q&a

Miniatures by Yelena Vakker

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What’s your earliest memory with miniatures? 

I loved playing with Polly Pocket sets from the ’90s. 

How did you first get started making miniatures? 

I love watching the puppet stop motion animation films. As a kid I wanted to be a part of the team that does the props like clothes, objects and landscapes. I also played a lot with LEGO and plasticine. 

What does “kreaschief” mean?  

Kreaschief is a wordplay based on a German word for creative “kreativ,” combined with the word “schief” for slanting. So, kreaschief means “slanting creativity,” or “something unusual.” It’s a different kind of design. 

Do you remember the very first miniature you ever made? 

I do not remember what the first miniature I made was, but the first backpack brooch I created was a black hiking backpack made of felt with metal beads and a crocheted scarf. I still have it. 

What is your favorite type of miniature to make? 

I really like doing backpacks and bags. I think a bag is a great expression of a personality. Big bags, designer bags, sport bags, hiking backpacks, laptop backpacks. Each and every one of them give a glimpse on what kind of person you are. But I also like making nature-inspired brooches like flowers or veggies.  

What is the most challenging miniature to make?

From the whole process of creating a miniature backpack, two things are really challenging: making buckles and creating paintings on the backpacks. 

Are most of your miniatures wearable charms?

Yes. All of the backpacks are brooches, but I also created a keychain variation once.

Tell us about the process of creating one of your miniature backpacks. 

I use genuine leather to make the brooches. Each and every one of them is a unique piece of handcrafting. The design is tested several times before it is transferred on leather. I collect and combine very carefully the colors and the charms to create a backpack. They all have a theme: business, hiking, Italy, France, Oktoberfest, photography, and more. All are a unique style.

What advice would you give to new artists? 

Be patient. Every single thing you do will take a long time to create at the beginning. Repeat and become a master of your art. 

What inspires you?

I am curious about the world around me. My daily routine, traveling, designing logos, vacation, doing groceries… everything inspires me in a different kind of way. And at the end of the day, I have an idea for the next piece.

What is the most memorable miniature you have ever seen?

I am really fascinated by the works of miniature food artists. They look so awesome, tasty, and adorable! But, at the same time, a huge amount of work goes into the creation of these masterpieces.

What is your hope for the field of miniatures? 

I really hope that 3D printing can help out in the creation of some objects that are too tiny to make by hand (but of course not to replace our art, but just to help out).

Any favorite mini makers you would like to mention?

I follow several artists on Instagram whose art I really like: @wendyminicity, @woodcastles, and @shayaar.

Upcoming projects planned? 

Right now I am working on a set of Bavarian-styled backpacks to be sold for the first time offline in a local shop in Munich. 

What’s to come from Yelena Vakker?

Doing what I love has two separate paths. I work as a freelance Visual Designer and creating backpacks is my second job. I do both with passion and love. But I definitely would love to create more backpacks, especially custom-made themes. 

Words you live by?

Every day is a great day.

Other activities you enjoy?

I like listening to the music, dancing and reading books. 

Yelena Vakker is based in Munich, Germany. To see more of her miniature backpacks and other work, visit the Kreaschief website or you can follow along on Instagram, Facebook, and Twitter.

A video posted by The Daily Miniature (@dailymini) on Sep 7, 2016 at 10:52am PDT

A photo posted by The Daily Miniature (@dailymini) on Sep 7, 2016 at 10:55am PDT

Miniatures by Devin Smith of Awesome, Thanks

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What’s your earliest memory with miniatures?

As a child, I recall building little cities and places for my toys. One that I specifically remember making was of my Dad. I made the building that he worked at out of LEGOs and random pieces, with him working inside. The parking lot was simply a piece of paper that I had drawn on with markers and a toy matchbox car that look similar to his real one.

Another miniature that I made at a very, very young age was (to my best guess) a miniature golf course. Made out of a piece of plywood colored with green marker, a piece of wood stuck to it, a rubber band and some nails for obstacles. I have a picture of my lovely artwork to look back on courtesy of my parents.

How did you first get started making miniatures?

The first real miniature I made was back in 2013 for a T-shirt factory that I worked for during the summer while I was not at school. On my last day of the summer, I grabbed a cardboard box from my work, went home and started to construct a miniature version of the T-shirt factory itself. I would work on the project every day after school when I would come home, making it out of paper, paints, popsicle sticks, buttons, beads, felt, so pretty much anything I could find lying around the house. Five months later… it was finished and I had the opportunity to go back to my work and give it to everyone there as a Christmas present. They all loved it; it sits there today in the front showroom for every customer to come in and enjoy.

What is your favorite type of miniature to make?

I enjoy making something that I have created in my own mind. Something that isn’t completely real, but it could be. I like those kinds of miniatures because as I go along, I can add whatever my imagination feels fits in that particular scene. I don’t have to play by the books, the miniature can be whatever I want it to be and that’s my favorite way.

What is the most challenging miniature to make?

The most challenging miniature to make is creating something that exists in the real world. Like a monument, or storefront, or a place that has specific details to be recreated. I find this difficult, because everything you make has to match the real version to the T. There isn’t the most room for creative freedom, you can’t just add anything you want. But when you finish a project and it turns out almost identical to the real thing, there is a certain euphoric feeling to it.

Favorite miniaturists?

I am a huge fan of the works by Damien Webb, Ryan Monahan, and Steve Casino. Keep up the amazing work, guys!

Favorite artists or designers?

Hoang Tran, I love his crayon carvings, they’re incredible! I am as well a big fan of JackoftheDust, his stylized skulls are great! Last, but certainly not least, Bob Ross. I love how his paintings start off looking like nothing, and then with one brush stroke it all starts to come together. He has shown me that it is true, “There are no mistakes, just happy accidents.” That is why when I’m creating a miniature and something doesn’t go the way I planned, to just work with what I’ve got and keep on creating. And when it’s all said and done, the “Happy Accident” turns out better than the original idea could have ever in the first place.

What inspires you?

Life. My family, friends, my fiancée, my kitten, TV, movies, comics, food, nature. Pretty much anything and everything that life has to offer.

Why miniatures?

