“Cartoony but Real” Art of Patrick LaMontagne

Discover the creative journey of Patrick LaMontagne, a digital artist who brings animals to life with a signature style that’s both cartoonish and real. Read on to find out how his love of wildlife and the joy of connection shape every brushstroke.

Patrick, your signature style – expressive wildlife that’s “cartoony but real” – is instantly recognizable. How did it all begin?
Believe it or not, it started with a bear. That first grizzly I painted back in 2009 wasn’t supposed to look whimsical – I didn’t even think in those terms back then. But people responded to it. So I painted another. Then another. And somewhere along the way, it became the work I loved most.
The phrase “cartoony but real” actually came from viewers at shows. The first time I heard it, I thought, yeah, that fits. Then someone else said the exact same thing. So I figured – if that’s how people see it, why fight it?

Has living in the Bow Valley shaped your work?
Absolutely. That first grizzly bear was inspired by the wildlife here. We have them in our backyard. I love them – but I’m also a little scared of them. I don’t sleep well in a tent because of it.This place, the Canadian Rockies, is a constant source of inspiration. The animals, the light, the landscapes – it’s all right here.

What was it like seeing your work featured in the Happy Color app?
Honestly? At first, I was surprised. I looked at the app and thought, paint-by-numbers? People still do this? Then I tried it – and totally got it. It was relaxing and kind of addictive.
When the first Happy Color collection launched, I hadn’t even announced it yet – but my subscribers spotted it right away. They were excited… and a few were worried it was art theft. It wasn’t – and I loved getting to share that moment with them.
Seeing my animals in that format was a joy. I loved how the collection was presented. I even coloured most of them myself.

Let’s talk about joy. How does it play into your creative process?
I’d be lying if I said it’s always easy. Like a lot of artists, I’m my own worst critic. After hours alone with a painting, I start to focus on every flaw.
But then I share it. I see someone smile, or I get a heartfelt message. And suddenly, it’s not about perfection – it’s about connection. If my work made someone feel something, then I’ve done my job.

What’s your creative process like, from blank canvas to final touches?
I keep things simple – just a few brushes. I start with a sketch, lay down flat colours, then rough in light and shadow. From there, it’s all about refining. One trick I use constantly is flipping the canvas horizontally, along with my references. Artists have done it for centuries – it helps spot mistakes instantly. I swear by it.

You were creating digital art long before it became mainstream. How has that journey evolved for you?
I’ve never been a traditional artist in the classic sense. I didn’t study oils or watercolour. I just liked to doodle. My digital journey started in high school – pixel by pixel with a mouse on a Macintosh, just for fun. Then came my first Wacom tablet, bundled with Painter Classic. From that point on, I was hooked. Digital was my home.

How do you stay authentic in an AI-driven world?
These days, with AI and filters flooding the space, I often have to explain that my work isn’t AI-generated. That the computer doesn’t “make” it – I do. It’s frustrating sometimes, but it also motivates me to show more of my process. That’s one reason I’m focusing more on YouTube now.

How do you know when a painting is done – when the character is “alive”?
Ah, the eternal question. Leonardo da Vinci said, “A painting is never finished, only abandoned.” I get that. There’s always another hair or feather you could tweak.
But eventually, the personality shows up. You reach a point where adding more doesn’t help – it might even hurt. That’s when I know it’s time to let go.

You can enjoy coloring Patrick LaMontagne’s collections, The Charmers' Club and The Charmers' Club 2, in the app now.