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Continuing Education

Since I didn’t start seriously drawing until my mid-twenties and never went to art school, I have often felt that I have spent most of my career playing catch-up.

I’m a workaholic perfectionist, which can be good or bad, depending on your metric. Rarely a day goes by that I don’t work, even for a couple of hours. This is not a complaint, nor should it be interpreted as humble-bragging.

It’s just my wiring.

On self-employment, Seth Godin once wrote, “You would never work for somebody who treats you the way you treat yourself.”

See? It’s not just me.

I heard recently on an art podcast that most people who go to art school don’t end up as artists for a living. The talent and art skills aren’t enough; you have to be driven.

The fact that I started late in the game means I’ve always been hungry, which has contributed to my longevity in this profession that’s synonymous with failure. An unhealthy dose of fear plays a big part as well. Grabbing the brass ring is easy but keeping a white-knuckle grip on it for decades, therein lies the struggle.

When people find out that I didn’t go to art school, they’ll often ask, “oh, so you’re self-taught?”

Self-Taught sounds like I just conjured it out of thin air, a claim that would be incredibly arrogant and false. I prefer the term self-directed.

I’ve learned from plenty of teachers, most of whom don’t even know it. While the internet has its fair share of toxicity and bile, it’s also a treasure trove of knowledge we often take for granted. While at Red Deer College, I remember having to drive down to the University of Calgary library to research a Psychology paper because the information wasn’t available in the college or city library where I lived.

Today that sounds positively archaic.

In books, webinars, podcasts, conference classes and online courses, there’s always a new bit of wisdom or technique waiting to be absorbed.

If you can’t find it, you aren’t looking.

Whether it’s how to make an image better or insight into the business of art, there is no excuse for failing to acquire or improve any skill you might have or desire.

That’s why the thought of retirement seems so foreign to me. I may slow my pace and become more selective of the work I do, but I’ll create art for as long as I’m able; however that looks.

I recently bought an online course on Character Design from Aaron Blaise, a fantastic artist with impressive credentials. Although I learned long ago to never say never, I don’t currently want to be a character designer.

But I’ve always felt that the principles of character design and animation, putting more action, life and dynamics into my cartoons and paintings, that’s where my skills are weakest. I’ve taken a couple of other courses on this theme over the years, but they never seemed to take.

This one, however, is fantastic. Even Shonna has noticed an improvement in my cartoons lately, and I’m only halfway through the course. It’s so good that I intend to watch it again, to reinforce some of the techniques. When finished, I’ll take another of Blaise’s courses.

I plan to talk about this course again, likely an accompanying narrative with a painting video, but for now, I’ll say that it has been time and money well spent.

As I approach my 50th birthday, I still feel like I’m playing catch-up when it comes to my art, even though the only person I should be comparing myself to is the artist I was yesterday. Funny how often I fail to remember that, especially while scrolling through Instagram.

Most of the time, everything I draw, whether cartoon or painting, is designed to be a finished piece. However, this course has got me drawing for practice again, investing in the skills that will allow me to make even better finished pieces later.

This weekend, I spent most of Saturday morning working on a new commission and Sunday morning on editorial cartoons. But in the afternoons, I played with this funny looking Mandrill. It’s much more developed than I had originally intended because I enjoyed it so much and didn’t want to abandon it.

A lot more caricatured than my usual animals; some might say too much, so it doesn’t fit with the rest of the portfolio. But I have no doubt that the techniques I’m learning to allow me to draw something like this will still inform my future painted work and make it better.

It also provides me with an escape from the work, to draw and paint just for the fun of it, which is why I wanted to do this for a living in the first place.

Cheers,
Patrick

© Patrick LaMontagne
Follow me on Instagram @LaMontagneArt

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Sea Turtle

Years ago, I belonged to an organization called the National Association of Photoshop Professionals. I’ve talked about this group quite a few times before and likely will again, simply because it had a profound impact on developing my skills and career. I can attribute a lot of my success to my involvement with NAPP, and its biannual conference, Photoshop World.

The best part about that group was the community of members. From hobbyists to professionals, it was a group of supportive creatives interested in becoming better artists and helping others achieve the same.

There was an active online forum where photographers, graphic designers, illustrators and other visual artists would hang out, ask questions, share work, and invite critiques.

