Daily Mini Interview: Miniature Characters by Longefellowes Designs

Miniature Sculptures and Accessories by Longefellowes Designs

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koiyama_bk_pngDescribe your background in the arts and your first memories with sculptures.

I’ve been doing something artistic and/or crafty since probably around the age of three. I honestly can’t remember a time when I wasn’t doing something, whether it was painting, drawing, needlework, drafting, sewing, designing, building…the list goes on. I have a lifetime of skillsets and muscle memory built up by now, and though I’m largely self-taught, I’m always looking to learn new skills and apply what I know to new tasks and challenges. I’ve taken classes on a variety of techniques and subjects throughout the years to augment my skill sets. Sculpting didn’t actually begin for me until fall 2006 when I decided (mostly on a lark) to take a polymer clay dollmaking class. Prior to that, I hadn’t sculpted anything (I don’t count the pinch pots ubiquitous to grade school art classes). I discovered that I had a talent for it, and over the course of a year or two, made the switch from cloth dolls to polymer clay sculpting. In winter 2008, I made the switch to 1:12 scale.

Do you remember the first miniatures that made a lasting impression on you?

That’s tough, but I can think of three things that definitely stayed with me through the years and paved the way for a return to miniatures. We had a train set when I was little… I can still smell that rank ozone the transformer puts out. I loved all the tiny details in the cars and engine… itty bitty pistons and wheels, ladders, hatches… the works. I wouldn’t let my parents get rid of it when they downsized, so I have all the cars in a box in storage. I hope to be able to rig up a display track someday.

11057747_749821460270_4375559361798221310_nI was also fascinated with the accessories that went along with Barbie: the tiny shoes, handbags, clothing, all sorts of ephemera. In fact, I was usually more interested in them than the dolls themselves; the dolls were more a means to an end than the actual focus of my machinations.

I also still have some of the very first actual miniatures I can remember from when I was little: tiny pot metal figures (one was a dog, I believe), a couple of turned jugs/vases, and a few other random things. I can recall exactly the fascination I had with how wee the jugs and goblets were, and the realization that “someone made that. How did they make such a tiny thing?” Miniatures still fascinate me to this day, and mostly for the same reasons.

What scale do you enjoy working in the most?

I’m most comfortable working in 1:12 scale and slightly smaller, probably 1:18 or 1:24 at the smallest. Partly because there’s far more accessories and scale-related items that I can use with my sculpts, or use as inspiration. I occasionally do 1:48, but that’s a real bear.

moorish_merch_bk_pngI didn’t have any difficulty transitioning from 1:4 down to 1:12 and smaller – it was a very natural thing for me. Working large is just uncomfortable, physically and mentally. I’m short, and have tiny hands–not kidding, I have to buy children’s gloves–and I just find smaller proportioned things to be more relatable, I suppose.

When I took a sculpting class recently (I took it because it offered a chance to learn to use a new sculpting medium), the bust was worked in near life-size, and it was…difficult, at least at first, because everything just felt ginormous and awkward. I guess you can get used to almost anything, really. Mostly, I’ve found that when switching scales (regardless of how big or small you’re going) keeping things in proportion is probably the thing that requires the most attention; the methods are largely the same regardless of how big/small you’re working.

Daily Mini recently visited the Longefellowes Designs studio — see the photos here!

Do you ever create works of miniature sculpture without the intent to sell them? 

Not generally, no, unless you count gift-giving, and I rarely give my sculpts away. I mean, what would I do with all this stuff? The challenge and fun for me is in the making, not so much the keeping. As to favorites, I have a few that I’ve kept (not including class work, which I keep as a matter of principle). One is called “I Need a Jump,” featuring the Bride of Frankenstein’s Monster as a partially bandaged pinup (of course), holding miniature jumper cables. I didn’t make her with the intent to keep her, but I liked her well enough that I decided that if she hadn’t sold by a specific date, I was retiring her and keeping her. And now she supervises me from my “trophy
shelf.”

What’s your favorite style of fireplace to create and why?12190979_749821355480_5444496937381252009_n

Not sure I have a favorite. Visually I like the ornate ones (think Rococo and Baroque), but those are a pain to paint. The flatter-surfaced types are easier to paint with the faux marbling, but don’t have quite as much “presence.” Eventually, I’ll make one in a hybrid style, but I’m going to have to teach myself how to carve wood first. Oh no! I have to learn something new!

