Publicity Archives - Page 5 of 10

Posted on June 16, 2017June 23, 2017 by Patrick LaMontagne

Berkley and the Bug

For more than twenty years, I’ve lived and camped in bear country. I’ve made it a point to be well educated about them, I carry bear spray and make noise while hiking, I know what to do should I see a grizzly or black bear and I keep a clean site when out camping in the mountains. I have never had a negative encounter with a bear and it bothers me a great deal when I hear of one being fed by tourists, hunted for a trophy, or killed on the highway or train tracks.

While bears have long been one of my favorite animals, I’ve also been afraid of them. When camping, I’ll most often end up lying awake in my tent for an hour or two before falling asleep, and if I wake up in the middle of the night to answer nature’s call, I’m in and out of that tent pretty fast, and might lie awake for another hour listening to every little noise outside. Even though I’m well aware that if something wants to get me, a thin layer of nylon isn’t going to make much of a difference, but I’ve been operating under the, “if I can’t see it, it can’t see me,” perspective. Anxiety is rarely rational. Statistically speaking, I’m more likely to be injured by a distracted driver on the highway than I am by wildlife.

Despite this bear phobia, which is an amusing annoyance to my fellow campers, I still go out and enjoy the woods often.

This past May, on an annual first camping trip of the season at a favorite secluded lake in B.C., I slept soundly in my tent for three nights without worrying about bears at all, an unexpected surprise. Oh, they were out there, I’m sure, but my common sense seems to have finally overridden my bearanoia, and I credit that largely to my recent experiences at Discovery Wildlife Park.

I don’t like phobias. We’ve all got them, but I try to challenge mine whenever possible. So, over the past couple of years, I’ve paid for two behind-the-scenes bear encounters with their black bears and they were two of the best experiences of my life. These aren’t wild bears, they’re orphans who’ve been raised at this sanctuary. But they’re still bears, and to be inside the enclosures with them, to learn about them, to touch one of them, and even to feed one from a spoon and then a piece of apple from my mouth was exhilarating. My fascination displaced my fear.
As my prints are sold at Discovery Wildlife Park and I’ve gotten to know a number of keepers and staff over successive visits, I’ve developed a nice relationship with the park, one that I hope continues to grow for many years to come.

Earlier this spring, when their new Kodiak cub arrived, I was kidding/complaining over text messaging with the head keeper that with my schedule so busy at that time, I wouldn’t have been able to come up and take pictures of Berkley for at least a month or more after they opened a couple of weeks later. Much to my surprise and delight, I was invited to come up the next day so that I could take some photos of her, for a donation I was more than willing to pay. I wasn’t about to pass that up.
I’ve talked about that encounter in another blog post, so I won’t rehash it here, but it was wonderful. Even though Berkley crawled over me and played in the woods while I snapped photos, I know that it was a rare opportunity I won’t get again. She’s grown so much already that now only the keepers can interact directly with her, both for her safety and that of the guests of the park.
I wanted to paint her the way I got to see her that day, curious about everything, wide-eyed and playful, checking out all of the little wonders this new world has to offer her. There really wasn’t a ladybug there, of course, but I already take a lot of artistic license with my whimsical wildlife paintings, and it just seemed to fit this little bear cub.
Because the park has been so kind to me, granting me access to take photos so that I may paint many of their critters in my own style, I’m going to take this opportunity to give something back to them. This will be the first of what I hope will be many conservation donations in the future, to them and to other animal sanctuaries and facilities I’d like to support.

My initial plan was to do a limited edition print run and no others, but as I’ve already received interest about this painting from my retailers and licensees, I’d be shooting myself in the foot if I didn’t offer this painting as a regular print and licensed image. To be blunt, the more money I make as an artist, the more I can support the wildlife causes that matter to me.

With that in mind, this Berkley painting has gone for proofing and I’ll be ordering the first prints next week. From the first order, I’ll be offering TWENTY (20), 11″X14″ matted giclée prints at a special price with the lion’s share (bear’s share?) of the sales going to Discovery Wildlife Park.

And because I couldn’t support these causes without the people who support me, my newsletter subscribers will get the details first and an opportunity next week to place their orders. You can subscribe via this link.

In the meantime, if you’d like to see more of Berkley’s antics (and why wouldn’t you?!), you can follow Discovery Wildlife Park on Facebook where they’re posting regular videos and photos as she grows. If you’re in the Innisfail area or plan to be, you can visit the park and see Berkley in person, along with all of their other critters. She’s still young and sleeps a lot, but she appears at the bear show each day, where the head keeper Serena and her staff offer some valuable education about their bears and bears you might encounter in the wild. It’s also a great opportunity to see all of their bears up close.

Thanks for being here.

Patrick

EDIT: All twenty prints mentioned in this post have been sold.

Posted on June 12, 2017 by Patrick LaMontagne

A Visit To Harlequin Nature Graphics

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

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

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

Posted on August 15, 2016 by Patrick LaMontagne

Red Deer Advocate Cover Story

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

Here’s the story…

Doodling for fun, profit
by Susan Zielinski

Patrick LaMontagne can’t escape politics.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

His work appears in 60 to 75 newspapers across Canada.

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

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

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

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

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

“I have no party loyalty whatsoever.”

