The Generation Gap and The Youth in Our Hobby

Start 'em young! (And adorable!)

The thing about a hobby arising from a toy company is that, shockingly, there are children in it. I think most people forget this, even to the point that they forget that they once played with their Breyers on Christmas morning or displayed them proudly on desks, shelves or beds when their biggest worry was getting a cootie shot.

I have noticed lately a certain amount of friction between the youth making themselves heard in the hobby and the older, more well-traveled and seasoned hobbyists. It's a subject that goes through phases, but I think it's one that needs to be addressed.

Let me just say that neither the younger or older folks here are completely innocent. The kids are learning (and forgetting) how to be socially acceptable and learn correct etiquette while the adults build preconceived notions and lose patience.

Example #1:

14 year old Madison wants to buy a model from 36 year old Miranda. Madison writes Miranda the following email:

hi, i wud like 2 buy ur model. will you take $30. i can do time pays of $5 a week.

Miranda writes back the following email:

Hello. I'm sorry, but this model is worth much more than that. It is a Breyerfest special run with only 1000 made and I can't take any less than $100. I'm sorry, but thank you for your interest.

Madison writes back:

how bot $40

You think I'm exaggerating... however this is a similar conversation I have seen before in response to a model I was trying to sell a while ago. But it's not just the kids who cause problems...


Example #2: Using Madison and Miranda again, Madison asks someone for help with some live showing tips.

hey can ne1 tell me wut breed i shud use for my Smart N' Shiney?

Miranda, who wants to help, responds:

I think that will only do well as a Quarter Horse. He's too type-y for much else.

Madison, who knows that the Quarter Horse classes are generally very large, asks again

ne thing else?

Miranda, annoyed that she didn't take her advice for something so obvious, snaps.

Uh, I don't think so, it's pretty much just a Quarter Horse. It's pretty obvious, he can't be much of anything else. Please stop asking already, it's getting annoying! 

Basically, it can get very frustrating. And the internet in general makes things a little bit harder since we don't have 1-on-1 eye contact and voice tone to help express ourselves. Also, most kids are trusted to navigate the internet on their own, while most adults have been on it since it first began. There are certain ways people need to conduct themselves online that either everyone forgets about or just plain doesn't know.

I'm going to address both the youth and the adults in the hobby to try an help the understand how each feels and to also give some good tips to make sure you present yourself as a responsible, encouraging, helpful person who earns respect!

My message to the Youth of the Hobby:

There are some points that is very important to practice to make sure that you create a non-drama environment wherever you go online. Just remember: you are young and don't know everything. You know a lot already, and you may know some stuff the adults don't, but there is a lot you don't yet understand. BUT! You are also the future of our hobby! We want you to like what you do and where you go to interact with fellow hobbyists. They can totally be your friends!

Some of these people who answer your questions have had YEARS (perhaps even DECADES!) of experience both in the hobby or even with real horses. Most know what they are talking about so it is good to respect their authority and LISTEN to what they have to say. Even if you don't like what they're saying. It is NOTHING personal, it's just the truth or correct answer. They want to help, don't insult their good deed by treating them poorly.

That said, do not pester people. Questions are good, it's how you learn, but don't ask a million questions, especially to just one person or all at once. Perhaps if you have multiple questions, try to ask them in the same post instead of several individual posts, taking up a lot of space. If you have several questions about a subject, try to ask a larger group of people to get multiple opinions rather than bugging one person. Try not to ask the same question over and over.

If you are learning to paint or sculpt, this is especially important. Be open to constructive criticism  No one hates you. No one hates what you are doing. They WANT to help you. Yes, it may mean what you are doing is not considered very good by live show quality standards, but NO ONE started off being perfect. Listen to what they have to say and follow their directions. It will help you become really, REALLY good! This is something I learned as a kid in the hobby. At first, I would get defensive every time someone told me something was not right with a custom and I would constantly let my pride take over and try to explain it away and then not fix it. DON'T DO THIS. Swallow your pride, LISTEN and act on what people tell you. They know more than you and really just want to help you be awesome! If it makes you angry, take a step back, take a deep breath, and maybe wait a couple hours before responding so you can think about what they said. If you respond because you're angry or hurt at what someone said, you could look like you don't care, which makes them not want to help you.

Please use proper grammar when typing online. You have an entire keyboard in front of you, YOU ARE NOT TEXTING ON YOUR PHONE. And even if you are using your phone, please try to use whole words and proper punctuation (use those commas and periods!) It makes you look educated and mature. My 14-year-old nephew does this and it drives everyone crazy when they try to read his Facebook status. No one can understand what he is saying! If no one can understand what you're saying, or think you are dumb, they are less likely to want to talk to you.

When bargaining (asking to come lower on a price or figuring a trade), please try to be reasonable. Learn how to properly haggle. You can ask for a lower price, but never less than half of what an item is worth. You CAN ask "what is the best price you can do for me?" Whatever they say is what they can do and that's it. Don't try to push it. That is a sure way to annoy someone.

Do not try to manipulate change people's minds with sob stories. You don't get special treatment because you are a kid who REALLY wants something, had a bad day at school, your brothers broke your stuff, or your mom is sick in the hospital. Adults deal with these personal problems and don't let it effect professional situations. Please do the same. These personal problems have nothing to do with the person who is selling to you or giving you advice. Nor is it any reason to treat people like crap.

Just because you are online, doesn't mean you are invisible. If you've heard anything about cyber bullying, it is the same thing. But being in the hobby means you have a name in this hobby that requires a GOOD reputation! Be nice and reasonable to everyone you talk to and deal with, and everyone should be nice to you! People who have a bad reputation tend to get "blacklisted" meaning NO ONE will want to work with them! If you want to buy or sell to anyone, be polite and humble where you need to be. Reputation means a lot!

If trying to complete a transaction (buying or trading) with someone, please offer that one of your parents approve and help with the transaction, especially if a seller asks. Some people just plain don't trust kids because they don't have experience or are less than trustworthy. If you agree to something, DO IT! Pay what you said you will when you said you will. Try NOT to forget about deals and trades because it will make you look really bad and will upset the person you are dealing with. You wouldn't want them to forget about YOU! These people are giving you a chance to prove yourself, don't let them down!

Finally... learn all that you can! Feel free to learn on your own by seeking good books and researching online. Yes, you can totally ask people questions, but the most valuable tool you can do for yourself is to develop your own eye for breeds, genders, anatomy, conformation and bio-mechanics. Try to notice differences and features. Memorize what colors certain breeds can be. That way you aren't always asking the same questions.

My message to the Adults of the Hobby:

We all start somewhere. Some of us started in this hobby as kids. I myself entered the hobby when I was 14, was a regular on a couple message boards during my teenage years and also maintained a 100% positive eBay account. Not everyone did though and there sure are plenty of kids out there who don't hold themselves accountable, BUT remember... Everyone starts somewhere.

First off, remember that the Model Horse Hobby originated from Breyer TOY horses. For kids.And it only makes sense that Breyer as a company aims at least some or most of their product line at the 12-and-under age set. There's two main reasons for this: Breyer is a toy company first, collectible company second. And getting the kids hooked early on the brand early means that they create brand loyalty (in the form of memories and taste) and they'll be more likely to move on into the collectiblity side once they've outgrown actually playing with their Breyers.

