If you’re wondering why you haven’t seen any new paintings in the most recent posts, it’s because I’m having trouble focusing on that. I did get up at my usual 5 am with the intention of painting this morning. I’m in the early stages of a little Corgi right now, but not making any headway. Instead of painting, I ended up surfing apocalypse news stories, brainstorming cartoon ideas for the only topic in town, and fretting over finances.
I’m sure that most people are doing the same thing, minus the cartoon idea part. That’s pretty specific to my profession.
This kind of ruminating and brow-furrowing is unproductive, bad for business and even worse for mental health.
How many of you are sleeping well right now?
Don’t answer that.
One thing that will come out of this, for the businesses that survive it, will be some interesting innovation, born of desperation. Many are trying to come up with new ways of making money to stay afloat, some I’ve seen are rather clever. And I think when this is over, a lot more people will continue to work from home, for companies that find it benefits their bottom line.
While they haven’t announced it yet, much to the growing impatience of vendors and attendees, the Calgary Expo is undoubtedly a wash this year. There’s no way this will be over in a month, at least not to the point where 90,000 people are going to want to get together in extremely close quarters. If you’ve ever been to a convention that size, social distancing is impossible. All the hand sanitizer in the world won’t help you in that Petri dish.
Since I’ve got plenty of stock right now, I’m going to assess my options and hope to have some specials and deals to announce in the next few days. I know extra funds are in short supply right now, but there might be something enticing for you.
As a recent customer said in the memo section of his order, “I’ve got to have something to look at while in quarantine.”
In the meantime, I wrote another post for Wacom this week, 9 Tips for Working at Home for Artists. Even if you’re not an artist, give it a look, especially if your work and home are suddenly the same things. Hopefully, I’ll find my painting mojo soon, but it ain’t happening today. I’m probably going to tidy my office and do inventory.
Hope you’re all well and making what you can out of this overabundance of uncertainty.
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.
Here’s a new painting, a Ring-tailed Lemur just finished this morning.
Wacom sent me their new Wacom One display to take for a test drive and to record a video for them. The video has an inspirational theme, rather than a technical one. I’ve written the script, recorded the video, but now I need a few days to edit all of the footage and record the audio, especially since I have my cartoon deadlines as well. It’s a lot of work to take a painting that took about 15 hours and compress it into a 3 or 4 minute video so people won’t get bored.
Seriously, I love painting hair and fur, but it would be effective torture to make me watch many hours of somebody else doing it.
Initially supposed to be more of a cartoony creation, I wanted to see what kind of advances Wacom had made in their display technology, so I painted with it instead. The Wacom One is being marketed as an entry-level display, but I enjoyed working with it and didn’t feel hobbled at all.
I’ll have a more technical evaluation post a little later, but for those of you who just like looking at my funny looking animal paintings, I’ll save those details.
The Ring-tailed Lemurs at the Calgary Zoo are fun to watch, and the Land of Lemurs is an immersive experience. Their enclosure allows them to freely roam where they like and it’s the people who are restricted in the center, but with no barrier. With zoo staff on hand to make sure people follow the rules, the open-air concept allows for some great photo opportunities.
I’ve taken many shots of these critters and plan to paint a group of them together as they like to huddle in a ball. All of the expressive faces peeking out is quite comical. While going through my photo reference, however, I came across the image above. She’s a female, as are all of the ring-tailed lemurs at the zoo (or were at the time of this photo), and I liked what I saw. I even loved the blue sky background, and saw no need to change it. I don’t know if she really has a bad attitude, but part of the reason I paint the personalities I do is that I actually see that in the photo reference I take. The painting definitely looks male, however.
This was a lot of fun. I know I say that about many of my paintings, but I’d put this painting experience in the Top 3. Many of my paintings could be labelled cute, but this one borders on psychotic, which is probably why I liked it so much. Those crazy eyes suggest a critter that isn’t quite all there.
