They each had four-day passes, so I saw them all weekend long.

While I thought that having my booth next to the bathrooms would be convenient, the map didn’t specify that both of those bathrooms were for women. The men’s bathrooms were both five aisles away in opposite directions. Who designed this place?!

So Will and Jaime volunteered to watch my booth a few times during the weekend, they brought me soft drinks from their hotel one day, and Will even tried to act like a carnival barker to boost sales, which was damn funny.
Sheldon and Tracy are the folks I spent the afternoon with at the zoo and wrote about in a recent post. They watched my booth a few times, chatted with me when it was slow, and stopped by often to check if I needed anything. At one point, Sheldon flipped through my bin of prints and said he felt like he was going through hockey cards. “got it, got it, got it, need it, got it, got it,…”

These customers have become friends, and I was grateful for their kind consideration and help.

I could recite a list of names of all of the people I’ve come to know at this event over the years, but I would likely forget and offend somebody. So, if some of you are reading this, hopefully I let you know in person how much I enjoyed seeing you again.

Have You Got an Elephant Yet?

Remember the guy who comes back every year and asks if I have an elephant painting? You can read about that in a previous post. I was worried he might not be there this year, but Aric was my first customer on Thursday! He asked the question, and I was able to answer, “Why yes! Yes, I do!” and showed him the elephant hanging behind me.
That was the perfect start to the event because not only did he love the painting, he bought the 12”X16” metal print for his wife’s birthday. He assured me I could talk about it here, and I wouldn’t likely ruin the surprise. I had brought two of those metal prints with me this weekend, just in case he bought one, so I’d still have another for the wall.

What a Wookiee!

Before I became a full-time artist in 2006, my last job was as an Admin Assistant for a physiotherapist here in Canmore. These days, Ascent Physical Therapy is bigger and in a new location, with multiple therapists and clinicians. At the time, however, it was a small clinic, just two of us working there with an occasional massage therapist using one of the rooms.

I often describe Shane as the ‘best last boss to have.’ He knew that I wanted to work for myself and was very supportive. When I realized I couldn’t take my business to the next level without leaving, I gave him plenty of notice, but he suggested I job share with somebody else so that I could go part-time to make it easier and train the new person at the same time. That worked great for several months, but eventually, I gave notice again, as did the other part-timer who found a full-time job elsewhere. Shane hired somebody to replace us, and she stayed with him for several years. It was about as smooth and painless a transition as we could have wanted.
Several years ago, Shane created this Chewbacca costume from scratch. It is truly a masterpiece and looks movie-quality. It has an electronic voice box for the growls, stilts for the height and is a highlight of the show for many people, especially kids. Every year, he comes to Expo with this outfit and has even added a C3PO backpiece from the Empire Strikes Back.

Now he’s part of the charitable fan organization, the 501st Legion, and Shane makes a circuit several times during the show with security escorts so that people can take pictures with him. He walked by my booth multiple times but obviously couldn’t stay long as he was mobbed for photos. However, Shane returned one morning without the costume to visit, and it’s always great to see him there.

There Once Was a Bear and a Rat.

Finally, I’d like to share a couple of gifts I received that I’m happy to display in my office.

At the 2019 show, Matthew Overbeck came by the booth and asked if we could collaborate on an art project. He wanted to create some 3D printed lamps and use a couple of my paintings for the lampshade panels. Matthew and his wife Maria have bought my prints before, so it wasn’t a cold call.

I thought it would be a fun project and agreed to let him use my work. He kept me up to date with progress shots and said he would give me a lamp when finished. I was looking forward to it, but the pandemic suddenly arrived, and everybody’s plans slid into the ditch.

I’ve thought about Matthew and this project a few times over the past two years, but I didn’t want to reach out to him about it. When we’re all struggling, the last thing I wanted to do was pressure him to complete his art project or imply that I was waiting for a lamp.
I was thrilled when he showed up at my booth on Thursday and revealed the finished piece. It looks even better than I expected and features two of my favourite paintings. This will be a fond keepsake and Expo memory, as will the second smaller bonus rat lamp he gave me.
While he said he’s not in a super creative mode right now, I know that the right inspiration can turn that around on a dime.

So, feel free to reach out to Matthew if this work is of interest to you. He’s a talented artist working in a unique medium, and I wish him nothing but success with these pieces. I’m pleased that my work could be a small part of it.

To wrap up this wrap-up, I’ve come away from Expo inspired to create more work, which is no small thing. As a result, I have rebooked a corner booth for next year. While I would love the same location, I know that’s not always feasible with changing floor plans, but I’ll keep my fingers crossed.

To all of you who came to see me and add my artwork to your homes, please accept my sincere thanks for supporting not only this painter of whimsical wildlife but local art in general. It means a lot to all who make our living creating stuff.

And finally, to all of you who signed up for A Wilder View at the Calgary Expo, I know I already sent you a welcome message a couple of days ago, but thanks again for being here. I will do my best to make it worth your while.

Cheers,
Patrick

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Setting the Table for Expo

The Calgary Expo is a monster event, beginning on a Thursday afternoon and ending Sunday evening. Pre-pandemic, close to 100,000 people came and went through the doors for four days. It was once the 6th biggest Comic-Con in North America, still growing before the world swerved drunkenly into traffic.

