Special Effects: How to Create Tricky Aspects of Horse Color for Beginners Part I

Introduction to Part I

Many of us love the arting aspect of equine collectibles. We love collecting it, admiring it, promoting it, exploring it, showing it, and perhaps most of all, creating it. Truly, art constitutes the very foundation of everything we do within the genre, doesn't it? Everything about model horses is art-centric! And diving into our arts is so satisfying, too, on so many levels. To bring your own visions to life, to make real your imaginations just pings so many good things in your personal experience! Truly, art and horses just go together, don’t they? 

Yet while sculpting realistic equines is hard enough…painting them? Uffdah. Now there’s a job and a half! Why is that? Why is painting realistic horses so darned challenging? Well, for starters there’s a kaleidoscope of coat colors and patterns to tackle. Indeed, one could spend a lifetime trying to paint them all and still pull up short. We also have to wrestle with artistic style and keep it in balance with realism, a delicate enough tightrope. Then there’s the whole array of coat, hair, and horn effects that need special attention to nail down in pigment, demanding a deep skillset with an uncommonly perceptive Eye. As if that weren't enough, there's actually mastering the media and techniques, which is a whole can of worms all by itself. There’s this, too, unlike realistically sculpting our subject, which is just duplicating what’s there, painting entails a great deal of interpretive judgment calls, of creating illusions when literal translations fail. 

But perhaps the most pesky aspect is this: Get one thing wrong in pigment, and the entire illusion can bust apart. Really, even if everything else is amazing, one stumble in a paintjob can compromise the entire illusion and the bubble is popped. Because that’s what painting realistic equines is about — the suspension of disbelief so that for a moment, no matter how fleeting, our brain is tricked into perceiving an actual horse. That’s the grail, right? That hyper-degree of realism that stuns our senses? 

All this adds up to one thing: Our artform is pretty tough on beginners. They literally have to hit the ground running just to keep up. Even worse, our showing paradigm isn’t so conducive to their skill set either, mostly lacking novice and non-pro classes. For the most part then, they’re thrown in with the pros right out of the gate, something that isn’t the most fair or viable means to sustain all this in the long run. In short, our showing system disenfranchises the very people it should be serving most. But the good news is that this art form is all learnable with some know-how, tricks, and a whole lotta practice. Now to that, there are some little aspects of painting that can be especially tricky to reproduce in pigment, so let’s talk about some of them in the hopes of giving beginners a leg up that tall, fidgety horse. Plus, there’s lots of little tricks we can implement to more easily push realism pretty far in our pigment or heighten the novelty of our interpretation, so we’ll look at some of those as well.

So wrap it all up and let’s explore all this at the beginner level in this six-part series, especially those aspects of horse color that can be particularly difficult to reproduce. Then after you get a handle on these effects, you can adopt more advanced methods to achieve even better results. But we all have to start somewhere, right? We all need a springboard to just dive in! So 3...2...1...let's go!...

Hoof Striping

Striped hooves can be a bit touchy to reproduce. If we study painted striped hooves, we find that a few run the gamut of either looking too simplified, too ”powdery,” too dark, too literal, or too fake looking or “painted on” rather than looking like grown, pigmented horn. See, hoof stripes are streaks of pigmentation within the hoof tubules that run lengthwise down the hoof. As such, they have a transparent, embedded quality like a bruise under the skin. And they don't necessarily have to run completely down to the ground but can stop, often about 3/4 down the hoof as is sometimes caused by wear and tear, or by the farrier rasping the hoof during a trim. And hoof stripes vary in intensities, even within the same stripe, and in width, even on the same hoof. So gather yourself some good reference photos to work from and study them closely. Look for their very specific qualities and how they’re rather transparent in a sense that you can see a lot of detail in them, just as much as on the pale areas of the hoof. We want to mimic that effect best we can. (It should be noted that hoof striping is dependent on the color and pattern present so make sure all that matches if you choose to paint them on.)

