 Hi there, it's DJB. Some of you guys may have known about or seen this guy on my Instagram page. His name is Keon and he is a drastic fjord from the Breyer Halflinger mare. I was able to film the entire process of creating him. It's not a tutorial based in the fact that I'm teaching you how to do it, but I'm showing you how I got from stage one to the final product because it was a process and obviously I created some form of result. So a little bit about Keon. I actually grew up down the street from a fjord farm, so I've been exposed to the fjord breed for a really long time and I've always was curious because typically the standard fjord has a roached mane which is where they cut it and it kind of stands on its own. They look like Trojan horses. They're always predominantly done like this color with the gradient hair and so because they're done they have a dorsal stripe that runs along their back and the dorsal stripe bleeds into the mane so the center of the mane is actually almost always black. There's white on the outsides where the done comes in contact with the mane. Now when I was scrolling through Instagram one day there was a photograph of a fjord with an overgrown mane and I've always wondered what this would look like if you were just to let the mane grow and basically it looks really really cool. You get a lot of black and white texture throughout the hair and I've always been really into black and white texture in the mane and tail so I knew I had to create a drastic custom. The moment I saw the photo I knew I had to make a custom of it and so I did. I set out to pick a model and start this customizing process. Now choosing a original inspirational image or reference photo is really beneficial. I don't think this guy would have turned out as good if I had just said I want to do an overgrown long mane fjord without any context. I think having an original photograph really helps and it really did help this body of work because it enhanced it a lot. So it's not super in-depth. This isn't a how to sculpt tutorial. This isn't a how to do things. This is just me showing you and running into problems along the way which I have kept in the videos so that you understand that it's not always an easy process and it doesn't always go smoothly. It takes a lot of trial and error and a lot of failed attempts to get a good final piece. This photograph was really beautifully executed and it captured my attention immediately and I knew right away that I had to make a custom out of it. So I made sure to have good reference. I knew that I wanted to make the standing fjord just as the photograph showed so then I went to picking a model and I actually picked a model in relation to the confirmation of a fjord horse so I didn't just go out and pick any model. I actually picked one that looked very similar and so if we compare the model to the fjord horse they have a very similar top line and muscle structure in the body. So the confirmation is practically the same. If you were to stand off the mane of this model and put on a roached mane it would look just like a fjord as it is. So that's important when picking the model is that you don't have to do a ton of work and I didn't want to completely resculpt something. I wanted to make this a resculpt but not insanely drastic. So I made sure to print off all my reference photos and some color examples for the painting process. I'm going to use a Sharpie to just mark off exactly what I want to cut because I'm going to be making this model into a standing fjord. I need to make specific cuts in the legs and the hip joints to bend accordingly. So we need to move this entire hip joint back so that the leg is standing underneath the horse a little more. It's too far forward at this point. So in order to do this we actually have to cut the entire hip so around the flank area and the butt as well as creating an indent on the foot so that I can move the foot up. You want to take plastic away from where you're moving the joint to so the front of the hoof is actually where we need to take the most plastic if we're moving the hoof up. Now with the shoulder as well the shoulder needs to be pushed back. It's too far forward the horse is extending at this point so it needs to be pulled back. The second leg is actually okay so all the joints in that front standing leg need to be pushed out. I'm going to make a cut at the elbow as well as the knee and the fetlock again so just standing those out so that they're able to be pushed in the proper direction. I'm going to take off the entire neck and shave off the hair on the face as well as modify some to the eye. I'm going to also cut out the back hoof just to change the positioning but the leg stance is alright. We need to fill the air hole. I'm going to be cutting off the entire tail as well so the model's all ready to go. Here I have my little dremel set up. I have my newer ring light and my dremel with a flex shaft and I'm going to be using a variety of tools on the end of my dremel for this process but the flex shaft makes it really easy to dremel. I'm going to be using the dremel cutting wheel as well as sanding drums in both quarter and half inch size. I'm also going to make sure I have good safety equipment in a respirator, some nitrile gloves and some safety glasses. So here I'm just going to town on the forelock portion on the face so I have to be really careful not to wreck sculpture that I want to keep original so you have to be really delicate with the process and not go too fast. You can kind of see I don't let the plastic ball up too much when I'm dremeling because it gets too hot and that's when problems arise. You kind of want to do short small strokes. I'm not trying to sand off the eye so I'm being really careful and changing the position of the model is really important