As my friend Pam at Wacom said this morning on Instagram, “He looks like an evil ringleader.”
So while I don’t know if it’s the kind of image that will be popular on a print or licensed product, some of my best images were ones I did for myself. I never expected my cantankerous Ostrich image to be popular and that one has developed a strange cult following I don’t fully understand.
I worked a very long day on Sunday drawing three editorial cartoons so that I could spend all day yesterday putting the final hours in on this piece. I could have finished it last night, but I erred on the side of patience and decided to sleep on it. When I opened the image this morning, I laughed out loud. It’s such a ridiculous expression. Another hour on the fine hairs, tweaks here and there, tunes cranked in the earbuds, and I’m glad I waited. It was a great way to start my day.
My fuel gauge approaches empty when December rolls around, so I spend it in hermit mode, a little more than usual. We attend Shonna’s office Christmas party, but that’s about it because I don’t have the energy to play the festive role. Celebrating Christmas seems like one more obligation, so I opt out.
In the days between Christmas and New Year’s Day, however, I do get reflective in my seasonal melancholy. I spent some time last week going through the 2019 blog posts to remind myself of the year that was.
In February, I checked out of social media entirely but then went back to Instagram a couple of months ago. I missed seeing art from those whose work I admire, but I’m still on the fence about that decision.
On the promotion and sales front, there were two significant developments this year.
The first was watching my work spread to many new places, thanks to the license with Pacific Music and Art. Seems a regular thing now for somebody to say they saw my stuff in a store in Oregon, or Alaska, all over B.C. and Alberta, not to mention the calendars and notepads in so many Save-On stores. I had lunch with a friend on Saturday, visiting from Vancouver Island and she said it’s strange walking by the gift store on Mt. Washington where she works, seeing a whole floor to ceiling corner of my art. It’s looking like 2020 will see more of that migration, but it’s my nature to be cautious. Those chickens ain’t hatched yet.
Secondly, the revival of my relationship with Wacom was a welcome surprise. With so many talented digital artists in the world to choose from, I enjoy the ego boost that comes with being a Wacom influencer. I’ve already agreed to another project with them shortly, but there’s a reason they make you sign a non-disclosure agreement. Must keep secrets.
I painted 11 finished funny looking animal pieces this past year, the latest one above. I called it ‘Sitting Pretty,’ and she’s based on a black bear named Angel, who lives at Discovery Wildlife Park. I’d like to have painted more critters, but I’ll always say that. If I had painted 15, well, it should have been 20.
While there’s something about each painting that I enjoy, if I had to pick a favourite from this year, it would be Snow Day with the three cougar cubs. That was the best of both worlds, a real challenge and a lot of fun. I should have prints of this one available soon. I painted a couple of dogs for fun, but no commission work this year until just recently. I’m not disappointed by that because I had plenty to do and wanted to focus on more images for licensing. The two dogs I’m currently painting in my whimsical style are for the same client, hoping to finish in a few weeks. They contacted me about the commissions after seeing my work in a BC Ferries terminal gift shop, a side bonus from my license with Pacific.
Two portraits of people this year, John Malkovich and Quint from Jaws, both of which I enjoyed a great deal. I’d always like to have more time for those, but wouldn’t we all like more time for the fun stuff? Taking into account all of the syndicated cartoons I did this year, plus the custom local ones I draw each week for the Rocky Mountain Outlook, I drew 419 editorial cartoons in 2019. That might be an annual record for me. I have mixed feelings about that. I wonder how many paintings I could have done with all of those hours.
As for the coming year, I’m not big on resolutions. Well, maybe just one. I intend to write a lot more. There’s undiscovered country there and I need to explore it.
There are other things I want to accomplish, both personal and professional, growth I’d like to achieve, and skills I’d like to learn. Try to keep moving forward, best I can, just like everybody else.
Of course, none of this would be possible were it not for those of you who follow and support my work, read my ramblings, and tolerate my eccentricities. We all have limited time and attention in this life, and I appreciate that you spend some of yours with me.
