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This Was Never About the Bear

You can watch and listen above, or read the piece below.

As I write this, I’ve just turned 55.

I’ve got a strange relationship with birthdays, especially in recent years. I’ve never been that big on them. They’ve often felt more like an obligation than a celebration, something I’m expected to enjoy for other people.

Twice a year, I experience a certain flavour of melancholy. New Year’s is one, my birthday is another. It starts a few weeks out, taking stock of where I’m at and feeling like I haven’t done what I meant to in the year that’s passed.

Which is a bit ridiculous, because if I try to name what I actually wanted to do, it’s a mix of specific things, like finishing my bear book or getting out for more wildlife experiences, and vague ones, like doing less doomscrolling, painting more, and yes, making more money.

I’ve never claimed to be above that.

Money may not buy happiness, but it does offer security.

In the months between New Year’s and my birthday this year, I’ve been taking more stock than usual. Not because I want to slow down. I don’t. Time off isn’t good for me. An overactive creative mind left idle tends to wander into places I’d rather it didn’t.

But I’ve become acutely aware that 40 doesn’t feel that long ago. And yet, it’s the same distance between then and now as it is between now and 70.

That lands differently.

I still have a lot of work I want to do. I don’t think I’ve done my best work yet. I’m still improving. I’ve spent most of my art career agreeing with those grade school teachers who wrote the same thing in my report cards. Patrick isn’t living up to his potential.

Those demons are always around. I don’t mind calling them what they are, my own particular brand of batshit crazy, but I’ve come to accept they’re tied to the same place the work comes from.

That’s the trade.

Physically, I’m in decent shape. A few more aches, worse sleep, more bad dreams, a little less tolerance for things I used to shrug off. Nothing alarming. But I’m not naive about where I am on the timeline.

I’m seeing more obituaries for people my age. Some younger. People I’ve known, or at least known of, for years. Heart attacks. Cancer. Strokes. Plans that didn’t get finished.

Didn’t they all think they had more time?

I don’t fear death itself. But I do think about the stretch between now and then more than I used to. I have an acute awareness that the runway isn’t endless.

So what does that have to do with art and funny looking animals?

My start in this career wasn’t early. I didn’t even consider doing this for a living until my late 20s. I’ve been full-time for twenty years now, and for most of that time, I’ve felt like I’ve been trying to catch up.

To who, I couldn’t tell you.

A lot has gone right, some of it by design, some by accident. I never got an editorial cartoonist contract with a daily newspaper, something I really wanted in the early 2000s. In hindsight, I’m grateful for that. Staying self-syndicated meant I still have that part of my business, long after most of those staff jobs disappeared.

Nobody is more surprised than I am that I’m still drawing editorial cartoons every day.

In those early years, I threw a lot at the wall. Some of it stuck, most of it didn’t. Or at least that’s how it felt at the time.

I spent years drawing caricatures of celebrities and regular folks, taking commissions for birthdays and weddings. I did contract illustration work for board games, everything from game cards to box art. I even went down the animation rabbit hole for a while, learning software, recording voiceovers, trying to figure out if that was a direction worth pursuing.

Even though it wasn’t, none of that time was wasted. Every one of those detours built skills I still use.

And one of those experiments became the work I enjoy most, my whimsical wildlife portraits. I painted the first one in 2009 with no real plan. It was just fun, so I did another. Now there are well over a hundred, plus all the sketches and half-finished ideas sitting in folders.

That part worked out.

But something has shifted this year. Maybe it’s the number. Maybe it’s just time doing what time does. Either way, the question feels louder now.

How many more years do I get to do this?

I’m not being dramatic, I’m being practical.

I don’t need a big deal made about my birthday. It matters to me for reflection, but I don’t want it to be a social thing anymore.

A couple of years ago, I rented a cabin for my birthday and went there by myself, just to think.

And it didn’t work.

Because there were the birthday texts. Emails. Phone calls. All well-intentioned. People reaching out because they care. And I answered.

Which pulled me out of it.

That’s when it hit me that it’s not just about wanting the time. It’s about protecting it.

For most of my career, I’ve spent more time running the business than doing the work. Marketing, promotion, logistics, all necessary parts of the job, but they come at a cost.

Time.

And I’ve given too much of it away.

To projects I didn’t really want to take on. To requests I said yes to just to be polite. To things that had nothing to do with the work I actually care about.

I’ve let other people’s agendas, criticisms, and priorities dictate my direction, even when I knew better. I went along to get along. And I regret that.

I can’t afford that anymore.

These days, it’s a polite no.

Because they’re not minting more time.

