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Daily Mini Interview: Miniatures by Mary Grady O’Brien

July 7, 2015July 7, 2015 admin

Miniatures by Mary Grady O’Brien

How did you first get into miniatures?

I grew up with a dollhouse and a mother who loved little things. I started out collecting from an early age and soon amassed a nice collection. One of the best miniature sources at the time was Marshall Field’s in Chicago. Now, I grew up in Dallas, but my parents went to Chicago and bought dollhouse things for me and lead soldiers for my brother. From an early age we learned to appreciate these toys and not to play too hard with them. And so, I’ve always been fascinated with little things.

Years went by and when I had a family of my own, I worked on a train layout for my sons. The following year I thought, “why don’t I refurbish the dollhouse?” At that time, Chestnut Hill miniatures were available and at Marshall Field’s, they had Harry Smith’s Barnstable collection which was great quality. I was always attracted to handmade antiques. I began refurbishing my old dollhouse for my 2 daughters (I have 6 kids) and came across a miniatures shop in South Bend, Indiana. The items for sale were quite expensive so I started making a few things that could be sold at the shop – ranging from books, paintings and more. At that very same time, I was collecting American pewter.

In 1973, I began buying more and more stuff for the family dollhouse. I wanted to support my habit as it was becoming increasingly costly. On the way back from a show to look at American pewter, we were in my husband Dan’s Corvette which didn’t allow for big purchases. I said aloud to Dan, “If I ever did anything in miniature, I’d like to replicate American tinware in authentic pattern.”

How has your work evolved?

The first piece I made after that trip was a document box made out of cardboard. I painted it so it appeared to be tin. I picked out a simple, authentic pattern and one thing led to another, which led to another. I was pretty hooked. It became my pastime, my hobby, my escape, my passion.

As time went on, I wondered if I could make some grocery money making miniatures. So, I put my nose to the grindstone and started to make a little production. I met other furniture makers, artisans who focused on tools and dyes. People were always so nice about helping me.

The woman at the local miniature shop told me about a show coming up in Sandusky, Ohio. It was a great way to get my feet wet. So that was my first show. There was a little circuit at the time, so people would always ask, “would you be interested in participating in the next show?”

For a long time, Dan and I traveled to shows within driving range from our Midwest home. Later on, I was invited by the National Association of Miniature Enthusiasts (NAME) to do house parties. So I went to Denver to attend that show. It was there that I met IGMA Guild School Director Barbara Davis for the first time. She was living in California and she made miniatures. Our interests align and we felt an instant connection with one another’s work. For many years, she would make miniatures and I would decorate them. Both Barbara and Mark O’Grady are both known for their beautifully painted, distressed antique furniture. They would create a piece and finish it off with paint, then I would add a decorated pattern after which they’d make the piece look worn and antique. Their finishes were smooth as satin. Barbara and I made work for more than 30 years together. After that first show, Barbara connected with Carol Hardy. That particular Denver NAME event opened up a lot of doors.

As a home economics major, I had previously taken some art classes. I never considered myself clever or talented. I never thought of myself as an artist. However, when I started the tinware patterns, these styles really resonated with what I liked. I was painting in acrylic at the time. After meeting a woman who taught country painting, she encouraged me to try the medium of oil painting. I enrolled in her class in the 1970s and when I started painting these patterns, I felt they were familiar to me. As if I had done them before.

I’m convinced that in another life, I was one of those flower painters that did those patterns. It all came so naturally. It was never necessarily easy, but it came naturally.

What types of antiques and miniatures are you most interested in?

I absolutely love New England antiques and history. For a long time, I wanted to more east. I was studying the tinware patterns of Connecticut, Maine, Pennsylvania, and Vermont. There were so many different tinware facilities at the time. I learned about the women who decorated tinware and the men who made the objects through assembly line.

For about 15 years, I did nothing but tinware. Soon enough, I could tell right away whether a pattern’s origin was from Connecticut or Pennsylvania. I grew to have an eye for these things and eventually found patterns on other objects. One in particular was a wooden bride’s box in the American style. Those these boxes are probably European in origin, the only one I recognized was painted in the United States. So I painted those bride boxes (similar to the concept of dowager’s chests). I remember being very excited by the prospect of a new bride box pattern to try, and it soon became my favorite style.

How did you become involved with the International Guild of Miniature Artisans?

I was involved with the Guild at the very beginning. When I attended my first Guild Show, the other artisans encouraged me to become a member of the Guild.

The Guild always made artisans feel very accomplished by the work they were doing. It’s so nice to feel that this work in miniature is a serious art form. It’s not just cute stuff. It’s serious and we’re serious about it. My membership with the Guild led to so many avenues of opportunity. And tons of friendships came out of it. We share mutual interests and it’s fantastic to have the opportunity to collaborate with other artists and designers.

Technique you cannot live without?

My “Jenny Craig stroke.” Whenever I am painting, I take another brush, one that is clean and slightly damp. With that second brush, you can take a crooked line and thin it out. You can edit your work without disturbing the rest of your design. It’s easy with this technique to reduce, refine and erase. It will save you frustration!

When I teach, I say “you’re going to make mistakes. Don’t get frustrated, learn from them. There’s often an opportunity to remedy it.” This logic helps any artist feel more in control of their work.

What do you want miniature enthusiasts to know about you?

I’m doing what I’m supposed to be doing. It’s always felt good. And it continues to feel that way today. I love the challenge of doing something hard, and ending up really pleased with it. Every time I will do a series, I am always thinking, “how can I make this a little better?” I am always trying. And I’m very competitive within myself.

I don’t spend a lot of time looking at other’s artist’s work. I don’t want to feel as if I copied someone.

I just love what I do. And I won’t live long enough to do all my projects. There are just so many things I get excited about – I am never bored!

What advice would you give to a new artist?

Take advantage of where you are in your career. Take advantage of the area of study you’re in. There is a wealth to learn on the Internet, so explore what’s out there. And take a class. Pursue a study program. And join the Guild!

