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Daily Mini Interview: Miniatures by Ryan McAmis

July 7, 2015July 7, 2015 admin

Miniature Cathedral by Ryan McAmis

Describe your background in the arts.

I studied Communications Design at Pratt Institute, with a focus on Illustration. I also took a lot of painting classes there. I often spend time working on design projects, paintings, drawings, miniatures, music, and more. As far as picking a favorite, it really depends on what I’m into at the moment. For example, I’ll be really focused on illustration, then I’ll burn out and I’ll switch over to piano for week or so. When I’m hitting a wall there, I’ll work on the miniature cathedral. I have to say though, that the cathedral is the most relaxing and enjoyable. Drawing and piano tend to stress me out more.

What’s your process when creating works of art?

I wish I had a set process—I’d probably be more productive. As far as the miniature cathedral, I start with a lot of research, followed by some sketches until I get a rough idea. Then I’ll do some scale vector drawings on the computer and get the proportions and measurements right. Once my plans are all set, I’ll start building the final pieces.

Where did the idea for your cathedral project stem from?

When I was a child I was obsessed with architecture and especially old cathedrals. I would spend all of my free time drawing from books on art history and architecture. I eventually started building models of cathedrals out of sugar cubes. Sometime around the 7th grade, I discovered foamcore. I would spend several months on these models. This went on through high school, until I went away to college. Now 20 years later, I decided to pick it up again as an adult and apply what I know now as far as techniques, materials and new technology available.

What different types of materials have contributed to the construction of your cathedral project?

For example, let’s take one of the Gothic windows. In order to make this window, I use various materials to get the right textures. It can range from wood to clay and acrylic, even treated paper. Some pieces look best hand cut, some are better laser cut, whatever it takes to get the most perfect and realistic detail. Then I glue all these elements together and make a master Gothic window. The next step is to make a silicon mold of it, which I then use to cast multiple pieces in white plastic. Once the cast plastic windows are ready, I hand paint them. This is pretty much the same process for all the pieces for my cathedral, everything is eventually cast in white plastic and hand painted in the end.

Do you have plans to exhibit the work upon completion?

I haven’t thought about it yet. The cathedral project is probably going to take about 5 years to complete. Unfortunately, I only get to work on it in my spare time. I work crazy long hours as an illustrator and graphic designer, so I can only squeeze in time early in the morning before work or late at night when I get home.

Does the cathedral piece have any secret chambers or hidden gems within it?

Recently my cat Leo passed away at the age of 22. I kept one of his fangs that fell out a couple months before he died as well as a bundle of his whiskers and lock of his hair, all of which I interred into one of the funerary wall monuments in the cathedral. So kitty has a little resting place in there. I do plan to add more secret things. I would love to figure out how to make a functioning gargoyle system so that if I pour a glass of water on the roof it runs off and drains out of the mouths of tiny gargoyles.

What’s your favorite period of art history?

I’m really attracted to the austerity and simplicity of the early Renaissance, before it got it really extravagant. I love Fra Angelico, in fact the backgrounds of his paintings, the architectural elements and interiors that his subjects inhabit are big influences on the design of my cathedral. Giotto as well. His architectural backgrounds are really influential.

On the other hand, I’m also a huge fan of 20th century to present day art. Clyfford Still, Helen Frankenthaler, Louise Bourgeois as well as illustrators such as Saul Steinberg and Jan Lenica.

Advice for beginner artists?

Stay relaxed and don’t take yourself too seriously. Play around with the materials. The best breakthroughs usually come by accident.

Tool or material you can’t live without?

Smooth-On mold making and casting materials. I also can’t live without my computer. I do all my designs on the computer first. Rounds and rounds of designs until I get it right, then I build the real thing.

Why miniatures?

I’m able to build something I would never be able to build in real life.

To follow along on Ryan’s many mini adventures (and to see how the miniature cathedral turns out!), visit his website or check him out on Instagram.

A photo posted by The Daily Miniature (@dailymini) on Jul 17, 2015 at 9:21am PDT

Daily Mini Interview: Double N Minis

July 7, 2015March 15, 2018 admin

Double N Minis by Nadia and Nora

| Instagram | Etsy | Facebook |

How did you first get started in miniatures?

