The Latest Trends in Deer Taxidermy
If you haven’t had a deer head mounted recently, you might not realize there’s a revolution going on in whitetail taxidermy. Here, three masters of the art explain what the changes are and why they’re happening.
In the last decade of the 20th century, high technology and rapid change characterize nearly every facet of our lives. The exception, you might think, would be an age-old art, a skill learned by many, yet perfected by few. Its masterpieces have found homes in smoky country bars and the corners of attics – that is, those that have not withered and dried, only to be tossed aside and forever forgotten. Many proud hunters are gone, but their legends live on in aging hides and yellowing antlers, thanks to taxidermists of days gone by.
But taxidermy is no exception to the fast-paced technology race of the 90’s. Better materials, advanced techniques and high standards for quality have brought forth a new style of taxidermy. The business of preserving trophy whitetails has become particularly sophisticated and exacting science. A premium is now placed on accuracy and realism, and in order to keep pace with the competition, taxidermists today must provide high-quality mounts and exceptional service.
Joe Meder, acknowledged whitetail expert and winner of many awards for his mounts, including “Best in the World Whitetail” and the National Taxidermists Associations’s (NTA) Joseph E. Bruchac Memorial Award (for the best whitetail), is one of the top taxidermists in the United States. According to this resident of Solon, Iowa, taxidermists today must not only be able to apply the mechanics of their trade, but they must also be experts in anatomy and materials. “They must be able to work with a number of mediums and be able to thoughtfully and provocatively create a piece of art,” Joe contends. “The end result of their work must not simply be a mounted deer head, but a recreation of the living animal, filled with attitude and expression.”
Several factors are responsible for the rapid improvements in whitetail taxidermy over the last decade, but the driving force behind the trend has been the emergence of a new breed of whitetail hunter. Today, the average hunter has an immense knowledge of his quarry. He has more information regarding anatomy and behavior at his disposal than ever before. He has also likely spent hundreds of hours observing deer in the outdoors, developing a keen understanding of how they live.
Whitetail fanatics are everywhere. The deer is more plentiful than ever, and each year thousands of bragging-sized bucks fall to guns and bows. By the end of the season, dozens of demanding and educated customers will have converged on taxidermy shops. They are hunters who will pay a premium price, but in return expect flawless quality when it comes to the preservation of their hard-earned trophies.
In response to this trend, taxidermists have bridged the gap between the time-honored principles of their profession and the state-of-the-art techniques available today. The result has been some of the most realistic and unique work in the field of whitetail taxidermy ever seen.
Today the position of the deer’s head is frequently a variation on the “stock” shoulder-mount form. Realistic poses incorporating the “sneak” and “semi-sneak” positions are popular. The shoulders are often offset from, rather than perpendicular to, the wall. This provides a more interesting angle from which to view the animal.
Bill Yox of Brockport, New York, winner of the 1991 Joseph E. Bruchac Award and the 1991 NTA’s “Taxidermist of the Year” award, is another professional whose work is advancing the art of whitetail taxidermy today. He notes that, though frequently the most impressive part of a mount, the antlers of the deer are many times not the center of focus. “The head may have been positioned to look alert and tense with nostrils flared, or possibly the expression is relaxed with a softer interpretation of the animal’s attitude, “Bill notes. “The entire animal is on display, not just the antlers.”
On occasion, a more drastic departure from traditional methods is taken. For example, pedestal mounts have experienced a wave of popularity recently. This unique style of mount, which makes use of a free-standing support, provides flexibility in placing the trophy within a room. It also allows admirers to view the head more closely and from a wider variety of angles.
Full body mounts are also on the rise. One of Bill’s most recent projects is the superb recreation of a pair of battling bucks. This full-sized mount of two trophy whitetails depicts the strain of full-scale combat. The display is intense and expressive. The angle and detail of the eyes portray both fury and fright. The purposeful positioning of each animal implies a slight advantage of one over the other. The piece is an awesome spectacle, lacking only the accompanying clash of antlers and deep-throated grunts.
