LSQ Guidelines for Medallions Part II

Introduction to Part II

Welcome back to this important exploration of this popular topic for many enthusiasts in our community. Truly, medallions are a dominant artform in our niche creative community so learning how to give them an edge is worthwhile, yes? In Part I, we discussed The Essentials, those points of LSQ for relief pieces that are mandatory, now let's continue in this Part II with those aspects that have more more leeway in how we can evaluate them.  So let's go!...

The Optionals

In contrast to The Essentials, which are mandatory standards of quality, The Optionals are founded on personal taste and perspectives, expectations, and goals and therefore ask for more latitude and sometimes a less weighted determination. Components of The Optionals are, as follows:

• Breed type
• Conformation
• Permitted color
• Artistic style
• Anima
• Cleanliness
• Level
• Color design
• Narrative
• Magic trick
• Novelty
• Cohesiveness
• Faux finishes or effects
• Grooming
• Presentation
• Documentation

Breed Type: Based on the historical, functional, and characteristic physical points that define and identify a breed, points of type are distinct and unmistakable. Being so, a piece should more or less adequately reflect its breed to be LSQ. As such, breed type includes all the physical structures authentic to a real equine, as follows:

• Those specific points of type indicative of a breed or type of equine.
• Those specific features characteristic of the phenotypic variations found within a breed.
• Points of type that identify a regional type of equine, or cultural priorities for breeding a type of equine.
• Those features of type that identify a historical archetype or foundation population.
• Points of type typical of current trends or priorities.

In short, if a breed or type of equine is characterized by it, so should the relevant piece have it, as accurately as possible. This applies to all other animals depicted as well. It should be noted, however, that certain kinds of extreme type are detrimental to the animal. For instance, many modern halter Arabians and Quarter Horses have serious health problems due to the exaggeration of breed type. So keep these qualities in balance with biology and functional conformation (discussed later).

It should also be noted that different people tend to have their own idea about what constitutes their own ideal look to a breed. Add in all the possible variations a breed may have and we have quite a smorgasbord of opinions! That said, there generally tends to be a distinctive look to any given breed that most people can use to identify it, and that could be regarded as the baseline from which to build further evaluation. Nevertheless, such features are varied and expansive, and awareness of this diversity depends upon one’s perception and depth of knowledge. These are developed over time with diligent research, analysis, observation, and artistic exercises. Consequently, if you aren’t aware of breed type well enough to identify truthful accuracy, it’s recommended you engage in independent research or seek advice. Overall then, scrutinize each piece from a breediness point of view because if a piece has qualities that are off–type, a judge is more prone to fault it. This highlights the fact that proper breed assignment for the piece is very important, and reliable documentation for an esoteric breed or type can be pivotal to a successful show career.

Remember: Authentic breed type can help a piece become more LSQ, but we must account for variations and historic phenotypes.

Conformation: This entails those characteristics and qualities instituted by human preferences that qualify an animal as ideal. This can pertain to how the animal looks, or breed type (already discussed), and also to those preferred structures or qualities that promote preferred movement or performance. Each breed has its own set of particulars in this regard since each breed is expected to possess its own characteristic look and motion. For instance, the long sloping hips and shoulders of Trakhners promote long, sweeping strides, the heavy musculature and straight necks of Quarter Horses help with cattlework, the upright shoulders and close–hocked stance of Clydesdales aids plowing, and the upright neck and laid back shoulders help a Saddlebred with flashy foreleg motion. What’s more, some aspects of conformation can be thought of as functional conformation because they deal specifically with universal qualities related to equine evolution and physiology. Specifically, functional conformation protects against pathologies that could cause pain and injury to the animal when put work because its points are aligned to equine biology rather than aesthetic taste, fashion, or exaggerated type. For example, straight legs, non–extreme heads, goodly sized hooves, good bone, and other such points promote the health of the animal and apply to all equines. For this reason, functional conformation can be thought of as more important than other conformation features. Conversely, poor conformation is believed to predispose a horse to unsoundness or off–type motion, and it’s these penalized qualities that are selected against. For instance, calf–knees, sickle–hocks, bow–legs, ewe–necks, small hooves, upright pasterns, and cow–hocks are common functional flaws. Therefore, the more functional conformation flaws present in a piece, the less the piece’s LSQ status.