Because of this, there comes a time when these children become teens and their parents allow them to spend time on the internet by themselves. At that point, they start to look up what interests them. Ergo: kids in the hobby. They find our message boards, Facebook groups, and even model horse shows near them and they go and throw themselves headfirst. They may not know about most unspoken rules and etiquette that we spent decades establishing. That is why if a kid commits a faux pas, to gently correct them and explain why. Be polite and reasonable. Do not rise to anger, no matter how rude.

If you find out a kid is trying to buy or trade for a model, ask that their mother or father contact you so they know about the transaction and can help if needed. This helps protect you as much as it does the kid. Kids do tend to forget things, or may even feel they can just ignore something and it will go away. Having a parent involved will help teach the kid a lesson if they don't follow through with their end of the deal.

If a kid presents a custom and asks how they did, they may just be asking for approval. If they hear anything other than "Wow, amazing!" they may get angry and very defensive. Try to point out any flaws gently and nicely. ALWAYS add in something positive about the piece. Remind them you just want to help them improve because the piece has so much potential. As I mentioned in the Youth section, I was very bad about being defensive as a kid and can still be. That's why encouraging them to take their time to think about what you suggest will help.

Always be diplomatic and empathizing. I'm not saying parenting is generally bad these days. Honestly, it's probably been as bad as its always been. But kids are FULL of emotion. Keep that in mind when explaining anything to them and use a lot of tact and appeal to their interest. Sometimes, reasonable explanation doesn't work. But it sure can go a long way to many kids. After playing an online video game for 6 years, I've seen it all. And sadly, most of those people were probably full grown adults who used the anonymity of the internet to act as much like a jerk as possible. Some kids think the same way. Just try to stay patient and reasonable. You are the adult, act like it!

Give the kids a chance. Yes, some people immediately dismiss a kid when they see them asking an "obvious" question or asking to buy something. Just answer any questions they have, be firm in your sales policies and explain them well but don't be afraid to point them to other resources. NEVER tell them to "just go google" it. That is not why they asked a question.

Like it or not, we NEED kids in this hobby so there will be hobbyists in the future! With older hobbyists retiring, leaving, or even dying (this hobby HAS been around since the 1960's...), in order to keep the hobby alive, we need the bright young minds and fresh perspective the younger crowd gives us. I can't imagine what would have happened if I had been pushed away as I'e seen some kids. I do my best to be patient and to explain things, to the point where I actually enjoy it! But I do have my limits. That is why I wrote this blog article. Hopefully people of all ages will look it over and understand!

Adding in something here that was brought to my attention: Do NOT take advantage of kids. This means don't offer them less on a deal, troll them, or otherwise do something despicable that you think you can get away with because they're gullible. I have accidentally overheard deals at Breyerfest of people trading for a kid's Surprise model (CC Shuffle for instance) with someone else that obviously isn't worth as much (though they may have been bought from Breyer for the same price, CC Shuffle had the obvious after-market collectibility value and sold up to triple what the original price was) These kids will learn sooner or later what you have done (they have memories...) and feel very bitter... or worse, thinks that how things work in our hobby and follow example. Also, seriously? You just cheated a CHILD. How low can you get??? They genuinely love their models, they aren't doing it for the dollar signs.

In short, treat them with the same respect that you would an adult and you may be surprised that's exactly how they respond. There are many well-behaved, intelligent, and mature kids out there (some more mature than some adults I know!) and they deserve to be treated well and civilly.

The Last Word

What it all comes down to however, is that this hobby is aimed to help everyone INCLUDING youth under 18, I feel we can benefit from the message: Treat everyone with respect and be open to learning, and I'm sure we can all get along and create some AMAZING friendships and share an education we can be proud of. After all, this hobby keeps us young as we share the common bond of a love for horses that has been with us since before we can remember. This hobby is entirely accessible to anyone of any age and that's one reason I love it so much.

Why There Aren't Crazy Horses

This post isn't on topic with anything to do with model horses, but it is one of those things that I find most model horse people just don't quite get since we hardly ever get a chance to actually interact and observe real horse behavior (though there are plenty of experienced horsemen who have their minds made up about certain breeds). Also, it has been on my mind lately, what with getting kicked by a "nutty Thoroughbred" and watching all the "insane, out-of-control Saddlebreds" at the Kentucky State Fair.

Very, VERY rarely, is any horse truly crazy. Now a whole book could be written about this (and indeed, there are some) but I hope to highlight a few reasons to give some perspective...

Is this a race or a rodeo? Yeehaw!

Most horses that most people ride are for pleasure. They are not highly competitive, high energy animals. They are usually even-tempered critters with chill attitudes that do the same thing every day, day in and day out. Perhaps the reason they are so chill is because... they do the same thing day in and day out, and it's usually nothing that strenuous. Whether it's the poor trail horse that's been taught to ignore whatever the wannabe cowboy on his back is daydreaming about or your lesson horse you school on once a week, these animals are NOTHING like creatures you see gracing the ring, barreling down the racetrack, or hopping over logs the size of your car.

THOSE are prime athletes. Born and bred for a specific type of work, proven themselves talented for such activities, and prepped and primed to be the best they can be at it, from their food right down to their shoes. They may be "quirky," certain behaviors overlooked for the sake of performance and winning. You won't see them in any leadline classes with a bouncing toddler in pigtails on their back.



Unless you're Mr. Muscleman, champion Standardbred trotter
who's sweeter than molasses on a sugar cane in a bowl of caramel sauce.
(photo from www.trav24.no)

Or Snowman, an old plow horse who would win a championship jumping competition
and then give the kids a pony ride...

One thing I notice people LOVE about horses in general is all those awesome pictures of them running in an open, grassy field, snorting with nostrils flaring, showing off, mane flying, muscles rippling, shiny coats, eyes wide and glistening... Oh they just can't buy enough of THOSE posters! We all had them as a kid, plastered on the walls and perhaps in our lockers at school. It is the pure, unadulterated spirit of the horse that we all fall in love with! A mighty stallion rearing tall and proud or galloping into the wind, invoking images left to us by books by Marguerite Henry and Walter Fraley.

Just add wings or horn for instant Dream Horse!
(photo by Tim Flach)

Now, because certain horses have been *made* for this kind of competition, when shown or put in a  situation that is not where people expect them to act like, well, horses, and are instead are actually supposed to be tamed and under our domination, is when people start to label them crazy. I mean, how dare a horse actually act like, well... the horse that we have pictures of on our walls? It's fun to look at, but when you have to DEAL with it....

Horses like Arabians, Thoroughbreds, and Saddlebreds for instance, tend to get bad raps. They are related breeds (Arabians begat Thoroughbreds, which begat Saddlebreds) and all have something in common: The X-Factor.



Eclipse, Famous Thoroughbred and ancestor of both the modern Thoroughbred AND Saddlebred

Now, the X-Factor really has nothing to do with how their brains work, but it does mean they have these big hearts. Hearts made for pumping, that help them increase their stamina, that can let them expend a lot of energy for more than just a few seconds at a time. Because these horses can absolutely keep the "Look at me, I'm of FIRE!" look going, people begin to wonder... is this horse's head with ME? Can I control it? Or is that wild eye mean he's truly gone nuts?