Occasionally, you’d get the odd malcontent, but it was an incredibly positive group of people for the most part. Whether or not I’m biased in my nostalgia, I’ll never know, but that’s how I remember the experience, and I miss that community.

Many of us referred to each other by our forum aliases more than our real names. To this day, some of them still call me Monty, a nickname first given to me in the Army Reserves (La-MONT-agne). My Dad once told me that had been his father’s nickname in the military.

Some longtime readers might remember that my blog’s original name was Monty’s Muse.

I still keep in touch with some of those people, usually an email exchange here and there, though not as often as any of us would like, I’m sure. Former NAPP members have hired me to paint their pets, bought prints and face masks, and some still supply me with reference photos for paintings from time to time. While my first choice these days is to take my own photos, I don’t have access to some of the animals I want to paint.

One of those former NAPP members is PapaBob from Florida. Despite Bob’s skill with a camera, photography is his side gig. One of the nicest guys you’d ever hope to meet, he was one of the most supportive and genial people on the forum, always willing to help out a fellow creative.

Bob has been a supporter of my work for many years. He has bought big canvases for his law office, given my work as gifts and ordered face masks this past year. At the beginning of this month, Bob sent me a Happy New Year message, and we had a bit of catch-up over email. I mentioned that I still planned on painting that sea turtle, hopefully sooner rather than later.

You see, Bob is a scuba diver and takes fantastic underwater photos. I don’t remember how I first asked for them, but I suspect it might have been when I was still on Facebook. About six years ago, Bob gave me some excellent sea turtle photos for painting reference. While it’s true that I can sit on photos for some time before I get to painting them, this sea turtle has been an exercise in procrastination.

When I told Shonna about my enjoyable email exchange with Bob, she asked me why I hadn’t painted the sea turtle yet, considering that the reference was so good. I realized that I’ve been making excuses for fear of not doing it justice.

She suggested I stop putting it off and get to it, and I couldn’t come up with a good argument against it. I decided I’d waited long enough.

This was easily one of the most challenging paintings I’ve done. I don’t know how many hours I put into it, but it was more than usual. I tried a few different compositions, initially a simple gradient water background, but that just ended up looking like it was flying in the sky. I added water bubbles, but those seemed too cartoony. Finally, I decided to mimic the environment in Bob’s photos, which is close to what you see here. The background suggests vegetation, but any more detail would have distracted from the turtle. The animals in my pieces are the main focus.

I’m pleased with how this turned out and glad that I finally got around to it. Had I painted it five years ago, though, I don’t think it would be as proficient a painting, as I’m always trying to improve my skills.

Thanks for the photos, Bob. I couldn’t have done it without your help. And thanks to all of you NAPP folks who’ve helped and supported my work, way back then and in all of the years since. You remain some of my favourite people, and I miss seeing you online in the forum and in-person in Vegas. We had some great times.

Up next, I’m painting a commission of a wonderful looking dog, a Rhodesian Ridgeback. I’ve got some great photos to work from, and the client wants it in my whimsical style, so this should be fun.

Cheers,
Patrick

© Patrick LaMontagne
Follow me on Instagram @LaMontagneArt

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A hippo, a dog, and a giraffe walk into a bar…

Whenever I start a new painting, I put pressure on myself that it needs to be a finished piece, suitable for prints and licensing. A consequence of that narrow focus, however, is that I don’t leave any room for practice pieces, which are often enjoyable.

Practice pieces are valuable for a few reasons. It keeps things loose and allows me to try new things without any pressure. If the painting ends up being unappealing, it’s no big deal. But sometimes, while working on a practice painting, I might see more possibility in it than I did when I first started. And if I get good feedback on a practice piece, that might spur me on to turn it into a finished painting. Some of my most popular paintings aren’t my personal favorites, so I never know what people will like.

My first Grizzly painting was an experiment. My ostrich painting was a practice piece on the iPad, but Shonna wanted me to finish it. Both paintings are still popular.

While looking for painting ideas last week, I went through a bunch of photos in my archive, pictures I’ve taken over the years that I might not have chosen as reference for a finished piece. When I’m choosing photos for practice pieces, however, I suddenly have more options.