Even so, it may seem counterintuitive that conformation would be regarded as an Optional, but the thing is, despite it all, it’s more subjective in its expectations, heavily dependent on personal standards and ideals. Why? Well, for these primary reasons, as follows:

• Plenty of living horses have poor conformation yet are still defined by equine anatomy. That’s to say, they may be flawed in their human-preferred ideals, but are still accurate all the same as an equine. We need to remember that when we judge equine collectibles, we’re judging technical realism, how accurate a medallion is to a real equine, and that doesn’t always entail “perfect” conformation (and type). So while each piece exists on a spectrum of good conformation (and type), it should always be as anatomically accurate as possible. There’s a big difference between what’s possible (anatomy) and preferred (conformation and type), or in other words, between what’s viable (anatomy) and what’s ideal (conformation and type).
• Conformation entails the lengths, angles, and dimensions instituted by humans that qualify an animal as superior for human utilization or aesthetics whereas anatomy qualifies the animal as part of the genus Equus for survival, which vastly predates domestication. In other words, conformation is subjective, being based on human preferences, whereas anatomy is objective by defining the genus or species, and therefore the basis of realism. This means that conformation mustn’t be weighted as heavily as anatomy, and also needs to be regarded in balance with equine evolution, physiology, and the history of domestication.
• Similarly, we’re judging work made by the work of human hands and not Nature — only Nature can create a technically perfect equine. And so plenty of medallions exist with good conformation and type that are anatomically flawed, rendering them unrealistic by definition. That means they may look like an ideal equine, but they aren’t built like a real one. So despite their beautifully conformed and very typey qualities, their objective flaws greatly diminish their LSQ status.
• Everyone has a different idea about what “ideal conformation” (and type) actually means for any given discipline, bloodline, or breed. Talk to five different people and they’ll all have a different opinion, even regarding the same specimen! That means conformation (and type) have to be regarded on a per piece basis, with the understanding that judges will be applying their own idea of what’s ideal, and that ideal may be very different from yours. Who’s correct?
• Some conformation dogma can be problematic. Indeed, some of it has even been disproven such as the long toe-low heel hoof structure. Really, there are plenty of poorly conformed horses who perform tremendously and stay sound whereas there are many ideal specimens who perform poorly or who are chronically lame. Also, conformation (and especially breed type) is prone to fashion, fads, bias, misinformation, and exaggeration, often at the animal’s expense. 
• By which standard of conformation (and type) are we supposed to evaluate a piece? Are we stuck with only those current representatives deemed ideal right now or may we also include those found throughout a breed’s history? Of note, this speaks directly to the underlying contradiction in medallion showing, specifically the clash between “historical” judging and “now” judging. Historical judging acknowledges all possible representatives within a gene pool, throughout history, whether or not they’re favored by modern standards. In short, historical judging accepts all the possibilities that could have occurred. For example, historical desert Arabians can compete equally against modern Arabians, or foundation Appaloosas can compete equally against modern Appaloosas. Even chestnut Friesians can compete equally against black Friesians since it’s genetically possible to produce a chestnut Friesian despite disfavor of the registry. In contrast, “now” judging only acknowledges current, modern standards of any given gene pool, strictly according to current registry rules. This type of judging is most like showing a real horse today, only recognizing current forms and presentation of the breed and shutting out much of what was and/or still is possible. 
• Can it be said that there is only one conformational (and type) standard for each breed? Nope. In fact, many breeds can be typified as having several acceptable variations, historical and present, due to bloodlines, uses, trends, preservation breeding, or tradition. So which is more correct?
• The concept of a “purebred” breed, as we know it today, is a relatively new Western notion that can rely on mythologies, misinformation, and rhetoric to set a breed apart. Originally, horses were bred for a specific use, with rather open gene pools, shaping their bodies for certain disciplines. In fact, the original application of “type” was to discern between a riding horse, a racehorse, a carriage horse, a warhorse, a workhorse, etc. Also, “type” could apply to a region or culture in which a kind of horse could be found. In other words, horses were classified and bred according to their job or regional isolation, more as a landrace, not according to their “pure” bloodlines (with some historic exceptions) or rigid points of type. However, when the idea of a “purebred” breed became ingrained in Western culture, gene pools were sealed with closed registry books with points of type then becoming important to “advertise” the uniqueness of the purebred to compete in the horse market now burgeoning with other purebreds. Eventually this also meant that many of these closed populations now had to operate outside of their original uses to improve the versatility of the breed to appeal to a wider market, which is partly why we have structural variety in so many breeds today. However, all this compelled many to one-up each other, exaggerating traits into nonviable forms while increasing inbreeding that introduces the accompanying diseases and syndromes. Indeed, the conceit for a purebred can be so extreme that you can hear people refer to non–purebreds with rather derogatory terms. Is this a fair assessment if those animals are functional and happy? 
• Much of modern conformation (and type) dogma is based on Westernized ideals of perfection and so can morph into a prejudice against non–Western cultures, breeds, types, or colors. Indeed, the distain for feral, wild, unconventional, or non–Western phenotypes or colors can happen despite the inherent natural hardiness and usefulness of such animals. So try to avoid this trap and evaluate each piece’s breed, and especially its individuality, based on its own special merits. Nevertheless, a piece should appear as its stated breed or type with the understanding that variation and different tastes color the placings. Being so, it’s also important to research judges to show under those who tend to apply judging criteria more aligned to yours.