Attendees include comic, toy, art, and pop culture collectors. Movie and television fans pay additional fees to line up for signatures, photo ops, panel discussions and talks from invited celebrities. Calgary attracts some very big names, which draws in more people.

One year, the entire cast of Star Trek: The Next Generation attended, resulting in absolute chaos. The Fire Marshal eventually shut it down with so many people inside that you couldn’t move. Thankfully I wasn’t a vendor that year. Organizers rewrote their rule book the following year.

In 2014, the cast of Aliens was a big draw, resulting in one of my favourite memories, when the late Bill Paxton ended the show by intentionally overacting his most famous movie lines on the intercom. Exhausted vendors suddenly woke up from packing our booths, cheering and applauding the gesture.

Cosplayers spend countless hours creating incredible outfits, from elaborate body paint to 3D printed helmets and armour of pop culture, movie, TV, animation and comic book characters. For example, my former employer spent weeks creating the most realistic Chewbacca costume you’ll ever see, complete with stilt extensions and an electronic voice box. He was a big hit at the show.
Truly an all-ages, family-friendly event, it has consistently been one of the most positive experiences I’ve had each year. The people-watching alone is worth attending, and the whole event has a circus feel.

In fact, they even have a signature parade in downtown Calgary called POW! Parade of Wonders on the Friday (although Expo is open Thursday evening) to kick it off. I’ve never seen it live because I’m always prepping my booth for the day. But it sure looks like people are having fun. This was from 2019.

Retailers include comic book stores, T-shirt vendors, book publishers, and every kind of nerdy pop culture collectible under the sun. Then there is the art. There’s so much quality art that it would take more time than I’ve got to catalogue it all.

Artist Alley is a section unto itself, with more affordable booths for creatives to sell their prints and other items. Many are hobbyists building an audience, though some have built a large fan base and do quite well.

The large halls of the main building are divided into 10 x 10 booths, with some larger companies occupying several. Naturally, these Retailer booths cost more, but increased space and traffic translates to more sales.

Having worked my way up from my first booth, more of a table really, in the now-retired Small Press section, I’ve been in the Retailer section for several years. In my last year in 2019, I had a corner booth on a main thoroughfare, a prime location that I had earned through seniority. I have no idea where I’ll be this year as the floor plan is likely to change and they haven’t released any information yet.

No matter how many times I prepare for this event, it’s a logistical gauntlet. For best pricing, booths are usually booked a year in advance on the last day of the previous Expo. I booked my 2020 booth in April of 2019, so they’ve had my money for three years. Even though they responsibly offered refunds several times during the pandemic, I wanted to keep my booking and priority.

The booth space shown here was bigger than I was used to as the vendor next to me no-showed. So I was able to spread out a little bit, as did the guy on the other side. It’s usually more compact.
Neighbouring vendors form temporary communities at these shows. We watch each other’s booths for bathroom breaks, might do a coffee run if one of us is going, and we talk during set-up and slow periods. I hear a common question: “How did you do today?”

A frequently heard answer, especially from people who don’t do this for a living, is, “I’ve covered my booth costs.”

If that’s your only goal, and you’re doing this for fun or a side hustle, that’s important. The booth fee is usually the most significant expense, but it’s certainly not the only one.

My corner booth costs $1228.50. Despite overall bright lighting in this venue, having my lights on my artwork and banners makes it pop and attracts more attention. So, I rent power for my booth, another $134. Parking for the five days (including Wednesday set-up day) is $65, and my car stays in that lot from Thursday to Sunday.

If I were doing regular shows, I’d get a blanket policy through my insurance provider to cover all of them. All it takes is one person to bump the wrong thing and fall in your booth, or if something from your display falls into an aisle and somebody trips over it, the vendor could be liable. Of course, nobody thinks it will happen to them, but it’s not worth the risk in our litigious society. So, I get vendor insurance for this show through the venue, which costs $64.

Canmore is only an hour away from downtown Calgary when there’s no traffic, but getting in and out of the grounds with everybody else adds a lot of time. I wouldn’t get home until 10 PM at the earliest Friday night and would have to leave by 7 AM the following day to make it back. Add in the potential for a spring snowstorm, which has happened more than once on this weekend, and commuting would be a gamble.

So from Thursday to Sunday, I stay in a hotel. It’s six or seven blocks away from the venue, and I walk back and forth each day. That’s $470 all in, with the Expo rate.

I don’t have a big appetite these days, and I stay away from the high-fat food trucks. Instead, I eat breakfast at the hotel, pick up a healthy lunch at Sunterra market on the way to the grounds each morning, bring trail mix snacks, fruit and cheese from home, and then grab a late takeout light dinner on the walk home to eat in my room. I used to attend the odd networking event at this show, organized by Calgary artist collectives. They were fun, but I prefer winding down in a quiet hotel room. These are long, loud days with many people, and that always takes it out of me.

My food expense for the weekend is usually around $100.

In the late 90s, I worked at a hotel in Banff. For a couple of those years, I was an accounting clerk. Later, I worked as an office admin for a physiotherapist here in Canmore. Through these jobs, I became proficient with Microsoft Excel.

Shonna is an Excel wizard and loves putting data into a spreadsheet. It might sound boring, but it’s a great skill. We each keep our own finances, but there are no mysteries in our household budget for the joint expenses. She’ll spend hours tweaking those numbers to make sure everything gets paid, money is set aside for savings, and ensure that we still get to live a life.