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

I’ll have more on how this came about in my next newsletter. follow this link to the sign up form. Thanks!

Posted on February 23, 2016February 23, 2016 by Patrick LaMontagne

Fine Tooning

I spent most of Sunday (and a bit more of Monday) working on the cartoon you see above, featuring Ontario Premier Kathleen Wynne, a comment on this week’s provincial budget. From an efficiency perspective, it wasn’t the best use of my time. I could have easily done two or possibly three cartoons in the same span. But I love to paint and it’s been quite some time since I’ve poured everything into a caricature.

From an hourly perspective, I doubt I made minimum wage on this one, but it was fun and good practice, so it can’t really be seen as time misspent. I would love to be able to create this kind of detail in editorial cartoons on a regular basis, but in the quest to find the middle ground between best art and making a living, sacrifices must be made.

Like every other creative I know, chief among the questions I’m asked about editorial cartooning is, “where do you get your ideas?”

The short answer is that I follow the news closely, pretty much all the time. Newspapers, television, Google, websites like CBC, CTV, Global, National Newswatch and social media if you want specifics. While I won’t have the cartoon idea right away, I’ll be able to see from a headline and summary that there is likely one to be found within. That just comes with experience.

I’m what you call a self-syndicated editorial cartoonist. This means that I create one or two cartoons each weekday on regional, provincial, national and international topics, which I then send off to newspapers across Canada. Some clients only run my work; otherwise I am competing for space with other editorial cartoonists.

There are some daily newspapers that have a staff cartoonist, which is an endangered position, especially when layoffs seem to be the quickest way to cut expenses. I’ve often said that I’m glad I never got a job with a daily newspaper, because I’m pretty sure I wouldn’t still have it today.

From 2001 to 2006, I was self-syndicating to newspapers across Canada while holding down a full-time job to pay the bills. I would get up at 5:00am each day to draw and send a cartoon before heading off to work. I would also draw evenings and weekends. When I finally became busy enough to quit the ‘real job’ and still pay my half of the bills, I continued to get up at the same time simply because I’m a morning person. While most think it’s nuts, I truly do enjoy getting up that early. A lot of other artists work late at night into the wee hours, but that’s just not me. I’m in bed by 9:30 or 10:00 most nights.
I work almost every day, though on weekends I have a little more flexibility. Saturdays I try to paint in the morning, but my wife and I will usually go do something the rest of the day. Sundays, I’m working on editorial cartoons. I squeeze in painted work and writing whenever and wherever I can.

The big challenge with freelance editorial cartooning is the speed at which cartoons need to be done. Someone who draws for a daily newspaper has the luxury of taking time to come up with the right idea and then enjoying the whole day to draw it. Nobody is going to take that spot on the editorial page from them as it’s reserved for their work.

For freelancers, however, it’s all about getting a good idea, drawing it fast, and sending it out to as many papers as possible before they go to print. For some weekly papers, that’s before noon on certain days and if there’s a time change in the wrong direction between here and there, that window of opportunity closes fast. This is where the early mornings help.

Not only do I have to make sure I deliver on time, but I’m also competing with other freelancers, not to mention a syndicate that resells cartoons from the few cartoonists who still work for the major dailies or the ones who’ve been laid off.

While I’m comfortable spending my days working alone, the isolation does have its stresses. For example, when big shifts happen in the world of newspapers, like last month’s round of Postmedia layoffs, things change quickly. Those Postmedia daily papers that used to run me quite often, well there’s been a sudden drop this month as editorial page editors have lost/left their jobs and new ones have started in. When there’s a shift like that, I often have to figure it out on my own and adapt quickly. Freelancers don’t get invited to meetings.

There’s also been a noticeable lurch to the right in much of the commentary on some of those daily pages, so any cartoon I draw that doesn’t paint the Conservatives in anything but a positive or persecuted light, well lately they don’t see the light of day. I’ve got no love for the Liberals or NDP, but I can’t bash them every single day ‘just because.’ That’s the Opposition’s shtick.

There is no doubt that the winds have changed. While I don’t expect any sympathy for having to adjust my sails to compensate, especially when so many have been outright laid off from their jobs, it has got me a little concerned. With an overactive OCD fueled imagination and a lot of time alone to think bad thoughts, the stress multiplies.

Thankfully, I have my painted work and print sales to reinforce the hull where it shows potential signs of leaking, but in a down economy, art isn’t a priority for a lot of people, either.

So what does one do? Well, the only thing I can do, I guess. Keep working, scramble a little harder, draw a little faster, look for new revenue streams, try to keep my current customers happy and borrow from a famous prayer. Accept what I can’t change, change what I can and figure out the difference.

Posted on October 5, 2015October 5, 2015 by Patrick LaMontagne

Gusgus the Beaver

For a number of years, I’ve relied on many of my talented photographer friends for reference pics for my paintings. I’ve either paid them, traded prints, and in a few cases, I simply remain in their debt, ready for the day they call in that favour. In all cases, however, I have been appreciative of their willingness to share their art so that I could create my own.

In recent years, however, I have found that taking my own reference pictures has not only helped me get specific shots I require, but I’m also enjoying it a great deal. Many times an accidental encounter will provide inspiration and opportunity to create a painting I hadn’t planned on. In other cases, I intentionally seek out the chance to take photos of a specific critter. There are some reference pics that reside in my files for years before I get around to painting them, waiting for the time to seem right. In other cases, I spend years trying to get the right photo reference for an animal I’ve been itching to paint.