Tool, technique or material you could not live without?

That’s tough! I use almost everything! Seriously, that’s the fun of figures; I get to nerd out over the anatomy, and the physics required to get them to balance. And then I get to play with fabric, trims, metal findings, beads, accessories, furniture, or whatever else I decide needs to go with the figure, and all the various tools and techniques that go into all of the above. True multi-media, including sound; I usually wind up swearing at the little buggers at some point.

But back to the question, I’m not sure there’s an answer. Because, other than my eyes and hands (which might be a cheap and possibly pompous sounding answer), I can’t think of anything that I couldn’t figure out how to replace or find another way to make it work. If I think about it, if you take away my favorite knife, I can go find a saw or some other implement of destruction that equally results in bandaged fingers. If you take away my favorite clay, I can go find another clay to use. In fact, I’ve had to do that when manufacturers changed the formulation of their product, so….yeah. Doesn’t mean I’d be happy if you took away my favorite stuff, but I’d learn to cope.

What’s the most challenging aspect of creating a miniature sculpture?

That depends on the scale. The smaller it gets, the trickier it is overall. Half scale figures take almost the same amount of time as a 1:12 scale figure. SONY DSCGlobally though, while getting them to balance on their own is often hard, I’d have to say I have the most difficulty with hands – the clay pieces are so thin and small at that point, the heat from my own hands makes the clay sticky; it’s like trying to sculpt with joint compound (I’ve tried that – it doesn’t work well). So as a result, it’s tricky to get the right proportions and detail level without ruining all my effort due to the tools or my hands melting, sticking, or squashing everything.

What’s the most unexpected material you’ve used in one of your works?

I don’t tend to think of media as anything other than “this fits the purpose, so use it,” so I don’t go out of my way to consider putting something into a piece just for the novelty of having it there. Miniaturists are weird that way; we all just sort of see new purposes for things – a marble might become a crystal ball, jewelry findings become candlesticks, bullet casings get turned into beer steins, wristwatch parts get re-imagined into a variety of steampunk creations. And yes, I’ve done all of those things.

Have a favorite miniaturist you’d like to mention?

Oh, there’s a huge list of people whose work I admire – but if I start listing artists, I’ll inevitably leave someone out accidentally, and I don’t want hurt feelings. But I do have a couple of particularly good friends within the miniatures community. The sort of people who act as a sounding board, give “attaboys” when earned, inspire nefarious ideas, are willing to plot and scheme with me, and most importantly, give a reality check and/or a kick in the ass when I need it, whether or not I’ve asked. You know, the type who stick around even after they find out just how insane you really are. Everyone needs friends like that. So yes, public thanks to both Bill and Deb for the shenanigans and even the occasional boot. You both are awesome.

Advice for beginner artists?

Stop trying to convince yourself that you can’t do something, especially if you’ve never even tried. Just go do it. Everyone starts from ‘zero,’ and it’s not a competition, except against yourself and whatever you just finished. Go try [insert skill here]. And then do it again. And again. I guarantee your second one will be better than the first, and your third better than your second. Take a class, try it out. Heck you might find out you hate [insert thing here], and then you can then take a class in [insert next thing here]. Or you might discover you love doing it. This is why workshops at shows are such great ideas; try before you buy, as it were.julia png

Just go do it. Because you know what? If you wait until you think you’re “ready,” you’ll never do it. Because no one is ever ready for anything. DO IT.

What inspires you?

I get inspiration everywhere. Inside jokes, regular jokes, off-hand remarks during conversations, people watching, even random things I see on the telly, in print, or on the Internet. Doesn’t mean I turn every idea into a sculpted figure, but I keep adding to my list.

Motto that keeps you creating?

I have two that immediately come to mind: “If you don’t ask, the answer is automatically ‘No.’” and “What If…”

In addition, just the desire to continue to learn and improve keeps me moving forward. Every piece I make, the first thing I see once I’m done is where I could have done better—outside of any deliberate exaggerations or makers marks—and, I try to address those issues in the next piece. And the next, and the next. It’s a constant process.

What’s to come from Longefellowes Designs?