So for Expo a few years ago, we sat down and built a spreadsheet to find out exactly how much it cost to do the show.

My booth might cost $1228.50, but before I sell anything, the initial costs add up to almost twice that, and I haven’t even mentioned creating a booth and filling it with stock.

The most considerable expense of building a booth is in the first year. I didn’t make any money the first two years I did this show, and the second year I barely broke even. I’ll buy one or two new display items to improve things each year, but if you take care of your equipment, almost all of it is reusable.

Here is a list of some of the display materials and equipment. Grid walls, corner braces, wall coverings, hangers, lights, lightbulbs, power bars, banner stands, banners, two folding tables, tablecloths, table riser, magnet boards, coaster/sticker display risers, print display bins, print storage bins, storage rack, canvas/metal cases, floor mats, office supplies, toolbox/tools, cargo dolly, business card holders, display easels, and a bunch of other minor stuff.

In the beginning, this whole show was cash transactions. The rule was to bring lots of small bills for your float. Very few sales are cash these days, and everybody wants to use TAP. My handheld terminal costs $20/month to rent, but it’s well worth it. But like any other retailer in the world, the banks and credit card companies take a small percentage of every transaction.

That’s to build a temporary store for those four days. Then, after that, I need to have items to sell.

Before I sell a print, I pay a printer to produce it, order a backer board to protect and make it presentable, order art bio labels for the backer board, and a cellophane sleeve. Every print comes with an initial cost. It’s the same for the large metal prints, canvas and stickers. For the coasters, magnets, calendars, small aluminum prints and anything else I get from Pacific Music & Art, I buy those from Mike. I get them at less than wholesale because he doesn’t have to pay me a royalty on products I buy for myself.

Every item breaks down on that Excel spreadsheet. From what it cost to buy it to what I sold it for, and in the final column is the profit from that one item. I track everything I sell during the show, writing each transaction in a notebook. Then, I enter it into a spreadsheet on my iPad in my hotel room at the end of each day. Finally, I enter each day into the more extensive spreadsheet at the show’s end.

From the total profit of each item sold, I deduct the hotel, parking, electrical, insurance, and food costs. Only then do I know if I made any money.
That explains the hard costs, but what about my time?

Coming up with an hourly wage for self-employment is almost like mixing math and philosophy. Building my art skills took decades; painting each piece took many hours, and the whole collection of whimsical wildlife paintings has taken 13 years so far. There wouldn’t be any prints, coasters, magnets, calendars, and other items to sell without all of that. So, how could I come up with a value for that time?

I recently spent an hour redesigning my booth in Photoshop, creating scale pieces of the different items and moving them around for greater efficiency. Does that count against time spent?

What about the intangible benefits from the show that can’t be quantified?

Each year, I meet new people and introduce them to my work. If they don’t buy something the first year, they might buy something next time. I’ll get new subscribers to A Wilder View, so maybe they will buy something later or share my work with their friends. I reconnect with people who already like my work and come back to see me year after year.

How do I enter those benefits on an Excel spreadsheet? The simple answer is I can’t, but they’re still valuable.

But for the costs that can be recorded, it’s essential to know what you’re getting out of it and to be honest with yourself if it’s worth doing.

This show has been financially well worth my time and effort for years. But, I’ll admit that significant changes to the show before 2019 had me rethinking whether I would do it again. When the ‘little Expo that could’ sold to the multi-national Fan Expo, now a subsidiary of Informa, it lost the local community feel and it has become a colder corporate event. As a vendor, I used to feel like a valuable participant, friendly with the organizers and happy to see them each year during setup. Now, I just feel like a number on a sheet, easily replaced.

But that turned out to be my most profitable year, and I was pleased with the return on my investment. While I’ve lost any connection with the organization, I still had a great time with my customers and fellow vendors. So, I booked again, unaware that the next two years would change everything for everybody.

I have no idea what to expect this year. As I post this, there’s still no floor plan published, I don’t know my booth number or move-in details. Eight days out, that’s concerning as far as confidence in the overall organization. It could be a great show, with record attendance and people buying a lot of my art. Or it could be quiet, folks reluctant to gather in groups, still financially shell-shocked from the last two years, and just browsing. It will likely be somewhere in between, but that’s still a big range.

I won’t know until Monday, April 25th when I run the numbers.

Cheers,
Patrick

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The People That You Meet

I woke Tuesday in a foul mood.

Though tired, I’d gone to bed with a lot on my mind and couldn’t sleep, an ongoing problem over the past two years for obvious reasons. My worrying usually revolves around black-and-white, all-or-nothing, perfectionist ruminating, catastrophizing, and other cognitive biases that frequently plague overthinkers like myself.

Logically I know that every setback is just a setback, but my subconscious mind turns it into the end of all things, despite any evidence to the contrary.

I’m not going down this road again, simply explaining that a familiar dark cloud was hanging over my head when I got up at my usual 5AM.

I spent the next few hours drawing and sending an editorial cartoon before prepping my camera gear for a trip to the Calgary Zoo. I didn’t much feel like taking photos, but with a welcome print order to deliver, I’d be there already.

Although zoo attendance continues to pick up since the removal of restrictions, I happened to choose a quiet day.

From a business perspective, I want the zoo to be busy. But I’ll admit that I prefer it quiet when I’m taking pictures. I don’t have the patience for screaming children running around my feet and bumping into me while trying to hold the camera steady.