I prefer miniatures because you can never make too many. You can make one incredible giant thing and take up an entire room, or you can make thousands of tiny things. Miniatures can be great for designing things, such as sets, or landmarks/monuments, before building the real thing. It is better to plan out something before actually doing it on a bigger scale, and with miniatures that is possible.

Another reason I enjoy them so much is because, if I wanted to, I could make the entire world, and it would fit right in the palm of my hand. I find that so incredible.

What’s to come from Devin Smith?

Currently, I am creating a miniature replica of the “T-Bird Country” bridge from the town that I grew up in. Recently they tore down the old bridge to replace it with a new one, that’s why I decided to do this project, I thought it deserved to be commemorated in the perfect way… in miniature! Something that I have planned to work on in the near future is a miniature model version of the storefront from the animated TV show Bob’s Burgers. Which is one of my favorite TV shows. Besides that, you’ll just have to check in frequently to find out!

Words you live by?

“The best way to predict your future is to create it.” —Abraham Lincoln

Favorite quote about miniatures?

“You’ve got to think about big things while you’re doing small things, so that all the small things go in the right direction.”—Alvin Toffler

Other hobbies you enjoy?

That is a tough question. Activities that I enjoy include Hacky Sack, juggling, frisbee, unicycling, juggling devil sticks, hiking, camping, swimming, sailing, picture taking, watching TV and movies, drawing and the list goes on and on. If there’s something out there to be done, I’m going to do it.

What do you want miniature fans to know about you?

As much as I love creating things for myself, I love to create things for others even more! I am always open to anyone that would like something made. I would also like to give a big “Awesome, thanks” to everyone that has helped and supported me in my miniature makings. I am fairly new to the whole miniature community and am super grateful for everyone that has given me a chance in this artistic field.

Awesome, Thanks was created by Devin Smith who’s based in Wisconsin. To enjoy recent miniatures and works in progress, check out Awesome, Thanks on Instagram and Facebook. 

A video posted by The Daily Miniature (@dailymini) on Aug 30, 2016 at 5:19pm PDT

Tic Tac® Presents Little Adventures (Created by The Martin Agency)

Martin Agency: |  Website  |  Instagram  |  Facebook  |  Twitter  |
Tic Tac: |  Website  |  Instagram  |  Facebook  | Twitter  |  YouTube  |

Tell us a bit about the concept behind Tic Tac’s Little Adventures.

Our “Go Little” campaign is all about getting people to think about “little” in a new way. To show that little can do big things. To get folks not to underestimate little. Little Adventures is a fun, silly, ridiculous way to do that. —Mark Habke, Copywriter

What were some of your inspirations behind the Little Adventures campaign?

I’ve always enjoyed Henri Rousseau’s forest paintings. Certain qualities of those may have found their way into my mind. —Todd Hippensteel, Senior Designer

Old natural history museum dioramas came up a lot when we were dreaming up sets. Also, Wes Anderson. There should be a sign in every ad agency that reads, “It has been 0 days since our last Wes Anderson reference.” —MH

What went into the making of this creative campaign?

Lots of coffee, strategy, meetings, emails, and really good storyboards from Todd. This was over a year in the making. —MH

Any favorite memories to recount from the making of Little Adventures?

Kathleen [Gerber] really enjoyed making the toolbox and tools for FALLS. Also tooling the plastic for the helmet in FALLS and for the capsule in SPACE. I loved figuring out the practical effects like making the skidding dust clouds in JUMP.

We also really enjoyed creating the different types of landscapes. Each one was so different, it let us use a variety of materials and techniques. The Martin Agency, Hue&Cry, director Jeff Boddy and the Director of Photography, Thomas Bingham, provided us a fantastic direction to follow and let us approach each scene in our own way. It was a great collaboration. —Lori Nix, Set Designer 

Any challenges you’d like to recount?

In the very beginning, we decided we did not want to make a “fill in” larger Tic Tac mints, that all scenes would use a real Tic Tac at its actual size. This was more of a challenge for our miniaturists Nix + Gerber, director and cameraman. It was tough but looks amazing. —John Szalay, Associate Creative Director 

Solving how the river moves in FALLS. We knew we would not be able to utilize stop-motion animation, so in working with the miniature artists, we arrived at the solution of making a “slab” of water that could be moved back and forth by hand in-camera, with the knowledge that adding sound design in post would help further sell the technique. —TH

Four of the frames in our storyboards required close-up shots of objects so small that we’d have to break the laws of physics to make the background behind them visible. The camera lenses just couldn’t do it. We ended up putting them together in post. —MH

Creating props in scale to the very tiny Tic Tac mint was the main challenge. Specifically, making a diving mask and snorkel in SHARKS that could be transferred from pill to pill quickly and easily on set. —LN

How did this project reframe your thinking about the world of miniatures?

Miniatures have an inherent charm built into them. That is the plus. Being able to film such small objects require large amounts of research and planning ahead of time. That is the challenge. —TH

There’s something really funny about tiny objects doing things that are very big and serious. A Tic Tac looking through a tiny telescope makes everyone laugh and I can’t explain why. —MH

Does The Martin Agency team have a favorite scene, sequence, or spot?

I would venture to guess that they are all loved for their own unique qualities. —TH 

JUMP is mine. —MH

And does the team of Nix + Gerber have a favorite? 

Kathleen is partial to the rushing water in FALLS. The whole landscape really came together nicely.

I love SPACE. It was the first time we got to create an unfamiliar world. I also really like the tumbling, skidding car in JUMP.

The process of turning our sets over the to the other people on the creative team (lighting, camera, post production, etc.) has been such a positive experience for us. They bring the whole thing to life. It’s fantastic! —LN

Did the team at Martin Agency learn anything new about Tic Tac through this project?

Our Tic Tac clients were great to work with on this project. In the beginning, we shared a really rough, poorly shot (sorry guys) prototype and based only on that, they took a leap of faith and trusted us to bring them something great that is a perfect pay off to “Go Little.” —Stephanie Brummell, Account Supervisor

What’s to come from Tic Tac? What sort of adventures will this candy be going on next? 

To go bigger, and simultaneously smaller. To stretch that divide even further in some way. —TH 

That’s a secret. —MH

If you could sum up the Tic Tac Little Adventures campaign in one sentence or phrase, what would it be? 