to get at the particular angles that you're reaching for. Then I'm going to sand off the nose, same thing being careful not to take off too much of the face because I want to incorporate new sculpture on the muzzle but not entirely. So here we can see that I've sanded off the snout down to a point where it would be good to resculpt nostrils. Then for the joints, I don't actually use a cutting wheel. I'm going to use this quarter inch sanding drum. I find it is better. It's a smoother and it's easier to control. So I'm just sanding into that fetlock removing all of the little hair detailing on the back and the same in all of the joint areas just creating a dent. And I'm holding the dremel at this point because I'm creating a pretty deep crevice in the leg but you just want to take out enough plastic so that when you bend that leg there's somewhere for that leg to go. The same with the elbow joint just taking out some plastic there and then once we're all done you can see here that the face has been sanded off. The leg has been sanded in all of the areas where it needs to be bent and the legs that don't need any work are okay. I like to cut off the ears and do intricate details with a hacksaw and the reason I like the hacksaw a little more is just that there's more control. Here I'm not using a vice so it's a little difficult. The model moves around a lot but for the ear it doesn't take much as you can see it just came right off. So I'm going to do this the same with the tail because the tail is in a tricky spot and I find sometimes using the dremel cutting wheel I take too much plastic off and I wreck too much of the sculpture and it ends up being too much of a pain to deal with. So sometimes using the hacksaw is just easier and better and you can see you could do a whole custom using the hacksaw as well. You don't need a dremel setup if you can't have that or require that in your house. So eventually I did give up and use the cutting wheel because it was taking too long. I also went to cut off the head using that cutting wheel and the neck as well. Sometimes I like to leave the head on so that I can sculpt the model while it's intact but for this case I just chopped the head off because I was going to give him a new neck. So there the tail came off after lots more cutting and hacksawing just trying to not wreck the butt of the model and then I'm also going to cut off the neck using the dremel cutting wheel. You see there's a lot of smoke that's produced from dremeling here and I like to pick off the little bits that show up after dremeling with my gloves on because when they're still hot they come off really easy. So here I am actually cutting the hip and shoulder joints with the cutting wheel. This is really difficult. You have to be really careful not to nick the legs or any part of the model that you don't want sliced and going slow and in sections instead of one continuous movement. So it takes some figuration depending where your model's legs are and sometimes you will nick them and that's okay because you can fill them in later. It's just easiest if you try to avoid that in the beginning initial stages of your custom. The less work the better. Normally you can tell that the hip is fully cut if you can bend it a little bit. You can see me wiggling it around and just pushing off these plastic bits while they're still warm. So then after your bits have been cut off and your hip joints and everything have been sliced you can clean stuff up with the sanding drum just to make everything a little smooth. The less sanding you have to do manually the better and so using the dremel really helps to refine some of those edges. So here there is some excess main leftover so I'm dremeling that off as well. It's over top of the shoulder and then we have our final model that has been dremeled to the point of perfection here so you can see that the head is good and so everything is awesome. So I'm going to clean up my workstation and just vacuum up all of those plastic bits and dust that has sprayed all over the room and I'm going to bring out the heat gun. This is my embossing tool that I use as a heat gun. It's not very strong it's a little stronger than a hair dryer it works really well. So you're just going to put that joint in that heat gun when it warms up not too close not too far you will bubble the plastic if you put it too close and you're going to want to test it and so wearing these nitrile gloves really helps because you can't burn yourself very easily. So here you can see me bending but not pushing too hard. You don't want to snap the plastic so you want to go with the give of it. It's a feel thing and you want to be testing your model on a flat surface as much as possible. If you're moving this hip joint same kind of thing you're going to dremel the upper portion of the model and just pull that joint out. So here you can see me slowly bending that hip back slowly and steadily it may need more heat so just adding heat applying pressure and seeing what I can create without bubbling and then you can hold the model in position and dunk it in cold water which will set the plastic. So that's my little base cell container in the back there it's full of cold water. So it's a lot of readjusting and going slow and moving as you see fit. You can see me dunk that in the water. This takes a lot of work and a lot of time and it's a slow process. So here I notice that I can't move that shoulder joint back because there's too much plastic in the way so I haven't cut big enough gap so that the shoulder can move in. So I went and dremeled that out and then I actually have room to push that shoulder joint backwards. So that's really important too is creating gaps so that your joints can move into position and so I'm still learning how to do this fully. It's still