Sorry, I’m not a fan of kids. Bring on the cancel culture.

When I arrived at the Gift Shop, I asked if Kathryn, the Retail Manager was in, fully expecting them to say she wasn’t. Unfortunately, my visits earlier in the week often conflict with her days off, so most of our communication is via email. I think the last time I saw her in person might have been in 2019.

It’s a shame because Kathryn has been buying and selling my work for the past ten years. I enjoy seeing her, she always has good advice to share, and I learn a lot from her marketing experience.

So, it was a pleasant surprise to catch up in person, and we had a productive meeting. We talked about the year ahead, which paintings I’m going to retire and which ones I might consider painting soon. The first batch of stickers I had delivered a couple of months ago have almost sold out, so upon returning home, I packed up another order and dropped them in the mail yesterday.

Kathryn mentioned that Mike from Pacific Music & Art would be there the following day, so I texted him, kidding him that he was avoiding me. He said he’d be in Canmore later in the week, and he took me to lunch Thursday.

Pacific is my favourite license because I’m regularly involved in setting up my work for the various retail items, and I’m kept in the loop on upcoming plans, which is uncommon with licensing agreements. Mike’s also fun to work with, even though he regularly takes jabs at my being the stereotypical temperamental artist.

In the words of Tony Stark at the end of Iron Man 2…“Agreed.”

I left my meeting with Kathryn in better spirits. I had another large sticker order, some positive feedback and information to consider, and an upcoming meeting with Mike to look forward to.

And the zoo was still quiet.
I spent a couple of hours taking photos, but nothing was grabbing me. I’m writing this after I’ve gone through all the shots, and while I got a few I might paint from, most were unremarkable. Some days you feast, others you go hungry. But there are worse ways to spend a cool spring day than walking around with a camera.

Eventually reaching the end of the zoo, I started back the way I came and soon recognized a familiar face, my zookeeper friend, Kayla. We had a good catchup a couple of months ago at the zoo when I delivered a canvas she ordered. I didn’t want to interrupt her work again, so I hadn’t told her I was coming. I figured if I ran into her, great. If not, I’d see her at The Calgary Expo in a couple of weeks.

Kayla and I met years ago after I painted my Smiling Tiger. She had walked by my Expo booth and asked me if the painting was based on a real animal. I told her it was and that I had taken the reference at the zoo. She said the tiger’s name was Katya, that she looked after her all the time and recognized her in the painting.

Considering my style is whimsical, and I take significant liberties in exaggerating the expressions, it was an incredible compliment that she could recognize the tiger she knew in my painting.

Since then, I’ve seen Kayla at Expo and on multiple visits to the zoo. Along with the Smiling Tiger, she has bought other pieces, and I’ve learned a lot about the different animals she cares for. As Serena at Discovery Wildlife Park and Colin at the Alberta Birds of Prey Centre can undoubtedly attest, if you spend your life looking after animals, I’m going to annoy you with questions.

Now, running into Kathryn and Kayla at the zoo is not much of a coincidence. They both work there. And Kathryn telling me that Mike was coming in this week is also not too unexpected since he has family in Calgary and is out in Canmore three or four times a year to see clients. So we usually meet up if our schedules allow.

But the most bizarre turn of events happened after I let Kayla go back to work. I walked twenty feet to the red panda exhibit and started taking pictures.

Then I heard my name.

Although they follow A Wilder View, and we exchange emails occasionally, I only ever see Sheldon and Tracy at the Calgary Expo, so it took a couple of seconds for it to click.
They’re two of my favourite people to show up at my booth, not just because they’ve been great supporters of my work for several years. Here’s their collection.

I was already looking forward to seeing them in a couple of weeks, but to run into them at the zoo, on a quiet random weekday in a city of 1.3 million people, was truly strange. I don’t know how long we stood there catching up, but it was getting a little chilly, so we walked around the zoo together. I realized that what had started as a bad day had suddenly become a very good one.

It was a real treat to spend the better part of the afternoon wandering the zoo with them. I always want to, but it’s hard to visit with people at Expo while looking after others who want to talk about and buy my work. So to have that time to walk and talk with no other obligation or timeline was a privilege, and I was delighted to send them a Thank-You email when I got home. It really made my day.
One of the best parts of making art for a living, art that makes people happy, is that I’ve been able to build relationships over the years. And while I’m grateful that Tracy and Sheldon, and so many others have liked my work enough to buy it, it’s a lot more than that.

I don’t get that connection with people with the other half of my business. In fact, editorial cartooning is more likely to foster and reinforce division in our culture. But that’s a post for another time.

To all of you who’ve found some joy in my funny-looking animals, whether you’ve bought any or not, it is sincerely my pleasure, and I don’t take your support for granted.

Shonna and my close friends would likely agree that I’ve become a cynical grumpy old man before my time because I take a lot of the stuff going on in the world far too personally. It bothers me a great deal how people talk to each other, leading with outrage at the expense of empathy.

I’m a heart on my sleeve guy, so letting things go is not one of my strengths.

But if there is an antidote to this poison, personally and professionally, I find it in these paintings and how they make some people happier, if only for a short time. Meeting some of these people and hanging out with them once in a while has been an unexpected bonus.

