Miniaturists Invited to Apply for IGMA Guild School Scholarship Program

August 1 Application Deadline Approaches for 2016 Guild School Scholarships

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2015 Guild School Scholarship Recipient Ron Stetkewicz displaying work by Bonni Backe at 2015 Live Auction

The Guild School Scholarship Program is made possible by the International Guild of Miniature Artisans (IGMA). Established in 1985, this scholarship program awards funding to deserving miniaturists interested in attending the annual IGMA Guild School in Castine, Maine. This year’s application for the 2016 Guild School scholarship is due Sunday, August 1, 2015. Click here to download the scholarship application.

A full-tuition scholarship is currently valued at $1425 and pays for 36 hours of instruction, plus room and board for the entire IGMA Guild School week. Recipients must provide their own transportation and assume any other expenses incurred such as materials fees for classes (typically $10-$200) and evening seminars (typically 0-$50).

The International Guild of Miniature Artisans is committed to the perpetuation and improvement of miniatures. Scholarships are primarily intended to make the Guild School experience available to students who might otherwise not be able to attend due to financial constraints. Scholarship applicants are evaluated on how their attendance at the Guild School could potentially contribute to:

  1. the furtherance of miniatures as an art form and the raising of standards (including, but not limited to – adherence to scale and proportions, historical accuracy, etc.) in the creation of miniatures;
  2. the quality of the applicant’s work and the degree to which the curriculum offered by the school would expand or enhance the applicant’s skills and areas of interest;
  3. the dissemination of knowledge, enthusiasm, and skills to miniaturists within a local context, as well as around the world, by teaching, writing, exhibiting or other forms of sharing, both past and in the future;
  4. the degree to which the applicant needs financial assistance for school expenses and how important attending the Guild School would be to them (fiscal priorities).

The source of funding for the Scholarship Program comes from various fundraising efforts held during the school week. The major event is the Live Auction. Scholarship students assist with displaying various auction items during the Auction. In addition, at the Opening Night Banquet, scholarship winners have reserved seating with other scholarship recipients and Scholarship Committee members. The IGMA Guild School scholarship provides a wonderful opportunity for individuals who appreciate (and wish to learn more about creating) fine miniatures.

For questions about the Guild School Scholarship Program, contact Chairperson Erin Carter today.

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Top Miniatures on View at 2015 Guild Show

The International Guild of Miniature Artisans Presents Guild Show 2015

Three-drawer chest by Smaller Than Life (Pete and Pam Boorum, IGMA Artisan members), small carry box with handle by Bubba’s Country Cupboards (Barbara Vajnar, IGMA Artisan member)
Three-drawer chest by Smaller Than Life (Pete and Pam Boorum, IGMA Artisan members), small carry box with handle by Bubba’s Country Cupboards (Barbara Vajnar, IGMA Artisan member)

The International Guild of Miniature Artisans (IGMA) was incorporated in the late 1970s with the aim of promoting miniatures as fine art. To that end, the Guild Show was established to provide a venue for talented IGMA Artisan and Fellow members to show and sell their work.

Open to the public, the Guild Show 2015 will take place this summer on Saturday, August 8 and Sunday, August 9 at the Teaneck Marriott at Glenpointe in Teaneck, NJ. The show is open to all and is conveniently located just across the river from New York City, easily accessible by bus and car. Admittance details for this year’s Guild Show are as follows:

Saturday, August 8 from 9 – 10 AM: Show Preview for Guild members only
Saturday, August 8 from 10 AM – 4:30 PM
Sunday, August 9 from 10 AM- 3:30 PM

General admission, open to the public: $10 one day, $15 two day pass
Children under 14: free
IGMA Members admitted free

Last year, the Guild Show celebrated its 35th Anniversary and is still going strong, featuring some of the best work in miniatures today. Guild Show events include extensive exhibits, classes, tours, auctions, and other festivities noted below:

  • Dealers
  • Broadway Night
  • Thursday & Friday Classes
  • Tour to Historic Hudson Valley
  • Gathering: Desserts & Demonstrations
  • Annual Meeting
  • Small Beginnings
  • Exhibits
  • Gallery of the Guild
  • Live and Silent Auctions
  • Area Events: NYC & New Jersey

Pre-show events commence on Wednesday, August 5. Visit the IGMA website for more information and directions. For details on becoming an IGMA Member, please click here.