Ever since I can remember, I’ve been fascinated by miniatures. There is a certain magic in seeing and touching real things that have been reduced to such tiny sizes!

I am a graphic designer and I have also always been very crafty. I love working with my hands and with various media. Also, because I’m a graphic designer, I think that my attention to detail has helped me a lot with making miniatures. I like to refinish furniture, sew, paint, and more. Making miniatures is the perfect means to combine all my interests. Plus my creations don’t take that much space!

I always thought that “someday” I would build a dollhouse but never really got into it although it was always in the back of my mind. Three and a half years ago, our family life was terribly changed when my husband was diagnosed with brain cancer, and then again when he died two years ago. This, among many other things, changed my outlook in life, and I learned that the best time to do the things you want to do is “now” because we never know when our lives are going to be turned upside down.

At that time, my daughter and I had been working a little bit making mini food charms out of polymer clay and some other clay crafts like pens just for fun. After doing some research to make more charms, the world of realistic miniature food opened up to me. I couldn’t believe the things that people were doing! The Internet is an endless source of information and I started looking at all sorts of miniatures, collecting images on Pinterest, and more. It was at that time that I decided to start our first dollhouse in November 2014. We started with a small kit because I wasn’t sure if I was going to be “into it,” so It was better to start small. (Ha! And now I’m hooked for life!) We decided it was going to be a bakery with an apartment upstairs. My goal was to make as many things as I could instead of just buying items. If I bought something, I was going to transform it. Everything would have to have our own special touch.

Honestly, I had no idea that I was going to get so immersed in this world! My daughter and I made all the desserts and pastries, and then I started working on furniture, accessories, and other pieces. I love to challenge myself, experiment, and try new techniques. I didn’t know I was going to be able to make so many things! My daughter has a lot of talent in manipulating tiny things, and it’s been great to see how her abilities are changing and the things she can make at her age! I love that she loves miniatures and enjoy spending time working.

What inspires you?

I am very inspired by the work of so many artists and many different styles. When I first discovered the work of Tomo Tanaka of NuNu’s House, it blew my mind. There are also a lot of other Japanese artists that I admire, including Rosy, N Original, and Studio Soo among others. Martiza Moran and Christine-Léa Frisoni make beautiful furniture and spaces. Hyper-realistic artists like Alan Wolfson, Ronan-Jim Sevellec, Charles Matton, Dan Ohlmann and Marc Giai-Miniet inspire me.

What materials do you use to make your miniatures?

Right now, as a beginner, I’m experimenting with everything! I want to really try out many media options, so I can eventually find my niche. So far, polymer clay, wood and paper are my favorite materials.

Advice for beginner artists and miniaturists?

Keep working and practicing! Don’t get disappointed if your work doesn’t look like the photos you see on the Internet—it takes time and patience to get there. Find your inspiration from the real world, and observe, observe, observe! I think what makes a miniature stand out is the details: all the perfect imperfections! Find your own style.

Favorite mini you own by another artist?

Well, since we just started and we’ve been trying to make as much as we can, we don’t own many pieces by other artists. A few months ago Angelina (elArtedeAngelina) contacted me because she wanted to trade minis, and I felt so honored. We got a beautiful book from her. At the Seattle Miniature Show, we met Julia Stewart. She makes the most beautiful clothes, and my daughter fell in love with a tutu (she’s a ballerina herself). She loved it so much, she volunteered her allowances for a whole year so she could buy that tutu!

What quote do you live by?

Don’t wait to do the things you want to do. Now is the time.

What do you want miniature enthusiasts to know about you?

Making miniatures has been a blessing for me. After the huge loss I had, being able to just lose myself in my work has been tremendous.

Even though it took me such a long time to finally start working on this, I don’t know if I would’ve been able to learn as much (I am self-taught) if I had started earlier. The Internet is a source of unlimited information and I am so grateful for all the artists that are generous in sharing their knowledge, tutorials, photos, resources, and much more.

Nora Mazonson of Mexico City now lives in Mount Vernon, Washington. Nora and her daughter Nadia are the team behind Double N Minis. Bring home your own miniature by shopping along on Etsy. To see more of their work, head on over to Facebook and Instagram!