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.
Every so often, I like to record a high speed ‘how it’s made’ video for a cartoon or a painting. I’d love to do more of these, but they’re time consuming.
With the over-the-shoulder view, the kind most people want to see, I used my Canon DSLR on a tripod for the best result. The challenge is that it needs to be close enough to capture the pen on the display, but back far enough so that I don’t bump into it with my shoulder or chair.
I’ve been drawing on Wacom tablets and displays for almost twenty years, so a lot of it is muscle memory. I go through the motions without thinking about the technology. As any artist in any medium can attest, once you’ve been using them for any length of time, the tools become extensions of your hands and arms. You think about the image you’re creating, not about the tools you’re using.
When I record the process, however, the tools are front of mind, which means the cartoon or painting takes longer. There’s really no flow to it and the process feels clunky.
When I’m painting, I can go for an hour without thinking about much else. When recording, I have to stop the camera after about ten minutes. Software is hardly perfect and by recording multiple short segments, it wouldn’t matter too much if I lost one. If I recorded all of it at once, however, that one file becomes a lot more precious.
I don’t record every brush stroke because it would be incredibly boring. I record ten minutes, shut the camera off, draw or paint for ten or twenty more minutes, then record again. There needs to be a big enough change between segments to keep the viewer’s interest.
Once I have enough from the camera, then I’ll often record some screen capture. It’s no longer the display itself, but software in my computer recording what is happening on the screen. This doesn’t work all that well for painting detailed hair and fur because the cursor, brush and detail is so small, that it’s barely discernible to the viewer.
And again, incredibly boring.
Once I have all of the files recorded, from the camera and computer, I’ll bring them into my video editing software.
How I decided on the length of the video was the music I used as accompaniment. That isn’t always the case, but usual for cartoon videos. I can shorten visual segments, change the playback speed, and more easily mess with the footage than I can with the audio. This Christmas tune is around two minutes, which is a good length for a Youtube video, since our attention spans keep getting shorter.
I didn’t record the whole sketching process because I knew I’d have to mess about with the poses to get all three characters in, plus the talk bubbles. That’s why you can see my tracing over my own sketch. While that would no doubt be of interest to the beginner or student, not so much for the average viewer.
These videos, it’s all about compromise for content.
For those interested in the tech part, I draw almost exclusively in Photoshop on a Wacom Cintiq 24HD. This recording, however, was done on a Wacom Cintiq 16 display, as they sent me one in August. I put it through its paces while painting my White/Amur Tiger video.
It’s a nice display and I enjoy drawing with it, so that’s why I chose it again for this video.
For recording and editing, I use Camtasia Studio 8. It’s a simple interface that gives me what I need without complicating things. I’ve been using this software for many years and it gets the job done.
While this video added an extra few unpaid work hours to my Sunday morning, I created it to give my newspaper clients some added bonus content for their websites and social media feeds. In any business, you’ll rarely go wrong by offering added value from time to time.
As always, feel free to share it, along with any of my other work.
My friend Pam, who is the Database Marketing Manager at Wacom, posted a very nice blog post on the Wacom Community Page, featuring the video they had me do for them. She also shared the story of my tiger painting that went awry.
Funny, but Pam and I talked after the fact and both of us agreed that the strange twist with that painting actually made for a better story to tell in the video. Something I’ve learned over the years is that the stories behind the art are as interesting to folks as the art itself. That’s nice because not only are the stories about why I paint some of these critters important to me, but I enjoy telling them.
There’s a common term among creative types, that describes how sometimes your art or experience delivers a better result than what you had initially planned, from being forced to adapt to the unexpected. We call them happy accidents. I’ve had them happen while creating brushes, trying new painting techniques, program crashes that required creating handy shortcuts to deliver on deadline, and just like hindsight, you never quite realize what happened until you’ve had time to reflect. Some of those happy accidents became part of my process.