Mary Grady O’Brien is a 27th year instructor at the IGMA Guild School. She has lived in Dallas, Indiana, New Jersey, Illinois and Wisconsin. Her highly-detailed work in miniatures continues to mesmerize many a generation of miniature enthusiasts. To see many more minis by Mary, visit her website. Check out what her students had to say:

“I enjoy Mary’s class quite a bit. She’s very nice and patient.”
—Gisele Hanson, 12th year IGMA Guild School student

“I’ve taken classes with Mary before, but this is my first time with tinware. This class is great!”
—Peggy Meyers, 8th year IGMA Guild School student

“I’ve not worked much with oils before. I’ve enjoyed Mary’s class because it’s relaxing, and at the end of the day you need something that’s going to bring you down instead of staying stressed. Mary’s so easy going and a pleasure to be around. I’ve known her for a long time.”
—Ann Miller, 12th year IGMA Guild School student

Daily Mini Interview: By Anni (Miniature Crochet World)

July 6, 2015July 6, 2015 admin

By Anni (Miniature Crochet World)

What materials do you use to make your crochet miniature animals?

For my micro creations, I mostly use fine embroidery threads and also sometimes cotton threads and yarn for the bigger ones.

How has your work with miniatures and micro crochet minis evolved?

I’ve been making crochet miniatures since 2012. I first started making micro ones (about 0.4 inches) and would list them on eBay. A year later in 2013, I opened my Etsy shop.

I love making Disney characters, these are my most favorite. I’ve always been inspired by Walt Disney since I was little. I’ve spent whole days watching those magical Disney productions such as Beauty and The Beast, Cinderella… and drawing his beautiful characters with colored pencils and paint.

And now I’m happy to turn them into another kind of art: miniatures. They are always a great pleasure and challenge for me.

Favorite miniature you own?

My collection of miniatures by other artists is relatively new and has just a few miniatures. But my most favorite one is a little book shop I bought from Petit Connoisseurs not long ago. It was made by the South African artisan Roz Crouch. This is a half scale dollhouse, very well furnished and everything is so small and perfect. I really love it because this is my first dollhouse, and it means so much to me. The house has its own spirit, memories, and is so very realistic that it’s simply unbelievable that it’s a dollhouse. I am very impressed and admire Roz Crouch’s beautiful work. I hope soon I’ll have more of her great work in my collection.

Why miniatures? What appeals to you most about what you do?

A few years ago I read a blog article about miniatures featuring an incredible video that was revealing the magical world of miniatures. Before that I didn’t even know such world existed, but at the moment I saw the enchantment of building a whole new mini world, a copy of the real one, but even better, I fell in love with this art and decided to try. And it worked.

Why crochet?

After I had started to master the art of crocheting, it was a challenge and it was fun to apply it to miniatures. What I really love about my work is that I don’t feel it’s work. It’s magic, it’s a challenge to recreate what you see on a picture for example in the same crochet shape. And when you get people’s approval and positive feedback, when you find people who love your creatures the same way as you do… that’s the greatest recognition of all.

Advice for beginner artists?

Make your art with heart and soul, so that it can be unique. Make an individual distinguished style. Place your love on everything you do.

Other activities you enjoy?

In addition to my miniature crochet creations, I’m also a dog clothes designer. I have a Yorkie named Carey. First I started making clothes for her then I opened an Etsy shop. After 3 years of hard work now I have also a dog fashion website.

My other hobbies are painting and drawing, though I don’t have much time for either lately. I love spending time in nature. Nature inspires me the most. It makes me feel relaxed and at the same time, it charges me with so much positive energy. I adore magical walks in the beautiful forests and to see all wonders of nature, all colors of life. The greatest art gallery of all.

What’s to come from By Anni?

Here in Bulgaria where I live, making miniatures is not very common or popular. But I sincerely hope things are about to change in the future and that we also start attending big miniature exhibitions. My dream is to visit some of the world’s greatest miniature exhibitions. Meeting other miniaturists in person and seeing their work live would be a great experience for me. Currently, I’ve been working on my blog and I hope it’ll be ready to go online very soon. Miniature lovers will find there more information about what I’m working on at the moment, what’s coming up next, lots of pictures of my miniature creations and more “behind the scenes.” This will also be a space for fun, contests, sweepstakes and all that can make people enjoy my work even more.

I’m also planning to make a pet collection in the near future and offer crochet miniatures made after real life pet models from pictures provided by customers. The pet collection will include different breeds of dogs, cats, and other animals.

What do you want miniature fans to know about you?

All of my miniatures are made without any patterns. Sometimes I use only a picture (for my crochet characters) but mostly I use my imagination and make everything with plenty of LOVE.

Anna Stoykova is from Bulgaria. Her crochet miniatures can be purchased online through her brand, By Anni (Miniature Crochet World). Shop on Etsy, or follow along on Facebook, Pinterest, Twitter or her Miniature Crochet World blog.

Daily Mini Interview: Wildlife Miniatures by Beth Freeman-Kane

June 30, 2015June 30, 2015 admin

Beth Freeman-Kane’s Wildlife Miniatures

| Website | Facebook |

How did you first get into miniatures?

I think I was born to make miniatures. I started when I was 5 and 6 years old. I would create tiny little things out of Play-Doh and plasticine.

In first grade, I made a little elephant and my teacher was blown away. The teacher insisted I show the elephant to her colleagues.

Throughout my teenage years, I focused my miniatures on a lot of cartoons, including Disney, Asterix, and Giles cartoons. At that time, I was using Fimo clay. When I was about 15 years old, I discovered polymer clay. A few years later, in my 20s, I began mold making and reproducing works in resin.

When I was in my late twenties or so, I realized how easily Fimo pieces could break, especially if I was working in exceptionally small detail, such as with a little beak or a tail extremity.

Were you formally trained in the arts?

I attended art school at university for 3 years, never completing my degree. The instructors at the time were quite hard on me and wanted to change my style. They tried and failed to get me to stop making such little things. After that, I began giving my miniature creations to family and friends. I remember quite a few Fimo ducks! Soon enough, a miniature shop in South Africa wanted to sell my work, and they successfully sold everything within the first week.

Were you always fascinated with wildlife?

