Tag Archives | belton patterning

Overlapping and Interacting

RomeoMarkings

One of the most interesting aspects of white patterns, at least for an artist, is whether or not they overlap one another or interact with each other (and other modifiers). Perhaps because most techniques involve adding – or sometimes removing – layers of color, it is only natural that artists tend to assume a layering relationship. What is appears to be true is that patterns typically have a complex set of interactions. For example, there is good reason to believe that some of the sabino patterns (like the one seen on the horse above) interact with whatever mechanism produces ordinary white markings by amplifying the white in those areas. Meanwhile both the markings and the sabino patterns appear to interact with the base color.

Simple layering seems to be far less common. That is one reason why some forms of snowflaking (like the one in this post from a few days ago) are so interesting, because it appears that some types do overlap existing patterns. I suspect that overlapping white spots are behind the really unusual “jigsaw” leopard Appaloosa mare Dazzling Vision Spot. More common, though, are overlapping dark spots on the face. In dogs these are sometimes called Blenheim spots, for the red and white pattern in Cavalier King Charles Spaniels where the markings are considered desirable. One is visible inside the blaze of the red and white spaniel in this nineteenth-century copy of a Landseer painting.

LandseerCopy

The horse at the top of the post has a similar spot in the top corner of his blaze. In horses these inset spots more often appear offset rather than centered on the blaze. This can give the the top of the blaze a scalloped look. Since the one in the picture is set a little further inside, it bisects the blaze so that there appears to be an irregular section of disconnected white. That white is probably not a separate marking, but rather the remainder of the blaze that the overlapping colored spot did not cover. The tinted areas in this photo show how this works.

occludespot2

I have shaded this Paint Horse’s broad blaze blue, and the imagined overlapping spot bright pink. The area where the colored spot overlaps the blaze is purple. On this horse, the disconnected white this leaves is much smaller. I have called these colored patches occluding spots, since they cover (occlude) part of the white face markings. If the spot is large enough, the result is what is often called a badger face.

Badger

Some badger-faced horses have spots large enough that the only thing left of the blaze are small, detached segments of white. Here are some good examples of that: Akhal-Teke1, Akhal-Teke2, Paint Horse, Thoroughbred and another Paint.

The separate nature of occluding spots is even more apparent when they occur when white patterning has completely removed the color from the face: Paint, Gypsy Horse, and another Paint.

I suspect that the horses pictured so far have something similar going on with their face markings, with just slight variations in scale and placement. I do not believe every dark spot inside a face marking is an occluding spot (or minimized badger-face marking, if you prefer). This guy is perhaps a good horse to look at what are probably two different things altering his face marking.

BrokenBlaze

The most obvious change to his blaze is what looks like two or more occluding spots breaking it into two pieces. If you look further down his face, though, his blaze begins to break apart into round spots right behind his nostril. Because the scale and character are rather different, it is my suspicion that there are different causes for the two changes. What is happening close to his nose looks a bit like the way sabino degrades the edges of markings. This Belgian has a more roany version of what is probably the same type of thing.

Lazy5Belgian2

Here is another horse that has what I think are two different things going on as well. Along the upper edge of her blaze a mid-sized occluding spot has cut off most (but not all) of the corner of her white marking.

BeltonandOclud

Then there are small spots of color inside her blaze. I suspect that is Belton patterning. Since first posting about the possibility of dark ticking separate from the actions of the different patterns, many readers have sent leads on horses with this. That will be the subject of the next post. (Previous posts on Belton patterning, for those missed them, can be found here, here and here.)

Continue Reading

Coloring outside the lines


“I know they are popular, but it’s not like you can put kissy-spots all over his face like that. It’s unrealistic!”

(Previously posted on September 23, 2008 on the Blackberry Lane Studio Blog.)

My oldest son, Brandon, likes rules. He’s not the kind of kid that is tempted to test the limits or stray from what he is told. In fact, he tends to view mere suggestions and loose guidelines as rules. Most adults, when they encounter children like this, think of them as “easy”. It certainly does mean fewer parent-teacher conferences!

But if you haven’t lived with it, it’s easy to overlook the downside. Because rules are comforting to kids like Brandon, they are always looking for them, and they often assume rules based on too few data points. (“If I have not seen someone do this thing, then this thing must be prohibited!”) They also tend to apply hard rules to areas where looser guidelines are more appropriate. As a parent I spend a lot of time encouraging my son to examine what he suspects are rules, and to look for exceptions. I don’t want his world to be narrower, more constrained, than necessary. There are a lot of non-traditional solutions out there, and sometimes taking advantage of them requires just a bit of uncomfortable rule-bending.

Pointing this out on a frequent basis has made me more sensitive to my own devotion to rules. (I know all too well just where he got this trait.) My desire to impose a structure on things, and my tendency to look for clues that might reveal hidden rules, helped me to understand coat color patterns. But like all lovers of rules, I have to recognize that the world is a lot messier than simple rules allow. Painting horses – particularly patterned horses – without any thought for the rules would obviously result in some unrealistic pieces. What isn’t so obvious is that painting horses strictly by the rules, without any bending, results in overly stereotyped patterns. Knowing pattern rules, I am not at much risk of producing an unrealistic pattern. What I have to guard against is producing patterns stripped of the little idiosyncrasies that give the impression that I am painting a specific horse, somebody’s horse, rather than an artist’s rendering of a given color.

That’s why I like attending horse shows, particularly those where I will see a lot of colorful horses. Nothing reminds me to be flexible when painting like standing next to a living, breathing horse that just should not look the way he does. And my visit to the Carolina Paint Horse Club “Fall Fling” this past weekend didn’t disappoint in that regard. (Paint Horse shows never do!)

So here are some painting errors, courtesy of some of the unrealistic horses I met.


“Some tobianos have random roan patches, but it’s not like they form a ruler-straight line that bisects the neck in half.”


“White on sabinos concentrates under the jaw, not on the top of the neck. And it certainly doesn’t create a ring around the neck.”


“The edges of sabino markings are often ticked and indistinct – but just the edges. The whole stocking isn’t like that.”


“Nope, that’s painted all wrong. That’s a German Shorthaired Pointer leg, not a horse leg.”

Continue Reading