I’ve heard from a number of people this week who not only appreciated learning about the controversy surrounding white tigers, but also preferred the second painting over the first. Who knew?
It used to be that the happy afterglow of finishing a painting would last a day or two. These days, it’s usually a couple of hours, and then I’m thinking about the next piece.
On my latest white tiger painting, this piece felt ruined almost immediately after it was done. I found out some information about white tigers that changed everything about the painting.
The worst part was that I had recorded the process for Wacom. When you factor in camera setup, changing my office around, my painting routine, writing and recording the narration, editing, all of that work on the painting, plus the time on the video, it all seemed about to be wasted.
Thankfully, my friend Pam at Wacom is great to work with, is very supportive and has an open mind. I offered to do another painting from scratch, but we decided to turn the whole situation into a teaching moment about art, ethics, and wildlife conservation. Then my wife, Shonna offered a suggestion that allowed me to salvage the painting and turn it into something else.
The following video link not only shows my painting technique, the new Wacom Cintiq 16 display (which was a joy to work with) but explains the problem with white tigers and the solution that allowed me to save the painting.
On a recent trip to Discovery Wildlife Park, I got some really nice shots of Sheera, their resident Amur Tiger. She’s a beautiful senior cat, 17 years old and came to the park as a cub. Her Mom didn’t produce any milk where she was born, and since they didn’t have 24 hour care for her at the facility where she was born, Discovery Wildlife Park took her in.
These dedicated folks have spent countless sleepless nights caring for their orphans over the years. This is one of the reference pics I used. Isn’t she pretty?
I’ve already painted two tigers with the traditional orange, white and black look, one of which is a best seller, my Smiling Tiger painting. While I could just paint another one for my own enjoyment, I also wanted to add another image for print and licensing, so I opted to use Sheera as a reference, but paint her with white tiger colouring. It was a worthwhile challenge.
I’m pleased with how this turned out, and better still, I recorded the painting from start to finish at different stages for a video I’m doing for Wacom. This was painted entirely on the Wacom Cintiq 16 display. I did some colour and light adjustments on my Cintiq 24HD at the end because I know how it needs to look on that display for accurate printing. I was a little apprehensive making the commitment to painting it entirely on the new smaller display but it was a joy to work with. I would recommend the Cintiq 16 without hesitation or reservation. It’s a beautiful piece of hardware.
I’ll be spending the weekend editing the video and recording the narration. I’ll share that when Wacom does.
In the late nineties, when I first started to create art professionally, I had primarily drawn in pencil or pen on paper. Up until my first editorial cartoons for a local newspaper, I had never considered art as anything more than a hobby.
I had played around with some art on a computer from time to time, but only using a mouse. If you’ve never done that, it can be a rather frustrating experience, especially when you try to include any detail.
Digital drawing tablets were in their infancy, but I knew I wanted one. My ever-supportive parents bought me my first one as a gift. It was the first generation Wacom Intuos tablet, quite small, with a working surface of just 4 X 5 inches.
I thought it was one of the coolest things I ever owned. I’ve been drawing and painting on a computer ever since.
The technology was so new then, that you had to explain it to people. The worst part was that as soon as you said you worked on the computer, people figured that the computer was doing all of the work. It certainly didn’t help that one of the most popular and widespread pieces of art software on the planet was (and still is) Adobe Photoshop.
So not only was the computer doing all of the work, but all a digital artist was doing was changing a photo. I can’t count how many times I heard that stated with authority.
I’ve spent over half of my career explaining to people that digital drawing and painting is just as much of an art medium as oil, acrylic or watercolour. These days, the stigma surrounding digital art is largely gone and people realize that it’s more than just pushing a button or applying a filter. There are countless skilled artists around the world now creating digitally, each an ambassador for the medium.