Okay, so first complete the pale colors on your intended hoof as they should be done when you start striping…so now let’s apply striping:

• Use a black such as Mars Black (a warm brown-toned black that’s very opaque) or Ivory Black (a cool blue-toned black that’s transparent) or Carbon Black (a true neutral black that’s opaque), whichever your reference requires or which you prefer. 
• Try not to use pure black but cut it with a bit of grey or taupe to create a charcoal. Then thin that paint down to the consistency of fat free milk so it’s more of a wash.
• Now take a small round brush with a good tip and longish bristles to hold a good well of paint, dip into the paint and dab out the excess, then run the brush carefully down the hoof following the dorsal wall of the hoof, following the hoof tubules. Go with a steady hand so you create a straight edge then let that dry.
• Go over certain areas to darken some portions of the stripe or to darken other stripes to contrast each other. Practice at it and refer back to your references often.
• Do some clean up if need be.
• Extra points: Go back in after it’s all dry to add in little details like tiny striations or streaking.

There are four things you want to avoid with hoof striping. First, don’t make the stripes too dark as to appear painted on rather than “grown” and embedded. Now they can be variegated dark in areas, just not over the whole thing evenly or it’ll look a bit fake. They need to look organic and "embedded." Also don’t make them too grey as, again, that’ll appear painted-on rather than looking like real horn. Keep that tone in the charcoal zone. You want the striping transparent so the details of the pale hoof still show, and too much white — of turning that charcoal too light grey — will obliterate that effect. Second, and this is incredibly important, don’t create crooked stripes. Absolutely, be sure to keep the stripes parallel to the dorsal wall of the hoof and the heel and to each other. Any deviation or crookedness indicates a problem with the hoof tubules, and that’s a big problem in a real hoof. Then third, avoid opacity in the striping. Now granted, some grooms actually paint the hoof stripes with black or brown hoof polish, but that’s relatively rare. In most cases, what we want to do is recreate that “bruised” look, that embedded look of pigment within the horn rather than pigment sitting on top, and that requires transparency and lots of adjustment layering. And fourth, avoid regimentation. The striping has to look like an organic “luck of the draw.” Also be mindful of any ermine spots on the coronet that would birth a stripe, for instance, so pay close attention to your references in that regard, too. Just keep in mind that certain patterns and Appaloosas have sorta their own rules with hoof striping and you can learn more about that here and here and here. (In fact, The Equine Tapestry blog and archive blog are tremendous resources for you!)

Beauty Marks

Beauty Marks are those spots of dark pigment on a pink muzzle. They often occur with pintos and some appaloosas, but can happen with many white facial patterns really. Yet beauty marks can be difficult to reproduce because of the muzzle's velvety texture and soft, fleshy look. So again, we want to avoid a painted-on, fake look or one that’s too harsh that would obliterate the velvety effect of the real thing. To paint beauty marks then, try this progression:

• Choose your black based on what your reference is telling you—warm black (Mars Black), cool black (Ivory Black), or neutral black (Carbon Black). 
• Soften that black with a grey or taupe to dampen its harshness. 
• Take a dab of this smokey grey color and lighten it more with Titanium White or Soft White until it's a light grey that matches the mapping color in your reference. Add in some Raw Umber or Burnt Umber to warm if it if needed. Then thin this lightened mixture down a bit, to a whole milk consistency.
• With a small round brush dip in and dab out the excess then boop beauty marks onto the muzzle where you wish, careful not to create runs, brushmarks, or “braille spots” (elevated blobs of paint). Be sure to use a good reference photo to stay on track.
• Once dry, repeat the process but with a slightly darker version of that charcoal color, booping this color into the middle of the light grey area, leaving a rim of that light grey which becomes the mapping of the beauty spot. And be sure to make this dark spot opaque with no bald spots or it won’t read right.
• Extra points: Include “shadow” beauty spots for kicks (beauty spots without a blackened center). 