Put it all together then and we can think of conformation as including these qualities, as follows:

• The lengths, angles, dimensions, orientations, and other characteristics deemed ideal by a breed’s registry or the gestalt opinion of the breed’s community.
• The structural qualities that produce preferred, characteristic motion or performance.
• Those cultural preferences that typify a breed or type.
• Those features that characterize a regional or family variation within a breed.
• Those conformation qualities typical of a historical archetype or foundation population.
• Conformation indicative of current trends or changing priorities. 

Remember: A good baseline is to know the basics of functional conformation for an LSQ piece, and regard everything else with a grain of salt.

Permitted Color: Many breeds have registry–induced color restrictions that prohibit or modify the registration of any given individual, therefore, this category regards whether a specific color, effect, or pattern is authentic to the stated breed or type. For this reason, color can be an important component to a breed’s identity. Being so, a prohibited color can be a significant setback if not backed up by reliable documentation. In turn, this category regards every feature that relates to the permitted colors, to include:

• Coat, mane, tail, skin, hoof, and eye color.
• Permitted markings, patterns, or effects.
• Historical colors, to include those no longer present in the population.
• Permitted variations of accepted colors, patterns, or effects.

However, nature does throw oddities at us, which can often be found in specific breeds, bloodlines, or regions. For that reason, it’s smart to provide reliable non-“AI” photographic documentation or historical data for finishwork that depicts a very rare or odd type of coloration.

Remember: Factual coloration consistent to a gene pool is an important component of LSQ.

Artistic Style: Because we’re dealing with the work of human hands and not equine DNA, a degree of artistic style or creative aesthetic will always be infused into our artworks no matter how clinically straightforwards they appear. And the variety in aesthetic is expansive and actually healthy for our realism–based art form by keeping it from becoming irrelevant and stale. Indeed, different styles appeal to different tastes, and that’s a benefit, not a liability. Truly, there’s more than one way to convey reality! The only time when artistic style starts to present a problem is when it veers into undue stylization or caricature and away from reality such as through anthropomorphism or the exaggeration of certain traits, most often breed type. Where that believability line is crossed is up to you to decide so have a pretty good handle on what your tastes and tolerances are. 

Remember: LSQ typically entails a reasonable balance between artistic style and clinical realism rather than relying on artistic style alone.

Anima: The central figure(s) should have an ample amount of soul, personality, presence, expression, and charisma that sets it apart. In other words, the piece shouldn’t just look like a real equine, it should hit like a real equine. However, this doesn’t mean that requires a wild expression or other such hooks, but that it just have that “it quality” that makes it come alive as a thoughtful and authentic depiction of an individual soul. This is a highly subjective quality, however, which is why it’s in The Optionals.

Remember: A high quality piece impacts us on an emotional level and captures our imagination as a compelling depiction of a living personality.

Cleanliness: The piece should be free of dust and debris from sitting on a shelf or similar circumstances. Such relics should be brushed away with a soft make–up brush, especially from those aspects that could catch life relics. If haired, the hair should be combed, dust–free, and neatly styled. So just like a real horse is groomed, so should the piece. This shouldn’t be confused with pieces made intentionally pasture-suited such as splattered with mud, or with grass stains and other relics present on the piece. Some are deliberately designed this way and shouldn’t be penalized for this realistic depiction of pasture life.

Remember: An LSQ medallion is physically pristine for judging.

Level: The medallion shouldn’t be unduly warped, but be level on the table top.