Cheers,
Patrick

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Releasing NFTS into the Wild

My first three NFTs have been minted on PRISM and will launch tomorrow in a closed BETA, which for the time being, makes it an exclusive marketplace. The Friday launch was just announced yesterday, which is why you’re only hearing about it now. So, while thousands of people from the NFT and crypto communities have been registered and waiting for this announcement for months, anybody can sign up to view and participate in this incredibly unique marketplace.

Here are the first three, with more to follow next week.
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PRISM is a curated space, representing and featuring artists from all over the world, many of whom have never minted NFTs before, and it has created a big buzz in the crypto sphere. With patented security features for artists, environmentally friendly minting, and a professional group from NuPay Technologies running the site and market, I’m pleased to be a part of it. I hope this will introduce my work to a whole new audience, complementing the great folks who already follow and support my work.

You can read an in-depth write-up about this endeavour in my post last week. This is just the beginning of my venture into this new world, and I’ll have another announcement next week.

Cheers,
Patrick

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Prints, Products & Promotion

Most people subscribe to A Wilder View to keep up with new paintings, read the stories behind the work and look behind the curtain of art-for-a-living. Some just like the art, while others are artists looking for insights to help their own careers.

We’re all cautioned to avoid coming across as too ‘salesy’ in our marketing, regardless of the business. So I try to avoid flashing the ‘BUY THIS’ sign too often. But this post is all about prints, products, and available options if you’d like to purchase my work.

I wanted to lead with that, just so there’s no feeling of a bait and switch.

Before Christmas, some subscribers placed special orders, and I wondered how many others wanted to do the same thing but might not be aware of the options.

So here are some of those.
Prints

I have 11″ X14″ poster and matted prints available in the online store. This is my standard size print so that it’s easy to find an off-the-shelf frame in a store. It sucks to buy a print and then pay double or triple the purchase price to frame it. My prints are hand-signed, come with a backer board, an artist’s bio, and are sealed in a sleeve. The term poster is more about the print style than the size, a crisp, clean print on lightweight card stock, with bright colours and a very slight gloss.

As I write this, poster prints are $24.99 plus shipping. I haven’t raised my print prices or shipping costs in several years, but I can no longer afford to keep the rates as they are. Printing and shipping fees have gone up year after year, so I’ll be raising my prices on both next week. Until then, you can still order from the available stock in the store at current prices.

When my current stock of matted giclée prints is depleted, I won’t be carrying those anymore, so I’m reducing those prices to $19.99 for the next week, after which I’ll remove them from the store. That’s $10 off the regular price. You’ll see a SALE tag on the images in the store that have available matted prints, and they’re on the last three pages of the store. All mats are black, as shown here.
Custom Orders

Sometime in the fall, a repeat customer from the UK told me that he would be coming back to Canmore on a ski vacation at Christmas. He wanted giclée (a higher-end print on textured rag paper) versions of some of my newer pieces and wanted to pack them in a roll, a safer method for international travel. Giclées have a deeper, richer look to the colours and textures, in between poster prints and canvas. The matted prints are giclée.

He ordered One More, Winter Wolf and Snow Day, and they turned out great. I had them ready to deliver to his rental accommodation while he was visiting the area.
After I revealed the painting I did of Kevin Costner as John Dutton from Yellowstone, I received two custom print orders from people wanting to give them as Christmas gifts. I don’t advertise the portraits of people for sale, but they are available upon special request. I printed those as giclées.

I’ve recently had two orders for 12″ X16″ canvases of my Smiling Tiger, one of my most popular paintings. I’ve often said that my work looks best on canvas, as the texture in the fabric enhances the detail in the hair and fur. In addition, these come ready to hang, with black printed sides, and there’s no need to frame them.

One of my favourite custom orders was for a large canvas print of my Sire painting. When I saw what it looked like at 32″ X32″, I wanted one for myself, but I haven’t yet got around to it.

Shipping a large canvas, however, is costly. That big canvas of Sire was easy because I picked it up in Calgary, and the client drove to Canmore to get it. But to ship that across Canada, to the US or internationally, it would be best to order the canvas unstretched, have it shipped in a roll, and professionally stretched where you live. Most framing shops can do that, and it will still cost less than having a large flat canvas shipped, with less risk of damage.

For those unfamiliar with the term, a stretched canvas is how you usually see a painting hanging on a wall; the canvas wrapped tight around a wooden support frame underneath. My 12″ X16″ canvases come already stretched, but that’s because they’re not large, and shipping is about the same as a roll.

Before one of the Mountain Made Christmas Markets, I ordered a large matte aluminum print of my Grizzly on Grass painting for myself to hang in my office. It’s one of my favourite paintings. But since I had it, I figured I’d bring it to the show to see the reaction. It sold the first morning, so I must order another for myself. I didn’t even have a chance to take a picture of it, so I’ll just share the image.
It was the first matte aluminum print I had done, and I was thrilled with the quality. Shonna wanted to hang it in our kitchen if it had been the right dimensions.

So, you can pretty much order whatever you like. I can print on poster photo paper, digital poster prints, giclée paper, canvas, glossy and matte aluminum, all with different framing and hanging options. Of course, each custom order must be individually priced, along with shipping, but almost anything can be done.

Commissions

For several years, I’ve been painting custom portraits of dogs, cats, and even a horse. I don’t paint many of them, but I do enjoy them, and I’m working on one right now. To find out all that entails, please visit the Commissions page on my site.Stickers – These larger size, weather-resistant, high-quality vinyl decals are brand new in recent months, available on my site, Stonewaters in Canmore, and The Calgary Zoo.