You want to avoid five things with beauty spots. First, don’t have the paint too thick as this will create those unwanted “braille spots” of raised paint. You want your pigment flush and smooth with the surface. Yet you also don’t want your paint too transparent as to be see-through and patchy. There’s a Goldilocks Zone of consistency which you’ll find simply by painting a lot of beauty marks so practice on a junker model first. Second, avoid regimentation or a cookie-cutter look to your beauty marks. They need to look organic, randomized, and “grown,” not artificial and fake looking by being too evenly sized and spaced. So work from good reference photos to stay on target and try not to apply too much artistic license. Third, be careful not to paint over your mapping with the dark color since so many beauty marks are mapped. Now, yes, some aren’t, so follow your references, but overall, try to maintain that mapping’s integrity. Fourth, don’t create a randomly shaped beauty mark within that mapping. In other words, you want your darker pigment to mirror the shape of the lighter perimeter so it actually looks like real mapping, not like a spot painted within another spot. And fifth, avoid a painted-on and fake look by keeping your tones soft and muted so your beauty spot will appear velvety and fleshy.

Mapping

Mapping around pinto markings, any facial or leg markings or even appaloosa spotting is a little bit tedious but it’s not too difficult. Now to start, your paint job and markings and spots intended for mapping should all be done. In other words, this mapping technique is among the last steps to finishing up a paint job.

To create mapping, try this approach:

• Use Titanium White or Soft White and thin it down to Fat Free Milk consistency.
• Then using a small round brush with a good point (with longish bristles so it holds a goodly well of pigment), dip it into the paint and dab out the excess, and trace along the rim of your pattern, marking, or spot, going onto the solid color a bit to “stain” it with the thinned white paint. Bam—you have your mapping. 
• Be sure to follow your references to guide you because mapping often varies in width and intensity over different parts of the body so be sensitive to those variations.  
• Extra points: Play with different types of brushwork or directional dabbing to mimic the hair growth patterns or mottling often found in mapping so play around with it a bit to get a feel for the method.

You want to achieve three prime directives with your mapping. First, keep the quality of the transparency consistent. You don’t want your paint to become too opaque to just become like normal white paint but you don’t want to too washy as to not be potent enough or cause dripping or pooling. Mapping’s painting consistency has a Goldilocks Zone you have to learn, so again, practice on a junker to learn the feel of it. Second, keep your hand steady! You don’t want a messy line of mapping so take your time. Third, pay attention to areas of eccentricity in the mapping as those are nice touches of realism and novelty for your paintjob. Like notice areas where it’s more smudged, ticked, or mottled and try to mimic that in your paintjob. And fourth, keep the mapping white within the colored areas when dealing with pinked-in areas such as the groin, elbow, flank, etc. because a little white halo around your colored areas will be an error. Here’s a tip: When there are lots of spots in the pinked areas in the groin and up to the tail, say with an appaloosa, try the beauty mark technique instead. That way you don't have to worry about the white halo effect on those spots.

Conclusion to Part I

And so we kick off this six-part series with a wad of good stuff to chew on! There’s a lot more to come so hold on and enjoy the ride! Indeedy, we have a lot to get through and here’s to hoping you find some of it helpful to kick start a new developmental stage for you. Because sometimes all it takes is a little random insight to burst open a new artistic breakthrough and…bam!…off you go! 

Because here’s the thing: Beginners really don’t have a fair shake in our genre with how our shows are structured, for the most part. Novice and non-pro divisions are too far and few between. Perhaps someday that’ll change, but until then, anything we can all do to help our beginners along is our obligation to the community. We owe it to ourselves to give the next generation of artists a hefty leg up! (Recommended reading: Beginner's Top Ten)

In that spirit then, we’ll dive into Part II next time around, so until then…remember, all you need to excel is practice, a game plan, curiosity, some insights, and lots of love! Mix that all up, and you’re well on your way to vast improvements and developmental leaps! So jump! Ka-boing!

"Art enables us to find ourselves and lose ourselves at the same time.”