Yes, I’ve always focused on wildlife. From a very young age, I’ve held a passion for any living creature. Birds particular fascinate me, as there is so much variety within their species. There’s so much character and endless inspiration when it comes to birds.

What miniature animals will you focus on in the future?

I’m working on the idea of peacocks again. And I love my tiny mammals, especially mice, squirrels and chipmunks. I love meerkats as well, they’re perennial worldwide favorites. In the future, I’d love to do a hedgehog. First, I’ve got to work out how to realistically do their spines. And I’d love to do otters underwater!

Can you describe your process when working with miniatures submerged in water?

One of my new techniques is to work with resin. It took me about 12 days to create a framed piece that had ducks in water. I’m really excited about the concept of diving birds. Perhaps puffins chasing fish underwater. And I’d love to create frogs swimming with their legs out.

Describe your process. How long does it take to create a miniature work?

That’s one tough thing about being an artist and a Fellow of the Guild, preserving the highest standard of miniature work. The further I develop as an artist, the tougher I am on myself. It takes me longer to produce a piece and I add more and more detail each time. I aim to achieve realism and perfection and continue to push myself harder. Years ago, I could sit and paint 10 birds in one day. Now I can do about 3. I find myself wanted to blend the colors, to achieve the round sleekness of the bird, all the feather details. So I end up painting layers and layers of color on the piece. When working with resin as water, I want to ensure the animals are whipping with the current, and that they’re slanted and spaced different to appear more realistic.

Do you have any favorite miniatures you’ve made?

I’m quite proud of my new water works made out of resin.

Not too long ago, I made a beautiful barn owl flying into a barn, carrying a rat in its beak. That’s a piece that stands out in my mind.

My work is evolving all the time, as is my process. I’m always meeting new situations in the work so I have to innovate on the spot.

Sources or books you cannot live without?

I use the Internet frequently to find images of animals I’m working on in miniature. I collect bird books and have a number of field guides at home. I started out with only South African field guides and then expanded into American and European guides as my market extended to that side of the world. I aim to create pieces that will appeal to those audiences. The house sparrow, for instance, is universal and you’ll come across the same type of bird in every country across the globe. It’s a very uniting muse, and I enjoy the “every man” aspect of the sparrow.

My favorite book—I call it my “bird bible” actually—is the Sasol Birds of South Africa.

Materials you love to use in your work?

I use deer hair to make grass; bees wings to make dragonfly wings; parakeet feathers to make bird feathers; and the skeleton of coral to make the effect of little dead branches in scenes. I use only animal materials that have died of natural causes and donated their bodies to art. I’ve previously used driftwood found high up in the mountains that needed to be treated, baked and soaked in peroxide. I love using the calcified coral as it doesn’t decay and nothing eats it – it’s a rather inert, natural substance.

Advice you would share with a new artist?

I was lucky to have a supportive family who always liked what I was doing. They would say, “that’s marvelous! Make another one!” If I hadn’t had the support of my family, I might have lost it. I was very discouraged at times throughout school. And though my first grade teacher so loved my work, after that point, instructors always encouraged me to draw bigger to “fill the page” as if a picture had to be big to be validated.

How has the International Guild of Miniature Artisans played a role in your work?

The Guild has been a major part of my growth as an artist. In my early career, I was on my own. I thought I was the only one in the world crazy enough to make little things. Finding out about such a formal movement with other passionate people was very special for me. And now I’m able to earn a living making miniatures that I love. I never dreamt of being able to do this! I always thought it would be a hobby, just on the side. So, the IGMA Guild has played a very important part in my career and I was accredited with both Artisan status and Fellowship.

What do you want miniature enthusiasts to know about you?

I like to go sit outside in the sun for about 10 minutes during the workday. I enjoy watching the birds and watching the trees. There’s so many birds in the area in which I live so I get to see them every day. And I have a lot of pets at home: 6 dogs, 3 cats, 1 pig and 1 parakeet.

I have a passion for the environment. I love coming across details in nature that people don’t usually notice. And miniatures are the same, as they grab your attention and show you an aspect into another dimension of beauty in the world. People might have not noticed that before. So, I hope my work gives them that. A second chance to go back and appreciate the little things.

That’s what’s so nice about framed pieces. It’s a cross-over boundary between the miniature world and the non-miniature world. You can simply hang my work on a wall in your home. You don’t need a dollhouse. Because it’s art.

Back home, many of my clients don’t know much about the miniature world. They love my work, and they love birds and little scenes. So, it’s a tricky balance to keep myself stimulated while creating my pieces and still staying connected to the world of miniatures. Thankfully the Guild offers exhibitions and the annual IGMA Guild School as vital opportunities to connect with other miniaturists. I’m given the chance to show my work, not just sit as a solitary art ant in my studio all day. It’s wonderful to give and receive encouragement from other artists. It revitalizes us. We learn new techniques, stories, and more – and we can share them all within such a supportive community.

Wildlife Miniaturist Beth Freeman-Kane is a 6th year instructor at the IGMA Guild School in Castine, Maine. She creates “A World in the Palm Of Her Hand” with her impeccably detailed wildlife miniatures. To view more of her work, visit her website or follow along on Facebook.

A photo posted by The Daily Miniature (@dailymini) on Jul 3, 2015 at 1:08pm PDT

Daily Mini Interview: Studebaker Miniatures by Bill Studebaker

June 29, 2015June 29, 2015 admin

Studebaker Miniatures by Bill Studebaker

| Shop | Website |

What’s your earlier memory with miniatures?

Barbara and I had just gotten married. I overheard a conversation she had with her sister about the toys they used to play with when they were little. She never had a dollhouse. I thought, “that’s something I could do!” So I started building. I had no idea you could buy anything for a dollhouse, so I made everything from scratch. The more I worked on it, the more I fell in love with it. For Christmas, I presented my wife Barb with a box full of parts since the dollhouse would not be done in time. A time later, she bought a house kit while she was waiting for me to finish the dollhouse. In 2 years time, she had finished the kit and refurbished another one!

In the fall of 1990, I created my first 1:12 scale piece. It was a copy of a Victorian era schoolhouse clock that Barb’s father had built. I made it as a Christmas ornament.