The incorporation of “habitat” is a technique gaining popularity in mounts. Branches, leaves, apples and other forest debris all have been used to create a more complete model of the entire environment from which the buck came. Many times the supporting material has special meaning. The buck taken from your favorite stand in an old apple orchard could be mounted with neck outstretched, reaching for an apple on the end of a branch. Or the buck you took last fall may be mounted with his antlers raking a small sapling, just as he was when you released the fatal arrow.
The mount with which Bill won “Best in the World” bronze medal was a habitat mount of a whitetail buck staring inquisitively at the shreds of velvet from his own antlers, hanging on a sapling in front of him. The mount captured that fleeting transition from a summertime creature of warmth and plenty to a majestic and powerful animal prepared for a season of breeding.
The bottom line is realism. “Each mount should evoke a feeling – good or bad. That’s art,” Joe Meder says. The animal should look alive.
Whitetail taxidermy has been influenced in a positive way by the development of new materials. The supply companies have evolved their techniques to create more realistic components. They also have used an increased knowledge of anatomy to drive toward new levels of realism for their customers, the taxidermists.
One example of this trend is evident in the development of forms, or “manikins” as they are known in the trade. According to Scott Lennard, owner of Frontier Custom Taxidermy in Libby, Montana, the quality of forms has increased significantly. “Much more research goes into creating forms than in the past,” he explains. “Techniques used in their design result in better proportions and accuracy.” The selection of quality forms has been instrumental in Scott’s work, which has included mounting the world-record muzzleloader buck, the No. 3 non-typical whitetail and several other state-record bucks.
The typical shoulder-mount form has evolved from a simple tube to an accurate model of each and every muscle in the neck, shoulders and head of the deer. Further refinements, according to Bill and Joe, are driving the forms to a softer design that includes the major muscle groups but shows them in a subdued fashion, because overly pronounced muscles often need to be filed away.
McKenzie Taxidermy Supplies, one of the largest suppliers of forms used in the business, uses designs by Dennis Behn to create more realistic and accurate products. This marriage of taxidermist and supplier results in higher-quality mounts for thousands of customers.
The antlers themselves might seem an unlikely part of the deer head to modify. However, as Joe notes, “Modern techniques of antler repair, where quality and realism can be maintained, remain in high demand. Broken tines resulting from falls, errant bullets, and simply rough handling can be repaired, replaced and colored so that the flaw is virtually impossible to detect.”
A related trend is the current rage in antler replicas. A mold can be made from any set of antlers, most frequently a famous and valuable rack, and multiple sets of antlers then cast. If you have ever looked closely at a set of antlers produced by this method, you undoubtedly have been impressed with the resulting detail, texture, and coloring. This technique has special appeal for collectors and antler enthusiasts who have little chance of ever gaining ownership of a particularly well-known set of original antlers.
This controversial method of antler creation may seem strange to some. But, according to Meder, “Like it or not, big antlers stimulate a lot of interest. Creation of these replicas is a positive contribution to the political climate surrounding hunters and hunting. It shows a level of respect and reverence for the animal itself, and that is good.”
A recent development in the preservation of antlers and skulls is a technique similar to that used for bronzing baby shoes. This method was developed by Dave Champagne and Robert Whipple of Mr. Whipple’s Bronzing in North Adams, Massachusetts.
The process (secret, of course) is a metalizing technique that can be used to create bronze, copper, silver and pewter skulls and antlers. Once you get over the initial reaction to this unusual technique, you are sure to be intrigued by the possibilities. This process certainly figures to gain popularity as an attractive and relatively inexpensive way to preserve your trophy for generations to come. More traditional bronzing techniques are currently being used by Randy Hill of Bronzemasters, Inc., in Montgomery, Alabama, for preserving deer skulls and antlers.
Replacement parts, such as nostril and nose inserts, earliners produced directly from actual cartilage samples, jawsets, tongues, and mouth accessories are all used in the quest for realism. The open mouth techniques that have gained popularity have necessitated the use of many of these formerly non-existent parts.
Another area that has progressed significantly is in the development of the eyes. What used to be a simple brown-colored glass inset is now a detailed replica of the deer’s eye, complete with veins in the sclera (the white portion of the eye). This “implant quality” eye often creates the piece de resistance of expression on a whitetail mount.