On that point, I’ve been trying to get reference photos of a beaver, so that I could finally paint this noble icon of Canadian culture. I’ve tried to get the shots in the wild, and even hung out around beaver dams a few times, camera at the ready. After the restraining order, however, I’m not allowed to do that anymore. Who knew that beavers had lawyers?

This past spring and summer, I’ve had the opportunity to visit Discovery Wildlife Park in Innisfail a few times. I had the foresight to buy an annual pass on my first visit as I had a feeling I would be returning. They’re open May 1st to October 12th and have quite a large area of land with a wide variety of enclosures for the diverse species they care for.

Some of these animals are orphans, others are rescues, but all are well cared for from what I’ve seen and read. From their own site, “Our goal is to provide our visitors the opportunity to bond with our animals and have a positive experience. Visitors leave with a greater understanding and appreciation of the diversity of life on our planet and, hopefully, the determination to do all they can to help conserve and protect all species and their habitats.”

A number of these animals are trained; some even appear in television commercials and movies. The training allows for easier care because the animals are used to their handlers and is also a form of enrichment for them. On the two occasions I’ve taken the behind-the-scenes tour with the lion cubs, Griffin and Zendaya, the close relationship with the keepers has been clearly evident.

I’ve asked plenty of questions during my visits and none have been dismissed or dodged. While some zoos try to maintain as close a habitat to wild as they can, and limit human exposure, this park does not. It is a different approach to conservation and education than that employed by a traditional zoo. When people are exposed in person to animals they might only see on TV or in movies, it fosters empathy for them. Children who grow up with compassion for animals will look at their world with those eyes and want to protect the creatures upon it. At least that is my personal hope.

With the end of the season fast approaching, I made arrangements with Serena Bos, the head zookeeper, to take some private photos of one of their resident beavers. I had asked about it during my last visit in the summer, but that’s their busy time and people pay to have their photos taken with him daily. That money goes back into the operation of the zoo and care of the animals. It was suggested that I try again in the fall and she would try to make it happen for me, for a fee of course, which I was happy to pay.
With the promise of fifteen minutes of his time, Serena and Barret, (another keeper I’ve met on previous visits), brought him out to his usual perch and I felt like a little kid at Christmas. Spending up close and personal time with any of these animals, however brief, just makes me happy.

They were going to try and have Gusgus face opposite to his usual photo-op direction in order to get better light, but he started to fuss about it and I said I’d work with him however he was most comfortable. These photos are for reference, so imperfect lighting isn’t a problem as long as I get the anatomy, detail and the pose I want.

With Gusgus, I got all of that and more. They had a tray of fresh veggies for him to gnaw on and he eagerly reached for them. As a trained animal, he would sit up when called upon to do so, I’d snap some pics and he’d get a treat, chattering away the whole time. I don’t think he stopped making noise during the shoot and I realized I didn’t know what a beaver sounded like until then.
As it was a quiet sunny day, Serena and Barret were in no hurry to put Gusgus back in his enclosure and he seemed to be quite content, so I got more than the fifteen minutes I was expecting. I asked a bunch of questions and learned a few more things about the park and some of Gusgus’ on-camera work. When I got home and downloaded the pics, I found myself grinning from ear to ear.

With dozens of shots to choose from, I’m looking forward to this painting more than ever. The hardest part will be choosing the best shots to work from. I’ve even got a few pics of the goofy grinning artist and his subject, for my own memory of the experience.

I will be buying another annual membership to Discovery Wildlife Park next year and plan to visit as often as I can. If you live near or plan to be in the area, I would encourage you to do the same. This season, they’re open until the day after Thanksgiving, so still a few more days to check it out. With the weekend forecast calling for sunny days and warm temps, it would be a perfect time to go.

To Serena and Barret, thanks again for being so accommodating and for the work you do with the animals. I look forward to seeing you and them again.

(by the way, if you want to see Gusgus as a baby, here’s a link to an article from 2010. So frickin’ cute).
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Posted on August 10, 2015August 11, 2015 by Patrick LaMontagne

Conservation, Conviction, and Commerce

It came to my attention last week that the Calgary Zoo has allowed the Calgary chapter of Safari Club International to book their annual fundraiser at the zoo facilities next year. In the wake of the recent shooting death of Cecil the Lion, there has been a lot of focus on the trophy hunting of animals both at home and abroad. Unfortunately with our rapidly changing news cycle and our thirty-second attention spans, we as a society are prone to outrage one moment, apathy the next. Online, it has often been referred to as slacktivism.

For most, it costs nothing to rage against the Calgary Zoo on Facebook and Twitter, and then move on with our lives having raised our voices with righteous indignation but ultimately that’s the end of it. We rage on one bandwagon, wait for another to come alongside and climb aboard.

Unfortunately this issue has been literally keeping me up nights. Glancing at the clock on my computer, it is presently 12:53 AM as I write this sentence. I’m normally up at 5 AM to get my editorial cartoons done, so tomorrow will no doubt be a very long day.

