Here’s a video gallery of the critters I painted this year, set to music.
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.”
Last year, I created a video of the paintings I created in 2020. I enjoyed sourcing the music, creating pan and zoom features for the images, editing and putting it together. So I spent some of the day on Christmas Eve putting together another one for this year and had fun with it.
Watch it on full screen and turn up the volume for full effect. And if you like it, feel free to share it.
My personal favourite paintings from this past year are Grizzly on Grass, John Dutton and the Sea Turtle. I have been reminded often in my career that the ones I like best, however, aren’t always the most popular with subscribers and customers. But that’s art for ya.
As this will be the last post of the year, please accept my sincere thanks for continuing to follow, support and share my work. I’m incapable of expressing how much I appreciate it.
Very few people get to make a living from their art, and I’m well aware that it can go away instantly. Many of you have been hanging around this virtual studio for many years, and I’m grateful for your company. You frequently respond to my Wilder View emails with such encouragement and compliments, and when I’ve gone through dark times, you’ve often sent messages of overwhelming empathy and compassion.
To all of you who display my whimsical wildlife on your home and office walls, fridges, filing cabinets, coffee tables, put it on your phones, laptops, and vehicles, wear it on your bodies and faces, have bought it for yourselves, your friends and family, or commissioned me to paint your pets, Thank You hardly seems adequate.
These past two years have been difficult for everyone, and we’ve all responded to it differently. I’m going to keep this positive, so I won’t go down that rabbit hole. But I’ve heard and read quite often that this pandemic experience has spurred a lot of people to make overdue changes in their lives.
Some are leaving jobs where they’re unappreciated. Others have reached the limit of what they’ll endure from toxic relationships. Many are realizing that life is too valuable to spend on unimportant crap. I’ll be trying to find the courage to walk more of that talk in 2022, and I hope you do, too.
This ain’t over yet, but fingers crossed it will be soon. Until then, when you have the choice between joining the mob in rage and conflict, or extending a hand of support and kindness, please choose the latter.
Here’s to a better year ahead for all of us.
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.
To see all the little painted hairs I suggest watching this full-screen. Here’s the narrative from the video…
On a recent Saturday morning, I woke with no idea what to paint, which meant going through my photo archives, looking for reference.
None of the photos spoke to me and I began to feel uneasy.
A brown bear? No I’ve done a lot of those and just finished one. I’ve painted plenty of bears. An owl or an eagle? Painted lots of those, too.
On it went. Having painted more than 80 production pieces, plus commissions and portraits of people, finding something new is a challenge. I wanted to choose an animal I’d enjoy painting but would also appeal to others.
Was it just a bad morning or worse —the beginning of a rut?
The peanut gallery of internal critics, those loudmouths in the cheap seats, they love this stuff. Whenever self-doubt finds a foothold, that chorus of cretins is ready to attack.
“You had a good run. Time to go get a real job. You weren’t that good at this stuff, anyway. But you already knew that, didn’t you?”
I tend to overthink these things. Lately, I’ve been focused a lot on trying to figure out what my audience wants to see, the people who already follow me and support my work.
What I forget, however, is I didn’t know what they wanted to see in the first place. I painted funny looking animals and the people who liked them hung around for more. The more I painted what I wanted; the more people showed up. I don’t recall taking a poll asking if I was painting too many bears.
As I looked through hundreds of reference photos, I tried to ignore those inner voices telling me why each was not good enough, that I’m not good enough. They can’t be silenced, but they don’t deserve the spotlight or center stage.
A favorite line from the movie, Dr. Strange goes, “we never lose our demons, we only learn to live above them.”
In my frustration at failing to find the one reference image that spoke to me, the one with the perfect lighting, composition, that captured a moment, I stopped looking and started writing this narrative, instead.
And in the writing, I found a little clarity. The advice I would give another artist in this situation applies to myself as well.
Paint what you like. Stop worrying about the marketing, the likes and shares, the sales, the prints, the licensing, the niche, the pressure, the noise. Stop anticipating and giving in to the critics, real or imaginary.
If you’re creative for a living, the business stuff is important, no denying it. You can’t wing it and pretend that money is just going to flow to you. You must think like a business owner, treat it like a job, and remember this is how you pay your bills.
But not all the time. Otherwise, what’s the point of being an artist for a living?