A fully rendered painting usually takes me 10-20 hours to complete. I’m painting a sea turtle right now and it’s a lot of work. It’s proving to be time consuming to paint the patterns on the skin and the shell. I’m enjoying it, but it’s meticulous detail and will likely take a minimum of three weeks to complete. Working on practice pieces at the same time, each taking about two or three hours, means I get a break from that piece, allowing me to return to it each time with fresh eyes.

Finally, practice pieces give me more images to share and if I ever get around to creating an art book, I’ll be able to choose from a larger collection of work.

I took the reference for the hippo at the Calgary Zoo.
When I took the reference for the Bernese Mountain Dog, my camera was actually full of owl pics. A couple of years ago, Colin from the Alberta Birds of Prey Centre was in Canmore with some of his birds for an annual education event in the fall at the Civic Centre. He was holding a Great Horned Owl on his arm and this dog was very interested, both animals locking eyes on each other. The dog’s owner had a tight grip on the leash, but Colin didn’t seem too concerned. I don’t know who would have won that altercation, but my money was on the owl.

Here’s a one minute high speed video of the last practice piece, a giraffe from the Calgary Zoo, with a little musical accompaniment. I had to force myself to stop working on this one and I’ll admit to being uncomfortable with posting it, as it’s still quite rough. I already know that I’ll likely finish this piece as I think there’s more personality yet to show up and I was enjoying the work.

With thousands more reference photos from which to choose, I expect I’ll have more practice pieces to share soon enough.

Cheers,
Patrick

© Patrick LaMontagne
Follow me on Instagram @LaMontagneArt

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Bear Hug

It’s been a while since I’ve been able to focus on a whimsical wildlife painting. For those who follow my work specifically to see those, thank you for your patience.

Wacom hired me to create a video for them connected with a promotion they’re doing right now called “Find Your Gift.”

As many of you know, Wacom creates the tablets and displays on which I’ve created my work for more than twenty years. I’ve been their guest on webinars, created new product demo videos for them, represented them at an event in Calgary, presented at their booth at Photoshop World, and they generously allowed me to donate tablets to a local school.

My work wouldn’t be possible without Wacom.

So when my friend Pam asked me to create another video for them, there was only one answer.

What I like best about our relationship is that Pam lets me do my own thing. Of course, we have some back and forth to make sure my vision matches hers, but she knows what to expect from me, and I do my best to deliver.

In this case, I had the freedom to interpret the word gift and paint and write what I wanted, which allowed me to create my best work.

I spent the last three or four days chained to my desk, creating this painting, recording with the camera and screen capture, writing and recording the narration, and editing it all together a la Dr. Frankenstein. It was a lot of work, but I’m quite pleased with the result.

I realized that the three recent paintings I like best are ones I did for Wacom videos. Those include the Amur Tiger, the Ring-tailed Lemur and this one.

The model for this painting is one of the most handsome residents of Discovery Wildlife Park. Gruff was an orphaned black bear cub who had a rough start in life, but thanks to Serena and her staff’s tireless efforts, he has grown into a beautiful, gentle bear with a wonderful personality. The keepers try not to pick favourites, but they each have a special place in their heart for Gruff, as do I.

I’ve often written about how much I value my relationship with Discovery Wildlife Park. They allow me incredible access to the animals, for which I’m immeasurably grateful. On my most recent visit in September, I was able to sit inside the enclosure while they did their bear education presentation, where they teach people about bear safety, behaviour and conservation.

I took hundreds of reference shots and didn’t realize I’d be using ones from that session so soon.

One of the keepers, Jacob, was in Canmore last week, and I had a brief visit with him. I told him what I was painting, inspired by the poses I shot. He told me that Gruff almost always has a ball with him. It doesn’t need to be the same ball, but it’s kind of like his security blanket. He even takes a ball with him into his den when he hibernates.

On one visit to the park a couple of years ago, Serena sent me a text asking where I was. I said that I was watching a silly bear play with a ball. She responded, “Gruff.”

Gruff taught himself how to pose with the ball and because it was so endearing, the keepers used positive reinforcement to encourage that behaviour. It was this pose that inspired the painting. As the light wasn’t great in this shot, the sun beside and behind him, I had to use other reference photos for the details. Thankfully, I have hundreds of pictures of Gruff.

Even though I was pressed for time on this, more self-inflicted than not, this painting was a joy to create. It’s been a while since I’ve had this much fun painting one of my whimsical wildlife portraits. Considering the kind of year it’s been for all of us, that’s no small thing.