Very broad, yet also very specific, humor. —TH 

Any favorite miniature artisans or designers you’d like to mention?

These are our favorite miniaturists, but we’re biased because they build awesome miniatures and sets for us: Nix and Gerber.

What would you like to see replicated in miniature that you have not yet seen?

Worlds that don’t exist on Earth for practical reasons. Inventive stuff. —MH

Anything else you would like to add about this campaign? 

Believe in your little dreams. —MH 

What don’t people know about the Martin Agency or about Tic Tac Little Adventures?

The Martin Agency is a big full service ad agency based surprisingly in Richmond, Virginia. We have accounts like GEICO, Oreo, Discover Card, Benjamin Moore, Timberland, and of course, Tic Tac. We also have offices in NYC and London. Our agency motto is “Good & Tough.”

Little Adventures is a sub-campaign under the “Go Little” tag line. You can see other Tic Tac work on the Tic Tac USA YouTube account.

Tic Tac Little Adventures were created by The Martin Agency, based in Richmond, Virginia. To learn more about this advertising agency, visit The Martin Agency website. You can also follow along on Instagram, Facebook, and Twitter.

You can view all the latest Tic Tac flavors and more here. Make sure to follow along on Instagram, Facebook, and Twitter. Visit YouTube to enjoy the latest Tic Tac Little Adventures, including SPACE, FALLS, JUMP, and SHARKS.

TIC TAC – LITTLE ADVENTURES – FULL CREDITS

Client: Tic Tac
Client Credits
VP of Marketing: Todd Midura
Marketing Director: Dan Cutchin

Client location: Somerset, NJ
Topic: Mint adventures
First Run Date: 8.25.16
Medium(s): On line Video
Ad Name(s):
“Space!” :30
“Falls!” :30
“Jump!” :30
“Sharks!” :30

Credits:
Chief Creative Officer: Joe Alexander
Group Creative Director: Danny Robinson
Associate Creative Director: John Szalay
Senior Designer: Todd Hippensteel
Copywriter II: Mark Habke
Executive Broadcast Producer: Letitia Jacobs
Associate Broadcast Producer: Emily Goodman
Junior Broadcast Producer: Nicolette Steele
Business Affairs Supervisor: Suzanne Wieringo
Senior Production Business Manager: Kelly Clow
Group Account Director: Darren Foot
Account Supervisor: Stephanie Brummell
Account Executive: Lauren Dushkoff
Project Manager: Hayley Soohoo
Senior Community Manager: Ari Sneider
Planning Director, UX Strategy: Meg Riley
Planning Director, Strategic Planning: Elizabeth Cleveland

Production Company: Hue & Cry
Director: Jeff Boddy
Creative Director: Magnus Hierta
Executive Producer: Joe Montalbano
Producer: Colleen Hopkins
Production Coordinator: Abbey Reddington
Storyboard Artist: Timo Prousalis
Assistant Editor: Andrea De Leon
Designer: Shannon Rollins
Animators: Liam Ward
Timo Prousalis
Andrea De Leon
Set Design Company: Nix + Gerber
Set Designers: Lori Nix & Kathleen Gerber

Live-Action Shoot: The Branching
Executive Producer: Lucas Krost
Producer: Alexandra Krost
Director of Photography: Thomas Bingham
Production Coordinator: Adela Satrova
1st AC: Tony Summerlin
2nd AC: Jack Payne
Media Manager: Rex Teese
Gaffer: Chris Thompson
Key Grip: Mike Flinn
Swing: Patrick McLynn
Production Assistant: Alex Delarosa

Where was the spots shot?: Richmond, Virginia

Offline Post Production House: Running with Scissors
Head of Production – Brian Creech
Editor – Danny Reidy

Online Post Production House: Running with Scissors
Editor: Danny Reidy
Assistant Editor: Brian Gregory
Colorist: Drew Neuhart
Lead Flame Artist : Chris Hagen
Flame Artist: Ashby Wratchford
Flame Assistant: Paul Wiederholt
Executive Producer: Brett Alexander
Head of Production: Brian Creech
Business Manager: Tracey Malkie

Music Company: Tiny Lion
Composer: Tiny Lion

Mix company: Rainmaker
Mixer: Mike O’Conner

A photo posted by The Daily Miniature (@dailymini) on Aug 26, 2016 at 8:21am PDT

Timber Chouse Studios by Rebecca Reeves

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What’s your earliest memory with miniatures?

First memory of miniature objects was when I was in kindergarten. We were studying the letter B and the teacher outlined a simple boat with a single sail on construction paper. Then, a glorious box of antique buttons was presented to us. Everyone grabbed handfuls and glued them down along the outline of the sailboat. As for me, I sifted through and carefully selected only the tiniest buttons. The entire class was done within the timeframe, except me. The teacher allowed me to take my time to finish my first tiny masterpiece. To this day, I wish I still had this piece.

How did you first get started incorporating miniatures into your artwork? 

Miniatures have been in my creative process throughout my life. As a child, I was always drawn to toys that incorporated a miniature doll living in a miniature world. Whether it was toy people living in a tree that popped-up into a house, an ice cream sundae that transformed into a condo or a doll who wore a dress that concealed a circular miniature home, I have always been intrigued by non-traditional homes, precious items and hidden spaces.

Do you remember the very first miniature you included in this body of work?

The first miniature was a porcelain toilet. I made hundreds of miniature disposable toilet seat covers out of actual toilet seat covers and stacked them one on top of the other. The stack was placed on the seat and I titled the piece, Princess and the Pee.

Can you speak for a bit about your desire to control your environment as evidenced in your recent work?

Some things in life are so uncontrollable and I have a difficult time getting past them. Creating things with miniatures or creating miniature environments allows me to have the power; to be the ultimate controller. It also allows me to laugh a bit about my issues.

What’s your preference on how your artwork should be referenced?

I tend to refer to my work as mixed media. In one body of work I might be working with fiber-related materials, another graphite drawings and yet another resin.

What is the most challenging aspect of your work to date?

The technique of cocooning (obsessive thread wrapping) that I use in my current work literally makes me anxious. In previous series working with human hair, the process of lining the hair into perfect strands or inlaying quarter-inch, hand cut tiles into a miniature bathroom, drove me crazy. It’s basically self-torture, but I can’t stop creating in that manner.