How did you transition from making miniatures for your family to a career in this field?

At the 2-3 year mark of creating miniatures, the volume of things that Barb and I were making got out of hand. We looked around the house and thought, “maybe we can start selling these things.” I was a furniture maker in real life so the transition came fairly naturally.

What’s your favorite miniature you’ve ever made?

The next one. It’s always the one I’m working on next. Or the previous one.

What will you work on next?

I have an outstanding list of commissions and my customers have been very patient with me. I do of course have a bucket list of miniatures I would like to create in due time.

What’s the most challenging miniature you’ve made?

There was a piece I started about a year and a half ago. I have 700 hours into it, and have about 100 hours to go. It’s a copy of a table that was built by the Herter Brothers in the 1890s for William Vanderbilt‘s New York mansion.

Tool you cannot live without?

Tweezers. I have a pair I don’t let anyone else use. I use needle files for everything – I absolutely consume those.

Advice for new miniaturists?

Make the pieces you love. Don’t make pieces to sell. Don’t make the piece you’d think someone else would want. Do what has always made you just stand in open mouth admiration. Don’t worry about making it perfect, because you will love it, and others will love your work, too.

What do you want miniature enthusiasts to know about you?

I love fixing things. If I come across other work that’s broken, I take it and learn how they made it and repair it so that it appears as if it was never broken. So it looks just like their work. That’s very rewarding. And I learn a lot from it too.

I love antiques. And I love old houses. We’re serial collectors and hobbyists. Barb and I have learned craft after craft after craft our whole lives. Essentially, this whole time we’ve just been preparing ourselves to make miniatures.

I will never make 100 of anything. To me, the fun is in the challenge of discovering how to make that piece, and once I have made that piece, I don’t need to make it again. Pretty much everything I make is one of a kind.

How did you first get involved with the International Guild of Miniature Artisans?

It was nearly 20 years ago. We were members before ever attending the IGMA Guild School. Barb couldn’t get away as a school teacher until after she retired, so she came 9 years ago, when I had other commitments. She called me every night, and she was just so excited every day about what she was doing. So the next year I was able to come. I had received my Artisan recognition from IGMA that same year. I just wanted to learn what other people were doing. What tools and what materials were they using? How were other people making their miniatures?

Do you ever collaborate with your wife, Barb?

We have on very few occasions. One of the few miniatures we have made together was auctioned off in Castine, Maine at the Guild School in 2015. She received Artisan status this year. A collaboration with her is definitely one of the things I want to do more of. Our working styles are very different; we work best together when we work separately.

Bill Studebaker is an Artisan in furniture with the International Guild of Miniature Artisans (IGMA). You can shop his work on the Studebaker Miniatures website.

A photo posted by The Daily Miniature (@dailymini) on Jun 30, 2015 at 11:05am PDT

Daily Mini Interview: Miniature Rooms and Room Boxes by Robert Off

June 28, 2015June 28, 2015 admin

Miniature Rooms by Robert Off

| Website | YouTube |

When was the first time you realized you had an interest in miniatures?

I really enjoyed painting lead soldiers as a child. I transitioned from soldiers to miniatures. I used to paint the eyeballs and eyelids of the soldiers – all such small details. I was always interested in miniatures actually. I remember seeing a bar scene at a miniature shop and thinking it was quite interesting. I loved museums and the dioramas there. It doesn’t make a difference to me what scale a miniature is in, as long as it tells a story. Everyone has a story, and people like stories. I know I certainly enjoy stories.

From there, I got into art. I fell in love with art, especially American art. When it comes to learning, I’m quite visual as opposed to instructional. It’s always been easy for me to understand planes, dimensions, and space. American art is all about the genre and the story.

I’ve been building miniature architectural boxes since 1998. I was inspired by the miniature architectural boxes designed and created between 1932 and 1941 by Mrs. James Thorne and Eugene Kupjack. After seeing these Thorne Miniature Rooms at the Art Institute of Chicago, I made my wife a room box for Christmas.

How long does it take you to create a room box?

I don’t know exactly how long it takes. A few years back, I bought myself a fancy docking station to listen to music. In my studio, I would concentrate so hard that I didn’t hear the music. As a consequence of that deep concentration, it’s possible to concentrate on your inner self and it takes you to a deeper place. It takes you into a deep thought process. It’s a phenomenon among artists. I don’t hear the phone ring, I don’t know how long I’ve been there. I’ve messed up my back due to that deep, deep concentration.

Most days I work 4-5 hours a day or take breaks in between. I like to walk away from a room box for a few days, then get back to it. The problem with miniatures is that once you get going, you fall in love with the work. And you grow too close to it. There’s the fine line of not overworking it, otherwise you would take away all the intensity.

Do you have a favorite room box that you’ve built?

Winslow Homer’s studio in Panascot Bay. It’s my favorite because Homer is one of my favorite artists. There’s a personal connection. I got to identify with the artist as I was working on it. Because he’s one of my favorite artists. It’s a personal connection. You get to identify with artist you’re working on.

I always design a work first, and I don’t hold back in the design plans. Then I begin to build it. I don’t let the practical interfere with the artistic. Therein lies the puzzle. After walking away for a couple of days, I come back and figure out how to wire a piece.

What’s your definition of art?

My definition of art is that it has to be interesting. It has to be technically good. And it should be transformative. Art should take you to a different place beyond yourself. The art of miniatures departs from the crafts of miniatures. I approach my room boxes as art, not necessarily as an artisan. I work to make the art different. Mel Bochner once said, “Objects are emotions.” So I put those into my pieces, as triggers. I love symbols. Magritte is great and so is the set designer Robert Edmond Jones. When I started making my miniatures, I tracked down every book on stage design because that’s essentially what I’m building. Jones was one of the first to feel strongly that stage design should add to the story. So it’s not necessarily in the arrangement of the chair, but in where it lies. Exactly to the right or exactly to the left. Jones did a lot of work for Eugene O’Neill on Broadway who was considered to be the best with light.