If you’ve got five minutes, you can see a high-speed time-lapse below of how I painted Gruff and hear some of my thoughts about the importance of finding and sharing your own gifts.

Take care of yourselves,
Patrick

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© Patrick LaMontagne
Follow me on Instagram @LaMontagneArt
Sign up for my newsletter which features blog posts, new paintings and editorial cartoons, follow this link to the sign up form.

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Creating a Remembrance Day Cartoon

Each year, I struggle to come up with a Remembrance Day cartoon, assigning it more weight than almost any other theme. It’s a challenge to create images and text that evoke the appropriate reverence without being trite.

Many of my newspaper clients are weekly publications. While Remembrance Day is November 11th, many papers will run the cartoon this week, depending on which day their paper comes out. It always needs to be done early to accommodate everyone.

Throughout the year, I keep an eye out for cenotaphs and memorials in different towns and cities. I take reference photos from which I can paint, and then, I try to write something original to accompany the art. As there is very little about this year that’s normal, I went in a different direction.

This is the first year I’ve included the words Lest We Forget in a cartoon to the best of my knowledge. I’ve avoided it because of its overuse. But for the image I drew this year, it seemed the most appropriate.

With many parades and ceremonies cancelled due to COVID-19, most will stay home this year. Services and observance will be virtual and live-streamed. Traditionally busy venues on Remembrance Day, especially for veterans and seniors, Royal Canadian Legion branches will be closed in most places. The safety of members and their families will take precedence over fellowship. I’m sure that it will be difficult for many veterans.

This year, I recorded a short high-speed video of my cartoon, with accompanying music. Feel free to share it.

___

© Patrick LaMontagne
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Pennywise

While on a recent visit to the tattoo shop, one of the artists asked me if I was painting anything for Halloween.

For the past twenty years, I’ve drawn plenty of editorial cartoons with a Halloween twist, but Eric’s question caught me off guard. I’ve never considered painting something for Halloween.

One of the reasons I enjoy spending time with the artists at Electric Grizzly Tattoo is that they offer a different perspective. I’ve had several projects, promotions, and ideas borne of conversation at the shop.

While I’ve seen these guys come up with many different tattoo designs in various themes, much of their work involves pop culture. Whether characters from TV, animation, movies, comic books, graphic novels or music, there are clients who get full sleeves done in a pop culture theme.

One of Derek Turcotte’s clients has an entire leg done with characters from horror movies. It’s pretty impressive, both in the artwork’s exceptional quality and the tapestry woven from all of those images.

A couple of years ago, Derek painted Pennywise from the 2017 movie IT, based on the 1986 Stephen King novel. For the most recent movie adaptations, the character is played by Bill Skarsgård.

But I remember another version of It, a 1990 two-part TV miniseries with Tim Curry in the title role.

The basic story is that there’s a creature living beneath Derry, Maine. Every 27 years, in the guise of Pennywise the clown, It murders children after luring them into the sewers and has been doing so for centuries. In the two-part story, a group of children takes on the clown and thinks they have killed It. But they make a vow that they will return to finish the job if it ever comes back.

Sure enough, 27 years later, Pennywise returns, as does The Losers Club, to fulfill their promise.

I’m a big Stephen King fan. I started reading his books when I was a young teenager, probably earlier than I should have. Pet Sematary gave me nightmares. I could give you a long list of favourite King novels, but top of mind are The Dark Tower books, The Stand, The Tommyknockers, Needful Things, Dr. Sleep and, of course, It.

Unfortunately, a lot of King’s books became movies that weren’t very good. It’s usually a pleasant surprise when I enjoy one as much as the book. The writer/director Frank Darabont is also a Stephen King fan, which is why his three adaptations are among my favourite movies.

Many people are surprised that the movie The Shawshank Redemption is based on a Stephen King short story. Darabont made that movie, as well as The Green Mile and The Mist. This scene from The Mist is especially telling in our current climate.

Other screen productions based on King stories that I’ve enjoyed have included Stand By Me, Misery, The Shining, Dr. Sleep and the second season of Castle Rock.

Stephen King made me want to be a writer, and I’ve read and listened to his book ‘On Writing: A Memoir of the Craft’ a few times.

