Every now and then someone sends me an expensive model for custom tack fitting. This is always a mixed blessing. While I find it easier to work with a model than measurements, I aways worry about damaging another person's property. So far that hasn't happened, and I have a whole set of safety protocols in place to ensure my perfect record stays intact.
The first and best way to protect a prized model is to use a body double. This is easiest with OF models. I usually do not collect more than one of a mold, but I own two Lonesome Glorys--a Mosaic and a regular run Seattle Slew. Mosaic is the show horse. Slew is here simply for tack fitting purposes. Of course, most people can't afford to buy doubles of their best resins or chinas. Fortunately, that's not always necessary. Measure your model (here's a link to a measuring guide that works well for me: http://braymere.blogspot.com/search/label/measuring) and compare the measurements to other (cheaper) models in your own herd. You might be surprised at the results. I've found that tack made on a Lady Phase will fit Sarah Rose's Indy resin perfectly, and Dozen Roses and the Breyer Five Gaiter can share a double bridle with only the slightest of adjustments.
Of course sometimes a suitable body double can't be found and you're forced to work with the nice show horse. In that case, just be extra careful. Wash your hands between steps to prevent glue, dye or other products from transferring onto the model. I also guard against accidental topples by storing the model on it's side while I'm not actually using it.
I rarely sculpt saddle trees out of epoxy. My English saddles are built on a handcut sheet metal tree, and I use premade Rio Rondo trees for Western saddles. However, every once in a great while I will make a specialty saddle that involves some epoxy. Here's a quick look at that process.
Meet my victim. He's a Breyer Cigar slightly customized and painted by Chris Nandell. This horse has won several NAN cards and I would be most displeased if I damaged his pretty Appaloosa paintjob.
Like any project, the first step is to gather supplies and reference material. Here are the unassembled components of my future saddle (bass wood strips, wire, aluminum foil and Apoxie Sculpt) plus tools and Native American saddle reference pictures from The Mystic Warriors of the Plains.
The first stage of construction involves cutting the bass wood to size and wiring the saddle into its approximate final shape. I've found that Apoxie Sculpt sticks better to aluminum foil than bare wire, so I will cover all the wire with a couple wraps of foil.Hope this was helpful. Please keep the suggestions coming!
Up until this point, I haven't been concerned with the safety of the horse. However, I really do not want to get epoxy on him, so it's time to take some precautions. I start out by covering his barrel with a single layer of cling wrap. This will allow me to protect his back without changing its shape.
I then cover the rest of his body with multiple loose layers of wrap and secure them with masking tape. His body is completely protected now. No matter how messy my hands are, I can still pick him up without fear of damaging his paintjob.
I've now started to layer the epoxy onto the saddle frame. I can sit the saddle right on the horse to check the fit. The plastic wrap keeps the horse safe and doesn't stick to the wet epoxy. I've also used this method to protect a painted resin while I repaired its broken tail. It worked just as well that time, too!