The dilemma I’m having with the Calgary Zoo is that I spend a fair bit of time there, taking reference photos for paintings and enjoying the animals. When people have challenged me on supporting the zoo, I’ve long defended their conservation record and have explained the societal value of a well-run humane zoo, that it educates the public about the plight of at-risk and endangered animals world-wide.

A couple of years ago, the zoo started selling prints of my whimsical wildlife paintings and I’ve been proud to announce on social media whenever I’ve delivered another large batch of my poster prints or when I’ve visited the zoo to take reference photos.

I wrote an email to the Calgary Zoo expressing my disapproval of their decision to allow Safari Club International to use their facilities in an official capacity for an event. SCI will actually be auctioning off opportunities for their members to hunt some of the very animals that are featured at the zoo.

As an aside, I should be clear that I do not object to subsistence hunting or those who choose to feed their families with wild game rather than the meat available at the supermarket. I’m a meat eater and we are part of the food chain. Hunting for food is something every species does with the tools they have available.

My objection is to trophy hunting.

In the zoo’s official response to the negative publicity (seen above) and no doubt plenty of emails and letters from their own members, the zoo says that they have no relationship with Safari Club International. They then go on to talk about all of the businesses that book their venues and say that they won’t discriminate against anyone wishing to book their facilities.

I would agree that it is unreasonable to expect that an ethical panel be convened anytime a company or individual is presented as a potential client. Nobody has that kind of time or money to conduct such an investigation. I don’t do background checks on everyone who buys a print, nor have I done extensive investigations into every newspaper I work for or gallery that sells my work.

But in the case of Safari Club International, the Calgary Zoo fails to make a credible argument with their response.

From the zoo’s own website, one finds the following, “Your support will connect the community to the natural world and inspire visitors to care for it, all while giving hope to endangered species.”

Additionally, “Education at the zoo builds a legacy for future generations – a love of nature and a commitment to conservation. Your support provides visitors and students of all ages with engaging experiences that connect them with the natural world. You can inspire the next generation of environmental caretakers. Help put our future in caring hands.”

And finally, “The future of your zoo is centered on animal welfare and a proud history of saving species. Inspiring Change, the zoo’s 20 year master plan, will set a new standard for exhibit design, connect the community with nature and continue important endangered species work locally and globally. Help us inspire change and join us on the journey to a brighter future for wildlife and wild places.”

Safari Club International’s mandate is to kill animals. Their argument that they aid in conservation is window dressing, a pretty frame for the dead carcass or disembodied head they take as a trophy. Anyone truly interested in conservation wouldn’t feel the need to kill the animal they claim to protect.

Most venues with facilities for rent should and do have a line in their application for use that reads something like, ‘we reserve the right to refuse bookings at our discretion.’

When a client’s image is so diametrically opposed to the mandate of the Calgary Zoo, it isn’t discrimination to politely refuse the booking and to suggest that perhaps another venue might be more appropriate, especially since there is no grey area or hidden agenda with regard to Safari Club International’s purpose as an organization. The zoo doesn’t need to do any digging to find out that SCI exists so that members can kill animals.

So I’ve been wrestling with this moral dilemma. Do I simply wag a finger at the zoo for allowing this event, but continue to use my annual membership to take pictures? Can I criticize them for doing business with this organization I find so despicable, but still happily deliver prints to their retail outlets to be sold there? Or would that make me as big a hypocrite as I’m accusing them of being?

I’ve been having a hard time with this. I had a long discussion with a friend about it while camping this weekend. My wife and I went back and forth about it this evening before I started writing this post. In all honesty, I’ve been looking for a way to keep selling my prints there while still occupying the moral high ground. I’m a self-employed artist. Removing my prints will be voluntarily cutting a portion of my income. Conviction comes at a price.

I’m just getting started on this journey of painting animals and I enjoy it a great deal. I plan to be doing this for many more years to come and if I start compromising my integrity at their expense in order to make a few more dollars, I’m as bad as the people who go out and shoot them under a bloody flag of conservation. When you get comfortable compromising your values, it will become a habit.

I am hopeful that their many other clients, patrons and regular guests will apply pressure to the Calgary Zoo, to urge them to deny Safari Club International the venue next year. I am hopeful that the outrage I saw online when this story broke wasn’t just hollow talk without action. I would like to give the board at the zoo time to realize their error in judgement and I will be happy to continue to support the zoo if they come around to the right decision.

If not, I will no longer supply any more of my prints to the Calgary Zoo and will cut up my membership. I have to sleep at night.

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Posted on July 30, 2015July 30, 2015 by Patrick LaMontagne

Delighted with DecalGirl

I spend a lot of time trying to get the details right, painting in all of the little hairs and textures. So when I have that work printed, it needs to look great, too. Whether it’s the poster prints sold at the Calgary Zoo, or the giclée matted prints and canvas in the galleries in Banff and on Vancouver Island, if it doesn’t look good, I don’t want my name on it. I’m also a big believer in working with professionals. Rather than stumble through learning to print my own work, I hire people who are already experts at printing. By paying them to do what they do best, I get to continue doing what I do best, which is painting funny looking animals.

When I signed on with The Mountain , it was only because I’d seen their quality and attention to detail and knew that my paintings would look great on their shirts, and I wasn’t disappointed. My reputation is only as good as the people I choose to work with. I didn’t want shirts that were good enough, I wanted the best shirts.