While I have started writing fiction again this year, when I force myself to put ass in chair, it has been a struggle. The editorial cartoon deadlines, the paintings, plus the admin and promotional work that goes along with that work don’t give me a lot of time to write anything other than blog posts and newsletters.

But that’s nobody’s fault but my own. Excuses are easy to come by.

So when it was suggested I paint something for Halloween, my thoughts returned to Pennywise. Not a difficult leap of inspiration, since Derek’s painting of the Skarsgård clown loomed large on the wall about ten feet to my left.

As I own the original IT miniseries on DVD, I began looking for reference that afternoon when I got home. Filmed for television, thirty years old and with special effects almost too painful to watch at times, the reference didn’t meet my usual criteria

There’s a scene at the end of the miniseries where the clown’s true form is revealed, a large spider-like creature. The effects are bad, with jerky puppet-like movements. The colour and light don’t match the background. It was scary in 1990, but now it’s just comical.

All that aside, Tim Curry was still great in the role of Pennywise. I’ve enjoyed his over-the-top villain roles in many movies. From his iconic performance in The Rocky Horror Picture Show to Cardinal Richelieu in 1993’s Three Musketeers, it’s always a pleasant surprise when Curry shows up where I least expect him.

Sadly, he now uses a wheelchair following a stroke in 2012.

Finding the reference was tough. I ended up taking photos of the TV screen and then trying to salvage what I could in Photoshop. None of the reference was what I would call good, and while it’s still got the bones beneath it, the finished painting doesn’t resemble Curry’s character as much as I had initially intended.

Partway through, I realized I wanted to make it as horrific as I could; the fangs, skin texture, demonic expression in the eyes. Eventually, it became my own version of Pennywise, which made it a lot more fun.
I wanted to paint the clown that would have scared the hell out of me when I was a kid. I believe I achieved that. But rather than scare me now, I found myself smiling a lot. I kept wanting to push it a little further, adding more texture and detail, trying for just a little more realism in the brushwork.

I didn’t want it to end.

This is not the kind of work my regular followers expect from me. But before 2009, all people got from me were editorial cartoons and my painted caricatures of celebrities, no animals at all. You never know where new ventures might lead.

No matter how much I enjoy my animal art, it can get a little boring from time to time if it’s just about pumping them out, one after another. Every so often, I need to take a break, try something different and take a vacation from the fur and feathers. The collection of those occasional side projects have now become a gallery of portraits, mostly movie characters. Some of those paintings have resulted in the most unexpected and wonderful moments of my art career.

While I don’t expect to be turning my attention to painting more killer clowns or creatures from the depths of horror movies, this was worth my time. It was a welcome visit to the dark places I usually avoid, shining a flashlight on just one of the things that live there in the shadows.

The best part about this painting was that it wasn’t work. I had no illusions that this would end up being a published print or an image for licensing.

In a year when self-employed job security is shakier than ever, when the future is a towering question mark (with an exclamation beside it), and it seems like every creative moment should be spent trying to increase revenue, I’m glad I made time for Pennywise.

Happy Halloween!

For you digital artists with tech questions, I painted this in Photoshop on a Wacom Cintiq 24HD display. I used screen captures for reference, but no photos are part of this work. I created the textures with brushwork alone, no images or overlays. The finished file is 30″ X40″ at 300ppi, painted in the AdobeRGB(1998) colour space. I have no idea how long it took to paint.

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© Patrick LaMontagne
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Wacom One Inspiration

One of the unexpected benefits of having been a digital artist since the late 1990s is that I’ve been able to see all of the advances in the medium. My first Wacom tablet was an original Intuos with only a 4”X5” drawing surface.

It seemed so futuristic.  I could move the stylus on this tablet, which would be mirrored on the screen by the cursor, and then DRAW. To some, it seemed complicated, but to me, it seemed like a prosthetic limb I’d been missing.

I don’t know how to paint with oils, acrylics, or watercolours. My sketching skills with a pencil are adequate; my pen and ink skills less so. I’ve tried charcoal, woodcarving, sculpture, but just barely, and all of it felt clumsy.

This is obviously a personal problem, given the centuries of incredible artwork created with those tools.

But digital tools always felt right to me. It has been my medium for more than twenty years.

When it came to software, there was Photoshop, Painter, and a few others. I tried them all. But for the hardware, if I wanted to work digitally, a Wacom tablet wasn’t an option. It was a requirement.