Imperfection is what makes the thing real. Nothing in this world is perfect. When you look at something that’s perfect, it ultimately registers as untrue. If you’re striving for perfect you’re missing the art. The art is in the perfect, yes, but craft is in the imperfection. And so the doors of my room boxes are a little twisted and not symmetrical.

What symbols do you include in your own work?

I often include fruit, such as oranges or apples, as I always had food around the house. I frequently include a dog. And chances are, you can find a spittoon in my pieces as well. I also like to include something in the drawer that no one can see, but I know it’s there. It gives me a thrill.

I make my room boxes for me and hope someone else likes them. I don’t take commissions. I don’t take suggestions. So, I place symbols in my work because they make me feel good.

The reason I don’t take commissions is because this is a second career for me. My whole life, I’ve catered to customers or supervisors and this is not about that. This is for me.

Advice for new artists?

The transition from hobby to career is a tricky one. I made room boxes as a hobby for a couple of years. But you can’t have the house littered with these things. So you have to keep creating new work and offset the cost and production time. So, what did I do? I sat down and wrote a 5 year plan. I mapped out where I would like to be in 1 year and in 3 years and so forth. I developed a list of goals and how I would achieve them. And when I reached the end of my plan, I sat down and wrote another one. If you don’t have a plan, you don’t know where you’re going, and you certainly don’t know how you’ll get there. If you want to be considered and viewed highly by your peers and the industry, then set a lofty goal for yourself. Set your brand and stick to it.

International Guild of Miniature Artisans (IGMA) member Robert Off is the owner of Miniature Rooms Company. To view more of his miniature rooms and highly-detailed room boxes, visit the Miniature Rooms website. You may also enjoy his miniature room tutorial videos on YouTube!

A photo posted by The Daily Miniature (@dailymini) on Jul 2, 2015 at 10:44am PDT

Daily Mini Interview: Miniatures Writer Anne Day Smith

June 26, 2015June 26, 2015 admin

Author and Lifelong Miniatures Enthusiast Anne Day Smith

How did you first get involved with miniatures?

I have always loved little things. Whenever my parents traveled, they brought back things for me—always under 3 inches or so—because they knew I loved miniatures.

Growing up, I had a miniature Block House secretary desk with a cabinet over it. I still have it today.

When and how did you begin writing about miniatures?

I began writing primarily to support my habit. I had my first dollhouse in 1948. It was furnished with Renwal furniture, which I also still have. Not too long after, I began writing the monthly newsletter for the Cleveland Miniaturia Society. When our group invited Caye MacLaren, the owner of Nutshell News (now Dollhouse Miniatures Magazine), to be a guest speaker at an annual show in August 1978, I picked her up from the airport. I loved every minute of our time together. She had just written a book and asked me to start writing for her.

I thought I might retire over the years, but it turned out no one was writing profiles about the miniature industry at the time. When you write non-fiction, you hide behind someone’s words. I was learning so much from these miniaturists. My passion came to life.

When did you transition into photography of miniatures?

I had taken photos for ages—of miniatures, roomboxes, dollhouses, any miniature scene. About 5 years after getting started, one of my vertical shots worked out just right and was used for the cover of Nutshell News. It’s my only cover.

Why the preoccupation with miniatures? Why do you write about minis?

I love the opportunity to meet all the different people I have met over the years. My miniature friends live all over the world. And when someone recognizes you at a show, that’s something wonderful—you feel like a big frog in a little puddle. I really enjoy writing about these artisans and learning how they go about it. You know, when you get to the end of an interview, that’s when the best information comes—right after the interview has concluded.

What inspires you?

Getting together with other miniaturists truly inspires me. After a meet-up, I’ll go home and work on projects I have put off. There’s a stimulation from spending time in a miniatures environment like IGMA Guild School. Everyone that goes home from the School puts in a lot of work on their projects. If they haven’t finished a project they started at IGMA Guild School, they will go home and finish it.

I can already think of the things I would like to do when I return home. I especially like to make flowers. I once sat in Sandy Wall’s class, and it was so quiet you could hear a petal drop.

Do you make or collect miniatures yourself?

I have a quite a few three-sided picture frames at home. I’m not a woodworker. I can wallpaper and I can put in carpets. For this year’s IGMA Guild School Exhibit, I put together a greenhouse scene.

At home, I have a dollhouse and whenever they visit, I encourage the local children in my neighborhood to play around with the rooms and change the space.

How often do you make miniatures?

I spent one whole winter making a dollhouse for the granddaughter of my friend who had passed away. I picked up the dollhouse from the child’s mother, and later I sent samples of wallpaper to the child for her to pick out her preferences. I worked on it all winter and then when it was complete, I drove it down to Washington, D.C. and delivered it to her. We named it, “Eva Grace Manor” after her grandmother.

How do we preserve the miniature trade? How can we pass down all the skills of these fine artisans?

Skills are passed down annually at the International Guild of Miniature Artisans Guild School, held for a week in Castine, Maine. Through teaching and the passing along of skills, a lot of the Guild School students taking classes will, in turn, go home and teach a class or give a lecture for adult education. They share their techniques and advice with fellow miniature enthusiasts.

My first dollhouse was ¾ scale chunky wood. On one occasion, I had about 15 girl scouts come and visit my studio space. I said “please don’t touch anything without asking me first.” They touched everything. And nothing got broken. They were so careful. Several of those children are older now and have come back, remembering the delight of their first visit to see the miniature house. I believe that you can trust children to be exceptionally careful with miniature collectibles after a certain age.

What advice would you give to new miniaturists?

Try everything. Once a miniaturist zeroes in on what will be their medium, they can truly hone their skills and focus on their craft. The IGMA and any other miniature-affiliated organization should support that person by offering advice and buying their product. The Guild promotes moving up and awards recognition for skills learned: Artisan and Fellow. Some artists may try 2-3 times to achieve these levels, and the letters they receive from their instructors and the Guild committee are always very encouraging. These remarks include practical advice on how to improve finish, how to make a flower smaller or bigger—and additional constructive advice.

What advice would you give to a new writer?

You simply must have a huge interest in what you’re writing about.