— Thomas Merton 

Special Effects: How to Create Tricky Aspects of Horse Color for Beginners Part I

Beating The Workshop Blues: Creating A Positive Classroom Experience

 

Introduction

In October, I took a mosaic lamp-making workshop I found online and figured, “What the heck! Why not?” It was two hours of gluing pretty colored glass onto a lamp globe to make one of those beautiful Turkish-Moroccan swan lamps I love so much. You take it home and wait 24 hours for the glue to dry then grout it so the colored glass will really pop with the light. We were seated with random strangers, too, all working together at a table, and I was lucky enough to get a really good group of ladies that made it all so much fun!

But I’ve done mosaic before so this was a familiar skillset though it was a little bit wild doing it all on the fly because I couldn’t plot things out on the glass globe with a pen ahead of time. But I made it work! So while I glued away, I was also observing how each gal interacted with their own creative experience. These were crafty gals, you could tell — none of them were unfamiliar with arting — but what they were was unfamiliar with mosaic and, in particular, having a two hour time limit. By observing them then, I learned quite a bit about the workshop mindset that inspired me to ponder it a bit more. Like I’m an old hat with classes — I’m a workshop rat. But it occurred to me that many people aren't and maybe they'd benefit from some insights, and in this burgeoning era of Breyerfest workshops and Zoom classes, in particular, I thought this discussion was even more timely. You see, the learning experience is as much an emotional one as an intellectual one, but we can't learn so effectively if our emotions are blocking our data processing. What's more, our emotions also come to the front in the social setting of a classroom so awareness of our inner landscape can really grease the interaction gears to our benefit. So with all this in mind, let’s talk about my top ten tips for having a great classroom experience to put you on the best trajectory for a great time!…

#1 Don't Paint-By-Numbers

Remember that the class example is just the class example — it’s not the end all and be all of examples! It looks perfect to you because you’re a newb, but the truth is, it isn’t. It’s just the guiding example and not the paint-by-numbers goal. So if your sculpture or paintwork or medallion or whatever doesn’t look exactly like the class example — great! That means you were doing your job correctly, as commanded by the Universe. How so? Well, it means you were making that class example yours with your own unique magic, which is exactly the proper task at hand. To discover and use your own Voice is the genuine vocation of every true artist, so congratulations! You took the new techniques, ideas, and tools and made them yours — good job! Mission accomplished!

So don’t fret if your piece isn’t like the one on the pedestal. It shouldn’t be. It’s supposed to be a reflection of you and your own unique superpowers! And notice how everyone’s own interpretation is so different from yours and that class example, in turn? Well, that’s each of their superpowers at work! What a marvelous thing!

For example, in the lamp-making class, there was a lady who was really struggling and making herself miserable because she was so consumed with making her mosaic lamp globe look exactly like the demonstrative example. Instead, learn to let it all go and focus on making your own interpretation, however it pans out to be. Sure it’s nice to have something you admire so much, but sometimes the Universe has different ideas for you — allow that to happen. When you do, more times than not, you not only have a better experience, you have a more meaningful outcome.

#2 Don’t Chase Windmills

Look—perfection is impossible. We’re fallible humans using fallible materials in fallible circumstances, so imperfection is simply “an inevitability, Mr. Anderson.” So embrace it! Wabi-sabi, baby! Ease up on yourself then because you’re really doing better than you think!

And remember, you’re here to learn something new and to have a creative adventure, not make something perfect! Hey, to brass tacks it down to practicalities — you just don't have the time, do you? It's a logistical impossibility simply because you're on the clock. So don’t get your priorities hosed up otherwise you’re going to miss some very important insights and a memorable experience. Rather than fixating on making things “perfect" then, focus instead on the lessons you’re being taught, tactically asking questions that'll jumpstart your development. You see, myopically focusing on how “perfect” you can make something in a class is playing the short game — try not to do that. It’s the tortoise who won the race with the long game, remember? Focus more on the experience then, not the end product so much, at least so frantically.