Any favorite artists you’d like to cite?

Rachel Whiteread, Judith Schaechter, Louise Bourgeois, Matthew Barney, Mark Ryden, Tim Hawkinson… ah, there are so many.

Favorite miniature you own?

My most treasured miniature artwork is a hand-painted mourning pin by Mab Graves and a twin seating by miniature furniture artist Nancy Summers.

Favorite work of art you’ve made that includes miniature(s) in it?

Gathering My Ghosts is one of my favorite and most challenging pieces from my current series.

What inspires you? What keeps you creating?

It has always been one of my childhood dreams and I don’t give up on any of them. I have to create, period.

What is the most memorable miniature you’ve ever seen?

There used to be a local dollhouse store inside an old Victorian home. The owner made dioramas and had them displayed alongside the merchandise. There was a bathroom diorama that included the typical features: sink, toilet, tub, pink fuzzy rugs, a naked woman reclining in the tub with hand extended holding a roasted turkey (yep, a roasted turkey). I would have bought that in a heartbeat if it were for sale.

What would you like to see replicated in miniature? 

I’d love to have my cats shrunken to pocket size so I can carry them with me everywhere.

What miniature object are you hoping to come across next to use in your work?

I cannot get enough of miniature Victorian and Gothic-style crystal chandeliers and mirrors.

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

Miniatures give me the ultimate control. I use miniatures to represent objects in my home that are too precious to incorporate into my work. Maybe one day, I’m too attached at the present time.

What’s to come from Rebecca Reeves?

In July 2017, I’m guest curating a show in California for 30 artists previously featured in Venison Magazine. I’m working on a new series that I have been pondering for a few years. I’m always open for new opportunities and exhibitions.

Words you live by?

“Don’t ask, don’t get.” My dad taught me this.

Other activities you enjoy?

I adore homes and love working on projects, decorating and organizing. Organizing relaxes me. I’m an avid antique collector, but adore my family heirlooms the most. I love the thrill of the find.

What do you want miniature enthusiasts and art fans to know about you?

To know me is to know my home. I truly believe when visiting my home/studio that there is a greater understanding of my art. The “Timber Chouse” (church + house) is my biggest artistic creation. People say that I am essentially living within one of my miniatures.

Timber Chouse Studios is helmed by Rebecca Reeves who’s currently based in Upper Black Eddy, Pennsylvania. To see more of her work, check out Rebecca Reeves’ website. Make sure to follow along on Instagram, Facebook, Twitter, and Tumblr.

A photo posted by The Daily Miniature (@dailymini) on Aug 29, 2016 at 11:14am PDT

Gulipeksanat Miniatures by Gül İpek

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What’s your earliest memory with miniatures? What was the first miniature you made?

When I was five years old, I mixed water and flour and made dough. From that dough, I made a rose which then I painted red. Since it was made of dough, I could not keep it sadly.

How did you first get started making miniatures? 

I was 16 when I made my first real miniature, which was a greengrocer. I have always been a creative and imaginative person, and miniatures were a way to express it.

What is your favorite type of miniature to make?

I love making miniature version of old doors from all around the world. To think about the things these doors “experienced and witnessed” is really amazing.

Do you have a clay preference?

Homemade clays are perfect for flowers but professional clays like FIMO are really suitable for figures and food even though I like papier-mâché more.

Favorite miniature you own?

I do not have an exact favorite, but I am a huge fan of people that make miniatures out of glass, for instance chandeliers and perfume bottle miniatures.

What is the miniature industry like in Turkey today? 

Miniatures are not a common art in Turkey. There is no miniature-focused education or workshops, so people can not get into the field readily. But in time, there will be more options for people, I hope.

What’s to come from Gül Ipek?

At the end of 2016, I will be having a big exhibition of my miniature world doors collection.

Favorite saying?

“It took me four years to paint like Raphael, but a lifetime to paint like a child.” —Pablo Picasso

Gulipeksanat Miniatures by Gül İpek are created in Istanbul, Turkey. To see more of Gül’s miniature doors and more, visit the Gulipeksanat website today. You can also follow her accounts on Instagram, Facebook, Twitter, Pinterest, and Tumblr. Don’t forget to check out Behance, too!

Dieoramas and Miniature Crime Scenes by Abigail Goldman

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How did you first get started making dieorama miniature scenes? 

I started making dieoramas as a personal project and as the occasional gift for a friend. I have always been fascinated by crime and bad behavior – I spent many years working in Las Vegas as a newspaper reporter covering what I called “oddities and tragedies.” Then I began working as an investigator for the Federal Public Defender in Nevada.

First miniature scene you created? 

The first scene I ever made was a man sitting on a picnic bench next to a severed head. It was a park setting – the park bench was tucked under a tree, and the man was staring forward, looking content with his bloodied companion.

Can you tell us a bit about Mea Culpa now up at Hashimoto Contemporary?

Mea Culpa is collection of 31 miniature crimes committed in suburban settings, pastoral parks, city streets and seedy motels. Most of the works are housed in a case that’s 8 inches cubed, while the smallest works are 4.5 inches across. It’s been a joy to watch people interact with the dieoramas, particularly if they aren’t aware each is a crime scene. There’s a moment when a glance turns into a pause, and then into a closer inspection, and then they’re fully leaning in and pointing: Is that really someone being sawed in half? Did that elephant really disembowel someone with a tusk?

Any ghastly crime scene(s) that you’d like to create in miniature?

I have recently started making interior scenes – kitchens, bathrooms, bedrooms – and I am always on the hunt for tiny furniture, or items that can pass as tiny furniture, or be turned into tiny furniture. I have spent hours turning minute plastic remnants into lamps and plates and garbage cans and dressers

What material do you use to make the fake blood in so many scenes?

Honestly, I have yet to find anything that can beat cheap acrylic children’s paint. Something about the color and viscosity is just perfect. When I am working on a scene that needs a bit more gore, I blend in a fine plastic material that turns the blood a deeper red, and gives it the kind of clotting and depth you might see from a more serious injury.

What is the most challenging aspect of your dieorama work? 