I went back to the archives with a different goal, to paint something for me. If other people like it, great. If not, I’ll paint something for them next time.
Once I got past all the critical voices in my head, I really enjoyed this piece. I immersed myself in the long hairs in his mane, the short hairs on his muzzle, the dark shadows that defined the larger shapes, the warm colours in the fur, the bright highlights, and that contented smile on his face, which put a smile on mine.
Sure, I’ve painted lions before.
I’ll paint lions again.
That’s OK, because each will be different than the last. And all will be time well spent.
© Patrick LaMontagne
Follow me on Instagram @LaMontagneArt
Whenever he’s frustrated or facing a difficult choice for which there is no clear answer, my buddy Jim has a saying.
“Heavy sigh, mixed emotion.”
Such is life under the umbrella of COVID-19.
Every cartoon I’ve done for quite some time has revolved around one topic, so I went back and counted them. I drew my first coronavirus cartoon on January 25th. Other topics on which I was doodling that week included the Australia fires, the weather, Ontario teachers’ strike, and the Conservative Party leadership race.
From then on, the frequency of cartoons on the virus has increased so that now, every other topic orbits around it. The only deviation in the past month has been the two cartoons I did on the Nova Scotia shooting, definitely not a welcome diversion.
How many cartoons have I drawn on this wonderful little virus that changed the world forever?
At the best of times, I keep a running list of ideas for cartoons. When I come up with a Thanksgiving cartoon idea in May, I simply write it down for later. I’ve kept that list for many years on Dropbox, able to access it from all of my devices.
That Word file is currently nine pages long, with over two hundred ideas on it. About forty of them are for the coronavirus. Scanning the others, they now seem like they belong in a parallel world in which we no longer live.
Cartoons about summer vacations, Halloween, Christmas, politics, they don’t make sense anymore because when I wrote them down, there was no allowance for today’s Coronaclimate. Many of the ideas can be re-written to allow for the ever present shadow of the virus, but some about life as we used to know it will just be discarded.
They no longer apply.
This mask situation has been incredibly frustrating.
First, thanks to so many of you who replied to last Saturday’s newsletter update about the delay. Your support and patience is appreciated. It seems I’m holding myself more responsible for this than most of you are.
They’re not shipping this week, but hoping for next week. I could write another long post about why, but it’s simply different shades of the same problem. Shipping delays and the logistics of doing business in the time of COVID.
I have a customer in Illinois still waiting on coasters I shipped at the beginning of the month. Tracking shows they’re ‘in transit’, two weeks after the expected delivery date. Thankfully he’s willing to wait.
Expediency? Not a chance.
I’m seeing plenty of online stores and retail outlets switching their focus to masks in the past week and it compounded my own frustration at not having my own yet, until I looked closer at those other offers. Almost all of the ones I saw were pre-orders or listed as back-ordered. Nobody else seems to have them ready to ship, either.
It seems like the only masks you’re guaranteed to get quickly right now are the ones you make yourself. From what I’ve read, even those ambitious creatives with sewing skills are overwhelmed by orders they can’t fill for their friends and neighbours.
Costco announced yesterday that everybody entering their stores must wear masks. Wal-Mart had already done that for many of their locations and it would appear that we’re going to be wearing these for a long time while we try to re-emerge into a reasonable facsimile of our former economy.
So all I can ask (again) is for your patience. As soon as I have them, I will let you know and I will get them in the mail or deliver them to you as quickly as I can.
I am still working on a new painting, hoping to have it completed this weekend. I’ll look forward to sharing it with you when it’s done. Hint, it’s a large African cat, one I haven’t painted before.
Speaking of big cats, a customer ordered a print from me last week, a 32”X32” canvas of my recent ‘Sire’ painting.
That big painting of a lion has become of one of my favorites, so I was pleased with the order. I came very close to grabbing one for myself at the same time, but with an uncertain financial future, I’m deferring my own purchase until later.
ABL Imaging in Calgary prints my canvas and thankfully they’re still open and working. Even though it wasn’t required, they did a quick turnaround of this piece. Usually, I’d drive into Calgary to get these orders and combine the trip with other errands, but it should be obvious why I didn’t. A courier delivered it yesterday and I was thrilled with how it turned out.
Sometime down the road, I will definitely be getting one of these for my office.