What do you want miniature fans to know about you?

I’ve loved the whole thing. I’ve loved the people. I’ve delighted in all the new things I have learned. Miniatures have provided a wonderful experience for me. And so many friendships have come about as a result. I have been able to write about so many talented people.

Anne Day Smith is the author of six books. To learn more about her experience as a writer covering the world of miniatures, shop her books online.

A photo posted by The Daily Miniature (@dailymini) on Jul 1, 2015 at 11:01am PDT

Daily Mini Interview: Miniatures by Nancy Summers

June 25, 2015June 25, 2015 admin

Miniatures by Nancy Summers

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How did you get started in miniatures?

I had a dollhouse when I was little. Early on, I was a dollmaker and made little dolls for the James Whitcomb Riley Boyhood Home & Museum in Greenfield, Indiana. I worked on little orphan Annies.

A customer bought a shadowbox and inquired about a miniaturist who could furnish it. So I made a kitchen for this woman and that was it. After that, I was hooked. My husband gave me an architect’s ruler (1 inch is 1 foot) and I began selling dolls at arts and crafts shows in Indiana. Several women from a miniature shop in Ohio came through one show and bought everything I had. They ordered more for a show in Sandusky, and there was a line of guests waiting to view the works on display.

Years later, I made furniture for Fox Studio’s 1992 movie Toys.

Latest news or projects in the works?

I was recently featured on the local news morning show regarding my carved woodwork. There was a segment about local artists so I connected with my town’s museum curator who asked me to be on television.

What miniatures have been most challenging for you to create?

Most pieces are challenging these days. Customers send me orders and send photos. Miniatures can take about 20 hours to create, and I work seven days a week. I used to work from 5 in the morning until midnight. There were many times that I worked through the night. Nowadays, I don’t begin work on my miniatures until after 11 in the morning.

Describe the evolution of your work.

Now I’m getting harder pieces. I recently created a baby bed with roses carved on to it. The back was slanted and curved and it came with a matching bookcase with carved roses.

I’ve created two copies of Catherine the Great’s bed. It took about 2 weeks to make it. It has cherubs on either end and an eagle on the headboard.

Do you collect miniatures yourself?

I keep the prototypes of the classes I teach. I’m working on several rooms that are not yet completed in four dollhouses I own. One dollhouse in particular is 39 years old. It’s an English Tudor with a shake roof that looks old now – an unintentional aging technique when you just let it sit! I also have two antique display cases filled with miniatures. I love a silver piece I have by Eugene Kupjack whose son Henry is still in business. And I own work by Indiana potter Jane Graber.

Did you ever trade pieces with fellow miniaturists?

I used to trade works with my friends. One time my friend from a miniature club made a needlepoint carpet for me and I traded her for a sleigh I made. I did a ½ inch scale room and she made all the food and accessories.

The club, Hoosier Mini-Mizers, meets once a month and they all take turns creating something. Two members are curators of the Museum of Miniature Houses in Carmel, Indiana.

Tool you couldn’t live without?

I could not live without my bandsaw. And my Dremel tool.

Most challenging piece you’ve made?

I made a headboard out of brass for a friend of mine. I’d never do that again, not out of metalwork!

Why miniatures? Why do you work in this industry?

I like to do it. It’s just me. Very few people have ever been in my workshop. It’s my ivory tower.

What do you want miniature enthusiasts to know about you?

People don’t think I make the entire piece. Often they just think I upholster. But I make all of the woodwork and the upholstery. I was an artist from the beginning, I was planning to go to college for fashion design but it didn’t work out. I made dolls for a long time, so if I ever quit making miniatures, I would go back to making dolls.

To learn more about Nancy Summers’ work in miniatures, visit the Summerville Miniature Workshop website.

Daily Mini Interview: Miniature Needlepoint by Annelle Ferguson

June 25, 2015June 25, 2015 admin

Miniatures by Annelle Ferguson

| Website |

How did you first get started in miniatures?

I had a three-year-old daughter and decided she needed a dollhouse for Christmas. The more I put it together, the more I built it, the more I loved it. gallery_7_25_28642 It was that very Christmas that a friend said a doctor in Oak Ridge, Tennessee was going to be at the local museum showing the dollhouses he made. I learned then in 1978 that there were dollhouse magazines and a miniatures shop in Gatlinburg.

The next year was the development of my passion. I was initially buying works at the nearby miniature shop in 1979, and that year I met a gentleman who was selling his miniature work at a crafts show. Through that connection and others, we formed a club in January 1980 and held our first meeting. We grew from about 4 people at first to 30 passionate miniature enthusiasts. We met for 20 years until about 2000.

What was the first miniature you created?

It was a sofa and a chair. I used a pattern from one of the club members. I was a crocheter and building this dollhouse at the time. I still have that crocheted rug from that dollhouse I built for my daughter.

When did you begin selling miniatures?

There was always a miniature show in Atlanta and in Lexington, Kentucky. We all learned about these events through well-known dollhouse and miniatures magazines. My next door neighbor had bought a dollhouse after seeing my own. In 1980, she was creating needlepoint rugs and she taught me how to do needlepoint. And I absolutely loved it. I loved it.

There was a show in Atlanta around April 1981, and one of the premiere needleworkers at that time was Barbara Cosgrove, who happened to be at that show. She made rugs and had a beautiful display. Down on her table, she had a small sampler. It took my breath away. It was an adaptation of an antique sampler. She shared more information about samplers from the 17th and 18th centuries. I immediately made a trip to the library in my hometown and checked out a book about antique samplers. That was the beginning of my design process. I was just so incredibly intrigued with antiques. My thought process at the time was, “I wonder if anyone would buy any of this.” And so, I showed work at my first show in October 1985.

My second show was April 1986: the IGMA Guild Show. I was very fortunate to have been accepted. And I did very well at that show. Actually, I lost my voice after it! I grew hoarse from explaining at length what antique samplers were.

How has your work evolved?

After learning about miniatures and antique samplers, I began my extensive research. I wrote and corresponded with various museums across the country. Wherever I had a show, I would look up the addresses of museums and curators. Over the years, I’ve had many special appointments, mostly focusing on the history of antique samplers. On one particular visit when looking at designs in storage, I came across decorative chair seats. These captured my interest as I had never thought about that as a needlework possibility.