So, when I got the opportunity to sign on with DecalGirl, it didn’t take long for me see that this company was a perfect fit for me and my whimsical critters. DecalGirl has been in business since 2003. They were the first-to-market, the original skin company to produce full color skins in the United States. They support over 500(!) unique devices, including cell phones, laptops, tablets, MP3 players, eReaders, and gaming devices. Sounds like they’re the best to me.

Whenever possible, I’ve tried to work with companies where the owners are still involved with the day to day. While you can always hire good people to work for you, it’s the people at the helm who chart the course. When those are the people who have built it from the ground up or who’ve bet their own future on it, they just care more. You can build relationships with these people.

Here are some other positives that really stand out for me with DecalGirl.

– Their products are 100% Made in the USA. Yes, I’m Canadian, but I have a lot of great friends and customers in the U.S. and I find it a lot easier to stand behind a product if I don’t have to hide where it’s made. DecalGirl is a one stop shop. Their customer service staff is right on site, so if you’ve got questions, you’re going to be talking to the right people in the right place.

– I already knew from their website that they paid attention to detail, but seeing is believing. I received my samples last week and I was WOWED. The print quality is as good as that of the work I sell in the galleries. I couldn’t wait to put my Shark Totem on my laptop and kept squinting and looking at the fine detail, couldn’t believe how good the print was.
– These decals don’t just arrive loose in an envelope, the packaging is well designed, colorful, and professional. From an artist’s perspective, I was very pleased to see that included in the details was my name, the name of the painting and my signature. That not only makes me feel valued as a partner, it’s going to make my customers feel valued that they’re not just buying some generic catalog stock photo. This is a piece of artwork.

– I worked in a sign shop years ago and I learned a lot about vinyl and the different weights and qualities. I’ve printed and applied vinyl to many vehicles and signs, but it’s been well over a decade and I’m out of practice. I needn’t have worried, because not only do the decals come with easy to follow instructions, the vinyl is of such excellent quality that I was able to apply it quickly and easily, using only my fingers to smoothly stick it in place. No fuss, no bubbles, and it looks great! Follow the instructions, you’ll have no trouble.

– The great prices they’re offering for their products, the incredibly large number of available devices, and the attention to detail is very impressive. I’m really not going to have to sell their work, it pretty much sells itself.

– When I bought my laptop, I wanted one that could replace my desktop in a pinch. It had to be powerful and robust, so that if my main computer went on the fritz and needed repair, I’d still be able to work. So my laptop is rather unique and uncommon in the market in that it’s a high end gaming laptop, perfect for the demands of detailed digital art. As such, it’s not listed in their available devices. A nice feature DecalGirl offers is that they’ll custom fit one to your specs. I gave them the measurements of my laptop and the print that arrived fit perfectly in the space I’d intended for it!
– Getting tired of my mentioning attention to detail? On my iPad Mini, for instance, all of the little holes for the volume and power buttons, the speakers and microphones, they’re already cut out of the decal. It helps with getting a perfect fit if you start on an edge with those holes and then apply from there. It almost fell into place on its own. They’ve also got a downloadable wallpaper for your devices, which was a simple process. The decal on the front of my iPad lines up perfectly with the wallpaper on the screen. Looks very cool! This image also completely covers the back and sides of the device, too!
– These decals will in no way harm your devices. They’re easily removed without any leftover residue.

At present, the Totems available from DecalGirl are my Great Horned Owl, Ostrich, Giraffe, Otter and Shark. For those who’ve been asking for some of the others, fingers crossed that these sell so well that eventually all of your favorites will be available. Take a look and see some previews of what these look like on your devices.

While this is still very new, the folks I’ve been talking with at DecalGirl have been friendly and welcoming, offering me any and all assistance to make sure I’m happy with how they’re putting my paintings on their products. In point of fact, I’m thrilled. I’m looking forward to a long relationship with these folks.

Cheers,
Patrick.

Posted on June 30, 2015June 30, 2015 by Patrick LaMontagne

Letter to my Editor

I’ve been following Renegade Arts Entertainment for some time now as the company is a local success story. A Canadian publisher of comic books and graphic novels featuring internationally known writers and artists, Renegade’s reach appears to be ever expanding. Based right here in Canmore, their commitment to quality artwork, storytelling, and printing has earned my respect.

Earlier this year, I asked Editor and Publisher (and writer!) Alexander Finbow if he wouldn’t mind meeting me for lunch. I was looking to pick his brain about publishing and asked for any advice he could give me. Alex and I didn’t really know each other, though we’d met, but I needed help and figured I had nothing to lose by asking.

He was gracious and generous with his time and information, we talked about Renegade possibly publishing my book (something I didn’t expect), but with the many submissions he gets each week and the fact that my book will be very different from anything they’ve published before, it was just tire kicking on both of our parts. I thanked him for his time and willingness to share what he knew and I went away with a lot more to think about.