See, here’s the thing: A classroom setting just isn’t the time or place to focus on doing your perfect best. Leave that effort for your studio. Why? Because if you’re too focused on getting things “just so,” you’re going to miss many of the more important lessons because you’ll be too distracted. For instance, I’ve seen so many students so focused on getting a certain body part "perfect" that they’re literally missing what the instructor is teaching at that moment. Like who cares if your ear isn't perfect! Do you really want to miss what the instructor is telling you about the legs right now? So use your instructor’s time well by listening to their lessons rather than listening to that little Perfection Gremlin inside your head. Leave that annoying little turkey at home. Don't allow it to distract you from the real treasures to be had in class!

Now when it comes to the imperfections you'll inevitably be creating, simply use this explanation: “They’re like that." And they are...our class pieces are just like that, full of quirks. Really, that’s the best bit of philosophy I can offer when it comes to this sort of thing. So embrace that philosophy and you'll roll with the punches a lot better and keep your focus where it needs to be...on the lessons.

#3 Work On The Fly

Learn to wing things best you can when needed. Like be adaptive and resourceful in how you accommodate a lack of guidance if the instructor is indisposed with someone else. And even more, if you go off-track, be bold in finding your way back out of the weeds. Indeed, all this is a great opportunity to apply what you’ve learned in new ways! Just try not to seize up in a panic. Problem-solve, regroup, restrategize! Indeed, there’s a lot of truly rare and great lessons to be found in this alone. All art entails problem-solving re-evaluations so if you cannot find your way out of a proverbial paper bag in your arting, now’s the time to learn! Because — yes — a lot about what we do is based on formulas, habits, conventions, processes, calculations, proportions, mapping, biology and physiology, genetics, and all that sort of structured stuff. As such, it can be really easy to feel lost if we think we’re flying blind with any of it. The structure feels safe when we’re already feeling a bit insecure in this new learning situation. But don’t worry! Just roll with the punches and adapt to the situation best you can until you can get the instructor’s input. Because always remember that you have an experienced mentor right there to help you, an incredible resource, so don’t be afraid to ask for help. That’s what they’re there for! But if you can problem-solve your own way out successfully, all the better because you will have engaged and evolved in your learning, a major step forwards! Go, you!

For instance, a gal at a mosaic lamp-making class I attended got into the weeds with her pattern not matching up at the terminal ends. Instead of panicking and vapor-locking over the imperfection though, she made the best of it with some on-the-fly adaptable adjustments, finishing her piece and making a truly beautiful mosaic lamp globe. And the thing is no one is going to even notice or care about the adaption once it’s all lit up and gorgeous! 

#4 Consider The Clock

Most classroom settings have a timer going — never forget that. You're on the clock. This is why not focusing on perfection and being adaptive are so important: You don’t get distracted and waste that precious class time! You’re there to learn, right, to digest all the lessons? Well, every minute counts! Ask questions. Have discussions. Pay attention. And just as much, cherish this time in this new experience, with your instructor and your fellow students. You’re making special memories so savor the moment — be present.

For example, in a mosaic lamp-making class, many of the participants were so consumed with getting certain beads glued on to the lamp globe just so — in an unreasonably hyper-picky way — that their time ran out and they never finished their mosaic. So I suggested they take some beads home and finish at home, which they did. The point is though, remember the limited minutes you have to work and quickly gauge what you can feasibly accomplish in that time span — and then plow forwards and rock on!

#5 Maintain Perspective

Try not to focus on what you’re making in the class so much, to a fault that is. Instead, focus on what you can learn from the instructor. It’s their unique knowledge base and insights you’re after, right? Not how many cups you can create in their class. So again…ask questions. Take on challenges to be guided by your instructor. Get in the weeds to find your way out with their guidance. Make those mistakes with the instructor right there to help you. Pick their brain best you can, ask ample questions. Make it weird.

For instance, when I was taking a clay throwing class, I made a very difficult pitcher that required pulling over five pounds of clay in a tricky shape for a newb like me. It was actually way more than I was ready for, but i wanted the challenge and I wanted to make the mistakes with my teacher right there to help me problem-solve. And I did it! I made a beautiful pitcher with my instructor giving me pointers along the way, pointers I wouldn’t have gotten had I not jumped off the cliff! This is the power of staying focused on what’s important in the class: The knowledge, not the stuff.