Calendars – The 2022 calendars are available in the store for at least a couple more weeks, but I’m almost sold out, so I’ll be removing that listing soon. But Mike from Pacific Music & Art and I will be selecting the paintings later this month for the 2023 calendar, available sometime in the spring.

Other Products

I also license my work to several companies, including the ones below.
Decal Girl – phone cases and decals for laptops, iPads and other devices.
Harlequin Nature Graphics – A limited selection of T-shirts.

Pacific Music & Art
– Many products are available in retail stores, zoos, and gift shops in Western Canada, Alaska, and the Pacific Northwest. My whimsical wildlife paintings are available on coffee mugs, coasters, trivets, art cards, aluminum art, magnets, notebooks, and many other products, with new ones in development all the time.
Even though I don’t personally sell them anymore, I still get asked about face masks. You can order them directly from Pacific Music & Art’s online store, along with some of the other products. While Pacific is primarily a wholesaler for retail customers, more products will be available for individual purchase as their website evolves.

Conclusion

I’m always exploring new opportunities. There are some other licenses in production right now that I can’t yet talk about, but you can be sure that I’ll announce them here.

In the meantime, if you have a favourite painting and want to inquire about or order a custom print, on whatever surface or size, you can always drop me a line and ask. I’ll be happy to price it out for you and give you some options.

Even though the online store only shows delivery available in Canada and the Continental US, that’s a software/shipping issue. It’s just too difficult to account for every worldwide shipping calculation with my current site software. But I will ship anywhere in the world, so you can always email me and ask.

Cheers,
Patrick

 

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Business and Pleasure

While driving to Calgary the other day, I realized that I hadn’t left the mountains since October. Between avoiding the holidays, COVID restrictions, and a cold snap, there wasn’t any reason to leave the Bow Valley.

After placing our Costco orders online the past couple of years, I actually set foot in one. Although I had a small list, it was quiet, so I enjoyed browsing the aisles for stuff I didn’t need. But I stuck to the list, so that’s impressive.

After leaving Costco on Stoney Trail, I drove down Beddington Trail and was surprised to see a Bald Eagle perched on a lamp post. As that’s a rarity for me around here, I parked in a residential area and walked back to take some pictures.
It was a scraggly-looking thing with uneven plumage—likely a juvenile, younger than five years old as the head feathers hadn’t yet turned white. Unfortunately, the pics aren’t anything I can use for reference, but it was still fun to see.

The real reason for the drive into Calgary was to drop off an order of prints at The Calgary Zoo. I’m pleased to announce that a selection of my vinyl stickers is now available in the Gift Shop, where I couldn’t help but be aware of many of my funny-looking animals staring back at me.
From my own prints on several shelves, plus coffee mugs, art cards, and calendars from Pacific Music and Art to T-shirts and hoodies from Harlequin Nature Graphics. Two of the staff excitedly gushed over the stickers, and a couple of prints neither had seen. That never gets old.

Of course, any visit to the zoo would be incomplete without a couple of hours taking reference photos. It was a cool, quiet day, above zero, not too windy, and overcast, making for great light. I’ve already given the photos the first pass, pleased that I got some excellent reference for another giraffe painting and a chameleon. As the gorillas were outside when I arrived at their enclosure, I took several photos I can paint from.

The best score of the  visit was a very accommodating snow leopard. I couldn’t have posed her (I think) better, as she sat in perfect light, looking right at me several times. Even her expression was already leaning toward cool and whimsical. But, of course, that could just be how I see animal faces, which is a good thing in my line of work.

I’ve already painted a snow leopard, and it’s a popular print, currently on re-order in fact. But I’m happy to paint another. After all, I’ve painted more than a dozen bears and you can’t stop me from painting more, especially a particular favorite.
It was a pleasant excursion away from my desk and office, but I also realized how much more of a hermit I’ve become the past couple of years. Even though the roads were good, traffic was light, and I wasn’t around that many people, I’m happy to be back at my Wacom display alone this morning, continuing a painting of a happy, playful dog.

Cheers,
Patrick

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Whimsical Wildlife NFTs

I’ve recently signed with two different NFT marketplaces, minting a selection of my whimsical wildlife paintings. They’re both launching in locked BETA in the next week or two, which kind of makes them members-only clubs, for the time being, so with nothing to link to, you’ll have to take my word for it.

I won’t get super-technical, but this does require a little unpacking. The average person has a problem understanding NFTs, cryptocurrencies and the blockchain because some of the people explaining it speak a language the rest of us don’t.

I’ve been drawing and painting digitally in Photoshop since the late 90s. With other digital artists, I can talk about Adjustment Layers, Blend Modes, Histograms, Paths, and Color Spaces, all standard terms in Photoshop, but geek-speak to anyone unfamiliar with the software.

The language of the Cryptosphere is no different. But just as you don’t need to know how the internet works to use it, the average person doesn’t need to know everything about NFTs to understand them.

NFTs are digital originals; they can be images, music, gifs, videos, documents and more. These assets are traded on a blockchain, a digital ledger of events and transactions using tokens and coins. The T in NFT stands for token.

Somebody more blockchain savvy than I might add “well yeah, sort of, but…” before elaborating on my explanation to make it more specific and accurate, but you get the idea.