I decided shortly after to write a book, wanting to inform the miniature industry about the history of needlework.

To this day, I still do research. Now it’s more on the computer. But I still have special appointments at museums across the world, whose teams are kind enough to bring out needlework for me to see and study.

What’s your favorite pattern?

Rhode Island samplers from the 18th century. An instructor in Providence created the most charming samplers I had ever seen.

What have been some of your favorite collaborators to work with?

Richard Hardy, Mark Murphy, Elizabeth Gazmuri on a project for school, Gerald Crawford on exquisite Queen Anne furniture.

My favorite collaboration or project is one that I shared with others. Specifically I loved making a casket from the 17th century that we did here at school. Mark Murphy made the box. We taught the class over a 2-year period.

Materials you could not live without?

Silk gauze and silk threads. Years ago, at the IGMA Guild School in Castine, they had a “Then and Now” exhibit that featured people’s first works. My first creations were on canvas with wool and were quite funny to see.

What advice would you give to a new miniaturist?

The more you do, the better you get, the more experience you gain. People often rush in and don’t give themselves enough time to master their craft.

What do you want miniature fans to know about you?

I’m envious of those that are multi-talented. I decided long ago that creating miniature needlework was my passion.

I have one completed dollhouse currently, a country house. And I have several unfinished projects in the works because they need a piece of needlework and I still haven’t gotten to it.

I thoroughly enjoy participating in miniature shows. It continues to be a pleasure seeing, meeting, and visiting with other miniaturists.

Annelle Ferguson is a 22nd year instructor at the International Guild of Miniature Artisans (IGMA) Guild School. She hails from Tennessee and you can view her work in miniatures on her Mini Stitches website.

Daily Mini Interview: Miniature Miniatures by Nell Corkin

June 25, 2015February 16, 2017 admin

Nell Corkin’s Miniature Miniatures

| Website | Blog |

What’s your earliest memory with miniatures?

My earliest memory is I was 5 years old or so and had a shoebox. I wanted to make a house out of it, so I did. That was just me. I always loved working with my hands. At Christmas time around that age, I received a kit to make doll hats. I made them all day and all night. And when my parents told me to go to bed, I cried and cried. I was just so absorbed in making hats for my dolls.

I’ve made miniatures all of my life. There honestly hasn’t been a time in which I haven’t done them. When I was about 12 years old, I was reading through House Beautiful magazine and came across Chestnut Hill miniatures ads. I saw them and said “wow!” because I didn’t know anyone else who made miniature things at that time.

My mother had a dollhouse that had been hers and a few years earlier, she gave it to me and my sister for Christmas. It was a 1920s style house, created by my grandfather who was an engineer. It was made by loving hands at home, complete with ceramic sockets in the ceiling, screw-in light bulbs, and furniture from England. Much of the furniture was from England.

This beloved dollhouse is currently in my sister’s possession, and we’re decorating it for the umpteenth time. Though she has it at the moment, it belongs to both of us.

Could you describe your transition from making miniatures for your family dollhouse to making miniatures as a profession?

I was steered away from going to art school by my family, so I was an Art History major in college. I didn’t know what I wanted to do afterwards, so I did all sorts of different things for a number of years. I managed a clothing boutique and ran a shoe store before moving to Los Angeles, where I worked first at Sotheby’s and then with an independent appraisal firm.

I continued to make miniatures for myself all throughout the years. Eventually, when I was in LA, I saw The Making of ‘Star Wars’ documentary that featured special effects models. After seeing some of the models used, I realized, “I can do that.” I had a friend from art school who was then an Art Director in Hollywood who came over to my house to see my work in miniatures. I showed him a miniature Victorian apartment building I had constructed as well as some mini sushi. Soon after, he helped me secure a job interview, so I brought photographs of my work and some things I had made. After hearing, “have a nice day, we’ll call you,” I decided now was the time for persistence. I went by the shop and talked to the guys in the shop. I showed them my work and spoke to them at great length. They put in a kind word for me, and the shop owner called me back to discuss my salary.

For the next 12 years, I worked on films and television. I worked at all kinds of model making there, including what are called “hard edge” models – space ships and such. We did a lot of models of the space shuttle for movies and museums. I made a tiny shuttle cockpit that you could hold in the palm of your hand, and the whole crew worked on a full size replica of the cockpit that Sally Ride told us was better than NASA’s! Because the size of the models depended on how they would be used, I learned to adapt to the size of the model requested, and became very adept with a paint gun and airbrushing techniques. I used all the equipment available through the shop.

The next shop where I worked, Apogee Productions, was a particularly great place, full of talented people who worked closely together. You felt more like a creative partner than an employee, and we had a lot of fun together, along with all the hard work. I learned so much during my years in Hollywood, but the most important thing I learned was that it was possible to make just about anything.

What other projects did you work on with the Apogee team and others?

I created a number of landscape models. It wasn’t all spaceships, cars and tanks at the time. On the contrary, I became quite well known for my landscaping technique. The Australian director Peter Weir once told me how much he liked my trees.

During my time in the film industry, I worked with other directors such as John Dykstra, Steven Spielberg, Ridley Scott, and more.

I worked on the 1988 Child’s Play movie, about an evil, killer doll named Chucky. Since digital effects weren’t much used yet, they used an animatronic Chucky for much of the film; but the action required things the animatronic doll couldn’t do. We had to build giant furniture so that a little person in a Chucky suit could do those scenes, and appear to be the same size as the doll.

Each project had its own time range. One time, we worked for 6 weeks on a house that was supposed to explode and burn down in one shot. If things didn’t work properly in the first (and only) take, it was back to the drawing board.

A time later, in the late 1980s, things slowed down in Hollywood with the influx of digital effects. I went to Doug Trumbull‘s Berkshire Motion Picture in Stockbridge, Massachusetts. The shop was located in a wonderful old mill building. We created extensive 1:12 scale models for Back to the Future: The Ride at Universal Studios in Florida; I was the foreman for the Hill Valley segments.