This is what scares people. Everyone wants to ride something that will listen to them 100%. We put a lot of trust into a horse to keep us safe while we surf on their back. We ideally would like to work as one entity, minds melded, absolute obedience and submission to our aids so that there is no way this wild animals with a whole 'nother brain of his very own will betray us and leave use broken and bloody in the dirt.

To do this, some think they need to "break" the spirit of the horse in order to gain this dominance (anyone who's read Smokey the Cowhorse knows this technique), forgetting there is another way (and every "natural horseman" trainer in the world is going to say it with me):

Partnership.


How often will a horse follow YOU?

There is a way to work with a horse, still use our aids and tools, but not kill that exact drive that makes us love them for what they are.

Now, I'm not saying that usually this is completely natural, but you'll notice jockeys ride in such a way as to stay out of the horse's way and let him do what he does best. RUN!

If it weren't for those stirrups, they'd be barely touching them...

Oh yes, there's still bridles and bits and shoes and whips and other things that help the jockey guide the horse, but the unmitigated spirit is allowed to shine through. There are some who aren't kind about it, there's cheating in every sport, but I can guarantee you, that horse loves their job. When he doesn't, he lets them know, and the smart people see it and retire him. The sport on a whole, however, doesn't make for very long relationships between horse and rider... but when they do, they're always a force to be reckoned with.

Thoroughbreds tend to be a "One Person" horse... they have their person who they love and loves them. They get each other. When combined, they can do a lot together. This is why Off the Track Thoroughbreds (OTTBs) do SO well in their follow-up careers. They find their person. Their person knows how to get the most out of them by understanding their quirks and tendencies (most of which picked up on the track), and together, they form a SOLID bond.

Nothing like a girl and her pony <3

Another breed that gets called "Crazy" without even meeting them is the American Saddlebred. Their high stepping and alert expressions, flaring and snorting nostrils all give the impression the horse is barely under control, wild and spirited.

First off, let me explain that Saddlebreds are built for saddleseat... or rather, Saddleseat is built for THEM. They are born with long, upright necks, laidback shoulders, an natural, free, open, high-stepping moment. This yearling here for instance has never had a single piece of tack on before. And yet, look at what he does:

Can't get any more natural than that.

It's plain to see that the high headset of saddleseat will be easy for him, and as natural as asking any warmblood to go into a dressage frame. When a breed is made for this kind of action naturally, asking them to do it under saddle is easy and fun for them! The goal of Saddleseat is to ride the horse doing what he would do naturally having fun out in his pasture: head up, blowing, tail flagging, showing off that they're hot stuff!

What about those wild and crazy eyes? The snorting! Obviously these horses are terrified, right? Uh... no.

Oh yes, what a dangerous creature, you can tell those children are absolutely terrifying "Silks"...

Believe it or not, those eye whites you see is similar to the sclera you see on Appaloosas... but instead were selectively bred for the shape and style you see here: more up toward the top: up over the whole eye, and can be seen even when the horse is relaxed. When actually working, they look very pronounced because, well, he's looking at his surroundings and not half asleep like Silks up there.

When these horses get in the ring, they know their purpose: SHOW. OFF!

Photo by Doug Shiflet

Remember that big heart, stamina, energizing thing I mentioned earlier? Here's where it comes into play. That wild free spirit of a horse you dream of as a kid is suddenly under a rider who is doing what they can to stay out of the horse's way so they can do what they were bred to do. That's why the saddleseat rider sits farther back: to keep the weight off the front end so the horse can step up and do his thing. But, they are in control (and often with that curb reined slacked). So often people think that these horses are out of control and bouncing around the arena at top speed wherever they wish. Not true.

Yes, the bigger arena the better because that gives them more time to gain some speed to really show what they can do. To do it in anything smaller would be like asking an Olympic swimmer to do laps in a bathtub. But it also gives them room to manage themselves around other entrants in the class (anyone who's ridden in any arena with another rider or two knows just how easy it is to suddenly think that you're sharing an elevator.) Their horses may look like they're moving big and crazy fancy, but it's no different than a western pleasure class as far as traffic problems.

But seriously, if you think they're out of control, then obviously this child is terrified...

Gets me every time, he can't even see over the ears but still so serious! SQUEEE!
Photo by Doug Shiftlet (taken by Rachel Kelly)

As is this one:

"Dancer" doesn't appear having a problem standing still for her little girl.
Photo by Doug Shiflet

Basically, you can't condemn a whole breed based on what you see. You'll also notice that this breed, as a whole, does tend to have a very regal and alert look, even the kid-safe ones. Now consider the ones that need to really perform and churn those legs to win the overall Grand Champion titles... well yeah, they're going to look scary to ride! Trust me, it's not. yes, it is obvious that not just anyone can ride these horses, but neither can just anyone ride a Grand Pix Jumper (Snowman excluded) or Dressage horse. No one gets to the top by accident: they are piloted by some of the very best riders in the nation who have some serious experience. Much like a jockey or event rider. And I've NEVER seen horses that LOVE going to do their jobs as much as a Saddlebred. They get very excited! Not scared. Not angry. HAPPY excited! I get to play now! Everyone look how pretty I am!

This year's 5-Gaited World Grand Champion.
Howard Schatzberg Photography

So next time you think a horse is nuts, just look at some of these "crazy" horses my friends have:

Obviously this Arabian is a ticking time bomb for his first-time rider (and I mean first time EVER.)

Although Jared may be a tad TOO relaxed... LOL

And this Thoroughbred is out of control! I mean look, she has no reins!! (Despite the act he's going in a nice easy canter, still in a decent frame, supporting well with his back and listening with both ears to make sure she's well taken care of.)

Ya know, part of me tells me the rider is crazier than the horse...

Moments later... yeah, it's definitely the rider (photobombing in the back on her "wild steed")

Keep in mind, btw, that this rider is highly skilled and has a long lasting trust and relationship with her horse.
She doesn't always goof around like this.

Yep, Thoroughbreds are really full of it....

Cuddles, that is!

Now anyone can compile a bunch of photos of horses looking sweet and innocent. But I won't deny that some of these horses do have "quirks." They are ANIMALS. And prey animals at that. They have a fight or flight instinct. If they can't run away, they will do what they need to do to get away. It's nature, and one has to respect it. But so long as you treat these animals with respect and confidence, they will actually seek to be your friend, to include you into their herd. These "crazy" breeds, for whatever reason, tend to love people... to the point where they may worry for you. All those romantic stories of becoming actual friends with a horse... it happens. It may not be exact, but there are certain people that just *get it*.

And I won't deny it takes a certain kind of person to love them back. Maybe not the skydiving and bungee jumping set (though I swear most of my friends that have done those things ride Arabians and Thoroughbreds...) but generally people who are willing to take some risks and have adventures. And I mean stuff that may be as "exciting" as leaving the arena on occasion to go on a trail ride to maybe jumping that log bareback. And you know what? These are the kind of horses that would love to join them.

Off the Track Thoroughbred "Tigger" is willing to jump off small cliffs for his girl!