I have three upcoming sculpting classes: a full day class at the Philadelphia Miniaturia on Thursday, November 5 (plus I’m also vending at the show), a half-day workshop at D. Thomas Fine Miniatures on Sunday, December 13, and just announced, a half-day workshop at the Sturbridge Miniatures Festival on Saturday, June 4, 2016 (plus I’m also vending at the show). I even occasionally remember to update my website, so as I add shows and classes for 2016, I’ll be listing them.

Stacey pngUpcoming projects include some new original fireplace mantel designs that I’m currently building, and of course new sculpts. I have three dolls in progress right now. I also have some commission projects I’m working on.

Other hobbies and activities you enjoy?

I have more things I like doing than I have time for, both in miniature and in real life. I could probably fill three lifetimes just with the stuff I want to do!! But outside of the impossible (unless someone gives me a TARDIS), I enjoy baking, watching most sports, spoiling the hell out of a few select people, and, not related, cuddling up on the sofa with my weenie dogs. Oh, and the occasional dram of Single Malt Scotch. Purely medicinal, of course.

What do you want miniature enthusiasts to know about you?

Maybe to correct a common misconception, since everyone seems to assume my business name is named after the poet. The truth is, it’s named for my weenie dogs: they are the Longefellowes! As an aside, and not that anyone will really care, but I do not generally like poetry. Longfellow’s or anyone else’s.

Longefellowes Designs was created by Bev Gelfand. You can see many more of her miniature characters and fireplace mantel designs on the Longefellowes Designs website! Have a little look inside Bev’s studio here.

Daily Mini Interview: Characters in Miniature by Colvin Dolls

Characters in Miniature by Colvin Dolls

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Colonial SoldierWhat’s your earliest memory with miniatures and dolls?

My earliest memories of dolls was the Ideal Toys Crissy doll whose hair grew when you gave it a tug and retracted when you pushed a button in the back. She was all dressed in orange! And Mattel‘s Dancerina Ballerina all dressed in pink with a plastic crown that you pushed to make her spin! Not miniatures of course.

My earliest memories of miniatures were dollhouses from that same era and the occasional clothespin dolls we made in Girl Scouts.

When I was studying figurative sculpture, I was always drawn to maquettes, (small scale studies for larger works). I believe that is where my interest in smaller scale representation may have been peaked. They seemed magical to me. In my late twenties, I saw some of Bernini’s and Camille Claudel’s maquettes on a trip to Europe and they made a lasting impression on me.

How did you first get started making lifelike dolls?

CowboyI needed occupants for a dollhouse I was making for my nieces. In 2005, my sister-in-law asked me to make a dollhouse for my two young nieces. I have a background in architecture so that intrigued me. I custom designed it, made the cabinetry and even custom crafted Georgian fireplaces with over mantles. The house became very elaborate, in fact too elaborate for the girls who were then 2 and 5. I built it in my father’s workshop frequented by his retired friends. They were actually very interested in the construction the dollhouse. One day, one of them asked, “where are the people?” That was when I started making 1:12 scale figures for the house.

What was the first doll you created?

The first miniature doll I created was a papier-mâché 18th century lady with a Marie Antoinette-style wig totally from my imagination… face, costume, and all. I still have her in my workroom staring down at me from the doll case.

How has your work evolved over the years?

The first doll I made is nothing like the dolls I make now. Today, I work in polymer clays and artist’s resins and almost never make a face or costume without some sort of real life reference.

Miss MarpleWhat keeps you creating?

The desire to improve keeps me creating. I am motivated more by the process than the end product but the two are intricately linked. I am always looking for ways to better my technique and I experiment a lot.

Do you have a favorite character that you create?

I suppose I am partial to sleuths like Miss Marple and Sherlock Holmes but I don’t have a favorite character that I create. I often do re-make doll characters. Sometimes because customers ask me to and sometimes because I want to see how my eye has developed over time and I will compare them to the previous ones that I’ve made.

Any favorite characters that you have yet to make but are on your t0-make list?

I want to make Queen Elizabeth I and her court. Then Henry the VIII, all those great Tudors. My dream would be to collaborate with someone to make the environments! And to have the leisure of taking all the time I need to get to every last detail.

Elizabethan GentHow did you first become involved with IGMA and the annual Guild Show?

I was asked to be in the show by one of their members from my home state who I knew from other miniature events. I knew of IGMA‘s excellent reputation early on from forums online and then when I started selling dolls at shows from talking to other doll makers and miniaturists.