Violets by Peter Gabel, IGMA Artisan member
Violets by Peter Gabel, IGMA Artisan member
Three-tiered wicker stand by Uncle Ciggie’s (Vicky Sanfield, IGMA Artisan member)
Three-tiered wicker stand by Uncle Ciggie’s (Vicky Sanfield, IGMA Artisan member)
Urchin lamp by Studebaker Miniatures (Bill Studebaker, IGMA Artisan member), Queen Anne side chair by Mark Murphy, IGMA Fellow member
Urchin lamp by Studebaker Miniatures (Bill Studebaker, IGMA Artisan member), Queen Anne side chair by Mark Murphy, IGMA Fellow member

Daily Mini Interview: Miniatures by Mary Grady O’Brien

Miniatures by Mary Grady O’Brien

|   Website   |

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. 177Now, 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?29

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.

mother_daughter_Y97VgdpSkAsyXAs 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.194_4pROb8GqgaNtC

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!

213When 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

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Daily Mini Interview: Miniatures Writer Anne Day Smith

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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.

51QId1ZcU6L._UY250_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?51EBGXYJ7EL._SX258_BO1,204,203,200_

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.

11537720_498895406934898_4506687695580020253_nDo 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. 71T3ePh7h4LSome 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.

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Daily Mini Interview: Miniatures by Nancy Summers

Miniatures by Nancy Summers

 |   Website   |

How did you get started in miniatures? 

yhst-47023519779078_2231_3875877I 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.guilded-louis-xv-love-seat-4

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.

carved-french-sofa-3What 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.contemporary-sofa-3

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.

sofa-or-daybed-kit-8Did 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?half-inch-scale-camel-back-sofa-4

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!

yhst-47023519779078_2231_3655188Why 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: IGMA Guild School Director Barbara Davis

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

 |   Website   |    Facebook    |    Instagram    |

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.

Guild_School_2014_0100-X3How 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.Guild_School_2014_0084-X3

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.

Guild_School_2014_0128-X3What 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!

 

 

2015 Guild School by the International Guild of Miniature Artisans

The Ripple Effect. Spread the Knowledge. Share the Fun. 

The Guild School is an annual week of instruction by International Guild of Miniature Artisans (IGMA) Fellows and Artisans in scale miniatures. Set in Castine, Maine each June, the Guild School features classes and workshops by 33 instructors, all of which are current Artisans or Fellows of the Guild.

BW_Guild_School_2014_0331SQ-X3This year’s 34th annual IGMA Guild School will take place from June 13-19 in Castine. Over 200 miniaturists from around the world (42 states and 11 countries are represented this year) take part in more than 50 miniature-making classes. Guild students are taught techniques in woodworking, metalsmithing, figure sculpting, painting, needlework, room/building construction, plant making, food sculpting, wicker, weaving, mosaics, and pottery. With 6 full days of classes (each class spans from 6-8 hours a day), students work diligently to develop their skills and further hone their miniature craft.

Guild_School_2014_0478-X3In addition, the 2015 Guild School will feature evening seminars, a student and instructor exhibit, live and silent auctions, an exhibit of class projects, a graduation night banquet, lobster cookout, and a miniature sale night. Click to view past Guild School events.

All skill levels are welcome to attend the week-long IGMA Guild School set on a picture-perfect campus in a quaint, historical, coastal village in scenic Maine. The School is just one education component of the International Guild of Miniature Artisans. Guild_School_2014_0474-X3IGMA was founded in 1979 to promote fine miniatures as an art form; to increase awareness and appreciation of high-quality workmanship through public education; to recognize and honor qualified artisans and encourage work of highest quality; to encourage the development of new artisans; and to coordinate and serve the interests and needs of the artisan and non-artisan.

To learn more about the IGMA Guild School, visit the Guild School website. You can follow along on Facebook and Instagram. For information about the International Guild of Miniature Artisans, visit igma.org

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