Tanning methods have progressed as well, using solutions that create more manageable hides with better color retention. Often, the most noticeable flaws in bad deer mounts are the cracks in the hide and sloppy stitching, which are telltale signs of a poorly processed cape.
Many of these techniques were pioneered for use in competition taxidermy. At these highly competitive shows held around North America, judges look carefully at every detail of the entries. The tiniest flaws will result in lost points. Often, a new technique or replacement part will come about as a result of collaboration between taxidermists and supply companies specifically intended for use in competition.
Many new techniques that have originated in competition pieces gradually have found their way into commercial work. A lot of today’s deer hunters are savvy enough to recognize the same details judges look for in competitions. In fact, the top taxidermists today produce very consistent work, whether it is for competition or for a walk-in customer.
The quality gap between “competition” mounts and the average “sportsman’s mount” is certainly becoming narrower; however, it will always remain, because taxidermy is largely a labor-intensive business. The more hours spent on a mount, the more a taxidermist must charge to cover his time. In competition, the reward is recognition of talent. In business, the reward is a healthy bottom line and happy customers.
Given the current rapid rate of change in taxidermy, where can we expect this all to end? Clearly, the quest for detail and realism will continue. In fact, that is the goal: exacting reproduction of the animal. Hunters will demand better quality as their knowledge of taxidermy and the whitetail continues to grow. The educated hunter will, indeed, be the best customer for any taxidermist.
The proliferation of knowledge for those practicing taxidermy will continue to level the playing field. “There are no secrets in this business,” Joe claims. “It takes determination, hard work and artistic ability. Information describing the fundamentals of taxidermy is available in a variety of books, articles, videotapes and training seminars.”
Joe, Bill and other award-winning taxidermists frequently tutor those interested in joining the profession. This willingness to share knowledge demonstrates the understanding the good of the business and our hunting sport is rooted, in part, in tasteful and professionally done mounts.
Certainly, more and more big bucks are being taken by hunters who already have a wallhanger or two (and occasionally a dozen or two). These customers will be looking not only for top-quality mounts, but also for a unique and fresh approach that will avoid monotony in their trophy rooms. Requests for new poses, with emphasis on presentation and composition, will come from these seasoned veterans.
Ultimately, the bread and butter of the taxidermist is the hunter who has just shot his or her first buster buck. Such a hunter is looking for quality, a reasonable price and a reasonable delivery date. Satisfying this customer guarantees return work from him, as well as from his buddies through references.
There are few guarantees when it comes to getting a top-quality mount. But there are a few things a hunter can do that will greatly improve his odds.
When selecting a taxidermist, make sure you examine his work in great detail. Look at the proportions of the deer. Look at the eyes. Do they both appear to be looking in the same direction? Examine the stitching. Is there cracking or pulling away at the seams? Check the ears for sharp, clean edges. Make sure all painted details are sharp and realistic.
Check references provided. Travel, if necessary, to see a variety of work your prospective taxidermist has done, and look through photos of his work in the albums that he undoubtedly has in his shop.
I have a friend who downed one of the finest bucks I have ever seen taken in our area. It was a heavy-bodied buck with a very wide rack. When the mount was completed, it was clear that a much smaller form than was appropriate had been used. The result would be laughable if it weren’t so sad. This incredible monarch was reduced to a constant reminder that the wrong taxidermist was chosen.
Don’t leave this vital job of selecting a taxidermist until after you nail your big buck. You rarely will have the time to make an intelligent choice then, particularly if the weather is warm. It might seem optimistic, but start looking during off-season. The studios should be less hectic then, and you can talk at length with taxidermists and their current customers.
In taxidermy, as in most other producer-consumer relationships, you get what you pay for. If you expect high-quality work, expect to pay appropriately. Beware, however, that it is possible to pay premium prices for mediocre work if you haven’t done your homework.
“Picking a taxidermist is much like choosing a doctor or lawyer,” Joe says. “Check credentials, then pick someone you want to work with. You may also want to find out if they are certified by the National Taxidermists Association.”
In the end, there are no shortcuts to getting a great mount. Spend the time and money necessary to make sure that your treasured trophy is preserved in a way that will make you proud.
(Published in “North American Whitetail Magazine,” Oct. 1994)
The Latest Trends in Deer Taxidermy
By Bob Campbell