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Grump

We’ve had fantastic fall weather this year in the mountains. The leaves took a long time to change, and there are still plenty on the trees. It’s been almost like summer, right up until last week, with our first snowfall. A warming climate is a growing concern, but it has been hard to see that big picture lately while still biking in shorts in the middle of October.

And yet, despite the excellent weather, I’ve been depressed and angry. I’m not the type to put my fist through a wall or throw things; instead, I hold it all in and ruminate. One could argue the latter does more damage in the long run.

This melancholy happens to me this time of year, but usually a little later. I suspect it’s a combination of several things.

I’m weary from the last three years. But, unfortunately, rather than getting easier, this difficult period in our collective history seems to keep compounding. As if we all haven’t had enough, inflation is up, spending is down, and even more financial stress is on the horizon.

Then there is the constant deluge of negative news. Editorial cartooning, the other half of my business, requires I turn my daily focus to bad actors with nefarious agendas, lying and cheating their way into powerful positions. Around the world, people dissatisfied with their current leaders seem content to vote for any alternative, even when a second’s reflection quickly reveals that the new boss is far worse than the old one. Most of these button-pushing zealots’ plans stop at ‘get the power.’

I’m not sleeping well, I have no appetite, and under all of it is a growing sense of futility, especially as a self-employed artist. More than once in recent days, I’ve considered chucking it all and going back to a real job. Last month, a complete medical checkup revealed I’ve no physical health issues. All numbers are in the green, with no red flags.

Mentally, however, I’m struggling.

This is not a ploy for sympathy because, seriously, who among us hasn’t got reasons to feel blue and lost lately? Another local business closed last week. A friend had two close family members die this year, one after another. So everybody is struggling in one way or another.

What weighs most heavily on me is how so many are taking it out on each other. Thankfully, I don’t have to see it on social media anymore. Killing those platforms was one of the best decisions I’ve ever made. But people are becoming bolder and more abrasive in real-world interactions, and I find it profoundly disturbing.

Anyone who takes out their frustration over a long lineup, on the grocery store clerk who actually showed up for work, should have to return to the back of the line.

Ironic that so many of us hated the lockdowns, being told we couldn’t go anywhere or socialize. Now that everything has opened again, I’ve found I prefer to stay home and avoid people by choice.

No, I’m not special. Neither are you. We’re all going through some tough shit.

I’m just explaining the source of this latest painting.
I have been working on another cute, happy painting of a grizzly bear for the past couple of months. I’m recording the process and writing a narrative to go with it. These videos take a lot more time than a regular piece. Recording the painting, writing the text, recording the voice-over, selecting the music, and editing it all add hours to the work.

I don’t want to rush it, but I didn’t want to go too long without a new painting to share and add to my licensing. While perusing my extensive library of reference images, looking for a subject to paint, the happy, genial photos weren’t resonating with me.

Then I came across a series of photos I’d taken of Griffin, a lion at Discovery Wildlife Park. In a couple of shots, he looked a little annoyed. Considering my present dark cloud perspective and frustration, it felt right.

Naturally, I exaggerated the expression to make him look downright grumpy, hence the title. The more I painted, the more it felt like a self-portrait.

I know that people who buy and license my work are looking for happy, whimsical wildlife paintings to make them feel good. I also know my role in this relationship, and I’m delighted to play it most of the time. I get a lot of satisfaction and joy from my work, and I’m glad many of you enjoy it, too.

But art is often cathartic and a means of expressing our emotions, whether for the person creating it or those it touches.

Though this lion’s expression isn’t happy, I can still see some comedy in it. But make no doubt about it. He’s pissed off, unimpressed, and wants to be left alone.

As with every painting, once released into the wild, I have no control over how people feel about it or whether this grump will connect. But I have a couple of other paintings that aren’t so happy and cheery, and they’ve found their audience, so who knows?

When I’m at the Calgary Expo or a Mountain Made Market, people often repeat the same lines I’ve heard dozens of times. So I’ll confess to having a few stock responses at the ready. It’s impossible to avoid once you have phrases you know connect with people.

While standing at the booth or table, gazing at the wall of paintings before them, some will say, “they’re all so happy!”

I’ll agree with them but offer, “Well, maybe not the Ostrich. He’s got a bit of an attitude problem.”

Or I might advise caution around the Ring-tailed Lemur. “He’s not quite all there.”

Sometime down the road, I’ll undoubtedly have some more advice if I stock prints of this latest painting. “Careful around that grumpy lion. He’s having a bad day.”

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Snow Queen

After I finished my recent duckling painting, I did what I always do, went through my archive of photos to look for the next project. All the reference photos I’ve taken over the years are organized in folders by animal name, so before I even look at the images, I’ll admit to deciding against an animal simply because I’ve already painted it.

I get tunnel vision sometimes, thinking that this next animal must be one I’ve never painted before. As a result, I’ve occasionally talked myself out of a painting because “I’ve already done that.”

It’s rather silly when you think about it.

There are several animals I’ve painted more than once, and it’s a rare thing that the first one is the best one. Some photographers make their entire careers from taking photos of critters from the same part of the world. So to dismiss an animal simply because they’ve seen it before would be shortsighted.

Had I stopped at the first tiger I painted, I wouldn’t have painted my Smiling Tiger, one of my best-selling pieces. While my first wolf is special to many people, including me, my latest Winter Wolf has surpassed its popularity and has become a personal favourite. It’s part of the reason I wanted to paint this Snow Queen in the same palette.
And finally, the very first whimsical wildlife image I painted was a grizzly bear. I’ve painted more than a dozen since, and it remains my favourite animal to paint. It would have been a shame to decide that I’d done enough of them and never got to Grizzly on Grass, the painting I love the most out of all my work.