#6 Build Memory Lane

Along those lines, consider this: Learning can be fun — a lot of fun! And learning and creating with a bunch of like-minded folks can be such an affirming experience! So in that spirit, lend your focus on living in the experience, of making the memory awesome. Workshops are such special times for so many wonderful reasons — don’t forget to be cognizant of that as you work.

For example, I have the fondest memories of my workshops across the country over the years from Taos to Glenn’s Ferry. Such incredible adventures in so many ways! I will treasure those experiences forever not only as an enrichment of my knowledge base, but a shiny buffer of my creative soul and a lively kaleidoscope of memories for my life story.

#7 Lift Yourself Up

Try not to put your piece or your efforts down. Don’t be your own worst enemy! Remember, you’re trying something new and scary — look how brave and amazing you’re being! You should be proud of yourself, not beating yourself up! And yes — we’re all our own worst critic. Well, stop that. Become your own best cheerleader, mentor, and advocate! Speak to yourself as a loving guide rather than as a berating jerk. And yeah — no — your piece isn’t perfect. But no one’s piece is perfect in the class anyway! Heck, neither is the class example perfect! Nothing is! The truth is you’re doing far better than you think so don’t let the pressures and your lofty expectations get the better of you to spoil the experience. Put yourself on that throne where you belong because gosh darn it — you’re doing an amazing thing and that deserves a hearty round of kudos!

For instance, there was a lady in my lamp-making class who kept putting her efforts down. I mean, she really dug into herself. But the truth is, her mosaic globe turned out absolutely gorgeous with its autumnal colors and fancy pattern! It was one of the best at the table! When that thing is lit up, it’s going to glow like a big beautiful, sparkly sun! I wish she could’ve seen her globe the way the rest of us did, it would’ve been good for her soul. 

#8 Embrace Your Peers

One of the very best things about a classroom is being in the social situation of it all. That’s to say, beyond the awesomeness of your teacher, there’s also your fellow students — they’re your teachers, too! In many ways to tell the truth, a class is only as good as your fellow students. The conversation they offer, the questions they ask, the problems they run into, the insights they offer, the experience they bring to the table, their charming company — it’s a magical alchemy that just makes the workshop atmosphere absolutely addictive. So keep your heart open, your curiosity eager, and your sensibilities kind when immersed in the very social dynamic of a classroom. And hey, you might even be lucky enough to make a new friend or two!

For example, in a Zahourek equine anatomy workshop I took years ago, the class was loaded with veterinarians and body workers who asked the most amazing questions that generated super-rare insights not often — or ever — found in anatomy books. Their presence enriched my learning experience and bolstered my knowledge base in ways I could never have anticipated! What’s more, in one of my handbuilding clay classes, I made a fast connection with two ladies and we exchanged email addresses. We conspired to take more classes together not just to learn more, but to learn more….together! Such a win win!

#9 Curiosity Is The Cure

On that note, never be afraid to ask questions of not only your instructor, but of the other students, too. Engage. Participate. Stay curious. There is an enormous reservoir of experience and information at your beckon call in that classroom, so dip your toes in! If ever there was a setting to allow your curiosity to run rampant, it's in a classroom!

What's more, curiosity is the balm for fear. It's so easy to succumb to fear in a classroom setting between our newb-ness and being surrounded by strangers. It's a natural and normal human reaction...but this would be exactly the wrong reaction to have. You see, that classroom and all the information it contains is there for the taking, by design, and it's our curiosity that compels us to reach out and snatch it. In this way, classes bring out the best of us, don't they? Not just the best of our skills and Voice, but just as much, the best of our inner landscape by teaching us valuable life lessons we'll take with us out into the world. Embrace them.

#10 The Big Picture

Above it all, remember that a classroom should first be fun! Learning should be a blast, not some dreadful drudgery. You should be excited for your class, eager to dive in and get into artistic shenanigans and creative adventures loaded with new insights! It should be about a journey of discovery and curiosity, of taking a risk or two, of maybe even biting off more than you can chew with the ready-instructor right there to help! Make it a thrilling, enticing learning safari and you’ll definitely be in the right mindset for any classroom right off the bat!