A photo posted by The Daily Miniature (@dailymini) on Jul 9, 2015 at 11:33am PDT

Daily Mini Interview: Miniatures by Mary Grady O’Brien

July 7, 2015July 7, 2015 admin

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. Now, I grew up in Dallas, but my parents went to Chicago and bought dollhouse things for me and lead soldiers for my brother. From an early age we learned to appreciate these toys and not to play too hard with them. And so, I’ve always been fascinated with little things.

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

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

How has your work evolved?

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

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

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

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

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

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

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

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

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

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

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

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

Technique you cannot live without?

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

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

What do you want miniature enthusiasts to know about you?

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

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

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

What advice would you give to a new artist?

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

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

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

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

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

Daily Mini Interview: By Anni (Miniature Crochet World)

July 6, 2015July 6, 2015 admin

By Anni (Miniature Crochet World)

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

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

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

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

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

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

Favorite miniature you own?

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

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

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

Why crochet?

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

Advice for beginner artists?

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

Other activities you enjoy?

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

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

What’s to come from By Anni?

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

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

What do you want miniature fans to know about you?

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

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

Daily Mini Interview: Wildlife Miniatures by Beth Freeman-Kane

June 30, 2015June 30, 2015 admin

Beth Freeman-Kane’s Wildlife Miniatures

| Website | Facebook |

How did you first get into miniatures?

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

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

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

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

Were you formally trained in the arts?

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

Were you always fascinated with wildlife?

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

What miniature animals will you focus on in the future?

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

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

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

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

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

Do you have any favorite miniatures you’ve made?

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

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

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

Sources or books you cannot live without?

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

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

Materials you love to use in your work?

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

Advice you would share with a new artist?

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

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

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

What do you want miniature enthusiasts to know about you?

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

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

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

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

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

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

Daily Mini Interview: Studebaker Miniatures by Bill Studebaker

June 29, 2015June 29, 2015 admin

Studebaker Miniatures by Bill Studebaker

| Shop | Website |

What’s your earlier memory with miniatures?

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

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

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

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

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

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

What will you work on next?

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

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

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

Tool you cannot live without?

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

Advice for new miniaturists?

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

What do you want miniature enthusiasts to know about you?

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

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

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

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

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

Do you ever collaborate with your wife, Barb?

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

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

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

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

June 28, 2015June 28, 2015 admin

Miniature Rooms by Robert Off

| Website | YouTube |

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

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

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

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

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

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

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

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

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

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

What’s your definition of art?

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

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

What symbols do you include in your own work?

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

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

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

Advice for new artists?

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

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

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

Daily Mini Interview: Miniatures Writer Anne Day Smith

June 26, 2015June 26, 2015 admin

Author and Lifelong Miniatures Enthusiast Anne Day Smith

How did you first get involved with miniatures?

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

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

When and how did you begin writing about miniatures?

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

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

When did you transition into photography of miniatures?

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

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

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

What inspires you?

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

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

Do you make or collect miniatures yourself?

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

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

How often do you make miniatures?

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

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

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

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

What advice would you give to new miniaturists?

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

What advice would you give to a new writer?

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

What do you want miniature fans to know about you?

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

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

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

Daily Mini Interview: Miniatures by Nancy Summers

June 25, 2015June 25, 2015 admin

Miniatures by Nancy Summers

| Website |

How did you get started in miniatures?

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

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

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

Latest news or projects in the works?

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

What miniatures have been most challenging for you to create?

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

Describe the evolution of your work.

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

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

Do you collect miniatures yourself?

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

Did you ever trade pieces with fellow miniaturists?

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

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

Tool you couldn’t live without?

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

Most challenging piece you’ve made?

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

Why miniatures? Why do you work in this industry?

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

What do you want miniature enthusiasts to know about you?

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

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

Daily Mini Interview: Miniature Needlepoint by Annelle Ferguson

June 25, 2015June 25, 2015 admin

Miniatures by Annelle Ferguson

| Website |

How did you first get started in miniatures?

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

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

What was the first miniature you created?

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

When did you begin selling miniatures?

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

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

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

How has your work evolved?

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

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

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

What’s your favorite pattern?

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

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

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

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

Materials you could not live without?

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

What advice would you give to a new miniaturist?

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

What do you want miniature fans to know about you?

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

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

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

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