Remember: The LSQ piece lacks flaws in the composition or production that prevent a level balance on the tabletop surface.

Color design: The color palette chosen to paint, glaze, patina, or otherwise color the relief piece should be coordinated and complimentary to the design and as a whole with the other colors. Typical flaws in this regard are, as follows:

• And incongruous color choice that “stops” the eye.
• An unflattering overall color palette.
• A distracting use of color and color coordination.

Remember: The LSQ relief piece uses color in an attractive, intentional way that best forwards the sculpting and the overall composition.

Narrative: The impact, freshness, and uniqueness of the narrative should be considered as well, weighed in balance to the overall piece. Also pay attention to any artistic touches on the piece that speak to the narrative so everything is cohesive and consistent.

Remember: Many high quality relief pieces are designed around a compelling and novel narrative that should be weighed in your considerations.

Magic trick: Typically a relief work is intended to be seen from only one angle where everything lines up and it all makes sense. So how well did the artist, in both the sculpturework and the finishwork, understand the assignment? How does directional light play on the surface to pop the sculptural aspects? How does the use of color influence the effectiveness of this special angle?

Remember: An LSQ relief piece is adeptly adapted and designed according to its “magic trick” angle, lacking incongruities or awkwardness that would compromise the effect. 

Novelty: The medallion should exemplify some type of design touch, innovation, narrative, or storytelling that sets it apart from the rest or pushes boundaries. And if it’s part of a panel, trio, or triptych, are the other parts present? Plus, just how boundary–pushing is the composition and/or concept? And remember, that the design of a good relief sculpture has a purpose—it’s based on a visual language that creates a communication between the piece and viewer. This approach infuses emotional impact into the piece rather than being just another horse head on a background.

Remember: The compelling LSQ medallion often busts through some boundary to innovate, forwarding the possibilities within its series, collection, or medallions in general.

Cohesiveness: The quality medallion is the sum of its parts, consistent in quality between all the present elements whether the central figure(s), additional animals, people, tack, textures, flourishes, borders, elements, and what not. No aspect of it has been clumsily handled, hurried or fudged, or poorly composed.

Remember: The LSQ medallion is absolutely cohesive in quality throughout its elements and composition.

Faux finishes or effects: All such finishes, textures, and effects need to be expertly rendered to best mimic what they’re supposed to mimic, convincingly and expertly. 

Remember: All faux finishes, textures, and effects on an LSQ medallion are an asset to the piece and never a liability.

Grooming: The grooming that’s depicted on the piece in either the sculpturework or the finishwork needs to be weighed as well. How accurately and neatly done are such things as bobs, braiding, body clips, mane and tail trimming, shark's teeth, facial oiling, hoof polish, hoof length, or specialty shoes, for instance. This also includes any tack that’s traditional for a breed’s show presentation. And are such things appropriate for the depicted piece’s narrative? Sloppiness or error here can be a hefty penalty, so be aware of grooming rules, traditions, conventions, and trends.

Remember: All grooming must be accurate, appropriate, and neatly executed to be LSQ.

Presentation: Sometimes a medallion may be placed on a mat, stand, or plinth. All these elements should be of high quality, clean, and flattering, too, or they’re liabilities and not assets.

Remember: Any additional components to the presentation of the piece must provide an attractive and cohesive whole to amplify its impact.

Documentation: Sometimes the entrant provides real–life documentation for an obscure color, pattern, effect, breed, family variation, type, fantasy creature, or such similar qualities. All documentation must be absolutely correct and factual and devoid of any influence from “AI.” If the documentation is incorrect, that can quickly compromise the piece’s placing.

Remember: All documentation must be an absolutely correct asset to the piece and never a liability.

The Optionals Wrap Up

It’s clear The Optionals are dependent on personal taste or changing trends, which happens to also keep them open to debate and discussion. So do your research to hone your sensibilities and ask questions to help develop a better understanding.

Conclusion to Part II 

Clearly, The Optionals add in a critical layer of components that add to the complexity of this exciting art form but which complicate matters quite a bit with their dependence on personal judgment. This is just one of the many reasons why judging medallions can be so difficult at times since they offer up so many options to weigh and juggle. But gosh...is it super inspiring, too! In the next part then, we'll wrap up our discussion with some final thoughts and a discussion on ABC and BCC judging. So see you in Part III!

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

― Thomas Merton

Note: These guidelines are available as a free PDF download here.

LSQ Guidelines for Medallions Part II