Advice for beginner dollmakers and artists?

My studio professors taught me valuable lessons about hard work and persistence. I used to believe artists were somehow divinely gifted and great work was magically produced by their hand any time they picked up the tools. I had no idea the amount of hard work and study that went into art to make magic happen.

Work at it often. The more you do it the better trained your eye becomes. Creating art is no different from any other task, you need to do it on a regular basis in order to improve. Great work comes from hard work.

Mr. CarsonWhat is the most memorable doll or miniature you have ever seen by another artist?

A maquette by Bernini in the Vatican. It was in a glass case in a hallway, so not a prominently displayed piece of art, more artifact from the work room of the sculptor. I can remember seeing the straw like fibers mixed in the red clay to create an armature or perhaps to strengthen the figure. It was extraordinary how a small study for a larger work could have so much intensity and power of expression.

What do you want doll and miniature fans to know about you?

I love running, kayaking, and boating. I would love to learn how to sail.

Colvin Dolls is based in Wilmington, NC and headed up by Sherri Colvin. To shop the collection or view more dolls, visit the Colvin Dolls website or follow along on Facebook.

The Dowager Countess

Daily Mini Interview: Photographer Chris Buck’s Likeness Series

Miniature Figurines in the Photography of Chris Buck

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Where did the idea for the Likeness series stem from? Tell us a bit about your 3D-printed self.

IMG_8402_V2A friend in mine had mentioned a pop-up shop in Chelsea Market offered 3D-printed figures. I went by the DOOB™ booth to check it out and was very impressed with the 3D-printed work on display. The examples had great detail and were solid replicas of the team working that day. I returned to the neighborhood and pursued my own 3D-printed self.

Originally, I had no plans to show the work, I just found the miniature me to be both weird and cool.

What did you learn through your work with the Likeness project?

IMG_2474Well, what’s interesting is that in looking at my photography in general, I always approach my portrait work by molding people into doing what I do, or what I would do. In that sense, my subjects conform to Chris Buck. So if you see awkwardness or frustration in the picture, that’s more me than the subject.

The Likeness series allowed me to show things from my life in a way that my other work doesn’t. The work was in a playful context, overtly imaginary. Take, for instance, the shot in a crappy hotel room with the figurine drunk on a bottle of bourbon. I was able to do that effectively because it was playful and silly, both odd and funny.

What I enjoyed most about the project was that I was creating natural self portraits, separated from me. I was both the photographer and the subject all at once. It was the ultimate dream of a portrait photographer realized.

IMG_3682_V2What has been your favorite Likeness photo thus far?

I would break this series into two groups: photos driven by content vs. photos driven by visual. I think some of the best #bucklikeness photos, and the most successful ones, have been driven by both content and visual. Two that stand out in my mind as having interesting content that’s also complex and visual would be: the frustrated Likeness in front of the urinal and the one where he’s buried in sand.

Tell us a bit about the figurine’s demise which resulted in the end of the Likeness series.

After I first had the replica made, I was in Los Angeles for 2 weeks and shot with him a lot out there. IMG_8534When I was in San Francisco for a short while, he ended up falling off a shelf. I glued him back together and kept taking photos. So it’s a bit misleading, you see, that the last image in the series was actually taken towards the beginning. I put him back together with rubber glue, but one foot kept breaking off.

The Likeness series is done now. Anytime I went anywhere, I had to take the replica along. I took #bucklikeness on vacation, to the beach – anywhere I went, he came. It was very distracting and an enjoyable series, but I never wanted it to become my whole creative identity.

You’ve previously incorporated miniature figures into your photography (Miniature Grooming (Harold Ramis); Hydrophobia; Tickphobia; Vignette (Rob Corddry)). Have you always had an interest in miniatures?

Phobias_Hydrophobia_Lucas

David Levinthal’s work inspired the Phobia series, which was featured in Outside magazine. The Likeness series took things a bit further and made the work more personal.

There’s something appealing about miniatures. They look like our world, but they’re not our world. I remember loving the other worldly quality of works by Ray Harryhausen. When his skeletons moved in Jason and the Argonauts, there was a sense of realism, but something was also off.

When it comes to miniatures, even when they are well done and really alluring, something is still a little bit off. And that captivates viewers even more.

Do you have any favorite artists or designers working in miniature?

