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An Unintended Hiatus



I knew I had neglected my studio blog while working on my horse color book, but I was genuinely shocked to realize that it had been more than a year since a post was made here. It is, however, a pretty telling indicator of how that particular project moved in and took over my creative life. As an avid reader who really does read the front matter (introductions, acknowledgements) in books, I was aware that writers almost universally mention the sacrifices of their friends and family while they were absorbed in the work. Now I understand why!

The Equine Tapestry was supposed to be a small project – something to fill my time while recovering from foot surgery. What I had in mind was a quick reference guide that equine artists, model horse showers and judges could use to verify the presence (or absence) of colors or patterns in each of the different breeds. I thought that I could give a quick description of the different colors, then a paragraph for each breed. But the world of horse color is changing. New discoveries are outpacing the normal publishing schedules for books. I could not rely on readers being able to find more information to go with a “quick description”, because much of the information could only be found in peer reviewed journals. It is also true that it was just too tempting to begin adding images, which meant a more detailed explanation.

And that was all before I got to the breeds themselves. Keeping the stories to a few paragraphs seemed nearly impossible. What’s more, understanding color in the breeds was too closely tied to how the different stud books were structured. Telling someone that there was a buckskin Shire, and even providing pictures showing her unmistakable color, was not enough. Readers needed to understand why she was a perfectly legitimate – if entirely unexpected – entry in the stud book. Paragraphs became chapters, and before I knew it I had close to 900 pages of manuscript in a book that was not even close to finished.

I decided to split the single book into three, and then eventually four, volumes. The project also changed in scope, so that I was not just writing for people within the equine collectibles industry. I was writing the books that I wished existed. It was – and still is – a labor of love. I should have seen the potential for it to crowd out all but the most essential things in my life. (My friends and family might argue that sometimes even those got short-changed!)

But the first volume went to press in July. At 424 pages, it covers all the (as yet!) known colors and patterns, and then begins with the draft and coaching breeds. In addition to hundreds of photos (many historical images of rare colors), the project included creating 81 illustrations for the various pattern charts.





The book has been far more successful than I ever imagined. In the first week, it went up to the #5 best-selling horse book on Amazon, despite the fact that the majority of the copies were sold directly (through my site here) and were not included in the count. It was also the #1 new release in its category that week. Within two months, it has already exceeded the typical press run of a specialty horse book. The companion blog, Equine Tapestry, that was launched a little over a year ago gets thousands of hits from all over the world. What is even more surprising is that the blog reaches people all over the world, and that has resulted in a lot of new information on some unusual colors. (You can read more about the effect I called Belton and reverse dapple roaning by following the links.)

Obviously with three more books to finish, the project is not really finished. But it is time to return to the studio and the many projects I left here. I suspect that taking a break from all-day writing (and illustrating and editing) will give me better perspective for the next volume, which will cover the pony and small horse breeds.

I do know that focusing on the details of the various colors and patterns has already given me a new perspective that I suspect will benefit the work that will come from the studio. So stay tuned – colorful, shiny things are (once again!) in the works…

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Adventures in self-publishing

(I am cross-posting this from my horse color blog, since it explains why things have been so quiet here – and might stay quiet for a little while longer.)



That’s the print test that arrived late last night. It came with some good news and some bad news.

The bad news is that I will not be able to get books printed in time for BreyerFest, which was my original goal. I knew that was probably a long shot because it was unlikely that everything would turn out perfectly on the first try. Technology has changed a lot since I was last involved in printing, but I was pretty sure that part of it was still the same. Things always go wrong at the printers. Always.

I knew I was looking at a lot of different quality issues, which is why I sent off a sample section to be printed. That’s what I am holding in the picture. (That’s why it is a small, saddle-stitched booklet, rather than a perfect-bound 430+ page book.) I did not know what to expect from the newer Print-On-Demand (POD) technology. I wasn’t even sure I would go that route, because some of the issues I had been told to expect gave me pause. Ideally I would prefer to go that route because I would love to hand off the fulfillment aspect over to another entity so I can return to the studio. Places that do that (companies like Lulu and Createspace) all use the same print-on-demand technology.

What I had heard was that that the color printing, which is used on the covers, leaves something to be desired. That one issue, paired with the still-high costs involved, is why this particular set of books are being designed in black and white. An expensive book with questionable color was a non-starter. I must admit that while it is not the same as offset printing, and I suspect their press wasn’t calibrated well (too much magenta), it wasn’t as awful as I had been lead to expect. It is the kind of compromise I expected with Print-On-Demand. (And yes, I know… a book about color in black and white? I’ll talk more about that later in the post.)

But it was the black and white interior where I found the problems.



Oh, that won’t do at all!

Despite meticulously following the instructions for “best results”, many of the photos and illustrations came out too dark. I don’t need color to show how unusual the patterning is on the Hackney in that first photo, but I do need people to be able to see the pattern!



The same image using a wide range of level and curve adjustments.

The remedy is to go in and tweak the problem images in Photoshop and print another test to determine which settings will work best. It still amazes me that this is actually economically feasible for a printing company, but it is apparently how it is done.

There was some good news that came out of my test, though. As I mentioned, these books are being printed in black and white. Part of that is the economics, but part is also the subject matter. As I have said before, these are not “how to identify you horse’s color” books. Until color printing becomes more accessible, that kind of information is far better suited to a place like this blog. Instead, these books are about the history of horse color in different breeds. In many ways, they are as much about the history of the different breeds as they are about color specifically. As a result, a large portion of the photos are already black and white because they are old. For some all we have are engravings (like the horse in the image above).

Those images are really important to properly tell these stories, but in many cases the image quality is really poor. Often the sole remaining image of a historical animal is the one that was printed in a stud book. Stud books were often printed fairly cheaply on paper little better than newsprint. For others, the pictures come from old periodicals or bulletins issued by agricultural departments. Those were the images that motivated me to print a test section, because I needed to know if they could be included. With modern pictures I have the option of contacting owners and photographers for an alternate, but for the historic horses often there is only one (bad!) image. If that one image didn’t work, I might need to formulate another plan. But ironically, the bad photos printed well. In some cases, far better than they should have! So while the fix for the dark photos is going to be time consuming, at least there is a fix.

The other great irony?



This was easier to do. When I first announced that there would be books, I had a lot of people ask if they would be offered as e-books or downloads. I said I would try, but I really wasn’t sure that I was up for a great technical challenge like that.

Oddly enough, getting the manuscript into Kindle format was really simple. In fact the biggest challenge wasn’t technical, but one of layout. How could I break down the charts and diagrams (like the one those sample homozygous splash overos came from) so that they worked with that kind of format? That is actually a lot more fun than figuring out levels and curves and file formats! And since I own a Kindle, it is easy to see exactly what my readers will get. I am also told that if I use color images, those devices that can do color will show them in color. That might be the answer for color publishing in the future. So yes, there will be an electronic version eventually. After I figure out how to make the less high-tech version work for me!

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