Leah writes:
I've messed around with tack making a bit, and here's my conundrum: how do you keep the horse safe (i.e. not scratched) as you work on custom fit tack? Especially if anything (like a saddle tree) needs to be sculpted (eek, epoxy!). I'd love to see a post on that :) This is
exactly the kind of question I was hoping for when I posted yesterday. It's specific, easy to cover in one entry, and best of all, I have some good answers!
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.
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!
Hope this was helpful. Please keep the suggestions coming!
I've always admired Jennifer Scott's paintwork, and I am so excited to be adding this girl to my collection. Look at her pretty face! Now if I could just think of a name...
Of course there were lots of other pretty things to look at. Here's a peek at some of the Stone models on Janet's table.
This year Crazy Ladies was billed as the "Yellow Card Extravaganza." Despite being an halter show, there were no Halter (Green) NAN cards to be found. Instead, Original Finish models were judged on collectibility and Custom and Resin models were judged on workmanship.
I really enjoyed seeing all the documentation that accompanied the OF models. It almost reminded me of a performance class!
Here's one of the showholders and judges, Regan O'Keefe studying a class of vintage glossy Breyers.
A few people wore their Halloween costumes. This is Jennifer Scott in the hat and Sheila Anderson Bishop in the horns.
Sculptor/painter/new performance addict Morgen Kilbourn judged the workmanship classes and also found time to check out Teresa's tack box. Take it from me, there are a lot of good things in that box.
Jane also brought her tack box and I was delighted to discover this beauty in there. It's an Australian saddle made by Jana Skybova. This was the first time I've seen her work in person and it did not disappoint. What a lovely saddle!