Even writing this, I caught myself wondering if it sounds too dark. If I should lighten it up, because people just want happy animals and not my voice in their ear going on about this stuff.

But honestly, who am I to decide what people want?

Before I painted my first whimsical grizzly bear, nobody was asking for it. It connected with some people who were already following my work, and then more people came along who liked my brand of wildlife painting, too.

With less time ahead than behind, I don’t have the luxury of trying to be everything to everyone.

The people who like the work, the funny looking faces and the writing that goes with it, will stick around.

Those who don’t will find what they’re after somewhere else. No hard feelings.

We’re all living on borrowed time.

I’d like to spend more of mine on the things that make it bearable.

Gentle Grizzly


 

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Remember When This Was Fun?

Yeah, it’s been one of those weeks. But it came with a weird benefit.

One of the hardest parts of recording YouTube videos these past few months has been getting over perfectionism. I’ve watched too many “how-to” videos about lighting, audio, editing software, production values, storytelling, countless unimportant details that only served to keep me from hitting record and publish sooner than I finally did.

Sometimes it feels like YouTube is a cult, all serving the Great and Powerful Algorithm. Then again, that pretty much applies to all online life.

It gets exhausting.

But since I was already there, standing in the kitchen with a pile of prints I needed to sign and package, I threw my phone on a tripod, clipped on the wireless mic, and just talked. Regular kitchen lights, no script, no plan, only a little more organized than a rant.

You’ll see plenty of hard cuts because the original video was almost three times as long before I sliced and diced it with abandon. I came very close to deleting the whole thing, but ultimately decided it was worth sharing.

If you’re an artist thinking you might want to turn it into a business, and you can’t imagine doing anything else with your life, there will be days when you wonder if you’d have been better off not doing so.

Regardless, I didn’t have the energy to obsess over perfection this week. No music, no B-roll, no intro. Just whatever was left in the tank. Here’s the video.

 

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From My First Wacom to the MovinkPad 11

It seems funny now to think back to my first little 4”×5” Wacom Intuos tablet in the ’90s. The first drawing software I used with it was a great little program called Painter Classic, and I only used it because it came with the tablet. I am not a hoarder, so I recycled it a while back, but took some photos for the memories.
Eventually, I got Photoshop and have been shackled to Adobe’s subscription model ever since. Remember when we were allowed to buy stuff, instead of renting it forever? Yeah, it’s a sore spot.

While software and hardware have come and gone in my decades-long career, I’ve always drawn on a Wacom tablet or display. I started upgrading Intuos models as they came out, but at some point, I set my sights on an early Wacom Cintiq.

For those unfamiliar, the Intuos tablets are pressure-sensitive drawing surfaces connected to your computer, mapped to your screen. You draw on the tablet while looking at your monitor. It sounds awkward, but it isn’t.

You don’t stare at your mouse when you use it. Same concept. 

Plenty of pros still create amazing work that way. I keep a spare in my office and could probably still do my full level of detail on it. I should test that claim one day.

But I wanted a Cintiq, a display on which I could draw directly on the screen. I’d seen them in art magazines and behind-the-scenes features about movie concept artists.

At Photoshop World in Las Vegas in 2010, I was thrilled to win the Guru Award for Illustration and Best in Show. When they announced the prizes, they said I’d won a Wacom Cintiq 12WX display, a smaller version of the large one I use now. So, I went to their booth on the trade show floor, eager to pick it up, and that’s when I met Pam.

It turned out the prize was actually a tablet, not a display. The announcer misspoke. Hey, mistakes happen, and I didn’t want to make a scene. But Pam told me she’d see what she could do, and the next morning, they said they’d honour the announcement.

That’s how I got my first Cintiq, because Pam made it happen.
Over the past 15 years, I’ve had several chances to work with Pam and Wacom. I’ve done demos at Photoshop World, been part of webinars, and recorded videos for new products. Once, Wacom even hired me to demo their gear at a packed event in Calgary. I remember opening a shipment of their displays and thinking, “What have I gotten myself into?”

In 2014, I gave a talk at the Banff high school about editorial cartooning and digital painting, and Pam supplied several Intuos tablets for me to donate to the school.

So yes, I’m loyal to the Wacom brand, but mostly to Pam. She’s been the constant, and has always been great to work with. When the right opportunities come up, ones I’m suited for, she still reaches out, and sometimes, new gear comes with the work. To the guy who bought his first tablet in 1998, that would have seemed surreal.