a learning process and it definitely is a lot of trial and error so you will learn and pick up those things in bending the legs and in this drastic custom I did struggle with the legs a little bit and I'm still learning how to do that properly. It comes over time so moving the leg I start with the elbow joint and then move to the knee and to the foot. So you move it in succession you wouldn't want to start with the foot first if you're not going to know where the foot's going to end up. So you want to move down the leg and I did end up mashing the hoof quite a bit it was too hot and it morphed quite a lot so you have to be careful not to put too much heat. So once I feel like it's good I realized that the leg was way too long. It wasn't working for me so I ended up strumbling it off. I'm going to wire reinforce it back together so sanding down all of the seams and edges of that leg and then I'm going to be able to put wire in and make it match accurately. So sometimes that's how I find is easier because I'm not super good at recreating the legs so here I'm going to be doing that to the foot as well because that fetlock isn't quite the right shape so I want to dremel it off and reposition it. So here I'm just drilling in some holes and those holes will later hold wire to reinforce. So here I have the model all laid out in pieces I'm going to get some wire some craft wire and some wire cutters as well as my baking soda and super glue combination and so we're just going to start by reconstructing certain portions. So I have drilled holes in the model in the previous part to reattach the hoof to this hind leg here and so that's just measuring the wire to a point where it looks good with the other leg an accurate size. So just setting in the legs and hooves before I add the super glue is really important so you just want to see visually what's working what doesn't work but once I have the model all kind of positioned accordingly you can see the flaws that are coming out so that knee looks a little wonky that foot looks a little wonky but the hind foot was being pretty easy so I just add some super glue to that insert my wire into the hole and then dunk the whole thing in baking soda so that I can set that super glue really quickly using a q-tip there to just dump some more on and you can do a couple layers of this to really make sure that that wire is set in there you are going to have to let the glue set a little bit as well as it takes some time to fully harden so that you can handle the model and re-bend what you've inserted in so here I'm actually attaching the hoof to the leg and it works pretty good the horse actually can stand on three legs which is very convenient so I can fuss with this front leg the same thing gluing in the wire and inserting that leg into the body and this leg gave me a lot of trouble throughout the entire customizing process it really looked wonky all the time here you see me bending the wire a little bit because the leg doesn't need to be straight in it can have a little bend to it as long as it's not going to affect the final sculpture so creating the right length is really important making it look as realistic as possible so sometimes you get frustrated and you need to move on so at this point I was going to try and attach the head instead because the leg was frustrating me so I am doing the same thing just adding wire to the inside of the head and shoving basically the whole head full of baking soda adding more glue and more baking soda to create a strong layer to attach the head to going back to the leg as I let the head dry and I confirm my positioning and go in through the front of the model to put in that that super glue and position it in there using lots of layers of super glue and lots of layers of baking soda making sure that it's good and strong inside using a little bit of a longer wire is helpful so that the leg won't break if it's too short it could slide out so I have pretty long wire inside there now attaching the inside of the neck to the model it's hard because this is smooth plastic inside but I do my best to just super glue that in there when you add the clay over top the neck isn't going anywhere unless you're really reefing on it just gluing it enough so that it will stick and you can get a good distance of proportion there and it is going to look a little funny but I add a second wire on the underneath of the neck as well that I did not film and then I'm just going to put blue masking tape all the way on the outside of the neck so adding lots of layers of tape and this just gives a better visual for what we're working with here and the neck looks good and in proportion so the model is looking pretty good at this point so then I'm just going to fill in some of those holes with a two-part epoxy clay I was using a combination of epoxy sculpt and magic sculpts on this model but just filling in those really quickly they don't need to be sculpturally accurate but just adding fill and then you can sand it down and add actual detail on top but you need to just fill in that base I'm using my silicone sculpting tools here to kind of smooth out the edges you want to make things as smooth as possible when you're sculpting additive clay onto your model because it will create less sanding in the priming phase you don't want to go too crazy with clay and then have to sand it all down later so here I'm actually taking a stab at sculpting nostrils I start with two little globbies and create the nostrils this video is not an in-depth tutorial on how to sculpt different things I like letting things dry so I did sculpt the nostrils first and then the rest of the face after so that it had time to set and I wasn't going to wreck the rest of the horse so I've added filler in the legs and in the face there and the new sculpted