It can be challenging to have confidence in an idea or concept, especially when the fully realized scene is days from being ready or done. I might think of a dieorama I want to make, but then start to second guess the idea, or the look of the work. Pushing through these doubts and marching forward can be tricky.

What is the longest amount of time you’ve spent working on a dieorama? 

While it’s hard to tally how long each dieorama takes to make, because there are so many steps to the process, it’s safe to say each piece many hours, over the course of several days or weeks. And in the end, I often find it’s the pieces I am most uncertain about making that have the greatest impact.

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

Miniatures have a unique ability to draw people in. Their smallness, their cuteness, the intimacy they command – it’s compelling to see these traits turned upside-down: Tiny, happy figures hacking each other apart, suburban scenes with bodies in the back yard.I am intrigued by the juxtaposition of the quaint and the dark, the charming and the perverse, the humorous and the grotesque – I think these tensions lurk within most of us. Anyone who cranes their neck to see a car accident knows something about the draw of the macabre.

Favorite miniature quote? 

I think Sir Arthur Conan Doyle had it right in one of his Sherlock Holmes stories when he wrote: “The little things are infinitely the most important.”

Abigail Goldman is based in Bellingham, Washington. To add one of her dieorama miniature scenes to your collection, shop the Hashimoto Contemporary site. View more dieoramas on her website, Instagram account, Facebook, or Tumblr.

A photo posted by The Daily Miniature (@dailymini) on Aug 28, 2016 at 7:22pm PDT

Miniature Sculptures by Thomas Doyle, Rendered in 1:43 to 1:87 Scale

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What’s your earliest memory with miniatures?

I was fascinated with miniatures as a child. At the age of four or five, I woke on a weekend before my parents were up, grabbed some Play-Doh, a piece of 2×4, and a cheap plastic penguin, and created a little scene: white Play-Doh for snow, blue for water. I was excited by the idea of a world made for the penguin; it seemed to take the toy to a new level, bringing it to “life” in a way I had not experienced before. That fascination continued off and on throughout my childhood, as I made environments for action figures and the like out of wood, shoeboxes, etc.

How did you first get started making miniature-centric sculptures? 

At school, I studied painting and printmaking, and I enjoyed them both very much. However, after leaving school, I felt a little unmoored by a lack of the external driver of regular critiques and stopped painting. After a year or two of searching and travel, I decided the best thing was to do what would have made me happiest as a child. I may not be making art, I figured, but I would at least be doing something I loved. It turned out that I was making art – and was happy doing it. That was in 2002, and I am still at it.

Do you remember the very first miniature scene you ever made? 

The first scene I made as an “artist” depicts a snowy rock face with a cave opening, from which light emanates. The viewer peers into the hole to see an eight-year-old boy standing in a bright white room in front of an old kitchen table; a birthday cake sits on it. I still have it, though I’ve never shown it publicly – maybe one day.

What scale do you primarily work in?

I primarily work in 1:87, which is HO scale, a typical model train scale. That is as small as I usually work, though I have gone larger as well—1:43, 1:48, and 1:50 as the need arises.

Does a particular scene lend itself to a scale or do you find vice versa is true? 

My earlier work was of a larger scale (1:43 to 1:50). However, when I decided to start working more with houses, I found that these were more widely available in the smaller 1:87 scale. That is probably the main reason that my work ended up in that scale; it allows me to depict larger scenes in a very compact space.

The figures used in my work are by Preiser, a German company that makes figures for architectural models/model railroading.

Tell us a bit about the work you’re displaying in the Hudson Valley right now.

My exhibit at The Hudson River Museum, which ran from February 8 to May 8, 2016, included 15 works from the past decade of my career. I created two pieces specifically for the show — a 16-foot model of a river which has been dammed in two places by enormous mounds of trash and refuse. A nice suburban home sits in the riverbed between them. I also created a piece that unfolds sequentially across five separate models; that work depicts a residential lot from raw forest to construction to home to flood, then returns back to cleared woodland. I also had a work called “Sapper” at Darren Scala’s shop D. Thomas Fine Miniatures in Hastings-on-Hudson through June 1. That piece is in the shop’s gallery space, where Darren features a rotating group of fine artists working in miniature.

Do you have a favorite type of miniature sculpture to make? 

After 10 years of it, I still really enjoy working with miniature houses. Houses in America say so many things about us — our ideas of security and insecurity chief among them. I view them as a member of the family, so they are a natural fit for me when I am creating works about interpersonal relationships.

How has your work evolved?

Over time my work has gotten larger — while staying the same scale. Once I left my studio in Brooklyn, which was the second bedroom of the apartment I shared with my wife, I was able to take on larger, more ambitious projects. When we moved out of the city I suddenly tripled my studio space… and added to that a garage for a wood shop and a basement for larger works. It is safe to say the 16-foot river I created for The Hudson River Museum would have been difficult to craft in a 10’ x 12’ room… or carry down five flights of stairs.

What advice would you give to new miniaturists? 

My most practical advice is as follows:

• Measure twice, cut once (a hat tip here to Bob Vila).
• Make sure it fits together before you glue it.

The loftier advice for any artist, but for miniaturists in particular, is:

• Be patient. It takes time to add in detail. Work on multiple pieces at once if you get tired of one.
• Be dissatisfied. What you think is “good enough” will not seem so in the future. There is always more detail to capture.
• Be ambitious. Try the things you are afraid to take on. You will probably fail… Until you don’t.

What is your hope for the field of miniatures? 

In the world of fine art, I would like to see a move away from a focus purely on the size and scale of the miniature work. I have been included in a number of group and survey exhibitions that gather miniaturists together, and while these are important (and I am always grateful to be included!) I hope that curators continue to view miniature work on the same plane as contemporary painting, photography, and other art forms when they are putting exhibitions together. Miniature work should always provoke a sense of wonder at the scale, but the best artists working today transcend it to grapple with larger themes. I tend to think of fine art that says “Gee, isn’t this small?” as being the equivalent of a knock-knock joke; works that address larger ideas seem more like short stories.

What would you like to see replicated in miniature?

That’s a tough question – a lot has been tackled already. However, I can tell you things I’d like to replicate that I haven’t yet tried – smoke, rushing water, explosions. So much to do, so little time.