Alex and I ran into each other a few times at the Calgary Expo, talked while walking to the BMO Centre one day during the event, and he invited my wife and I to a networking event that weekend as well, which was a lot of fun.
This past Sunday, I went downtown to Café Books here in Canmore to buy Renegade’s latest book, The Loxleys and Confederation, and Alex and I chatted more about my project. Before I knew it, we had agreed to work together on it, and Renegade will be publishing my book in early 2017. If that seems like a lot of lead time, it’s because there are a thousand things to do if you want to publish and market a book well. Creating the content is step 1. I’m looking forward to a lot of work and a lot of education over the next year. The artwork and writing of the book needs to be done by Canada Day, 2016.

So now I have a deadline. I’m good with deadlines.

With some suggestions for the narrative from Alex and my own thoughts rattling around my head, he tasked me with laying down a foundation for the book. What do I want to say? What story do I want to tell?

Yesterday, I sent Alex the following email and I thought it might be something you’d like to read, with his permission and approval, of course. He even came up with the title for this post.

So here it is. The beginning of my first book of artwork…

Hi Alex:

Having had some time to think about the direction of the narrative in the book, I wanted to write down what I think would give you my best work to go along with the images. Most people I know who’ve run their own business or charted their own course for any length of time, have experienced the rewards of following their gut instinct. Sometimes it’s soft spoken, other times it’s a deafening roar. We’ve all been the victims of ignoring that instinct as well, and the ones still working have learned from it. I’m sure you can say the same of your own experience.

With that in mind, I don’t want to include any fictional stories in the book. Don’t get me wrong, I like writing fiction. I’ve written two novels that have been sitting on a shelf for the past fifteen years because I was focusing on my artwork instead. Truth be told, I chickened out on trying to get either published, although I did recently start editing the first one again to give it another go.

But for the animal work, fiction just feels wrong to me. What I had intended from the beginning, and what still feels true to me, is to use the writing in the book to talk about the road from there to here. How I stumbled upon drawing animals and the success of that work at this point in time is a weird meandering story and that’s the one I want to tell.

I’ve never gone to art school, so I don’t like talking or teaching art in that way because I don’t feel qualified to do so. I’m also not an animal expert by any means so talking about habitats and biology would be boring for me to write, not to mention for someone to read. As for telling a story that goes with each painting or image, there really isn’t one for every animal. Some of them, like my Bactrian Camel image, was just because I saw one at the Calgary Zoo and thought, “I want to paint him!”

That’s often the case with most of my images and there will be plenty of sketches and works-in-progress I’d like to include in the book that won’t require captions or accompanying text.

But there are many paintings that do have fun and ridiculous stories associated with them. There are the owls up at Grassi Lakes, a rooster on a hobby farm outside of Bowden, a couple of goofy looking seagulls on a dock in Ucluelet, the lion cubs I photographed up close outside of Innisfail recently, and a Coyote that waited twenty years to be painted. Incidentally, that Coyote is my favorite painting and I’m willing to tell that story in the book. I’ve never written about it before.

I’ve got plenty of stories to tell, but the common thread that will tie them all together is that they’re part of my story. So that’s what I want it to be, a collection of stories that contribute to the whole. The lessons I’ve learned from painting animals.

I want to talk about my philosophy on the business, anecdotes, learning to paint, following instinct, serendipity and happy accidents. I started in my mid-late twenties and somehow turned this into a career. What I’d like to share with people is the inspiration that it’s never too late to try something new and to point out the value of taking risks. Ask twenty artists how to become a success and you’ll get twenty answers. The ones who went to art school will say you have to go to art school. The ones who paint with oils and acrylics will say you have to paint with traditional materials. More and more in my career, I find that the rules others tell you that must be followed are often shackles, chains that prevent you from moving forward.

This is the type of narrative I want to write, the one I’m the most passionate about, and what will deliver my best work to the project. It’s these types of themes that have given me the greatest response in newsletters and blog posts over the years, the ones that strip away the glossy PR and marketing and talk to people like they’re real…well…people.

I’ve been keeping a pretty regular blog since February of 2008, although some months are leaner than others. Lately, more of my writing has gone into my newsletter, but there’s a lot of material there and more I can add that I think will make an interesting read to go with the paintings.

Everybody’s got a story to tell, and I’d like to start telling mine. I think there’s value in it. Plus, I really do enjoy writing and if I’m going to keep painting the images I want to paint, then I’d like the writing to follow the same guidelines.

That being said, I fully submit to your editing expertise when the writing is done. I mentioned to my wife the other day that it seems laughable when we were kids that our teachers would assign 1000 word essays in English class. I can write that much in an email even when I’m trying to keep it short. Clearly, I need an editor.

I’ve had a title in mind for a couple of years now. It best sums up the work and describes the whimsical nature of most of my paintings. I’d like to call it, “Funny Looking Animals.”

With that in mind, I’d welcome your thoughts and advice on this. I’m happy to send you links to any blog posts I’ve written that I think best illustrate the tone I’d like to set in the book. I’m looking forward to working with you.

Cheers,
Patrick
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Posted on December 21, 2014December 21, 2014 by Patrick LaMontagne

Another great year, looking forward to the next.

Coming up on the end of another year and while it’s just a date on a calendar, having these periodic markers along the way does give a person a chance for reflection and to make plans for the next go round the sun.

I’ve been fortunate that every year in my art career has been better than the one that came before it. 2014 was no exception. Always learning and improving my skills, the challenge this year was to keep my eyes on where I’m going, despite the distractions that tempted me to lose focus. It’s easy to look at what other artists are doing and to wonder if they know something you don’t, but in my experience, we’re all just winging it, no matter what profession you’re in.