One of the most nerve-wracking parts of a new canvas is signing it. Paint pens are great most of the time, but early in my career, I ruined a couple of canvases when the paint either spurted from the pen or simply decided to stop, then start, then stop…mid-signature.
These days, I do a bunch of test signings, cross my fingers, hold my breath and sign as quickly as possible. A 32”X32” canvas, the largest I’ve ever printed, is expensive. Had I ruined it while signing it, I guess that would have been the one for my office.
I’m hoping it’s not a windy day when I throw it at him from six feet away.
Fingers crossed that my next post will include a photo of a big pile of masks, telling you they’re on the way.
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.
At one time, I experimented quite a bit with painting on the original iPad. When it would no longer support new updates, I replaced it with the iPad Mini with Retina Display, which is a horrible name, so it’s now just referred to as the iPad Mini 2.
Having tried a number of apps over the years and more than a few styli, I finally settled on the combo I liked best, which was the procreate app and the Wacom Intuos Creative Stylus 2, another unwieldy moniker. So, let’s just call it the ICS2.
While you’d be hard pressed to hear me say anything negative about Wacom’s Intuos tablets or Cintiq displays, the ICS2 has had some issues. Complaints of poor tracking and cursor alignment aren’t hard to find. It works well with some apps, not with others. I’ll simply say that there are plenty of people unhappy with the stylus, especially if they have the full-sized iPad 2.
I haven’t done much iPad painting lately because I’ve been busy working. In my home office, I have Wacom’s Cintiq 24HD display and when I want to draw elsewhere in the house, I have the more portable 13HD display. With these two professional options and my constant deadlines, drawing on the iPad hasn’t been a priority.
Recently, however, I stopped by the Apple store in Calgary and took the new iPad Pro and Apple Pencil for a test drive. A little later, I found myself in the Microsoft store comparing it to the Surface Pro 4.
I quite liked the iPad Pro and Pencil, easily the best stylus I’ve ever used on a device. It felt fine in my hand, had a contact feel I liked, was flawless in its accuracy and I wanted to use it more. While I didn’t get to try it with procreate on the store model, the sketch program they had on the tablet was good enough. I didn’t really like the Surface Pro drawing experience, but many people do.
My desktop computer is robust, I’ve got a powerful laptop, the Wacom displays I mentioned and an iPad Mini 2. I currently can’t justify buying an iPad Pro. It’s quite expensive and so is the pencil. It’s a want, not a need.
Playing around with it, though, got me itching to try some more iPad painting with the device and stylus I do have. This lion is the result.
At first, having not used procreate in quite some time; I was still having some issues with accuracy. I had to paint while holding the iPad in portrait mode. Whenever I tried to paint in landscape mode, the registration would be off. The same thing happens with Autodesk’s Sketchbook Mobile, another impressive app. From what I’ve read, it seems to be a flaw in the ICS2 software or hardware, not playing nice with third party apps. It’s frustrating.
Not one to easily give up, I started going through the settings again and found the Writing Style options. By trying different ones, I found the right setting for me and the accuracy came back! Painting this lion suddenly became a lot more fun when I didn’t have to fight the technology.
The procreate app not only comes with an excellent selection of brushes for many different art styles, but their brush engine is quite good. I’ve always been one to design my own brushes, especially for hair, and procreate allows me to do that. It involves just as much trial and error experimentation as Photoshop brush design does, but by continually tweaking, I managed some pretty impressive results.
The downside of painting on the iPad…
Palm rejection does not seem to be flawless on any device with any stylus. I rest my hand on the screen when I draw and paint. Had I gone to art school or been professionally trained, they would have broken me of that, no doubt. The problem is that the device registers the palm/heel touch as an intentional brush stroke on many devices/apps so you end up with digital smudges and poor pen strokes from the stylus because the app is trying to interpret two points of contact.
My workaround is that I bought a pair of glove inserts, cut the index, middle, and thumb from it. This allows me to still use the touch features, but rest my hand on the screen without a problem. Fair warning, a very thin costume glove won’t work. The iPad will still sense the contact of your palm or heel of your hand.
The second thing is that whenever I paint on the iPad, I have the display brightness set in the middle of the slider or lower. My Cintiq displays are set quite low as well, both the display brightness and backlight. It’s just easier on my eyes, especially since I can spend many hours in a day in front of a screen.