Remember the X-Factor? Big hearts just mean big love. Gushy, I know, but sometimes, it just fits.

The Shuffle in the Line

Why is it that sometimes a model takes years to complete, while others take mere weeks?

One of my most frustrating aspects of what I do is that I cannot control when I want to work on something. If I force myself, I get crappy results.

By the way: Best. Movie. Ever.

Now granted, there are some artists that can churn out perfect results or use an assembly line style approach to their work and it comes out great! It's rare, because most often... it doesn't turn out great, you can tell they didn't take the time, they rushed and didn't bother to fix certain things (or perhaps they thought it was fine, which is why they didn't fix it). But the ones who can honestly do it astound me.

That said, for me personally... I cannot be rushed. Even though yes, I need to wait for epoxy to harden or sealer to dry, there comes times when there is no excuse: the magic is just not there. I don't see it, I don't feel it, I become every stereotypical snooty artist in a black turtleneck and beret

Ok, maybe no turtleneck...

My "process" (wow, can't believe I actually used that word) is that sometimes, if I need to do something difficult, I do it in my head hundreds of times before I ever touch the epoxy. I think, I stew, I put it on the back burner, and finally, when I approach it, it's ready, and I feel confident I can do it. The problem with this is, it can take years... which if it's a commission, can REALLY screw with me. Because then I feel pressured to get it done. Someone is waiting for this!!! And in some cases, they've paid me up front. Not only are they waiting, but it's paid for, so I feel guilty and try to bring it to the front and tell myself I'm not allowed to do anything but this custom order.

That's when NOTHING gets done.

If I don't do what's speaking to me at the time, what's currently got my soul and attention, I don't feel like doing anything. A version of hopelessness sets in. Nothing sounds good. It's much like if you tell yourself that before you can have pizza, you need to eat your tuna salad first before it goes bad... yeah, you do like tuna salad... when you're in the mood for it. Sometimes, you actually crave it and want to eat it over pizza because you've just been eating too much pizza lately. But unless you're actually craving it, your heart's not in it. It may even taste bad. It may even put you off anything fishy for months....



And it's not even veggies...

That's much like how I work on anything. Now keep in mind, not all commissions are unappetizing. Many of my own ideas and projects don't inspire me and get shelved for months and years. The only difference is... no one is waiting for them. They're sales pieces, or perhaps personal pieces I'm making just for me (and don't get me started on how I can't push myself to make stuff for myself.. that's a whole 'nother round of guilt) with no one out there impatiently tapping their toe or out a large chunk in their bank account. So don't feel bad if you feel like I'm ignoring your piece... I'm ignoring about quadruple that in my own ideas.

So imagine my further guilt when some random model (either future sales piece or later-received commission) jumps in the line.

Sometimes, when you work on a model, it just *clicks* and you work on it faster than ever. Everything flows, everything's fun, and it gets done before anything else. Before you know it...



Named "Belafonte" for he was a "Jump In the Line"
(and now that song is stuck in your head, ha!)

Something you never planned to even do or touch grabs a hold, smacks you around, and demands to be done and in record time. The guy above skipped in front of *several* commissions. Started and finished in exactly one month (two weeks of that was fighting with his paintjob). TOTAL accident.

This guy? Started and finished in one week. One. WEEK. Including the paintjob.

Granted he didn't have much done to him, but I'm still going "Who was that spotted masked man?"

The latest one to seize me is this handsome rogue.

Idocus to a Mustang Stallion. A little over 2 weeks of work, almost done, just needs a tail.

Granted, with this latest one I am getting two commissions and another sales piece almost ready to go as well (the last couple weeks have been very good flow-wise) But seriously: I had NO plans for this guy to ever happen. But once the idea planted itself, it grew and I had to tend to it. Because I did, my flow has been GREAT! I mean, seriously, I'm working on more than one thing at a time! Stuff is getting done or close to it.

I really hate to be the kind of artist where I say "you can't rush art." But it's just so true for me. It would be so wonderful if my talents were convenient and efficient. Car broke down? Whip up a custom and sell it, boom, done. Friends want a custom? Churn them out! Commissions? Yes, everyone's on the list, you'll have them in two months tops!

But I just CAN'T do that. And by gum I have tried.

But I do hope that the results that happen in their own time are worth it.

The Sugarbush Draft - Breed of my Heart

Stonewall Rascal, registered Stonewall Sporthorse (even though he's 3/4 Percheron, 1/4 Appaloosa, allowed to be registered as Sugarbush Draft). Sire to Harley Quinn, thus grandsire to Harley's Classic O. Gelded and currently residing at the Kentucky Horse Park (on loan) as a trick and dancing horse representing the Stonewall Sporthorse breed.

In model horse showing, one popular breed assignment many people have been turning to for their draft models lately is the Sugarbush Harlequin Draft Horse. Usually looked to because of the fact "it's an Appaloosa colored Draft," especially for those with too much feather to be a Noriker (which don't have that much feathering and have a very distinct, medium bulk body type)

However, there's a little more to it than that.

More focus came upon the breed when the Sugarbush Harlequin Draft Horse Registry (please check out their Facebook Page) sent probably the most famous individual of the breed to Breyerfest in 2013: Harley's Classic O owned by Flint Ridge Ranch. Everyone knows this stallion and several have painted his likeness on everything from an original finish Peter Stone Standing Draft to various resins and customs. He is one of the last pure breeding stallions from the original lines of the Sugarbush breed. He is also currently considered the best example and ideal of the breed (even though he's not perfect... I mean, what horse is?)


Harley's Classic O

This breed holds a very special place in my heart. As a long time lover of "gentle giants," being a big and tall woman, and having a fascination with appaloosa color since I was a kid, I truly believe that if finances were more in my favor, THIS is the breed I would be breeding. Seriously. And it's DEFINITELY on the bucket list to make one my own horse some day. I feel there's always room in this world for more family friendly horses that also possess athletic ability that is suitable for almost anything a big and tall rider may need.

Originally, the breed was the marketing plan of Everett Smith in the 60's to create a unique, eye-catching hitch for his carriage business to stand out from competitors. They were created from "heavier" Appaloosa stock and Percherons, rebred back to Percherons until proper draft type was reattained (even now, in order to be approved to be a proper Sugarbush, an individual must have at least 51% draft blood). The breed fell to the wayside until it was rediscovered and revitalizing efforts took effect in 2008. Only 12 purebred horses remained at that time, so steps were taken to properly breed between the remaining stock without inbreeding and to introduce new blood in a responsible and controlled manner that kept true to what the breed is about.

Harley Quinn, sire to Harley's Classic O.

Up until December 31st, 2012, individual horses could have been presented for an approval process that judged conformation, attitude and Draft blood to be considered for registered Foundation Stock. Appaloosa coloring was also sought from Knabstruppers for their warmblood style and superior riding conformation. The Sugarbush Draft Registry approved many horses as Foundation stock to help add new blood to increase numbers for the breed. This included Shires, Clydesdales, Percherons, Belgians, American Cream Drafts, grades, mixes and crosses of various kinds (most draft-to-draft, or mostly-drafts with proper conformation), and one Friesian stallion (Darktanion). There's even a red roan Ardennes mare in Scotland approved. Because of this, the breed currently has a wide variation at the time.