RobCorddryChrisBuck

I enjoy the work of David Levinthal and very much liked Corinne May Botz’s book The Nutshell Studies of Unexplained Death.

I don’t consider myself a miniature expert by any extent. A lot of people are working in miniatures, and there’s a range of hobbyists and serious artists, but all of it is interesting. The people working in this are so strong and dedicated to their craft. What worked well with the Likeness series was dabbling with contemporary technology. It provided me license on to put on my own creative spin on the work.

Harold_Ramis_frown_2_2_Lucas

What inspires you?

Some people are compelled to be creative. If I didn’t have to make art to support myself, I would still make it. It’s irresistible. There is something in me that drives me to create. I have to do this, whether “this” is putting together a family photo album, researching my family history, or working on professional photo projects. I have to do this stuff because it’s in my DNA. So, even if my schedule was completely cleared, I would still take the time to work on creative projects.

I’m also interested in the conflicts within us as human beings: who we are and what we want to be. I am inspired by concepts of morality and goodness and questions surrounding these aspects of humanity. And, I am also drawn to the dark side as well. That mix shows up in my work a lot.

Advice for beginner artists?tumblr_nuoslzyD3N1t47mgpo1_1280

One of the dangers I see with young people is that they become too inspired by what moves them. I would love to see more young artists reactive against things rather than inspired by things. For instance, with miniatures, if someone were to look around and say, “the way people are making miniatures today isn’t right at all. I want to make miniatures the way they should be done,” then they would create more interesting work as a result. When you deem a field to be exciting and want to become a part of it, you unintentionally might be creating more of the same work, yielding less growth or movement than if you rebelled against the norm or standards of that particular industry.

I hope that young or new artists can share another way of doing things. If this up-and-coming generation shared a truer vision of what should be happening in the field, then they’re ultimately rejecting the current wave to create a new wave. IMG_3521_V2So, even if it’s rejecting what I do – if I’m the old guard and I’m wrong – then that’s awesome. And you should do that. Put me in the past, I’d love to see what you come up with.

Is there anything else you’d like to add about the Likeness series? 

When I first saw and held my 3D-printed replica, it was crisp, clean, and the suit was dark. It didn’t take too long for it to fade. Eventually it became shabby and broke. It’s interesting that it had its own life. And in a way, it echoes what will be my life. The Likeness project had a biographical arc: youth, middle age, old age, deterioration, and death. And so, I felt comfortable letting it end because all things end. I wanted to acknowledge that [death]. It’s a fitting way to end it. The replica aged and demised; he eventually slowed down and died.tumblr_nuoslzyD3N1t47mgpo6_1280

Closing thoughts on miniatures or replicas?

The field of 3D photographic technology could open up new doors in the field of miniatures. I think it’s exceptionally interesting and I also wonder how miniaturists will react against it, as it removes some of the craft of creating miniatures by hand. To me, 3D printing is the equivalent of representational painting, where all of a sudden photography comes along and ultimately represents life better than paintings do.

Chris Buck is a photographer based in NY and LA. His clients include Google, Xerox, Old Spice, Dodge, GQ, The New Yorker and The Guardian Weekend. He was the first recipient of the Arnold Newman Portrait Prize in 2007. His first book, Presence, was published in 2012. Follow Chris Buck on Instagram, Tumblr, or visit chrisbuck.com to enjoy more of his photography work.

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Daily Mini Interview: Miniature Knitting by Althea Crome

Miniature Knitwear by Althea Crome

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How did you get into miniature knitting?

In 1998, I had my second “batch” of children. Augie (my first) was born in 1994, and then I had triplets in 1998! Two years later, in 2000, I built them all a dollhouse. picassob_painting3_smlI used to make knitwear for my children when they were babies. I would make gloves and baby booties, but always craved a bigger challenge. At that time, I was always using patterns by other people because I was intimidated to design my own work.

I began making 1:12 knit works using real needles not miniature needles. My first works were very bulky. I created a vest with roughly 30 stitches per inch. I just loved it. It was truly a light bulb moment for me. And so, my children’s dollhouse never got built as I became obsessed with knitting in miniature. I made all my works in scale.

How did you transition from making miniature knitwear for yourself to selling your work?