One of the pillars of my two decade career has been that I’ve always worked on a Wacom tablet or display. They were the only name in digital art tools when I first started and they’ve remained the industry standard for quality and innovation. Whenever I’ve replaced one, it has been to take advantage of something new they’ve come up with that would make my work more enjoyable or efficient, never because it broke or stopped working.
I still have a backup Intuos 5 tablet in my closet; ready as a substitute should my Cintiq 24HD display ever stop working. It’s like an insurance policy, but one I never really expect to use. I would never want to be without a Wacom device.
Even today, with advances in mobile drawing technology, I only use my iPad Pro and Apple Pencil for practice pieces and sketches. All of my finished work is done on my Wacom Cintiq.
In 2010 at the Photoshop World Conference, my funny looking animal paintings were still pretty new and I was thrilled to win the Guru Award for the Illustration category AND the Best in Show Award. In a strange twist of fate that would change the course of my career, the emcee of the event, Larry Becker, misspoke and said that the top prize was a Wacom Cintiq 12wx display.
I was pretty excited about that since it was Wacom’s first crack at a portable drawing display on an actual screen.
When I went to the Wacom booth at the Expo to claim my prizes, I was told that the 12WX wasn’t actually one of them. I was disappointed but I understood that mistakes happen and wasn’t going to hold them to it. But Wacom being who they are and Larry Becker being a class act, they made good on the slip and sent me the display shortly after the conference.
As great as that was, however, the best part was that I met Pam Park.
In every career, there are people who show up to mentor, encourage and give you the right push or connections when you need it. I’ve been fortunate to have some great support over the years from some special people, without whom I believe my work and life would be significantly diminished.
I loathe the phrase, “it’s not personal, it’s just business,” because it’s most often a cop-out people use for bad behaviour.
We don’t really have relationships with companies; we have them with people, so it’s always personal.
From that first meeting with Pam at Photoshop World in 2010, I then became acquainted with two others at Wacom, Joe and Wes. Over the next five years, the three of them hired me to do webinars for them, inspirational videos for new products, blog posts and I even represented the company at a training seminar in Calgary in 2011.For one demo I did for them, the subject of the painting was Pam’s dog, Brisby, seen above.
On one visit to the Banff High School in 2014, to talk about and demonstrate digital art, Wacom generously donated a number of tablets to their new media program that I was thrilled to deliver personally. At Photoshop World, I would give presentations at their booth; one of those rare cases where doing it for the exposure was well worth my time. Being associated with Wacom has always been good for my career and professional credibility. As the saying goes, however, all good things must come to an end. At one point, they had wanted to hire me to come down to the Consumer Electronics Show in Las Vegas and work at their booth. Being Canadian, I realized I couldn’t go without a work visa and there just wasn’t time to get one. A few years ago, as my friends at Wacom moved to other positions and one left the company, the opportunities for me to work with them fell off.
A new person in marketing took things in a different direction and I had resigned myself to the fact that I’d had a great experience for quite a few years with Wacom, but that it had run its course with no hard feelings. It sure was fun while it lasted. The only regret was that I lost touch with those people who made it happen and who had such a positive impact on my career.
Then out of the blue a couple of weeks ago, I got a personal email from Pam, checking in to say Hi. It was great to hear from her and in the course of catching up, she mentioned that she was back in a marketing and promotional position with Wacom and if I ever wanted to work with them again, they’d be happy to have me.
I had to give that some serious thought, for about a millisecond.
Considering the wealth of talent they have representing their products these days, it was a real honour to be asked once again to add my voice to the chorus.
After some back and forth catching up, Pam told me she was sending me the new Wacom Cintiq 16. I’ll be putting it through its paces, doing some painting on it and recording some videos for Wacom, the first of who knows how many in the near future. It’ll be a nice replacement for my Cintiq 13HD, which for the record, still works just fine.
The Cintiq 16 arrived by UPS before I was finished writing this post, and I realized that the feeling of receiving a new piece of Wacom tech, it just never gets old. In fact, I’m probably more excited about this display than I was at receiving my very first tablet twenty years ago.