As a consequence, I usually have to do some colour and light adjustments to anything I paint on the iPad, or it will look far too dark when it’s done. For this, I use Snapseed and the relatively new Photoshop Fix, which are both quality image editing apps.
Even still, when this was as close to done as I could get it; I opened it in Photoshop on my desktop and did a couple more small lighting adjustments. All of the painting, however, was done on the iPad.
So, what’s the verdict?
It’s unlikely I’m going to be doing a lot more iPad painting with the tools I’ve got. It took longer to paint this than it would have on my professional displays and the result is not as nice or detailed as that which would have been achieved had I painted it all on my desktop or laptop.
Would that change if I bought an iPad Pro and Apple Pencil? I don’t know, but honestly, I kind of doubt it, even with the larger surface area to work with. I would still like to spend more time with it, though. In all things, however, it pays to experiment, especially with art. You never know until you try and this was worth doing, just for the experience.
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At the end of May, I had the opportunity to spend some time with a couple of lion cubs at Discovery Wildlife Park in Innisfail. It’s a wonderful place I’d driven by on many an occasion but had never made the time to stop in.
I’m wary of supporting zoos if they don’t have a mandate or reputation for existing for the right reasons and for treating the animals well, so I did a little research before attending. I was pleased with what I found out and if you’re curious, I’d encourage you to visit their site to read a little about the work they do.
I’ve been fortunate to enjoy the generosity of many of my photographer friends who’ve been willing to let me use their images for reference on a number of my paintings. Some of my most popular pieces wouldn’t have been possible without their assistance. In other cases, I’ve purchased stock photos online. The common thread in both of those options is trying to find the right photos to work with that will get me close to the vision I see in my head. Often, I find that even though the photos might be excellent, I’m working with what I’ve got and have to settle a little. This should in no way be seen as a criticism of the photographs, just a missing element, namely my own experience with the animal I’m painting.
In recent years, I’ve been taking my own reference pics and that has quickly become the preferred option. Having won a high end camera along with my Best in Show Award at Photoshop World last year, I’ve been working to become a better photographer. Between that camera and the one I already had, each with their own uses, more and more often I’m using my own reference pics for paintings.
Discovery Wildlife Park offers behind-the-scenes experiences with some of their animals, under the vigilant supervision of their keepers. This year, with the arrival of two lion cub siblings, they offered an opportunity for very small groups of people to get up close and personal with the cubs, for an additional fee, as would be expected. This will only last as long as the cubs are enjoying it and while they’re small enough that it doesn’t expose guests to any risk.
Two trainers, two other guests and I were brought into an area outside of the cubs’ main enclosure, but still in a controlled area. The two cubs were each brought out on a leash by a trainer. Initially, the female, Zendaya, the subject of this painting, didn’t seem to want to come out and be sociable and they had told us earlier that it was up to the cubs. If they didn’t feel like participating, they wouldn’t be forced. I quite liked that.
Griffin, the boy, seemed to love the attention and exploring outside of his enclosure. He was also clearly enjoying the physical interaction with the keeper and there was an obvious bond there. When Zendaya finally decided she was missing out on her brother’s fun, she wanted to come out as well and was just as affectionate with her keeper.
We had plenty of opportunity to ask questions and for much of the time; I was within arm’s reach of either cub. When the keeper felt that one of the cubs was relaxed enough, we were allowed to touch them, specifically told to keep our hands away from their heads as they didn’t know us. I was allowed to take plenty of pictures and the whole experience was a real thrill.
When I got home, I had so many great shots to choose from, I knew I was going to paint one of the cubs and will very likely paint the other in the near future. I’m also planning to return to the Park very soon to get some more photos of the other animals for similar painting reference. They have a very cooperative beaver there that I’m dying to get some good shots of as I’ve wanted to paint one for a while.
I had initially intended this first lion cub piece to be more of a sketch painting, but the more I worked on it, the less I wanted to stop, so I carried it through to a completion. I’m very happy with the result and I’m looking forward to seeing it on canvas.
This was my first painting done with the recent upgrade of Photoshop CC 2015 and it worked flawlessly. As usual, no photos or textures are used in the actual painting, just for reference. Everything is brush work, using both the Wacom Cintiq 13HD and the Cintiq 24HD displays.
Thanks for reading.
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