nostrils after that clay head set I came back and I am going to stuff those cavity holes with some tin foil I like using tin foil because it's really light and it's easy to jam in there this definitely is a learning curve because the tin foil will fall through the model so you may have to stuff the entire horse with tin foil so you want to keep the sheets as big as possible while pushing them into the horse and then adding some super glue to hold it in place I was trying that that sort of worked but not super good so just shoving as much as you can to create a flush area to sculpt on top of so the clay is not going to sink into the model I do find clay sinks into the model a little bit and so you will have to do a couple layers of clay usually on those big gap but to create as little work as possible using some tin foil and some super glue and some baking soda whatever works for you so once you have that base down you can add that clay over top here I'm just forming it with my fingers making it as smooth as possible so really working that outer edge so that there isn't a lot of sanding to be done later using water here to smooth out the clay but you can also use isopropyl alcohol anywhere from 70 to 90 percent just really smoothing that in with my fingers not creating any real detail here because it will be sanded down and sculpted on top but just creating that filler base of clay so once that's set I came back and actually started sculpting some ears I like to let the ears set on the model so that they dry accordingly and then once they are dry you can cut off that excess sand down the ear on some flat sandpaper mark the spot in which you want to position the ear with a sharpie drill a hole into the model using a dremel again and into the base of the ear attach some wires and insert them into the head so here I am positioning these ears and setting them in with super glue later I will establish that these ears are definitely in the wrong spot and too far forward so a good rule of thumb is that you should actually complete the neck before you set the ears because the positioning on this was all wrong so I did actually finish up that neck after I added the ears so I'm just giving him a little rinse and then I'm going to use my duplicate color automotive filler primer in gray using a rubber glove to make sure that you don't get primer all over yourself and so here he is he has more sculpture just adding in fill areas and the neck primer gives you a really good gauge of what you need to sand down what you need to work on and it shows any lumps or imperfections that are appearing with your sculpture work so here you can see that he has a lot of issues to refine in that leg and in the there's a hole there in the neck some definite lumps and bumps that showed up but you couldn't see before because he was too many colors and too much happening so you really need to use that solid layer of primer to see your imperfections in the sculpture so after a lot of thought I definitely knew that the ears were way too far forward the ears should be in line with the jaw and here they're pretty much touching his eye and I had some comments on Instagram saying that they looked funny so I actually am ripping them out and it's really important to do this in this this phase of the customizing so that you don't finish the model and then forever see the flaw so just using some pliers I'm able to chip away slowly at the clay that was already there and pull out that ear reinforcement and kind of chip off some more of that and then actually sand it down with a dremel and reposition the ear so on the left is the original ear positioning and on the right is the new ear positioning and you can just see how much more realistic it makes the model I've also added some additional sculpture in the throat latch and that just helps it look a lot more realistic so it's a lot of trial and error and learning from your mistakes in this process using a fine grit sanding drum to sand down some of those weird areas that showed up with the primer with the dremel helps speed up the process a little bit instead of hand sanding the whole model so this worked really well to kind of clean up those really intense areas that were causing problems and then I'm going to attach that tail in because I've sculpted the butt enough inserting a piece of wire there and super gluing it in you can double reinforce tails if they're really crazy positioning which is sometimes recommended but for this guy most of the tail is actually going to be in contact with his body so he doesn't need a ton of reinforcement for the mane because it's going to be long and droopy I need to create a base and I'm doing that using the blue masking tape so just taping some of that onto the neck and double siding it with quite a few layers I'm going to draw on the formation of the mane that I want to achieve so how many pieces of long mane are going to be hanging down and then just cutting those out with a pair of really good scissors this creates a template for the main to be sculpted on top you can also do this with wire but in this method I'm using the tape and then once that is good we can also do that the tail creating the sculptural foundation for it it's going to be pretty big and poofy and thick so just adding quite a few layers of masking tape on one side and then quite a few layers of masking tape on the other side you want it to be firm so that it doesn't bend around a whole bunch but not too many layers that it's like too thick and crazy and then same thing drawing the formation of the tail onto the masking tape and using your scissors to cut out that shape then I'm going to add some thin layers of super glue on top of this blue masking tape so that I create a solid base this just firms up the masking tape so that it doesn't