Since then, I can only guess how many Wacom devices I’ve owned, upgrading when I felt the need and could scrape together the funds. For the first half of my professional career, I used tablets rather than displays. That’s where you look at the screen but draw on the device sitting on your desk. It’s not difficult to get used to since we all use a mouse the same way. We look at the cursor, not the device in our hand, and our brain figures it out pretty fast.

Drawing with a Wacom tablet was easy for me.

But in 2011, I got my first Wacom Cintiq display, a 12WX, where I could draw right on the screen. These days, that seems unremarkable, considering how many screens and mobile devices we have at our fingertips. But at the time, it was a huge deal for me.

The 12WX was pretty thrilling, even though it could be a bit clunky at times. Marketed as a portable model,  being the first one that didn’t take up your whole desk, it was more like the prototype for what would come next.
When I got my Cintiq 24HD in 2012, everything changed for me. Not only was I now using their most professional display model, but I also had a working relationship with Wacom.

That display is still the one I use every day, and while there are newer models available, I have a sentimental attachment to this display, and I never feel it’s lacking. Yes, it’s a piece of technology, but like a reliable car, years out of the showroom, my 24HD is like an old friend. I’ve created many of my favourite paintings on this display.

In the past six months, Wacom has sent me a couple of their newer portable models to evaluate and work with, recording videos with them. The Cintiq 16 I received last summer is a welcome addition to my digital toolset.  I use it while working on my laptop, often on the couch in the evenings while watching TV. You can see a recording I did with that one in a blog post from late last year.
Just recently, I was asked if I would take their new Wacom One display for a spin. Pitched as an affordable solution for artists looking to make the jump to digital or for those just starting, it’s an entry-level display.

After using it to paint my latest Ring-tailed Lemur, however, I find that notion rather amusing. This display is better than all of the tablets and displays I used for most of my professional career.

Without getting too technical, it’s a comfortable experience. From the feel of the stylus on the screen, the pressure sensitivity, the image quality of the display and the simple setup and installation, this is a display I would have been thrilled to have worked with early in my career.

I know many people these days draw on the iPad Pro with the Apple Pencil, and I’ve seen some incredible work done with those tools. I have an iPad Pro, I use it every day, and when I bought it, I expected I’d be doing a lot of drawing with it. There’s even a professional level painting app called procreate that’s pretty incredible.

But no matter how often I work with the iPad, it never feels quite right to me.

Whether it’s the stylus on the screen, the display itself, or the size, I can’t seem to get comfortable with it. To be fair, the iPad is a standalone device, where a Wacom display has to plug into a computer, whether a PC, Mac, Notebook or Laptop. But most people have those already.

I’ve often said that the best tools are the ones you don’t have to think about. When I’m in the zone, painting fur, feathers or details, I don’t want to have to stop because the tools aren’t doing what I want them to do. I’ve invested quite a bit of time on the iPad Pro, and it just doesn’t feel as comfortable as a Wacom display.

I’m well aware that we resist change, so I’ve tried other devices and displays. But I keep coming back to Wacom time after time. Part of me knows that being sent the display, tasked with doing a video, it’s my job to pump it up and promote it.

But honestly, if I didn’t like it, I wouldn’t. And I know my friend Pam at Wacom wouldn’t want me to. I was thankful I didn’t have to find a way to put a positive spin on this display. There is nothing about this display that I can criticize. For what was promised, it over-delivered.

The only thing I missed while using it was the Express Keys I have on my Cintiq 24HD. I use those all the time. Those are buttons and dials that you can program to access features you use often. Those features are now automatic to me. Thankfully, in recent years, Wacom introduced a device called the Express Key Remote. It’s a standalone device, and it worked flawlessly with the Wacom One.

A beginner might find Express Keys too intimidating at first, and I understand why they left out of this entry-level display, both for price and function. But it’s nice to know that if a user wants to try them, there’s an affordable add-on option.

As for the video above, called ‘Voices,’ my task was to offer a message to new artists, something to inspire them to give their creativity the chance it deserves. I spent a great deal of time thinking about what I would have wanted to hear when I was new at this artist’s life, trying to gather the courage to stick my neck out.