Books are currently closed to outside blood. The exception is currently pre-approved Stonewall Sporthorses crossed back to pre-approved drafts/Sugarbush foundation stock. Stonewall Sporthorses are usually 1/2 draft, and 1/2 appy-colored critter to make Appalossa sport horses, but since they only have half draft and not the required minimum 51% (to prevent straight up 1/2 and 1/2s from being considered full drafts), its kind of considered a stepping stone breed, somewhere for the "halfbreed" to be in since they can't be Sugarbushes, but certainly have a lot to offer as talented sport horses!



Appalshire Southern Cross ("Appal"), registered Stonewall Sporthorse (1/2 Shire, 1/2 Appaloosa)

A true Sugarbush is a well built, riding-type of conformation, but in a Draft package and type. Proper riding (not *pulling* as is common with Draft horses) conformation is highly valued and awarded. Since most draft horses in America are bred to pull, their conformation reflects that. Outcrossing to Appaloosa stock horses, Knabstruppers, and Freisians helps to correct too steep croups and excessive bulk associated with pulling horses. Attitude is also extremely important, as the goal is to have a proper riding horse that is suitable for anything from competitive disciplines to a family or trail horse, both mentally and physically.


Typical pulling draft conformation in a Belgian: slanted croup, straighter shoulder, lots of bulk and muscle appropriately placed. This is what a horse bred specifically and solely for pulling looks like (please forgive the foreshortening of the head and neck in this photo, I promise it's not that small/short)

Same pulling draft in action: all the angles and bulk of a pulling type of conformation work together to create leverage needed to push against the ground and collar in order to pull effectively. However, this makes for not very good (or comfortable) riding conformation.

Eventually, proper breeding practices and selection will produce the ideal type, which is a lighter, athletic draft (much like the Irish Draught or Norman Cob) with an attractive head and neck, a good sloping shoulder, strong back, well put together hindquarters with good Draft-sized bone and solid feet that are ideal for many types of riding or driving. As far as models go, the Peter Stone Standing Draft (below), the Breyer "Little Bit" sized resin "Da Vinci's Horse/A King's Mount," (though he's a tad on the lean end) and artist resins Boreas by Karen Gerhardt and AA Mini Friesian Mare all make good Sugarbushes as for the type they are going for. Bacchus can also make a good Sugarbush, though he is fairly fat (as in actual blubber and cushion) but the structure and base conformation is there to be a proper Sugarbush, but I would say he's as bulky as you'd want to get and no further. I'm sure there are several other models that make good Sugarbushes as well, but that's just to get us started.

Source: StoneHorseReference Site.

Currently, there is no preference at this time for amount of feather or for docked tails (though I'm sure docked tails will be frowned upon in the future). And because there are Shires and Clydesdales approved as foundation stock, this means if you have an Appaloosa Wintersong/Othello or Tiny resin, it can make a fine Sugarbush and that the likelihood of a horse like that happening *IS* within the realm of possibility, even if it hasn't happened yet. However I would be careful not to include *too* much feather, has most real Sugarbushes are "clean-legged" individuals (minimal feather, like that of Percherons), and even when crossed to a heavily feathered individual, will not produce a large amount of feather. Wintersong/Othello is kind of pushing it, but believable in my book. Also, due to the wide variance of draft breeds introduced, influences from say, Shire or Friesian styles are sure to crop up and will have a stamp on what the final outcome of the breed will look like further on down the line.

Zaquaila, Sugarbush Draft filly of Appaloosa, Clydesdale, and Friesian breeding.

Sugarbushes are *allowed* in any color except for Frame Overo and Tobiano pinto. Those colors are disqualified due to avoiding having these pinto patterns covering up any appaloosa spotting (and to avoid lethal white foals from Frame Overo). The current colors known to be found in the breed at this time, besides your normal black, bay, and chestnut (and various shades thereof, including flaxen chestnut) are:
- All types of Appaloosas (blankets, leopards, varnish roans, snowflakes, and snowcap/fewspot)
- Silver (due to one approved grade mare, Bazya, below)
- Grey (Mostly from Percherons, both dappled and fleabitten)
- True dark-headed roan (from a couple rare blue roan Percherons and Mr. Blue, a stallion of Percheron and Boulonnais breeding)
- Cream (palomino, buckskin, double dilutes, etc.) due to a couple grades/mixes
- Champagne due to the infusion of American Cream draft bloodlines
- And Sabino is found from Belgian, Clydesdale and Shire influence.
It is yet unknown if Splash White is present. It may be possible some Bright Eyes Brother lines from Appaloosa stock horses made it in, but it is currently not known if that actually happened.



Bazya, tested silver on bay, of unknown breeding but is a prime example of what the Sugarbush should be: beauty, conformation, movement, and excellent temperament.

The take home message I'd like to make sure gets out there: despite what anyone says, the Suagarbush is NOT just a Draft with appaloosa coloring. Color is not a main priority of the breed, but it is certainly something they are known for (and certainly a fun aspect). They are not to be confused or be interchangeable with the Noriker, in either real life comparison or when breed assigning models, despite the fact that they are both Draft breeds that can be appaloosa in color.

As a breed that is just getting back on its feet and with hopefully a solid future ahead of them, it can be difficult to understand at this time just what exactly the ideal type is, but hopefully this post helped with that. To learn more about the Sugarbush, including extensive tutorials on judging conformation and general musings about the future of the breed, please follow the Drafts with Dots blog, which is run by the Sugarbush Draft Horse Registry (Ironridge Sport Horses). They also often cover the latest happenings in appaloosa color genetics, and why it's important to have solid-colored individuals.

I hope I have educated you all about what a proper Sugarbush Draft is and perhaps even gave you a hint as to why it is one of my most favorite breeds!

Being Lazy for the Greater Good

But... working on customs is hard! It takes skill, time, dedication, knowledge, and motivation. That said folks, don't make TOO much work for yourself. Know your limits, but also use your knowledge to help you suceed and save time.

For example (and excuse the tangent), I recently started this custom, a Gisel/GG Valentine to what originally I had planned to be a Park Saddlebred Stallion.

Initial moves with a long road ahead.

Thankfully, I had some great folks come forward and educate me about the Saddleseat riding style in general. Not all Saddleseat is Park. Park is the "highest" form of Saddleseat, in that they are the most dynamic, energetic, high-stepping, eye-rolling, tails-on-fire type of Saddle horses.

This would have been too much work to make the model be this way. Technically, I was not sacrificng my original vision, because I realized I didn't want this custom to be that lively. I did, however want a high stepping Saddleseat mount, but honestly, the Show or Country Pleasure was more the speed I was looking for.

Notice Silks' legs, this is about as high as they get at the trot unless he's REALLY excited.

Memories Silk here is a good example of a Saddlebred who is naturally suited and trained for Show Pleasure. The knees and forearms on a Country or Show pleasure horse usually never go above horizontal (or if they do it's very minimal), with Country tending to be slightly below the horizontal. He doesn't quite have the insane knees-bumping-chin action that the Park horses have, but still has plenty of action that, with the aid of his shoes, gets him to somewhere between Country and Show Pleasure. With proper training and conditioning, he could (and has been) a solid Show Pleasure entry.