I had never been to a miniature show, nor had I seen miniatures before. ribbed_sockThe inspiration for my work was all in my head. I wasn’t writing down any patterns. In due time, I went to the closest miniature shop which was 2 and a half hours away. I put all my miniature works in a cigar box and brought them to the shop. The feedback I received was that my work was too bulky. So, I bought something like a small dress form or mannequin which helped with scale.

Early on, I tried to sell some of my bulky works on eBay which helped to connect me to lots of people in the miniature world. I was soon asked the question, have you ever tried gloves? My first try looked like a baseball mitt! I’ve saved all of these beginner works, by the way. I was so determined. GloveThen I thought, “well now maybe I’ll use sewing needles.” I had previously tried using tatting needles for lace making. They have an eye on the end and are longer and not as sharp. Then, I started to use thread. I made a pair of gloves.

When I joined a miniature knitting and crochet Yahoo! Group, I found Sue Ressuguie. Her knitted works blew my mind. I could stare at her work for hours. She was the first person to mention the International Guild of Miniature Artisans Guild School in Castine. At that time, I started collaborating with Marcia Backstrom, a doll maker. Eventually I attended a show myself – two shows in one year, in fact: the IGMA Guild Show and Tom Bishop. In 2003, I attended the Guild School for the first time and the gloves I donated for the auction sold for $600!

10525788_494919813999124_5492188149455734667_nHow long would it take you to make one of your prototypes from your 24-hour class at IGMA Guild School?

For the 2015 IGMA Guild School, the prototype of the fisherman’s cabled vest took me about 1 week or less to make. I worked for about 5-6 hours a day.

The fisherman’s rope cable has a moss stitch. There’s also hints of algae and basket weaving in the design.

Have you ever made something so beloved you couldn’t sell the work?

Over the years I made very special pieces that were very conceptual. I made a Warhol sweater with soup can pockets and the iconic Marilyn Monroe on the back of the sweater. That work is now in the Kentucky Gateway Museum Center in Maysville. Scuba_front_nohand_smlKaye Browning is the Miniature Curator at the museum and she’s purchased a lot of my work.

For a period of time when I found I could not knit, a scuba diving trip really helped me get through a tough time. So, I knitted a special sweater all about scuba diving. It has on it a water spout, sharks, a dolphin following a boat, coral, fish, and my diving instructor finding a weight belt. I eventually sold this to Kaye Browning.

Some of my most special works are art history themed pieces including a work of a Greek amphora, and a Picasso piece. Those were really stand out works. My most colorful creations are 1:12 scale garments, each of which takes about 30 to 40 hours to design and 100-300 hours to knit.

What works will you start designing when you go home?Greekwhite2_med

I have a pattern in mind right now: a medieval nativity scene based on a triptych. There will be panels in the front. Once I design it, I can knit it. I use a software program that’s a motif maker which pixelates the images. Sometimes I sketch out work or modify existing patterns.

Highlights of your knitting career?

I received a call from LAIKA Studios regarding making knitwear for a feature film. I sewed 14 sweaters and 5 pairs of striped gloves for Coraline. I made the star sweater with sparkles that she wears during the film. I kept the 15th sweater and still have it today!

I was on the Martha Stewart Show a few years ago. Everyone in the audience was working on knitting projects. I was in the front row and spoke to Martha on camera, she had a couple of my pieces on a dish. She asked about some of my prices and I had a few minutes on screen. It was so much fun to do that!

earthI’ve also been featured in Ripley’s Believe It Or Not. It was a 2-page spread titled, “Prepared to Be Shocked!” There have been many other wonderful highlights thus far.

Advice you’d give to a new artist?

Follow your passions and work on what inspires you. Start a website, even if it’s only one page. No matter how basic it is, it will help people find you.

Advice you’d give to a new knitter?

One of your greatest resources will be a local yarn shop. Just sit and talk with them and listen to what they have to say. They’re knowledgeable when it comes to what yarns or what needles you may wish to try.

Advice you’d give to a new miniaturist?nano3

Come to the Guild School. I’ve done miniatures and I’ve done other things I haven’t been thrilled about. I always longed to make art or make miniatures. I’m happy now, because my children taught me to pursue my passions. They are tenacious, and keep me creating.

Miniature knitting by Althea Crome has mesmerized the masses of mini enthusiasts around the world. If you’d like to learn from Althea, take one of her classes at the annual International Guild of Miniature Artisans Guild School. To see more of her miniature knitted works, visit AltheaCrome.com.