droop around while you're trying to sculpt on top of it and so then once I'm ready with that I'm going to actually start sculpting the forelock so here I add some basic noodle shapes in the form of the forelock that I want to achieve following my reference photo pretty closely and then using a combination of different firmness in silicone sculpting tools they're my favorite for sculpting hair so just adding in those details pushing together those creases of noodles and adding lots of water to smooth out the clay so this is my first time using magic sculpt and it works a lot better for the hair sculpting process then then brushing over with a water soaked paintbrush to smooth out all of those details so here you can see me sculpting in the main the same way it's a very slow time consuming process and I did the main in several layers so putting a thin layer on one side of that masking tape base and more layers as the clay cured so you come back multiple nights to complete a model like this here's an example of me sculpting the tail this is one side so clearly I would sculpt one side of the tail let it cure come back sculpt the other side of the tail and then you can come back a few extra times to add additional detailing in or additional thickness and hair sculpture but really thinking about the physics of the hair how it flows how it falls and using my reference pretty closely to the fjord breed it's pretty good and pretty accurate and fixed with that leg and detailing sculptural lots of different hair the hair on both sides and fat locks I can go in and take a fine grit sandpaper sand down the imperfections and add another layer filler primer so just keep doing this until you get to a point where the model is okay because the primer is going to show flaws each time you do it if I have any holes you can use some bondo to put in those holes I have a tutorial on that that I will link in the description and sanding that down when it cures and so eventually this turns into the prepping phase where you're just removing all the imperfections and making the model final and to the point where you can paint it so here you can see the final primed model and he's all smooth and ready and to a point where I feel I am satisfied with the repositioning drastic customizing and he is ready for his beautiful fjord paint job I'm going to be painting the fjord to classic fjord color while following my reference of the long main version so as a base I'm going to use white then I'm going to use aged white then I'm going to use camouflage brown camouflage pale brown and a dark sea gray for details I'm using Vallejo model air airbrush paints and I'm going to be using a combination of my iwata eclipse and iwata micron airbrush so just inserting that white in there testing that airbrush out I'm just going to paint the whole model in white so this is an easy phase you're just going to spray paint the whole thing until it's opaquely white because the primer is gray we need a white base coat to start on and this is the easiest way to do it creates a smooth good base to start the finish work on of course in the background I am wearing my respirator mask as I airbrush and I'm running an air purifier in the room so then adding a a layer of aged white I'm going to start the shading process so that's making darkness on the top upper layer of the horse and shading down into the muscle structures so we want to use this as kind of a second base coat so that it's shading in the ways that it needs to shade but we're also leaving areas of that white because there is areas such as the flank and the elbow and around the muzzle that stay the true weight of the fjord making sure I clean out my airbrush after each coat using iwata media airbrush cleaner and then I'm going to take the slightly darker brown and this is where the real shading comes in texturing the upper layer of the horse into the barrel of the horse and on the prominent muscle structure while leaving some of that yellow aged white and some of that pure white as well so you want to layer in sections and you want to make sure that your shading is consistent and each layer is leaving portions while also covering portions of the color pattern so on the face painting around his eye but making sure that there is white fully around his eye as good fjord would have making sure i'm not painting too much on the legs then using this darker tone brown that's actually just going to be for the legs so the legs are quite dark painting around the hoof and in the knee area not so much on the back of the leg because the back of the leg they actually have quite a white hair pattern i'm airbrushing a base for the dorsal stripe as well and then i'm bringing out my micron and this airbrush is a lot more for fine detailing so i'm going to be using it to paint the muzzle gray in the lip areas making sure not to cover up too much of the weight and follow the pattern as well as around the eye airbrushing just a tiny bit in there and also in the groin so once i have a good airbrush base i'm going to go in and hand paint those little zebra stripes that show up on the fjords knee so this is a long tedious process using a windsor and newton kalinsky sable series seven paintbrush in triple zero it's my favorite one for small detailing like this and i'm actually creating individual hair detailing so it's a huge process in just painting little tiny hairs and then i'm actually going to go back in and take my aged white as well and paint over some of those areas on the back of the leg that flow into those little fatlock hairs and so just texturing it enough that it looks accurate to the breed and shading it enough that it doesn't look awkward in comparison to the flat body so lots of little detailing in here using a combination of the dark browns and the aged white so