Many people have asked me about my deer noses so I thought I would share. This is how I do whitetail noses on commercial deer. As you know, there are many color variations of visible bare areas on whitetails and this is very true for the nose. The nose pad can exhibit both smooth textures and other very prominent textures. Nose color will vary, along with the color tones of the lower nose pad to the upper portion of the nose pad. Learn from reference, especially the fresh examples received in your workshop. Study good quality nose photo reference for the coloring and color tone variations.

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There are several different ways to finish the nose on a deer. In this article, I will discuss a few ways to finish a nose and show one of the ways I use to finish a nose on a customer’s deer. First, you need to look at a few reference pictures to help you in the finishing process.

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Every serious wildlife artist knows how important the details are to a finished product. But have you ever really given much thought to how the tools you use can impact those details? Just like the process of creating your pieces, there are many steps to making a quality blade. The more you know about the blade manufacturing process, the better prepared you will be to make sure you are using the best option for you. This article will explain the intricacies of the surgical blades used by taxidermists around the globe.

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The Collective Artists Division is a hallmark division of the World Taxidermy Championships®. It gives several artists and/or studios the opportunity to show their abilities and artistic talents in one composition. These works of taxidermy art have become one of the most anticipated spectacles of each World Show and for that reason they have been given a special area in the always open pre-functions areas for all to view throughout the show. Every Collective Artists entry at the 2022 show scored 90 or above with the highest scoring entry in each category receiving a Best of Category and its share of $4,000.00 in cash awards. All WTC judges have a final vote to determine the Best in World of this division, won this year by the Phil Soucy Studio and artist Forest “Toby” Hart.

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Illustrations by Larry Blomquist

This is a paint schedule for a largemouth bass. It can be used for a real fish or replica. The only difference is how you prepare each fish for the paint. The paint is basically applied the same way. I have a system that has worked for me for over 40 years, but I encourage everyone to experiment and try to get better each time as I do. I am open to new methods and try to learn something new each time I paint a fish.

My techniques have a basic side, but my paints and application have changed slightly over time. I started off painting oil paints with a brush (showing my age). Actually, some were quite good back then and surpassed guys that were getting into airbrushing at the time. I gravitated to airbrushing during high school and was fortunate to learn how to use one from Bud Hull in Georgia. He is a legend and still one of the best in my opinion.

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