What is the most memorable miniature you have ever seen?

A friend once lent me a magazine he bought in a Tokyo hobby shop that featured a work by an older Japanese miniaturist. In the work the artist has sculpted himself showing a young girl a diorama he has made; the diorama-within-the-diorama depicts the same scene, in smaller scale. On that miniature desk is another, smaller-scaled diorama of the man showing the girl a diorama, which again depicts the same scene… And so on. It was wild, and I am still kicking myself that I never wrote down the artist’s name.

Any favorite artists working in miniature?

Ah, there are many, but the work that Lori Nix and Kathleen Gerber do is really fantastic. I think that Guy Laramee‘s work is just sublime; his work with books is so simple and yet so detailed. Incredible.

Why miniatures? 

As a boy I wanted badly to enter the miniature scenes I’d encounter at museums and in dollhouses; I probably still feel that way to a certain extent. Miniatures allow me to escape into another world. Leaned over a work table, staring at just a few inches of the planet at a time – everything else falls away, and I feel at peace.

What’s to come from Thomas Doyle in the upcoming months and more?

My newest work is actually a departure from my previous miniature pieces, though it employs a comparable level of detail. Now that I’ve either confused your readers (or piqued their interest) I’ll leave it there and just say it’s not ready to leave the nest. I am not done with miniature work (by a long shot) but am exploring a tangent for a while.

Words you live by?

There are quite a few, but a quote by designer Charles Eames rises near the top: “The details are not details. They make the product.”

Anything else you would like to add?

Just a hearty “thank you” for your interest – and that of your readers. When I started doing this 14 years ago it was hard to imagine my work would be seen by so many people. I’m grateful for it.

Award-winning artist Thomas Doyle lives in Katonah, New York. To see more of his miniature works, please visit thomasdoyle.net and make sure to follow along on Instagram and Twitter.

A photo posted by The Daily Miniature (@dailymini) on Aug 18, 2016 at 8:33pm PDT

Mmm… by Selma Mahmutovic 

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What is your earliest memory with miniatures?

I have always loved the fine arts and my first contact with miniatures was the moment my dad made a miniature stove for my Barbie. Soon afterwards, I got my first Polly Pocket. At nine years old, I visited my first miniature fair in Germany. I was fascinated by everything I saw, so my love for miniatures remained deeply engraved in my heart.

How did you first get started making miniatures?

Growing up in a country where dollhouse miniatures and dollhouse culture did not exist, I devoted myself to classical fine arts. I drew, painted and printed graphics. 

Five years ago, I decided to focus on creating a miniature jewelry. I worked hard to get to know all kinds of materials, in particular polymer clay that I use the most.

For me, it is important not to be superficial in any of the segments of work, so I read a lot, experimented and learned different techniques. Thanks to the new technologies and social media, I met a lot of artists through the Internet. We exchanged experiences, advised and encouraged each other in creativity. Then the miniatures came as a logical sequence after I was well informed about polymer clay techniques. Nothing makes me more happy today than applying my knowledge to creating miniatures not only for me but for many collectors. Every second I create miniatures and miniature jewelry is pure joy for me.

Do you remember the very first miniature you ever made? 

Yes, I remember! I made a miniature tomato that was in a scale 1:6 but that was in a learning phase. I can’t remember if I still have it. Surely, it’s somewhere with lots of other experiment miniatures stored in a drawer. However, I always make sure to have a photo of each and every of my creations in personal photo archive.

What is the most challenging miniature you make?

For me, every miniature is a challenge. Each one is more or less difficult in its own way. The moment I sit down at my desk is the moment I enter my Mmm… world. Something like Alice in Wonderland. She was facing different characters and challenges. I am facing different tools, materials, colors, shapes, challenges — ups and downs. I embrace all of it, but make sure to upgrade myself with every new creation I make. Personal state of mind directly influences the creation. Sometimes, the most simple work can become the most demanding. I know my artisan colleagues will know what I am talking about.

What is your favorite type of food to eat?

I love to eat all the traditional food from my country. We have quite rich and varied cuisine. I love Italian food too. I love pizza! Mmm…

Who are some of your favorite miniaturists?

Kiva Atkinson, Tomo Tanaka, Almaira Palmero de Jonge, Caroline McFarlane-Watts, Sharon Cariola, Maritza Moran and Angie Scarr.

What advice would you give to new miniaturists?

Do not be afraid! Mistakes will happen and materials must be spent. Yes, I know that mini materials are not cheap. Many people panic that their first creations will not turn out well and that they will spend the material for nothing. However, without maximum dedication to the work and experimentation, there is no progress. Over the years, I made quite a lot ‘scrap’ clay but I use it and apply it as much as a new packets of clay. So… Relax, work and enjoy your creation.

What inspires you?

It’s so easy to find inspiration in everyday life, as long as you know how and where to look. I pay attention to small details I see around and I ask myself a lot. I love to read. I have never stopped reading children’s literature and it has never stopped inspiring me. Magazines and books about cooking play big role in the process of making my food miniatures. And stop motion animation. After all, I am a lover of miniatures and modeling.

What is the most memorable miniature you have ever seen by another artist?

Kiva Atkinson‘s miniatures I saw many years ago. Apart from being well made, they always bring a smile to my face. I remember bad time for octo miniature where she presented the octopus who drinks milk and reads a fish tales book before bad-time. It’s really fantastic! She is fantastic!

How can miniaturists and miniature collectors help keep the art alive?

It can happen only if we never give up on art. We have to respect each other and encourage creativity. Each of us is unique, but with our individual effort, talent, and ideas, we all can make this world a better place.

Why miniatures?

Because it is a small world in which reality and fantasy collide, resulting in pure love.

What types of miniature food will you be working on next?

The next miniatures I plan to sculpt are fruits and vegetables. I want to refine my work in this sphere. Certainly, I will make more cakes. I love to sculpt cakes.

What’s to come from Mmm… by Selma? Any upcoming projects?

Soon I will hold my first workshop in Belgrade, Serbia. I’m very excited about it! After that, I plan to devote myself to the private project: ‘miniature a day.’ Recently, I opened my Etsy shop where I want to place more of my miniatures and miniature jewelry. My first doll is in the works. That’s another reason why I’m looking forward to going to Belgrade — to get all the necessary materials and tools for my future dolls.