here you see my model is wrapped in a towel so that i don't wreck any of the base coating and you'll often see me wearing a rubber glove as well if i'm touching the model in any way because you don't want fingerprints or oil off of our hands getting on your paint job so this takes quite a process and it was really worth it in the end then i am going into the eye area and creating some detailing within the eye adding some white around the wrinkles of the eye and the underside of the eye as well as some dark black that will go back in so i detail a lot of the face in acrylic using a darker acrylic in some of the shading areas and a lighter acrylic in some of the highlight areas but making sure to do not too much because acrylic paint that's painted on is very harsh and edge versus airbrush which is very soft and edge so i just add a few details but i try to blend and smooth as much as i can using a very diluted white to highlight some of the areas in the muzzle around the nostrils and in the lips and then also really detailing into the ear creating that outer edge that is a dark brown and then the inside of the ear which is lots of different little fuzz it's a white color and also the brown color and then painting in the main so here i had some trouble deciding if i wanted to paint the main a dark brown or closer to black so i actually did a combination of both so here i'm base coating in brown but later i add more black in and then more brown tones in the lighter areas as well so it's a combination but just using a large flat brush and acrylic paint i use joe sanja matt acrylic and it's in the burnt umber shade we'll take a smaller kolinsky sable brush to go into the details of the main that fall down onto the body to create the actual texturing of the hair i'm going to spend a lot of time working in the main creating fine lines of fading texture and highlights and lowlights so it's a long long process of just painting strokes in the dark black color highlighting with brown the white color shadowing in a gray and adding lots of little hair detailing in the fact that the hairs are mixed throughout the whole main but making sure that i know that the center of the main is the definite black portion and the outside of the main is white so the main would be falling over the crest of the neck is all going to be dark same thing on the tail just a simple base coat to start with letting it dry and then detailing on top the yards have a bit of a fade in the way that the base of the tail is black and the top of the tail is white as well as the fact that they have kind of a dark stripe that goes down to the middle center of the tail here i'm adding in eye details painting in the eye i like to highlight the eyes with golds because it shimmers in the light when you gloss it and there's a lot of work just done on the hair mostly most of this model was the focus was the hair so i had paid a lot of attention detailing the hair adding some veining details using a slightly darker brown on the face there detailing in the tail here with some brown as well layering until you achieve the look that you feel confident with then i'm going back in and i'm actually going to hair detail the dorsal stripe so i'm adding a brown tone to the outside of the dorsal stripe and then i'll go back in and add some of that aged white as well for highlights so hair detailing and the hair growth pattern so on each side the hair is going outwards until i achieve the dorsal striped look that i am going for for the feet i paint with a base coat of gray it was the dark gray that i used in the muzzle and in the groin just creating a solid color to begin with letting that dry and then going in with my kalinsky sable with a combination of whites grays and black to create both texture going down and texture to the side forces have growth rings on their feet that go both directions so you want to make sure that you're going both directions creating a dark to light gradient i signed my name in some dark brown in the groin area and the base of the feet are same kind of thing painting a dark rim with light in inner tones following reference of true to light horse feet but using a combination of the black whites and grays on all of his feet to create a three-dimensional texture in the accurate presentation of the frog then as a final step i'm going to add some burnt sienna pan pastel applied here with a makeup brush and i'm just going to soften up some of those herring details i did in the hawks, fetlocks and knees of the model then i'm going to seal the model in a tester's dull coat outside doing swift strokes just like this and i will do a couple phases of this that i get all of the model holding it from different sides and directions to really make sure that it is all sealed up good then when he's dry i go back in and i add gloss to the eyes to the nostrils i also add some gloss to the lip line as well as glossing the hooves as a good sealer and a touch of realism paint cans and here we have the finished drastic custom fjord i've named this guy kion i think he turned out really fantastic considering he started as the half-linger mare he's now a beautiful long main unkept fjord thank you so much for watching i hope you enjoyed this as much as i did it was a lot of fun i learned a lot there's a lot of mistakes a lot of success i feel like him as a finished piece he really turned out really awesome and i'm really proud of what i've created here and i hope that you learned something from me documenting the process filming the process and uploading it for you guys if you have any questions of any kind feel free to comment all of the tools that i used in this video are going to be linked in the description below be sure to subscribe and like this video you can follow me on instagram and facebook at djb studios