My understanding is that when I mint one of my digital paintings, the code within the NFT certifies it ‘an original’ in the Cryptosphere. The verification process renders it unchangeable due to a gauntlet of checks and balances with computers from all over the world, all of which must agree that this is the original.

But, I can save 1000 copies of the same digital painting, all identical and indistinguishable from the original piece, so why is one more valued than the rest?

Because it’s the original, or in some cases, one of a finite collection.

It’s the same concept as a numbered limited edition giclée. It could be an exact copy of an open edition print, but some collectors, especially in the last century, are willing to pay more for that number. For example, one first edition copy of Moby Dick recently sold for almost $50,000, even though I can read the same story in the paperback I bought from Amazon for $7.50.

As someone who doesn’t collect anything, I don’t covet first or limited editions, rare pieces of art, or an original Aliens script signed by James Cameron, even though I’m a big fan of that movie. But I shouldn’t need to explain that plenty of people love these things.

So, dismissing or judging NFT collectors simply because they’re interested in something new that many don’t understand is foolish. As much as I respect the genius of da Vinci, I just don’t get the hype surrounding the Mona Lisa or why it’s worth over 100 million dollars.

I do, however, think it’s a crime that Leonardo never saw a dime of that money.

Scarcity and rarity have value. They always have. To some people, but not all people.

However, if these rare things matter to you and your community, whether it’s sports, music, literature, comic books, archeology, art, or anything else, what others think shouldn’t matter.

The guy who paints his whole body in team colours, puts on the jersey and cheers himself hoarse for three hours at a game, surrounded by thousands of people like him, doesn’t waste his time worrying about the millions who couldn’t care less about the sport that gives him so much happiness.

After last year’s frenzied reporting around a few artists who scored big on NFT sales, I wrote a post about the pros and cons of NFTs, as I understood them. I saw the potential for artists but wasn’t rushing to create NFTs of my work at that time. One reason was the environmental impact.

NFTs have a well-earned reputation for consuming a lot of energy because of something called Proof of Work. Proof of Work requires a shit-ton (not a crypto term) of computers worldwide to talk to each other to verify that the code is legitimate.

Those computers run on electricity, so the process has a significant environmental footprint. Even though most of that traffic comes from verifying cryptocurrencies rather than NFTs, artists have been reluctant to sign up to be part of the problem.

In that first post, I wrote, “They’ll solve the blockchain energy problem, and it will become more affordable and less environmentally destructive.”

That’s happening right now.

Everything that must be verified by all those computers, that Proof of Work, is shifting to something called Proof of Stake. Other processes are called Proof of Residence, Proof of Randomness, and likely more I haven’t yet heard of. This should provide even more secure transactions and render the process more sophisticated and familiar. When cryptocurrencies adopt these other Proofing methods, the environmental impact of minting coins and NFTs will go from ecologically disastrous to environmentally friendly almost overnight.

Cryptocurrency investors are in it to make money. It’s the same reason traditionalists invest their pension funds and retirement savings in the stock market, which, as we have too recently seen, can be just as risky when bad actors rig the game.

Just ask somebody who lost their home or life savings in 2008. The current system only masquerades as secure, but we accept it out of familiarity.

We take comfort that our financial system is regulated, but it’s built on faith and belief. Cash is only paper or plastic, and our investments are just numbers in somebody else’s database. The stock market routinely veers wildly all over the road.

While cryptocurrencies are unlikely to replace the current banking system, they likely aren’t going away. Your traditional bank is investing in them, and the signs point to the integration of the two.

Regardless of where they keep them, everybody wants their investments to grow.

The people running cryptocurrencies realize that an environmentally friendly reputation is more attractive to investors, so it’s in their best interest to develop more energy-efficient methods and operation models. Revised Proofing is just the first step. The environmental impact of minting cryptocurrencies and NFTs will soon be a thing of the past.

Another reason I’m getting involved is the emergence of more sophisticated NFT art marketplaces created and operated by business professionals. Some are treating these marketplaces like professional galleries, curating their collections. Artists are vetted, approved, and recruited for inclusion based on their work quality, reputations, and experience.

There was already a large NFT marketplace called OpenSea. The problem with OpenSea is that anybody can mint anything and call it an NFT, put it on the platform, and it becomes one big tasteless soup. A professional artist with years of experience, an established niche and audience can create an NFT of a piece of her art and upload it to OpenSea. Two seconds later, her work is on Page 45 of today’s offerings because somebody uploaded a collection of 1000 poop emojis wearing different hats.

It would be like walking into a gallery looking for beautiful art but having to dig through millions of finger paintings, crayon scribbles and post-it note doodles to find it.

So, when my buddy Derek Turcotte told me a new type of NFT marketplace contacted him, and he gave me some of the details, I was intrigued. I researched the project and the people involved and saw the potential. Shortly after that, Derek suggested another marketplace I found even more appealing.

One was big on hype and promotion but backed by experienced operators in the crypto world. They didn’t have it all spelled out like I was used to, but I didn’t see it as nefarious, just a different culture that operates a lot more casually. I considered the risks vs. rewards and still felt it was a good bet. And yes, the word bet is appropriate because all of this is new and speculative.

However, the second platform was more like dealing with a real-world licensing opportunity. After an actual phone call from the company in the U.S., where I was free to ask plenty of questions, I agreed to give it a shot. I received a professional legal agreement, names, emails, and phone numbers of people assigned to help me navigate the process. I uploaded my initial images to a professional site, and now I’m waiting for the launch.