Motto or words you live by?

“When we do fantasy, we must not lose sight of reality.” —Walt Disney

Other hobbies you enjoy?

Reading and listening to the music — this comes under my daily routine. I visit exhibitions and go to the cinema. I love soccer and enjoy going to matches. Long walks re-charge me. I love being surrounded by people I love and it always goes to the abnormal dose of laughter that invigorates body, mind and soul.

Mmm… by Selma was created by Selma Mahmutovic who is based in Sarajevo, Bosnia and Herzegovina. Shop her work now on Etsy. To see more of her miniature creations (and lots more mini food!) check out Facebook, Instagram, Pinterest and Flickr. You can follow along on Twitter and see what’s new on the Mmm by Selma blog and DeviantArt.

A photo posted by The Daily Miniature (@dailymini) on Aug 25, 2016 at 8:49am PDT

Miniatures by Christina Kenton

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What’s your earliest memory with miniatures? How did you first get started making miniature sculptures using lighters? 

My earliest memory with miniatures is when I was about 6 years old. I had a miniature teapot and mugs and I used to fill them with real tea.

I started making lighter covers about 10 years ago and they slowly grew into sculptures about 6 years ago. My obsession with miniatures started around 2 years ago and now they are very present in most of my pieces.

Can you trace back your fascination with lighters to a particular moment or memory?

The reason I use lighters is because I used to smoke outside, and my lighter would get cold and wouldn’t work, so I started sewing slip covers for my lighters. Then, I started decorating the covers and then the covers grew into sculptures.

Tell us a bit about the first lighter sculpture you ever made. 

The first lighter sculpture I made was for my husband about 6 years ago; it’s a horse and we still have it. It shows my early stages of experimenting. It’s just a plastic horse that’s not hand painted and doesn’t stand up. But when I got the idea to make it, I got really excited.

What about outsider art speaks to you?

Outsider art is what my art is considered because I am self taught. Outsider art makes me feel like the way I make things is an actual art form. I don’t follow any particular techniques or rules, but it’s still considered art and I enjoy making it and some people enjoy looking at it.

Are your lighter sculptures for sale? 

I do sell the lighter sculptures, but not too often. They take a long time to make, so I try to make a bunch and submit them to be considered for art shows. I have been really lucky in the last few years to have been a part of some great group shows, and have had a solo show in Vancouver, BC.

Approximately how many lighter sculptures have you made? 

I was thinking about about this the other day! I think I have made close to 250 lighter sculptures, and as of now I have 76 at home. I do have favorites that I would not sell or that I spent a lot time on, executing a specific idea.

What is your favorite type of miniature lighter sculpture or scene to create?

My favorite miniature lighter sculpture is a 2-piece: first there’s a two-headed sheep balancing a house of cards on its head and second, there’s a sheep body on a table showing a spread of cards. I remember the idea and exactly how I pictured it and it’s one of the pieces I could not recreate. It was so hard to translate from my head, but in the end, it turned out better than I could have imagined.

What materials do you use in your work?

Some of the materials I use are pillow cases that I sew the lighter covers out of, sometimes I use styrofoam balls, animal figures, lots of paper towels, shoe goo, paint, and miniatures. Basically mixed media.

What’s the most challenging aspect of your work with miniature lighter sculptures?

The most challenging aspect of my work is probably finding the time. I work pretty much full time and make these sculptures in most of my free time. I have so many ideas and sometimes I just feel bummed out that I can’t just make these sculptures all day long. Other than that, it’s sitting for long periods of time on my days off. I can easily sit for 7 or more hours to hand paint a print.

Do all of your lighters contain fluid? Can you turn them all on?

All the lighters are fully functionally and replaceable.

Have you ever worked with extra small lighters or jumbo sized ones?

I haven’t worked with any really small lighters, but I have worked with jumbo lighters. I have three sculptures presently composed of jumbo lighters.

Artists or designers you look up to?

My grandfather Ladislav Guderna was a great surrealist painter. I have always looked up to him and I am always inspired by his amazing artwork. Some other artists I am inspired by are Louise Bourgeois, Francis Bacon, and Banksy. Also the website Dollhouse Heaven (where I purchase my miniatures) is full of inspiration. I can easily get lost there for hours.

Favorite miniaturist? 

I was told about Frances Glessner Lee awhile ago and found her really interesting. She would recreate dioramas of actual crime scenes for studies of unexplained death investigations. I have a huge fascination with true crime and forensics so these are two things together that I feel really close to.

What advice would you give to new artists? 

Make art the way you want to and always like doing it. For me, I want to always paint and I always want to look forward to working on something new. I never want it to feel like it’s a job or I have to do it. It took me a really long time to get into shows after tons of submissions, I lucked out and was a part of some really great openings with some really great artists. Don’t get discouraged. Make art because you want to, even if no one end up seeing it.

If you collect miniatures, any favorites from your collection you’d like to mention?

I have three favorite miniatures in my collection. The first is a tiny porcelain pair of false teeth. The second is a shrimp cocktail, and the third is a pair of yellow gloves. I still don’t know how they exist!

What is the most memorable miniature you have ever seen by another artist?

The most memorable miniature that I’ve seen by another artist are the peeled oranges by Megan Hess of @megansminis. For some reason those come to mind as they’re insanely detailed.

What is the most memorable sculpture you have ever seen by another artist?

Louise Bourgeois’ Cumul I. I saw it years ago at Centre Pompidou and it sticks in my head

What is your hope for the field of miniatures? 

It didn’t take me very long to get obsessed with miniatures, and I feel once I was in that world, I got in deep. I hope miniaturists just keep creating and putting their art out there. It’s the only way to get people excited.

What would you like to see replicated in miniature that you have not yet seen?

A miniature that I would like to see replicated is one of my lighter sculptures. I don’t think that will happen, but who knows. And scratch and win tickets but I have a feeling that may already exist.

What’s next to come from Christina Kenton of @crabtina?

Upcoming projects include more scenes, more bedroom type themes, and phobia themes. I want to work with more miniature mirrors, miniature plugs, and miniature roses. I usually get ideas before I fall asleep, and I get bored easily so I try not do the same thing too long. No upcoming shows, but I have submissions floating around. I might possibly look into an online store like Big Cartel because people contact me about available sculptures. So, I might look into selling some online in the near future.