For instance, I bit off a snidge more than I could chew for my newbie oil painting chops when I painted my skin-first light grey paintjob in Heather Bullach’s grey painting class in October 2025. But I did that on purpose as I wanted to get in the weeds to find my way out with Heather’s help. In essence, I set myself up for failure to learn from that — and did I get upset or scared or miserable? No! I was so curious and eager to try this grand experiment, I simply jumped in all enthusiasm and openness — and lemme tell ya, that made all the difference! The truth is, learning is tremendously fun and addictive if you frame it properly — as an adventure to be explored as a “damp sponge,” not something anxiety-inducing. Remember, nothing you make is precious in a learning situation because it’s the lessons that matter, not the thing. And the truth is, most things you make, you can re-make, you can even fix many of them. You’re the creator here! And even if you get into trouble with your piece, what an incredible learning opportunity of unexpected lessons from the teacher! Or, on the other hand, maybe your piece took you on a completely different direction — they do that sometimes — because the Universe simply had other learning intentions for you. Anyway, the point is, ease up. Try not to pressure yourself so much and focus more on the enjoyable experience rather than getting distracted by things that really don’t matter as much in the grand scheme of things.

On that note, always thank your teacher at the end of the class. They put a ton of thought and work into constructing it for you and that at least deserves a heartfelt acknowledgment. It's absolutely no easy thing to host classes and workshops! It can really be quite the undertaking, to tell the truth. So show your thanks...it's important.

Now on another note, don't be afraid to show off your completed class piece to the world. Hey — you worked hard on it, right? You met the challenges and tackled the hiccups like a boss! Even more, you created something new that's never existed before — what an amazing accomplishment! So showcase it with a happy "look what I did" spin! It's important to embrace the pride you feel in your achievement and it's absolutely a delight to see others hold up their pieces and say, "I did this!" It's good for you, it's good for our community, and it might just inspire others to dive into the classroom experience, too!

Conclusion

Your mindset when you’re immersed in a learning situation, especially like one as highly social as a classroom, is everything in defining the quality of your experience! It can literally make or break your time there! Honestly, if you go into a classroom already distracted by negativity, fear, or perfectionism, you’re gonna have a problem. But go into it with the spirit of discovery, curiosity, and cheer, and you’ll find that your memory will be a happier and more productive one. So give it some due consideration as you careen into that exciting journey. And if you find yourself sliding into problematic emotional territory, step back and check yourself, maybe even have a needed peptalk chat with the someone dear to you, or even the instructor or fellow student. They might have some helpful insights to reassure any uncertainties of yours. The thing is, we’re all going to have some choppy waters in a learning situation at some point, and it’s how we navigate them that will make all the difference.

As more classes pop up in our genre I hope you’re inspired to take a couple, actually to take a lot! I truly hope that classes become just as much a part of the model horse experience as showing and collecting! Why? Because I cannot describe what an amazing experience it actually is, whether through Zoom or at a bricks ’n’ mortar class. Indeed, it’s not only enriching on a personal level, but it bolsters our community in countless ways, building bonds and solidifying our social foundations. We’re so scattered around the world, aren’t we? Yet the humble classroom can be such a great town square we can gather at together to socially carouse, learn as a group, discuss and yap, and artistically explore within a support structure. It’s more like a bit of a party that just happens to involve art!

So take a deep breath and sign up for that class that's been tickling your curiosity! Then as you prepare your model for it, don’t forget to prepare yourself as well. If you slide into that fun in the right frame of mind, you’ll definitely avoid the workshop blues to instead have a stellar and addictive experience that not only kicks your skills up a notch or two, but impacts your heart in all the best ways! See you in class!

“Learning is experience. Everything else is just information.”

— Albert Einstein

Beating The Workshop Blues: Creating A Positive Classroom Experience