My loyalty to the products comes from experience. Wacom devices are built to last. In a world full of planned obsolescence, my Cintiq 24HD display has been on my desk since 2012. It’s massive, solid, and still does its job for me every day. Pam now calls it a dinosaur. She’s not wrong, as they’ve had several updated models since, but I love it like someone loves an old car. Here it is when brand new, 13 years ago, along with my Otter in progress, still one of my bestselling paintings. Wait…is that a Blackberry?!

Last month, Pam asked if I’d do a video about their new Wacom MovinkPad 11. I’d already seen a positive review from another artist, so it was an easy yes. We worked out the details, and I was pleased I’d get to keep it. Sometimes that’s not how it works with demo products. She even included a case, which I would highly recommend as it functions as a little stand and pen holder, too. 

Wacom will share the video I created a little later, but it’s already up on my channel, with permission of course. Rather than repeat what I said in the video, I’ll let you watch it.

But I’ll say this much: I didn’t sugarcoat it. This is the best mobile sketching display I’ve ever used, and yes, better than my iPad Pro. If I’d had to return it, I would’ve asked to buy it. They now have a larger MovinkPad Pro 14, but I honestly don’t feel like I’m missing anything. While the pro specs are impressive, I’m not as on-the-go as some people and don’t need something that powerful. This is the one I would buy, and it’s absolutely the tablet I wish I’d had more than 25 years ago when I was learning to draw and paint digitally.

Full disclosure: I was compensated for the video, and the sponsorship is clearly stated on my YouTube channel. But aside from some technical stuff, Pam gave me full creative freedom on the two variations of the video I recorded. This post, however, is mine, and it’s from the heart.

When politics, the news, and the noise of the world get to me, as it too often does, painting fur, feathers, and the little dimples on a critter’s nose is often the antidote. I’m at my very best when I’m drawing on a screen.

Enjoy the video.

Cheers,
Patrick

 

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Snowy Owl Painting and Video

I finished this Snowy Owl painting last week, just in time to add it to my lineup for the Banff Christmas Market. The first metal prints arrived yesterday and the poster prints will be here tomorrow.

Normally, I release new pieces soon after finishing them. This one took a little longer because I recorded the painting process, then spent another week writing the story, recording narration, and editing the footage.

I’ve been working on Wacom tablets since the late ’90s, and my current Cintiq 24HD has been with me since 2014. It still runs every day without complaint and gets me where I want to go. But for this piece, I used my newer Wacom Cintiq 16 with my laptop. It’s smaller, but I enjoy working on it, and the tabletop setup makes it easier to record.

Each video I make gets a little smoother. The workflow feels more natural, I’m learning to work with the quirks of the new editing software, and it’s far less frustrating than a few months ago. I especially enjoyed shaping the narrative for this one, weaving in photos, and talking about the Alberta Birds of Prey Centre.

I didn’t make it down there this year, too many projects kept pushing it off until their season was over. Hopefully, I’ll make it a priority next spring.

In the meantime, I hope you enjoy the new painting and the video that goes with it.

Cheers,
Patrick

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Cat Commission Challenge

When I was working on my most recent three-cat commission, I set out to record the full process. Every painting takes a significant investment of time and energy, but adding a camera, lights, narration, and audio piles on extra work. That part will get easier the more I do it, but I’m still refining my workflow for creating regular videos.

With each one, I learn a little more, cut down on frustrations in editing, and enjoy the process more.

In this video, I share the early sketch work, talk through the messy middle, and explain why commissions carry a different kind of pressure than painting for myself.

Thanks for watching.

Cheers,
Patrick

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When the Work Gets Heavy, Paint Something Light

I’ve been working on a commission of three cats, and it’s coming along well. The client has provided some valuable feedback on the images I’ve shared so far. I’ve also recorded a bunch of the process, written the video narrative, and I’m still working on that video and the painting itself.

Usually, I sit down, open a Spotify playlist, and start painting. When I’m recording a painting, however, I need to position the camera above my display, adjust the lighting so the viewer can see my hand, record for five or six minutes, move the camera away, paint some more, and then record another segment a half hour or so later. It can take me out of the groove of painting because I’m thinking about something else rather than getting lost in the work.

Once I finish recording, I need to export the files to an external hard drive, format them for ease of use, and bring them into my editing software. I then speed up the footage to prevent the viewer from getting bored. Next, I will record a ‘talking head’ portion, write the narrative to go along with it, possibly source and add some music. It involves several hours of technical work in addition to the painting.

Now, as I become more proficient, that process will become smoother and take less time. However, it’s a bit clunky right now. I don’t have a workflow yet. But I’m getting there.