Other activities and hobbies you enjoy? Anything else you would like to add? 

From early on I’ve always wanted to paint and make things constantly. I work at a simple job that pays my rent and allows me to paint on a daily basis. I may never make enough money off my art to live, but I can’t imagine going through life not doing what I love. This makes me happy and if other people enjoy it, then that’s a huge bonus.

Christina Kenton hails from Vancouver, British Columbia, Canada. To see what miniature sculptures she’s created recently, follow along on Instagram and check out her Tumblr!

A photo posted by The Daily Miniature (@dailymini) on Aug 4, 2016 at 3:42pm PDT

After Dark Miniatures

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What’s your earliest memory with miniatures?

My Dad took me to the Queen Mary’s Dolls’ House in Windsor England and it was fascinating to me as a young teenager. Everything was so amazingly detailed and perfect. Once I’d seen it, I knew right then that I wanted to own the finest miniatures I could buy.

How did you first get started making miniatures? Where does the interest stem from?

I always had a strong desire to use clay. Even when I was just four years old, I would spend a lot of my time daydreaming about the plasticine at pre-school. All I wanted to do was chop it up and mix it to make new colors. As I grew older, I knew that was what I wanted to do. At around eleven years of age, I recall while in our local art shop, I was often pestering my Father for Fimo clay. And a few weeks later, he took me into the shop and purchased the largest color range set of polymer Fimo clay that they sold. It was a wonderful surprise gift. I have never turned back since.

Do you remember the very first miniature you ever made? 

It was a tall, sitting, black Egyptian cat. I don’t have it any longer; I sold it to my friend Joe at school. He was buying miniature handmade polymer clay people from his other friends at the time, but I always remember how much he really liked the cat I made. The first food miniature I made was after I read a miniaturist book that my Dad kindly purchased for me. It had a detailed “how to” which was an entire butcher’s shop, so I got the supplies and some clay, and I made it entirely. Sadly, I don’t have that either, and I haven’t made much, if any, raw meat since unsurprisingly! But it was good fun at the time and it taught me a lot.

What is your favorite type of miniature to make?

I love making rustic miniatures, my original still life pieces and my Tuscan Deli cabinets are my all-time favorite. There’s just something about them. I think it’s the amount of detail that I put into them, and possibly that I like Italian food just a little too much. But, not forgetting my seasonal fall pumpkins… I really enjoy making these too! Recently, I have been making white and green pumpkins, they also have a wonderful realistic finish to them.

What is the most challenging miniature to make? 

Well, this is a struggle to answer, as I don’t think I find anything hard to make really? Actually, corn is quite fiddly to make and mushrooms too, but nothing much challenges me. I think the secret is, if you find something that is really hard to make, then it’s best to stick to something you’re better at making. I do find it hard to obtain other artists’ work to use alongside my own, as I tend to only use other artisans’ handmade work for displaying my own. That way everything I make looks as realistic as possible, and then it’s all totally handcrafted to the highest quality in all aspects of production and finish.

What advice would you give to new artists and beginner miniaturists?

Keep practicing, and be original, and go look at food (or your chosen miniature art subject) and see what it really looks like. This might sound a little crazy, but I hear that quite a lot of people have photos of the entire Waitrose food counters for reference! You see we think we know what something looks like in our mind, but if you look at food in person, and in detail, it’s a whole different thing entirely. Every piece is totally unique. I was also very lucky to have had the support of my partner, and also that of my very good friend Athena from LA. She’s been there for me from the start with her words of support and encouragement to keep me going when I felt like giving up.

What do you wish someone had told you when you first got started?

Nothing really… I think the road I took making miniatures was really enjoyable, and nothing anyone said could have changed it. It’s a really great pastime.

What’s your hope for the field of miniatures in the future?

My personal hopes are to get better known. I guess I have been hiding out a bit, while making some wonderful miniatures for certain lovely private collectors, and I just haven’t had the time before.

Favorite miniature you own by another artist?

Definitely the hollowed pumpkins that have carved faces in them. I bought from Italian artisan Loredana Tonetti at 64tnt miniatures. I have a huge collection and don’t think I love anything more than her pumpkins that she made for me!

What inspires you?

Looking at real life food. There’s nothing worse than using the Internet or books for photos of food. Go out there and investigate everything in its real life form; pick the food up, and also eat what you can. It’s great fun! Even the Morelli’s ice cream counter that I made for the owner, Mr. Morelli–I made from actual real life memories of being there in Harrods. The only Internet photo I have ever used was my challenge piece. That creation has become my shop logo from the very start. Betsy Niederer inspired me with her own wonderful challenge piece that she had made sometime beforehand.

What is the most memorable miniature you have ever seen?

I really love Thomas Saunders work. He is a miniaturist and woodturner. His little hand-turned wooden bowl that came with its own lid… I had him commission this piece for me. I believe he is now retired and I miss him and his wonderful work very much indeed.

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

Why not? They are amazing, so tiny and delicate, tiny and perfect! I think once you discover them, you get hooked and you can never go back! I am very blessed to be able to make miniatures for some of the most discerning miniature collectors in the world. I very much enjoy what I do. The time and effort I put into making miniatures is nothing compared to the joy of being able to make these works of art.

New miniatures in the works? What’s to come from After Dark Miniatures?

I do have a couple of big projects in the future… something special to do with a snow scene, and the other two are something along the line of luxury retreats, but that’s all I’m saying for now. Keep looking in and you will eventually see them.

Motto or words you live by?

Eat, sleep, squeeze clay, repeat…! Seriously though, I think if I’m offering words of advice to anyone then, just be yourself and be original, and you can’t really go wrong with that.

Anything else you would like to add? 

I’d like to sincerely thank everyone for the support over the years while collecting my work, and also following me when I moved to Etsy. It means a lot to me that you enjoy collecting my work as much as I enjoy making it.

After Dark Miniatures was created by London-based Eve. To see more of her impeccable work, you can visit her website, shop her miniatures on Etsy, follow along on Facebook, Flickr, or check out her blog.