This past year, I found myself doing a lot of sketch paintings, simply the term I use for what I consider unfinished work. Some of those went further to become finished paintings in my Totem collection, others ended up being practice pieces, and still others sold well as prints, even though that hadn’t been my intention at the beginning of the year. I plan to do a lot more of that type of work in 2015, as I really enjoyed it.

In the spring, my wife and I were once again working my booth at the Calgary Comic and Entertainment Expo, our second year at that event. As it was a big success for us, I’ve been signed up for the 2015 Expo almost since the last one ended. I’ll be trying a few new things with print sales this year and I look forward to participating in their tenth anniversary. We also plan to have a booth at a few other trade shows during the year.

I painted my first landscape in 2014, an enjoyable personal project I did just to see if I could. I doubt that I’ll become a landscape artist anytime soon, but I’ve still got a few ideas I’d like to bring to light, so there will likely be one or two in the coming year, along with some experiments that may or may not involve animals.

One of the reasons I chose that particular image to paint, a landmark called White Face Rock, was that I had fond memories of Ucluelet, British Columbia, somewhere my wife and I had vacationed a few years ago. I decided to go back this year on my own in June for sort of an artist’s retreat and it ended up being one of the best experiences of my life so far. I rented a little cabin off the harbour for four days, took three days of wildlife cruises through Barkley Sound, brought home plenty of photos and thoroughly enjoyed myself. That trip also gave me the opportunity to get my work into two new galleries in Ucluelet and Tofino. In the New Year, I plan to go back there and will stop in at some other places along the way. I still have reference photos I have yet to use from the last trip and I plan to get to some more of those soon.

One of the more valuable life lessons I’ve learned is to make time for personal projects. Seems each one ends up yielding unexpected benefits. One such project this year came from finding a nest of Great Horned Owls up at Grassi Lakes here in Canmore. After watching the family of owls for a couple of weeks, taking plenty of photos and doing some sketch paintings, I ended up with a painting that I called, ‘One in Every Family.’ It was a departure from my usual style of animal paintings.

At Photoshop World in Las Vegas this year, that painting won me the Best in Show Guru Award, the second year I’ve received that honour. A nice surprise bonus of that award was winning a Canon 5D Mark III camera, a professional piece of hardware that I am enjoying learning how to use. I’ve discovered that photography as a hobby has opened new creative avenues for me, especially since it contributes directly to my work. I take the camera with me whenever I go hiking or for a drive and it has helped me get even better reference photos for paintings. Funny how things work out.

While I’ve got plenty of fond memories of Photoshop World in Las Vegas, having attended five times, made plenty of friends and learned a lot, this year was a high note and I think a good ending for me for that particular event. I don’t think I’ll be going back anytime soon, certainly not in 2015. I’ve learned never to say never, but there are plenty of other experiences and trips I’d like to take. The world’s a big place.

In August, I met a gentleman named Bruno, a vendor at one of the Canmore Market booths. I just liked his character and felt the urge to paint him, another personal project. He was willing to participate in the experience and I ended up doing a portrait piece that I was quite proud of.

Since then, I’ve gotten to know Bruno and he has been giving my wife and I a crash course in the community and inner workings of the artist trade show circuit in Western Canada. We’ve been learning a lot and planning to venture into that world a little more as a result. Serendipity once again. I will be doing more portraits in the coming year.

And finally, one of my favorite pieces this year was the commissioned painting of Denzil, one I consider to be my best work to date, at least when it comes to a realistic rendering. It raised the bar for what I will now consider a finished piece and it’s going to make me try harder. Many times I’ve finished a painting and thought, “that’s it, I can’t do better than that,” and I’m always wrong. With time and practice comes more skill and that applies to everyone and everything, no matter what you do.

I’ve no desire for time to move quicker than it already does, but I find myself excited to think about the paintings I’ll do five years from now.

For the next year, I’m playing the long game. I’ve met with and hired a local designer friend and neighbour who is going to help me bring a book of my artwork into reality, something I’ve wanted to do for years. Up until now, I didn’t feel I had enough pieces with which to populate the book I had in mind. I still don’t, but by the end of 2015, I will, so there will be a lot of painting this year. Before I commit to anything else as the year goes on, that will be front of mind.

It’s with quiet confidence that I close out 2014, with great expectations for the coming year. I see no reason why the recent trend should not continue and I look forward to 2015 being better than the year that came before it.

If you’re reading this, you’re probably a follower of my work. Perhaps you’ve purchased my prints at the galleries, online or at Expo, or you’ve been a client that hired me to paint one of your fuzzy faced loved ones. You might follow my Facebook page, Twitter feed, or subscribe to my newsletter. You might be one of my many editors across Canada who sees fit to publish my cartoons on your editorial page. Maybe you’re one of those friends or industry colleagues I’ve been fortunate to know and work with over the years. No matter where you fit in with your support of my daily work of drawing and colouring all day, please accept my sincere thanks. I do appreciate it.

My very best to all of you in the coming year. Take chances, start checking items off those bucket lists, don’t wait to live the life you’ve imagined. It is well worth the risk.