Lately, I’ve been feeling a bit trapped by the work-for-hire stuff—both the editorial cartoons and the commissions.  Don’t get me wrong, I’m grateful that I am able to make a living in a profession that often pairs the word starving with artist. But sometimes I need to remind myself of the reason I got into this in the first place, for the love of drawing.

So, I took a reset break and painted something just for fun.
I based this little fawn on reference I shot at Discovery Wildlife Park about three years ago. It’s still rough around the edges. I could add more detail and background, but for now, I’ll leave it and return to the commission.

Whenever I’m deep into one of these big paintings and hit a point where I’m not feeling it, it usually means it’s time to step away. A few days’ break lets me come back with fresh eyes, and I can see what’s missing. That pause-and-return approach has worked for almost every painting I’ve ever done.

This little one would make a cute vinyl sticker as-is, and I’ll likely add it to my new releases before the Banff Christmas Market. And who knows—after some time away from it, I may return with new inspiration to add more detail, a background and turn it into a print.

As always, I’d love to hear your thoughts. Feel free to share them in the comments.

Cheers,
Patrick

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A Big Ol’ Brown Bear: 2 minute time-lapse

With a fun bit of music to go with it, here’s a grizzly bear from sketch to finish in under two minutes, painted in Photoshop on my trusty Wacom Cintiq 24HD. Enjoy!

And if you just want to see the finished bear, here it is.

Cheers,
Patrick


________

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Wilder Reflections

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.

Cheers,
Patrick

 

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A Christmas Bear

Whenever there was a turning point in an 80s movie, you could expect a music montage. Whether it was rebuilding a classic car, a group of rebellious teens learning to dance, or the karate tournament advancing to the final match, an upbeat song helped the story jump through time without making the viewer watch all the actual hard work.

Did you really want to see the protagonist standing in line at the auto parts store to get an air filter for the ’67 Camaro he’s restoring?

It often takes many days or weeks to complete one of my whimsical wildlife pieces, and I enjoy most of it. Drinking hot black coffee, tunes in my earbuds, I’m quite content to spend hours at a time painting tiny little hairs on a wolf’s muzzle or adding texture detail so the sea turtle’s skin looks real.

But if you were watching this work over my shoulder, I guarantee you would be bored out of your mind.

My buddy Derek is one of the most incredible tattoo artists you’ll ever see. When I hang out at the shop, I’ll often lean over his shoulder to watch. His linework is ridiculously precise, and I’m fascinated at the silky-smooth colour gradients he achieves with a tattoo machine. But eventually, it gets boring. He’ll often have clients that sit for hours all day for three days straight.

I just want to see some of the work in progress and the finished piece.

I’ve been creating time-lapse videos off and on for many years, and even though they can add hours of extra work to a painting, they’re fun to put together.

Sometimes I’ll record a voiceover, something inspirational for other artists, or relevant thoughts on the piece. Over the years, I’ve done a few of those for Wacom, the company that makes the tablets and displays I’ve been using since the late 90s. While I still love their products and will continue to recommend them, the best days of that working relationship are likely behind me now.

Most corporations are still chasing the likes and shares on social media, whereas I am not. I have no designs on becoming an Instagram influencer. I’d rather spend that time creating more art.

The time-lapse videos I enjoy most are the short ones with a musical accompaniment. These days I have a monthly subscription to Epidemic Sound, and it allows me to find the right track to go with a painting, regardless of the mood I’m trying to set.

I record the first part of the video over my left shoulder with my DSLR camera. I must keep in mind that the camera is beside me on the tripod, careful not to bump it. Because I’m recording a digital screen with a digital capture device, it also creates lighting problems.

Movies and TV shows will often add device and monitor screens after the fact in editing because it’s so difficult and time-consuming to record them with a camera.

But people like to see my hand holding the stylus, moving around the display.

For the rest of the video, I use Camtasia‘s screen capture software. I’ve been using it to record and edit since I created my DVDs ten years ago, and it works well.

But when I get down to the smallest of hairs in the painting, making subtle shading changes, and applying catchlights to the wet skin of the nose or around the eyes, it eventually becomes difficult for the viewer to follow the cursor.

And finally, our attention spans keep getting shorter. With slot machine scrolling on our phones, multiple tabs open on our desktops and pinging alerts going off all around us, holding somebody’s interest is a challenge.

I used to record four- or five-minute time-lapse videos, but most people won’t sit through those anymore, so I try to keep them under two minutes. Of course, it means there are significant jumps in the painting’s progress and detail, but it works.

People just want to see some of the work in progress and the finished piece.

Cheers,
Patrick

P.S. As always, feel free to share the video, with my thanks. That goes for anything else I post on this site as well.