I like this style best, the horses tend to be more my kind of personality, not as hot, still very beautiful with lots of yummy action that doesn't go into the extreme.

This leads me to my second dilemma: I had intended this Gisel to be a Saddlebred. As I looked at her, I felt that her body type, especially the thickness of her legs, did not match a true Saddlebred. Granted, there are some Saddlebreds with good bone, but the general instant image one usually has in their head is that of a long and lean yet strong, elegant, spindlely-legged, high stepping, swan-necked locomotive that just won't quit. Gisel had too much of a "family" vibe (which makes sense as she's sculpted after a broodmare) and her legs were just a tad too thick than I felt comfortable for a Saddlebred.

After yet another person's suggesstion, it made sense to me: A Morgan. They are strong, robust horses in comparison, with good bone. They are often used in Saddleseat riding (as they are very proud, flashy, and stylish horses). They are, however, a lot more short-coupled than a Saddlbred or Gisel, so some different alterations would need to be made but we'll get to that later.

"Sneaky" (On Second Thought) isn't the best example of a Morgan, but he has the basics down :)

The main concern against making Gisel a Saddlebred was the thickness of her legs. While one could "shave down" the legs on a custom, this is a LOT of work. I'd have to reduce from all sides, not lose leg detail, or worse, have to resculpt it back in. It's a lot easier if you don't have to change a horse's basic leg shape at all. Moving a leg is one thing, even adding detail or cleaning up mold or sculpting flaws can be done fairly simply, but trying to add or take away thickness is a pain, and I think, beyond my comfort level and skill.

So with breed and pose finally decided, it was time to attack with the new game plan in place. I don't suggest constantly changing your original plan (it's gotta get done at some point!) but if something lends itself to a better or more convenient idea that is still pretty awesome, I say go with the flow and do whatever your artist's heart is telling you to do. Learning along the way is just the icing on the cake.

Remember how I said Gisel's back is too short? Well, let me just say the process of lengthening or shortening a back is somewhat inconvenient. First you have to chop the back in half, usually in the middle. Then you have to either take off 1/4 inch or whatever extra you don't need, or stuff the crack with epoxy AND make sure it's even. Sealing up the old cuts is the worse part, you need to make sure the epoxy goes over the whole thing without leaving a bulge or letting tiny cracks show through. Shaping the back and barrel so it matches, praying it doesn't all just fall apart (because the whole process compromises the structure of the model), smoothing it all... it's just a huge pain.




Not to mention it's creepy as hell *insert mad scientist laugh here*

So, this is where all that "Form-To-Function" knowledge you have about real horses comes into play. Not only was Gisel's back too long, his shoulder was too straight. That is, the angle from withers to point of shoulder was too steep and needed to be laid back more. In real horses, you can't fix this, it's just how the horse is made by how their spine (withers placement) and scapula (shoulder angle) is all put together. The longer slope or more laid back a shoulder is on a horse, the easier it is for them to bring their shoulder forward and up. It's also great for a smoother ride.

Thankfully, in my case, he had both of these problems. By cutting behind her shoulders, up over her back, just behind the withers, I was able to "lay her shoulder back," thus shortening his back and bringing his legs up higher. Two birds, one stone, hee!


Before:

 After

See how regal he looks now? And more adhering to Morgan breed standard as well. That made him exactly what he needed to be with really very minimal effort. At this point, I had done nothing to his neck except slightly heat it so it's striaght (very slow n' steady process) and it just so happen to be in the position/angle it needs to be. Perhaps that why I felt Gisel would work so well for this project. Not having to create an entire new neck is helpful to say the least.

Now I'll get back on topic: that "slow n' steady" thing works wonders! I use to be one of those that would burn it up, scorching the plastic, air bubbles poping up everywhere, saying I'll just fix it later. Well, when later comes, you're cursing yourself for making so much work to do later. Sanding, filling, smoothing, all can be avoided if you make minimal cuts and scorching if you can avoid it. Or else you get stuff like this:

That horse has 99 problems and it's all in that leg.

This guy STILL isn't done. Mostly because I don't want to fix all the newb "work." I do plan on finishing him, but the desire is not strong and I must count him lucky: some stuff that looks similar or worse than him have since been sold, traded, given, or thrown away. Don't stifle your own creativity later and make your own artist block. Make sure you are patient and practice so you have the skill to be able to move a leg without cutting a damn thing if it's posisble. Such as this guy..

Can you believe I did not make one single cut on that front outstretched leg? (it's a Bluegrass Bandit/Bear, so that leg was tucked before) I got lucky I think, but I'm begining to wonder if I should apply at Peter Stone as one of their Factory CMers.

Now this is not a place for me to brag or anything, it's where I can tell you how to do this. the "Slow N' Steady" heating method is a good one. You don't need the 1000 degree Paint Stripper to move a horse (although I totally had one when I first started and used it in just the evil way you are thinking), I prefer an Embossing tool, found in the scrapbook section of your crafts section. It's a smaller, more controlled heat flow (can "pinpoint" heat a surface the size of a fingernail rather than a silver dollar pancake, so it's good for Stablemates too), it can get hot enough to scorch but only if you don't keep moving. It's original use is to sort of "iron" paper into raised shapes and designs (or, emboss).

Yes, it's glittery... and yes, that little guy should be scared.

No matter what you use, keep your heat source moving evenly at least 3-5 inches away from your model, and remember to heat the other side of whatever your heating to prevent wrinkling. For example if you're trying to unbend a knee, spend most of your heating time on the underside of the knee, but keep the front/top of the knee warm too so it can squish with the move when you add pressure, not just wrinkle and fester. Most wrinkles can be gotten out by stop adding pressure and letting the heat blow on the wrinkle for a SHORT time. The plastic should shrink back (as will your move to a degree) You may then continue to slow move and add your pressure again. Keep it even, keep it steady.

If you see bubbles and smoke, remove the heat, let it cool down a bit, and reapproach more slowly. A few bubbles will have to be fixed later and sometimes, can't be helped (the plastic may naturally have trapped air bubbles from the molding process). Sometimes random "stresses" will pop up, they look like like big, flat, popped bubbles. These are completely random and there's no preventing them that I have found. They just react to heat and are either due to a weak spot in the plastic or just an oddly chemically mixed part of the plastic. I have noticed this tends to happen more on the newer Stablemates or on a Traditional's joints sometimes.

All of this just takes time and practice on your models. Not all plastics are created equal. I prefer (and have instructed based upon) the newer Breyer plastic. Breyer has gone through many plastic changes over the years. In the 70's, they experimented with many different kinds of plastics, mostly recycled, as the U.S. went through an oil crisis. This is why some Breyers are "chalky" or painted white first before they were painted because their plastic wasn't white enough... or a different color entirely, like hunter green or bright, neon pink!

Some of these older or aged plastic may not take to heat well. Such as this guy who hails from around the 70's... (the young and squeemish may want to look away)

You have no idea how much this hurts...

I could not work with this plastic. While it is white, it was old, tough, like jerky. Even the smallest amount of heat caused the surface to char and bubble furiously. It wrinkled, no matter what. Only when I scorched the hell out of it was I able to get it to move, and even then I had a very short time frame to do it in because it once again held firm. I ultimately had to find a newer version of the mold.