So even though I’ve painted a snow leopard before, I wanted to paint another. I painted most of this piece while under the weather last week, and I still enjoyed it. Thankfully, I felt better for the final hours this weekend and truly enjoyed watching her personality show up. I hadn’t planned on it being so obviously feminine, but that’s the magic of this work. A lot of this stuff just happens, and I’m grateful for it.
For those interested in the technical side of things, this file is 30” X 40” at 300ppi, with seven layers and an adjustment layer. I usually only have three layers at the end of a piece, the background, backdrop and subject. For this one, however, I wanted to keep some parts separate in case I have some formatting or colour challenges later with licensing.

The working file was 1.33GB, the largest file I’ve worked on since this computer was built in 2020. However, it handled it beautifully, and I could still jump around and paint fine detail with no performance lag.

Next up, I’m going to paint another burrowing owl to include with a larger piece I started months ago. Having a piece I can keep coming back to with fresh eyes is fun.

Cheers,
Patrick

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New Releases and Recently Retired

It’s always a thrill when the first prints of a new painting arrive on my doorstep, even better when it’s more than one. So it’s my great pleasure to announce the first printing of The Brazen Bighorn and The Smiling Lion, now available as 11″X14″ poster prints in the store.

The Toronto and Calgary Zoos placed two large print orders recently, eating up a good chunk of my inventory. I am most definitely not complaining, quite the opposite. The Toronto order has already arrived, and I’ll be delivering the Calgary order first thing this week, which gives me a welcome excuse to take some fresh reference photos.

Between the zoo orders and those who took advantage of the free calendar with every order of two prints, I had to label a handful of prints as TEMPORARILY SOLD OUT for the past week. But with quick production and delivery from Art Ink Print in Victoria, I’m pleased to say that the Snow Leopard, Kodiak Cub, Otter, Sire, and Smiling Tiger prints are back in stock.

I’ve enjoyed creating each of my paintings over the past 12 years, but I’m always painting new ones. My very first whimsical wildlife piece, the Grizzly I painted in 2009, is still a fan favourite. Unfortunately, while some prints remain popular for many years, others don’t perform as well as I’d like in the online store. So from time to time, I need to make room for my new work to have a chance to shine.

Recently retired prints are the Amur Tiger, Happy Baby and Lion Cub.

These retired images only apply to the prints in my store. Some of these, and other retirees are still popular in zoos and Discovery Wildlife Park, and they can order them when they like. And my entire catalogue remains available to my licensees for their products.

As a result of the zoo orders coming at the same time as my recent ‘buy two prints and get a free calendar’ promotion, a couple of people were unable to get the prints they wanted. So I was happy to extend the promotion to them until items were back in stock.

But, let’s extend that for everybody. If you buy two or more prints in the online store by 4:00 (MST) on Tuesday, August 3rd, I will include a free Wild Animals 2022 calendar with your order.

Any questions, ask me in the comments or send me an email.

Cheers,
Patrick

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Sire

My latest painting, finished this morning.

It’s the largest piece I’ve done to date, with a file size of 45”X45” at 300ppi. For those unfamiliar with digital art, that’s a big file, and it stretched my computer’s abilities. My desktop is quite powerful, but it has its limits, as does Photoshop.

Put this image and my recent Ring-tailed Lemur together, and they’re quite different. Both are still my style, but not the same character and feeling.

Once you get an established niche or look, it’s tempting to approach each painting from a cookie-cutter perspective, so you don’t risk alienating customers. But I’ve painted more than 70 animal images, and while many look like they belong together, some veered into another lane, and yet still became popular. As much as I love this work, it can get boring if I don’t try new things from time to time.

You never know what will grow from planting a different seed. As I’m fond of telling people, my first animal painting of a Grizzly in 2009 led to all of the others. It not only changed the direction of my career but my life as well. At the time, it was an experiment.

Most of the time, I can’t predict the outcome. My Roar painting (below) was almost a practice piece and yet many people like it. Most recently, DecalGirl added it to my licensed images for phone cases and device decals.
Some experiments aren’t popular at all, but as I recently told an art student who sent me some questions, every piece teaches you something. Sometimes the lesson is what doesn’t work, but you don’t find that out until after the painting is finished.

My recent Lemur painting was far more popular than I thought it would be. I’d been a little worried about that one because it doesn’t look like he’s playing with a full deck. My buddy Derek Turcotte, an incredible wildlife artist himself, ordered it on canvas for the shop at 32” X 24” which is the largest canvas I’ve printed to date. I should be picking that up this week.

And Shonna, ever my harshest critic, is urging me to paint more animals like that Lemur, critters that are more “bent” as she put it.

While going through my extensive photo library recently, looking for an animal to paint, I wrote down four different ones, including this lion. I took the reference for it at the Calgary Zoo. One of the reasons I didn’t paint it in a happy whimsical style is that I’m saving that painting for a particular model.

Griffin, the male lion from Discovery Wildlife Park, is now an adult, and while he will get more regal-looking as he ages, I’m ready to paint him this year or at least gather the reference. Serena has long told me I could do a photo-shoot with him when the time was right. So I’m reserving the happy, whimsical painting of a lion for him.

This is one of the reasons why this lion is more severe-looking, also because I just felt like painting him that way. Painted in grey-scale (black and white), I added the slight blue cast at the end, just to give it a little more life. The eyes are bluer still, which is a bit of a cliché in paintings and photos, but as Eric at the tattoo shop pointed out to me the other day, everything in art is a cliché, especially if it’s something people like.

Rather than avoid it, I just went with the look I wanted. Whether others like it or not, only time will tell.

Cheers,
Patrick

© Patrick LaMontagne
@LaMontagneArt
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