What the first platform could learn from the second is that if you want professional artists to mint NFTs and participate in this world, you must learn to talk to them in the language they speak. Artists who do this for a living are used to dealing with companies, galleries, and markets, and you won’t earn their trust if you speak to them like gaming crypto-bros.

Just as amateur artists must learn business language to become professionals, companies must learn how to speak to artists if they want them to climb aboard.

From talking to these NFT marketplaces in recent weeks, there are two stark differences between the crypto world and the traditional business art world.

In the real world, for lack of a better term, galleries, licenses, and retailers will try to get artists to sign exclusivity contracts, especially in smaller regions. So if your work is sold in a gallery, you can’t sell it in another one nearby, sometimes even in the same town or city.

When I asked the NFT markets about this, each waved it off. The only exclusivity required is that you can’t sell the same NFT on more than one marketplace. That’s more about logistics and reputation than anything else. An NFT is essentially a certified original. If two people bought the same original simultaneously from two different marketplaces, it would erode any confidence in the parties involved.

The second thing is that the NFT market seems to value quality artwork more than the real world, as far as pricing goes. These collectors understand the value, scarcity, and provenance of a piece of NFT art and that it has more value than a print.

In the real world, I paint custom commissions for clients, as original a piece as you’re ever going to find. And yet, I get push-back on the price all the time from people who want my best work, but at garage sale prices. Some of my first NFTs are priced higher than my custom commission rate, because they will be originals in that space.

Finally, the crypto community has been the most impressive surprise in this whole experience. True, you can find sinister characters everywhere, but my interaction with these people so far has been positive.

After receiving an out-of-the-blue invite to learn more about this world, I spent an hour in an online phone call with five other people from different parts of the U.S. I admitted my ignorance about much of this. While one guy laughed and said, “wow, you’re just a baby,” he followed it up with, “hey, we’ve all been there.”

Although they were all experienced crypto investors, he cautioned that cryptocurrency and NFTs could very well be a recurrence of the dot-com bubble of internet start-ups in the late nineties. Many of these cryptocurrencies and speculative ventures have already failed, and more of them will, just like plenty of businesses in the real world.

Great reward doesn’t exist without risk. But, if you’re aware of that risk and do your best to mitigate it, you can approach it with open eyes, hoping for the best but ready for a possible rug-pull.

An important caveat here; the only reason the first guy reached out was my friend, Derek. It is very much who you know and who vouches for you that gets you invited into these discussions. If you’re associated with good people online or in the real world, that goes a long way to establishing trust. And if somebody asks, “who’s this guy?” then the answer will most likely be, “this is Patrick; he’s a friend of so-and-so.”

I asked one of these guys why somebody hasn’t created a course for artists to help them navigate this new frontier. He said there are some introductory courses, but everything changes so fast. The only way to keep up is to do the reading, join discussions, and get involved.

Community is essential in this world, which means I will have to be more social in some of these forums, something I have avoided in recent years. Thankfully, there are rules established in these communication spaces. They all have moderators, and a common theme seems to be, “don’t be a dick.”

If only other more popular platforms could adopt the same policy.

I’m excited to wade into these waters. True, I have risked some of my artwork, but none of my best sellers yet. These platforms need to earn that trust. Professional artists take risks with their work the first time they sell a high-quality print or canvas in a gallery. All it takes is somebody with the right equipment to scan the work and sell it to somebody else as their own. It happens every minute of every day all over the world.

Last month, I sent a cease-and-desist to a company in Australia. They were selling my Smiling Tiger image on a product. They took it down, but who knows if they just put it up on another site or how many other places are illegally selling my work? It’s a sad joke that artists know their work is good once people start stealing it. Unfortunately, theft is part of the trade, and good luck suing a company on the other side of the world.

Lately, there have been cases of automated bots scraping images from Twitter and art sharing communities like DeviantArt, stealing an artist’s work and minting NFTs from it. While most of these marketplaces will take down the counterfeits, finding the offence and reporting it takes a lot of time that most people don’t have. And if you do manage to get it taken down, ten more pop up in the meantime.

These curated marketplaces are working on that problem, too, with patents pending for better security software. Banks and credit card companies had to do it, and every corporation on the planet must constantly invest in security. The marketplaces that make it a priority will soon get that reputation. Word will spread, and consumers will learn that the NFTs you buy from Market A are often counterfeit, but those from Market B are vetted, verified, and support the rights of individual artists.

Which market would you trust, especially if you want to invest in value and growth?

It’s still the wild west, but the sheriffs and posses are multiplying, making it harder for the outlaws to roam the territory unimpeded.

There will undoubtedly be challenges, growing pains, and issues with this new venture. After record-breaking gains in 2021, cryptocurrencies across the board have experienced massive losses in these first weeks of 2022. While it will likely correct and recover, when (if?) that will happen is just best guess. Nobody really knows. As a financial investment, the crypto world is not for the faint of heart.

As a creative investing my art in the crypto world, it’s about the same as every other potential opportunity in art-for-a-living. You throw a bunch of stuff at the wall and see what sticks. This is no different.

I still have a lot to learn, but I’m more optimistic about the potential than early last year. I’m sure I’ll have more to say on the subject as these marketplaces launch and speculation becomes experience.

Cheers,
Patrick