Heat is a great tool for working with plastic. I use it especially with any cuts I need to make. Cleaner and more precise than just a dremel cutting wheel, you warm the plastic, but not too much, just enough to make the plastic cut like butter under the sharp blade on an X-acto knife. Always use a fresh, sharp blade when you use it to cut warm plastic, prevents dragging and catching. Be careful not to overheat your plastic, or it will simply just stretch away with your blade.

This is definitely a crucial technique for moving heads (escpecially those that I still want attached to their original necks). I did this for the Gisel Morgan as well, cutting just behind the ears and behind the cheek half way, down underneath it and cut out the inside of the jaw (that on a real horse is the soft part between the mandibles). You can also see that I did this around the groin area.

 

 

That's all for now, more on customizing adventures later!

How to Make an Amazing Custom

Didn't think I'd make such a bold title for this, did ya?

Here's the basics: the creation of a high quality customized model horse starts before it even begins. Research, practice, and vision all have a hand in building a model that will make people go "Wow!" If this sounds like a lot of hard work... it is. It took me 10 years (and probably about 5 years of that was actually practice, all the while researching) until I felt I was "good." Notice I said "good" and not "great." Others may disagree (which I humbly thank), but a point I want to make is that there is *always* room for improvement.




This is an example of some of my earlier work... always room for improvement!

No Artist is perfect. There is always opportunity to grow and learn. never assume you are perfect, or worse, better than fellow artists. Everyone has their strengths and weaknesses. Never allow yourself to get too big of a head, nor should you constantly trash your own work. Every piece you make should just be another important chapter in your own library of experience.

This post will cover the advice I would give if someone was doing a custom that would have repositioning, a breed change, flaw or conformation fixes in an effort to live show or sell to someone with high standards.

Now that I've given the preliminary attitude and mindset, on to the important steps that one should take to create a beautiful custom.

Research and Credibility

This is the most important step of all. Before you even touch a model, be ready to look up everything about your goal breed, gender, position, and color. Research is a constant thing, most artists I know would never turn down a good reference photo of something especially clear, unique, or beautiful.

Cigar has been inspiration for many.


Getting the basics in ABCs (Anatomy, Biomechanics, and Conformation) is super important. I cannot stress this enough. Anytime you move a leg or neck, you are changing the angles and muscles involved in those angles. Learning how it really looks like and effects the whole body on a live horse will be crucial to how you can better "envision" the change on plastic. Reading books is especially handy for this.

This is my list of books that I personally suggest, I have linked them all from Amazon but if you can find them elsewhere, feel free to find the best deal! None of these are required, but they are all VERY handy and are in my personal library.

Anatomy, Biomechanics, and Conformation: this is the foundations of any model and these books come highly reccomended. I reference them often, especially when doing something new.

• Principles of Conformations Analysis: Volumes I, II, & III The bible of truly understanding structure and form to function by the incomparable Dr. Deb Bennett PhD. Other Conformation guides give a good general overview but THIS one digs deep.
• An Atlas of Animal Anatomy for Artists This one includes a hair flow chart!
• Animal Painting and Anatomy This and the previous book are similar (same artist's illustrations used), but each has their own merits, I would get both if you can.
• A Photographic Guide to Conformation Expensive, but a wonderful book, photos by Bob Langrish, very helpful to me as it shows real horses and their flaws.
• The Horse Conformation Handbook A cheaper alternative to the Guide above.
• Horse Gaits, Balance and Movement While a book can have a disadvantage when trying to explain *movement* in horses, this one does a good job. And since as 3-D artists we are depicting a static moment in time, it's not a bad way to learn.
• How Your Horse Moves  The painted on teaching aid is fantastic! see also the DVD Anatomy in Motion)

Breed Books: you really can't have too many of these, and honestly there are many books out there that cover many horse breeds, try and find one that is current.

• Simon and Schuster's Guide to Horses and Ponies  Oldie, but a goodie, nice small size.
• The Complete Encyclopedia of Horses and Ponies Very comprehensive, explains a bit about the history of the horse and various disciplines as well.
• Encylopedia of Horses Newer and more accurate, also explains a lot about the horse in general.
• The Official Horse Breeds Standards Guide: The Complete Guide to All of North American Equine Breed Associations Not just limited to American Breeds! Contains the official standards and promotion of various breeds' American registries, including some of the rarer breeds, subtypes, and popular crosses.
• Eyewitness or Smithsonian Handbooks Horses A nice handheld guide with some older pictures that we all grew up with, handing for quick reference and live show Documentation.

Color and Genetics: While learning inheiritance is not required, it is helpful for determining if a color or color combination is possible.

• Horse Color Explained Out of date as far as research on how certain genes work, but wonderful photos and still very handy. Kind of rare and out of print, contacting the author may do you good.
• Equine Color Genetics, Third Edition Previous editions are worth picking up if you can't spring the cash for this latest edition, they just won't have as much current info on how some genes work)
• Horses in Living Color Really, this is just a pretty picture book but definitely worth picking up if you can
• Equine Tapestry: An Introduction to Colors and Patterns A new book by my good friend Lesli Kathman, and it's a fantastic, simple look at a basic overview of color in plain English. She's currently writing books that go more in depth about how color has shaped and been shaped by various breeds throughout their history. Equine Tapestry Volume I is the first of her 4 volume set which concentrates on Draft and Coaching/Carriage breeds (ponies will be next!). Also, I linked it from *her* site so that she receives more of the profits than if it was ordered through Amazon :)

Other Helpful, Fun, or Useful Books

• Braiding Manes and Tails A great visual guide for sculpting braids of all kinds, from hunter to draft to polo, this book has a lot!
• Grooming to Win Various editions exist of this book, getting as current as you can is recommended, as it describes how various breeds and disciplines groom or style their horses, which seems to change from decade to decade.
• How to Think Like a Horse: The Essential Handbook for Understanding Why Horses Do What They Do (while you may not be working with live horses generally, understanding body language is a great thing to learn so you can convey character and mood in a piece)

One piece of advice I feel I must stress: study real, live, breathing, moving horses of all shapes and sizes in person at any opportunity you can from all angles. This is a common piece of advice but a damned good one. Being an artist that tries to recreate the real thing, this is the best thing you can do for yourself and your customs. If real horses are not available to you, gather reference photos and videos as much as you can. They aren't quite the same, but sure do help regardless.

Go on regular reference hunts: Google Image Search is your friend. Pick up books about various breeds, check out official breed registry websites, learn a little about equine color genetics. Knowing what each breed is known for, what isn't allowed, and what colors they can be go a long way in the credibility of your custom. If only you could see my files... (something like 20 gigs? *cough*)

Historical reference can also be handy: did you know Lippizans were once appaloosa?

Having a photo of a real horse in the same position, color, etc. is nice, but not required, unless it's a really rare thing. Part of our job is to convince fellow hobbyists that says, "Yes, this happens, here's my proof." A Tobiano Pinto Standardbred Pacer racing? Rare, but it happens. Not everyone can know every single thing about every single breed or discipline. If you want to do something that's truly unique, look it up, make sure it can happen, or else a judge isn't going to believe it.