How did you then transition from the film industry to the world of miniatures?

Later, I moved to New York, and worked on tabletop projects for food commercials and such. I worked on and off and eventually left film to work at a toy company, where I became operations director. I was making miniatures at home during my free time.

I always kept 1:144 scale works I had created during my time in the movies, that I had made just for me, just for fun. I held on to those works and looked at them fondly. I created replicas of vintage dollhouses and one day bought an unpainted one made of resin. I kept it on my workbench and would sit there and have a bit to eat at lunch and work on it. I eventually finished it and thought, “I could do that some more!” I created three houses by modifying N scale model railroad kits, and a friend took them to Philadelphia Miniaturia in 1992. It was a challenge to see what I could do and what I could be happy with. To this day, it continues to be. For any artist, we love coming across something new to figure out.

Advice for new artists?

Don’t make too many duplicates. If it becomes routine, it ceases to be art.

New projects in the works?

I just spent some time in England after the Kensington Dollshouse Festival. I saw many Elizabethan houses and gardens. I will likely be working on one of those in the future. I also visited Saffron Walden and was inspired by countless pargeted houses with fancied plasterwork. Few remain from the 16th and 17th centuries as a result of urban fires.

Career highlights you’d like to recount?

Way back in the 1970s, I was making miniatures at home hadn’t started to do shows yet. I was living in LA at the time and attended a show in Santa Monica with my husband and we were looking at a woman’s table who made food. He looked at her stuff and said, “you can make something better than that.” The woman looked up and asked me, “oh, are you an artist too?” I didn’t need validation, but I thought, “yes, that is what I am,” and was delighted by that truth.

One time I was sending out a little box to a customer and was insuring it at the post office. The postal clerk asked what I had been working on, and he ended up recognizing my work from an earlier show.

Over the years, I tried to do other things aside from miniatures, but in the end, I came to this because it was what I was meant to be doing. This is what I’m supposed to be doing. If something is in your heart, then that’s what life is for.

It’s always been houses for me. Even when I came across miniature pumpkins, I would say “They would be a great little house!” and my friends would respond “Everything is a little house for you, Nell.”

A few years ago, I made a walnut house with an extensive landscape under a dome, and took it to Philadelphia Miniaturia. A woman who had been enjoying it earlier came back and said, “I’m going to buy that for myself. I’m turning 50 next week and when I look at this, I’m at peace.”

It means a lot to me to sell to customers and get to know them and speak to them. A short time later, in the mail came a letter filled with 50 miniature origami paper cranes. The woman who had bought the piece said she would sit and look at it for hours, and lose herself in that piece. It meant so much to me that it meant so much to her. And that’s part of it all. The connection you can make with another human being.

I have a Pre-Columbia piece, a pot from about 500 years ago and I can feel the finger grooves. It’s as if I’m touching that person across centuries. And I enjoy the creative experience of an artist sitting at home. I love that too. But the work has a life of its own. So when you start making art, and it goes in a different direction, that’s fabulous too.

Nell Corkin has been a member of the National Association of Miniature Enthusiasts (NAME) and of the International Guild of Miniature Artisans (IGMA) for many years. She was awarded the title of IGMA Fellow in 1998, and previously served as IGMA President. She’s now the 1st Vice President.  For more on her wonderful worlds of miniatures and miniature houses, visit her website or check out Nell Corkin’s blog.

A photo posted by The Daily Miniature (@dailymini) on Jun 27, 2015 at 8:33am PDT

Daily Mini Interview: IGMA Guild School Director Barbara Davis

June 23, 2015May 27, 2018 admin

International Guild of Miniature Artisans
Director of the Guild School: Barbara Davis

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How did you first get started in miniatures?

I was doing full-size furniture refinishing for my home; as well as being an antique collector. One of the antique stores in town had a dollhouse section. The owner also ran a local miniature show. I began making my own miniature furniture and eventually began selling at shows. I specialized in Early American country, painted, aged furniture.

How has your work evolved over the years?

I sold at many shows for a number of years and taught at the Guild School for 8 years. At the same time, I was moving forward in my career and became an elementary school principal, so I was not able to continue with minis.

How did you become involved with IGMA?

I heard about the International Guild of Miniature Artisans (IGMA) and applied to be an Artisan member. Then I sold at the Guild Show in NYC. Later I taught at the IGMA Guild School. I am now the Director of the Guild School.

Do you have any advice to prospective IGMA Scholarship applicants?

Just do it! It is a simple, but serious process. The Scholarship Committee is looking for artists who have potential to grow (beginners) or expand (experienced). We look for a commitment and passion for quality minis.

What advice would you give to a new miniaturist?

Go to the Guild School. If you are an artist, you can learn so much. You can meet like-minded miniaturists. If you are a collector, by taking classes, you learn so much about what goes in to a high quality item – you become a more astute collector.

What have been some of your favorite collaborations?

I have collaborated with Mary Grady O’Brien and Carol Hardy. As a director and collector, I love collaborations. The piece is usually very special and I see the excitement of the artists who collaborate: chatting, researching, planning, and more.

What inspires you?

I don’t “furnish” a dollhouse or a room. I collect pieces that are very fine and can stand alone as a work of art. So many artists inspire me by the beauty and skill they put into their work. That said, I tend to collect paintings.

What is the most memorable miniature you have ever seen?

Mark Murphy and Mary Grady O’Brien’s bird chair. I was outbid when they donated it to our auction.

Why miniatures?

I just like beautiful and interesting things and miniatures—because they are small—are easier to collect than the real thing. However, it is important to me that they be authentically made.

Anything else you would like to add?

The Guild School is for anyone. You can be a beginner and find a class that is just right for you. Or you can be a very skilled and talented Fellow of the Guild and find new and better ways of creating miniatures. I always hope that miniaturists will come to IGMA Guild School to learn and have fun.

Barbara Davis lives in California. Every June, she heads to Castine, Maine for the annual IGMA Guild School. To learn more about IGMA, visit the International Guild of Miniature Artisans website. You can also follow along on Facebook and Instagram!