Ultimately, I ended up speaking to myself two decades ago, that twenty-something kid who was scared to death of being a fraud, having never gone to art school. I’d have wanted to let him know that it isn’t easy for anybody. The only way to navigate this world is through experience. Decades later, it’s still scary to do this for a living, but I can’t imagine doing anything else.

I’d like to think the message I recorded would have given him hope.

Cheers,
Patrick

© Patrick LaMontagne
@LaMontagneArt
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Bear Wonder

I’m not big on tradition, but I came up with an idea for one on New Year’s Day.

To start the year off on the right foot, I decided to get up early as usual and begin a new painting. Looking through my reference pic library, I came up with quite a few that would be good subjects, but none felt right for the first one of the year.

I kept coming back to the Berkley folder, containing hundreds of photos. Part of me thought that I should paint something else since I’ve painted her six times already.

But who am I kidding? I could paint her many more times without getting tired of it. And for those who aren’t as enamoured with bears as I am, especially THIS bear, I’ll get to other animals soon enough.

Since the world often seems like it’s going to hell in a handcart these days (it’s really not, you know), starting the year off with a painting of Berkley seems like a tradition I can wrap my head and heart around. She always makes me happy.

She’s in deep sleep hibernation right now, but I’m looking forward to seeing her again in the spring, to take new photos to add to the library.

For the artists and technical folks, the full-size file is 40”x30” at 300ppi, painted in Photoshop on a Wacom Cintiq 24HD. No photos are ever part of my art; it’s all brushwork. As for how long it took to paint, as people always ask, I have no idea. I’m working on other stuff in the same period I’m working on a painting. More than 10 hours, less than 20, that seems like a reasonable guess.

Prints will be available soon.

Cheers,
Patrick

© Patrick LaMontagne
@LaMontagneArt
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A Christmas Reindeer

Yes, it’s a Christmas miracle. Even though I’m a confirmed Grinch, Scrooge and fan of Krampus, I decided to create a painting of a Christmas reindeer, complete with time lapse video and festive music to go along with it. Call it a temporary lapse in Bah Humbug, emphasis on the temporary.

This was painted in Photoshop on my trusty Wacom Cintiq 24HD. Feel free to share it, either from this post or from Youtube.

Cheers,
Patrick

@LaMontagneArt
If you’d like to receive my newsletter which features blog posts, new paintings and editorial cartoons, follow this link to the sign up form.

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Snow Day

When I started this painting, I had a vision in mind. Three cougar cubs, mouths open, looking like they were having a good time. I even had a title for it, Caterwauling. That could mean they were singing, shouting, or just kids making noise.

I had plenty of reference to work from as the models for this painting were Quora and Tavo, the two cougar kittens adopted by Discovery Wildlife Park last year. They’ve grown quite a bit, but are still juveniles. As is my artist’s prerogative, I decided I wanted a trio in this painting, rather than a duo.

In the beginning, it had kind of a rocky looking background, and it was going to be bushes and leaves in the front, intentionally blurred a little to suggest a depth of field effect.

I’d done a good rough painting of the cats, but I hadn’t yet added in any detail. When I started roughing in the leaves, I found little enthusiasm for it, so I deleted the layers and wondered what else I could do.

I live in cougar country. There’s a running inside joke in this valley about how stealthy these animals are,  that you may have never seen a cougar, but a cougar has seen you. So even though I can see a cougar’s home environment by looking out my window, I googled cougar photos for ideas.

A lot of the photos I found showed cougars in the snow, and I realized none of my paintings suggest that environment. Even my Polar Bear and Snow Leopard paintings only have simple blue icy looking backgrounds.

Once I started experimenting with the snow, the painting took on a whole new life. Not only did that environment make the image look brighter and more vibrant, but it became a lot more enjoyable to paint. I smiled a lot while working on this because the cougar cubs just seemed to be having so much fun. I realized that Snow Day was a much better title.

It was a challenge to add the snow on their faces and make it look like it belonged. I found images of golden retrievers playing in the snow to help me with that. It required experimenting with different brushes and shadow techniques to get it to look right, and I’m pleased with how it turned out.

This might not be the most fun I’ve had working on one of my whimsical wildlife paintings, but it’s a contender.

Cheers,
Patrick
@LaMontagneArt
If you’d like to receive my newsletter which features blog posts, new paintings and editorial cartoons, follow this link to the sign up form.