I could go on and on about research and your own education but really there's no other way but actually going for it. Be open to every breed's standards and disciplines. Try not to let personal preference overrule your learning, even if it comes to questionable or abusive practices. It is popular opinion to avoid sculpting/depicting the truly damning aspects (Big Lick Walking horses, the bulging muscles of the Impressive-bred Quarter Horse, Rolkur in Dressage, etc.) but please do read up on them so you have an informed opinion. Whether you decide to do these is up to you.

What can this picture tell you?

I want to mention one last thing before I move on. The most valuable advice I have ever gotten was from my high school Art teacher, Mrs. Eyster. It was also the most simple: LOOK at your reference. Actually look at the details and try to actually replicate them. For the longest time I used to just take the general idea of a piece, process it through the ol' Cindy-matic Brain Filter, and it came out... similar, but definitely me, not what I was on the reference.

You don't need to get overly anal about it, but try and learn and "listen" to what the reference has to teach you. Did you know when the hind leg is cocked, the hip drops? Or how when the head and neck go down, the whole back/barrel raises up? Did you know you can lock a horse's whole hind leg in place by flexing only its fetlock? Does that red dun actually have leg barring? No? Oh wait, it does, it's just so faint! Oh look, the dapples of this grey are smaller in this area than in that one! That's the sort of thing to look out for.

Picking the Right Mold

Choosing a mold for your idea (or, sometimes in my case, "listening" to what a mold lends itself to be) is a big decision. You can't build a palatial mansion on a swamp. What mold you start with determines the very essence of your custom, determining it's proportions, size, and general feel. Unless you become very advanced and are using a mold strictly as an armature, or you cover it head to toe in epoxy, anywhere from 50% to 95% of that model's surface will be visible. Be happy with what you're starting with.

It's easiest to start with a mold that is similar to what you want the final result to be. Using a Thoroughbred to be a Quarter Horse may take some effort, but far easier than if you started with Draft horse.... ok, that's too obvious. Though I have seen a Thoroughbred be turned into a Belgian... but that is a true case of using a model as an armature.

Oh, the changes you will do...

The most popular or new molds don't necessarily mean they are correct. A lot of them are in that Breyer and Peter Stone are striving for competitive horses in their Original Finish form, but even they have flaws on almost every piece released. It is up to us as the customizing artist to fix these flaws so that they are competitive in the more demanding Custom division.

There are many ways people feel they can select these "more correct" molds. Some feel that certain sculpting artists are better than others. Some have certain attachments to a certain mold. Just because a mold is older doesn't mean it's not good enough to customize.

Ok... maybe some aren't...

As far as plastics go, I personally love the old Maureen Love Classics. I also like Sue Sifton, Sarah Rose, Brigitte Eberl, Kitty Cantrell, and some of Sommer Prosser's work and the latest generation of Stablemates. These, however, are *my* preferences. I like them because they are generally correct in their ABCs and some have a very fleshy, life-like style to them. ALL of them have their flaws that the artists tend to do every time, however. No piece is without flaw, and even after "fixing" them yourself.

As cut-throat as it sounds, some models just show or are better received than others. Sure, you could customize a Family Arabian Mare... but the Proud Arabian mare is just so much better accepted. After learning appropriate ABCs, some models are just riddled with flaws and other problems that either take too much effort to fix or can be better done with a different mold.

Practical Advice

Nothing can replace practice and trial and error. Time and effort are the true shapers of talent. This includes familiarizing yourself with your materials and tools, and doing what works best for you. Learn techniques from whoever will teach. Expand your horizons and try different epoxies, paints, and tools. Figure out what you like to work with and your customs will show it. That said, give each technique and materiel a chance: no one became an expert immediately.

That is the one thing to remember: no one started off being perfect or mind-blowingly amazing. Don't let the object of perfection intimidate or frustrate you as it did me. I took a 4 year break from touching anything because I just felt I couldn't get my customs smooth or correct enough. While one should strive for smooth, clean, correct pieces, keep in mind that live horses themselves sometimes have random bumps, divots, and white or black specks/hairs on them.




My first finished piece in years

Also, no one will look at your model as closely and as intimately as you have. You've seen this custom naked! The judge spends, on average, about 10-30 seconds looking at your model. That is just enough time to get the idea and check out anything particularly eye-catching, but not enough to see if you left a nubbly of paint goop in the off-side armpit. The overall impression of your model is what they are truly seeing. Make sure that what they see is how you see it as a glance, as an accomplishment to be proud of, and not as you see it under a magnifying glass where you see things that just aren't there anymore because you covered it with epoxy and paint 6 months ago.

Your Audience and Vision

One of the cardinal rules of art is to create what you want, not what someone else wants. For those who plan to sell their customs, this puts one in a bit of a dilemma. Maybe you'd like to make a horse in that awkward, downward stage of gallop, and you may even have a picture of a horse doing it. But it looks funny and doesn't show the horse in a graceful state. Same thing goes for funky hair, or maybe a funny curled lip. Being able to do any of these in a interesting and beautiful way is hard, especially in a 3-D environment.

A lot of this has to do with the previously mentioned practice and learning of new techniques. Being able to eye something and see if it looks pleasing to the eye as well as correct takes time and gut instinct. This is the talent that so many artists strive for, and not just model horse artists either. Flow, balance, and use of color or texture is something anyone in any art class will learn about, but it's actual application that separates the great artists from the good.

Crazy idea, fun result!

Coming up with creative ideas is something some people are just prone to do and can't be taught. But that's where learning all you can comes into play. The craziest idea can turn into the coolest custom just because you thought of it because you just happen to see it. One can start making connections that most just don't think about. Yeah, everyone's done a Peter Stone Standing Arabian into a National Show Horse or American Saddlebred, but how many people look at Weather Girl and think "Sliding Reiner?"

There comes a time when purposely putting flaws on a model (such as cow hocks, or a droopy lip, or even a superficial scar) is endearing and gives the piece character (because it truly reminds them of a real horse), but might not show well because, in real life, this would be a flaw. Niche buyers may gobble this up, or perhaps even certain judges will look past it and award it anyway "because it's cute." This is a risky move, but fun to do sometimes.

Slightly uneven legs in a jumper adds character and realism.

In short, most buyers are very well educated and know what looks right and wrong. Some have strong preferences for a particular breed, pose, discipline, etc. They LOVE something new, unique,or exciting. Don't try too hard though and I wouldn't suggest making several versions of the same thing. As I said, they like something unique. Whenever someone asks me to make a "copy" of something I've done before, I refuse.

Conclusion

That's all for now, as long as this post ended up being, I feel as if I could still go on about this topic. There has been lots of  drama, controversy, and opinions about what make a good custom, and it's so easy to see customs get ripped on. People need to understand that all artists start somewhere, and a lot of this I figured out for myself or had to learn from others. I highly suggest anyone to go to the workshops at Breyerfest, purchase how-to videos from various artists, join online forums like Model Horse Blab, or go to any local shows to see what's showing. Ask opinions, process them, but form your *own* opinion. Follow common sense and ABCs. And after you've learned a lot, don't be afraid to teach others. Without mutual education among our hobbyists, we'd all be in the dark ages.



Friends in the hobby are a great thing!