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Posted on December 11, 2014December 11, 2014 by Patrick LaMontagne

An Opportunity to Give

A couple of weeks ago, I was asked by the Banff Community High School to speak to their digital media and art classes about the type of work I do.

In the past, these presentations have been more about editorial cartooning, especially when students are studying politics and current events. It provides a window into the difference between journalism and opinion, satire and commentary. There is value there, and I think those talks are important, too, but my passion lies with the other artwork I do, so I was really looking forward to this one, as it was about the art, not the politics. To paraphrase the teacher who contacted me, it was basically an opportunity for students to be exposed to yet another creative medium of expression, one they might not have considered.

I’ve had plenty of folks give me a leg up in my relatively short career as an artist and whenever an opportunity like this comes up, I realize it’s my responsibility to pay that forward. So, if I’ve got the time, I’m happy to help if I can.

I was scheduled to do two presentations to two different age groups. A slide show of my work, a little background on how I got into it, the type of work I do, plus a glimpse into how the actual drawing and painting is done.

In the back and forth emails leading up to the presentations, I became aware that the Banff Community High School didn’t yet have any drawing tablets. School budgets being what they are, students often don’t get all that we would like them to have. I thought that showing them how to draw and paint digitally and then denying them the means to do so would be a little cruel on my part. Hey, look at this delicious candy I’m eating…you can’t have any.

Over the past decade, I’ve been fortunate to have made some valuable contacts in this industry, and some even better friends. While I’ve used their products since 1997, it wasn’t until 2010 that I started getting to know a few people at Wacom quite well. Over the past four years, I’ve done webinars, tutorials and hangouts with them; written blog posts, recorded videos, done demos at their booth at Photoshop World, and even ran a booth on my own for them in Calgary at a Kelby Training Seminar. I’d hardly want to give the impression that this relationship is one-sided , however, so without getting into specifics, let’s just say that Wacom has been very good to me in return. It’s a very symbiotic relationship.

Needless to say, I’m lucky to call a few of them friends. With that in mind, without shame, I requested a discount on a couple of tablets, so that I could give them to the school. I figured I could afford it and two tablets are much better than none.

Much to my delight, my friend (who is choosing to remain anonymous, dammit!) donated five Intuos 5 Medium tablets to the school, free of charge. For those unfamiliar with these devices, I could do all of the work I do on one of these tablets. These kids aren’t being asked to settle for inferior hardware, mostly because in my experience, Wacom doesn’t make inferior hardware. While I’m currently using their 13HD and 24HD displays (seen on screen in photo below), I have had an Intuos 5 Medium tablet for quite a while and if you went to my portfolio, a lot of it has been done with that device.

I was pretty thrilled at the donation, and it would have been more than enough.

But then I realized that because they don’t yet have the Adobe CC software, the students had something to draw and paint on, now they needed a program to do it with. Lately, I’ve been using Autodesk Sketchbook quite a bit and thoroughly enjoying it. Their app for iPhone and iPad are the best I’ve seen for mobile art and those are only outshone by their desktop version. I’ve been doing a lot of sketching for my editorial cartoons with that lately, so I knew the students would benefit from it.

Even though I haven’t had a long relationship with Autodesk, Wacom works closely with them and had recently introduced me to some of the folks in charge, a direct result of the work I’ve been doing with their software. Since I was already on a roll, I sent an email to their Product Marketing Manager, told him about Wacom’s generosity with the tablets and asked if I could get some licenses for software to go with them. He simply asked how many I needed, and then made it happen.

Then, while mentioning all of this privately to an industry author friend of mine, (who also wants to remain anonymous), he asked if they could use any books. I told him they couldn’t be software specific as they’d be wasted if the students didn’t have those tools. So he asked his publisher Peachpit what they could do and sure enough they donated half a dozen books on design and photography, titles that the students will benefit from no matter what software they’re using.

While bragging about this on my Facebook page, a few people made references to these being great Christmas presents and ironic that this here often-Scrooge gets to play Santa. In truth, it really is just a coincidence of timing that I was asked to speak to the students this close to Christmas. I’ve no doubt that had I asked these wonderful folks for their assistance in September, they would have come through in the same fashion. I’ve made a point of thanking all of these people individually, and I know the school has as well.

But, I wanted to write about it for a couple of reasons. One, these companies and people deserve a little positive PR for helping out, even though that isn’t why any of them did it. Trust me on that.

Secondly, I would encourage you to consider how easy it is to give of your time and resources, no matter what it is that you do. You can’t always say yes to these requests, and over the years, I’ve had to decline these presentations almost as often as I’ve accepted them. Everybody has obligations and responsibilities, we’re all busy, we can’t give as often as we’d like. But it sure feels good when you can.

I would also encourage you to realize that when you need somebody’s help, especially to benefit someone else, don’t be afraid to ask. You’d be surprised how often people will say Yes when you need them to give a little, especially when it involves kids and education. If they say No, that’s OK, too, and don’t hold it against them.

It’s true that I was the one who got to stand up at the front of the room to reveal all of these great gifts from perfect strangers on Tuesday, and I got to do it twice. I wanted you to know that I was just the messenger. The real thanks go to my friends and colleagues, the ones who said Yes when they were granted an opportunity to give to complete strangers.

Thanks again, folks. You know who you are.