DollsHouse and miniature scene
March 2012 Issue 213
DollsHouse and miniature scene
“
Without
inspiration the
best powers of the mind remain dormant.
There
is a fuel in us which needs to be ignited with sparks.
�
- Johann Gottfried Von Herder
Inspiration can be found in the oddest of places, from simply stepping outside or catching the tail end of a strangers conversation we can all take a lessen from the world around us. In this issue Dolls House and Miniature Scene Magazine brings you enlightening inspiration gathered from the best and up to day sources in the nation. So grab a some pen and paper and prepared to be inspired for your next big dollshouse making endeavour.
Maya de Ceano-Vivas Editor
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Contents The Inspiration Issue
One pages 4 -14
Inspire Me!
From our experts here at DollsHouse Magazine we present five great columns sure to inspire your next project. What ever era you choose to tackle a little knowlege can go a long way. Gain a little know how about Georgian styledolls houses, prefered fabrics, and more!
Two
pages 16 - 36
Call of the Small!
Discover the latest and greatest in dollhouse making culture. This issue we cover doll house miniature food, discover the health benefits of dollhouse making and more!
Three
pages 38 - 42
back to reality
See how miniature doll house making inspires the world. In this issue, discover the art of tilt shift photography!
Pictured to the left is a 1/12 scale Edwardian style library Photo curtisy of Adam Sweetington
1
Adam Sweetington
One
pages _ -_
Inspire Me!
From our experts here at DollsHouse Magazine we present five great columns sure to inspire your next project. What ever era you chooseto tackle a little knowlege can go a long way. Gain a little know how about Georgian styledolls houses, prefered fabrics, and more!
p. 5. STYLES: Georgian Style/ Shabby Chic p. 7. ARTIST: Shabby Chic p. 9. TEXTILES: Fabulous Fabrics p. 11. BOOK REVIEW: Edwardian Style p. 13. DO IT YOURSELF: Beginner tips
The Georgian Look By: Jane Kubiesa
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p. 5
Pictured is a 1:12 scale of Adam Sweetington’s Georgian Series. Photo curtisy of Adam Sweetington.
Dining and entertaining were very popular during Georgian times.
e Key looks towards the end of this period were elaborately carved furnishings, cabriole legs, claw and ball feet, ornate carvings and an abundance of gilding. Other styles being influenced by travel and architecture styled from Ancient Greece and Rome. Chinese styles such as chrysanthemums and peonies can be found on porcelain and fabrics. Large paintings and mirrors often set within wall panels for a balanced look. Earlier in the century, things were less elaborate and more simply furnished. Early Georgian Paint colours in the early Georgian period were simple creams and browns, with some greens and blues. Ceilings were white. Rooms were plainly panelled and painted. The pictures below show Rainham Hall in Essex where a simple paint scheme has been uncovered and replicated by the National Trust. Mid Georgian By the Mid Georgian period when George III was on the throne, a few more paint colours were available and decorations became a tad more elaborate. Walls could be blue, green, pink or yellow, and mouldings, fireplaces, window frames etc could be picked out in contrasting white or cream. At this time plain panelled walls were topped with a conrnice and windows had shutters rather than drapes; all of which would be painted in the same colours. The paint range of Craig and Rose have a fabulous selection of authentic Georgian colours, all of which come in tiny sample pots, perfect for miniature work.Floors were simple oak boards, sanded and scrubbed to clean them; in miniature a natural oak colour is perfect. This can be topped with a Georgian style miniature central rug or carpet. The main photo of my Georgian dining room is showing several of these styles. Also consider when making a Georgian interior the fireplace, the light fittings which will be candle sconces, preferably mirrored, and the fairly minimalistic look of a Georgian interior. Late Georgian (Known as the Regency Period) The period when George IV was Prince Regent up to the death of George III in 1811, and when he became king up to his death in 1830 is known as the Regency Period.
Adam S p. 6
Kim Saulter
Shabby Chic By: Jane Kubiesa
1
p. 7
T
he concept behind shabby chic is to
transform unwanted, unloved, vintage items and to distress modern pieces turning them all from dull to fabulous! This really is an all-encompassing design style, because nothing is too far-gone or too ugly to have a little shabby chic magic worked upon it. This is the ideal look to use up all those odd items of dolls house furniture that you had no idea what to do with, or felt weren’t quite right. Furniture and accessories from any period can be incorporated into a modern shabby chic room box or dolls house with a little painting and distressing. Those vintage or antique pieces found in the loft or at a car boot sale that are a little bit too bashed could easily become the star of a shabby chic room setting, with no work required! The decor most associated with this style is floral, chintzy and pastel for wall and floor coverings, as well as soft furnishing. So whether you opt for a plush, pastel-coloured carpet or distressed wooden floor, engulf it with rag rugs and needlepoint mats. Cover the walls with distressed floral samplers, tiny framed pressed flowers, vintage shop signs, and framed left-over wallpaper to make art. Furniture is welcoming and informal, so think padded floral sofas and chairs, wicker, and stencilled chests and shelves. A dining table with six odd chairs is totally shabby chic, as is using mismatched pairings of bedside lamps, or making up a dresser from a chest of drawers and a wall cupboard.
e Pictured is a 1:12 scale of Kim Saulter’s Tiny Kitchen Series. Photo curtisy of Kim Saulter. p. 8
Fabulous Fabrics
e Before you buy any fabric for your miniatures, keep in mind two important things, weight and texture. By: James Carrington
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p. 9
Remember that we are dealing with scale and both need to be reduced to get the right look and effect. Weight means that the fabric has to be very thin, almost like tissue paper, and texture means that it should be tightly woven with an even thread running across and along its length - the warp and weft. Natural and General Fabrics Let’s look at some natural fabrics which are most suitable for miniatures. Most people think that silk is the ‘Queen’ of fabrics; it’s greatly admired for use in fashion and interiors. Many miniaturists worry about working with silk but you shouldn’t, just take your time and carefully follow the instructions to achieve a perfect outfit. For miniature costumes you want a silk that will crease easily for crisp lines and hold folds for a natural look. Widely used is Habutai (also spelt Habotai), and often called China silk. This is thin enough for the scale, folds and creases nicely, and comes in a fantastic range of colours. Some silks are more slippery than others and difficult to cut out accurately. To help with this problem use spray starch over the fabric, making it easier to cut. Synthetics The only synthetic fabric I use is a polyester cotton blend. Although you can’t get it to crease satisfactorily, it is perfect for men’s suiting of the modern style, and by that I mean from the mid-Victorian period onwards. Please see the photo below. Use metallic fabrics with care as these synthetic fabrics don’t drape or crease and therefore are not really suitable for miniature consumes where you want to achieve crisp lines and natural folds. Cotton Cotton is widely used and is available in a variety of thicknesses, plain colours and prints. Cotton lawn is wonderful for the very finest garments and as a lining for silk. It is easy to work with and creases and folds beautifully. Please see the ‘Wife of Bath’ above. Linen If you can buy very fine linen, then you have a wonderful fabric perfect for work or tattered and torn clothes. All of these natural fabrics take dye easily and can be printed with fabric dye and paints. p. 10
Book Review: Edwardian Era By: Ann Sutcliffe
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p. 11
Adam Sweetington
Jane Harrop has been making miniatures for the past 17 years, selling them at fairs and through her website.
e Jane also writes articles and runs workshops both in person and on-line. In this book, Jane covers the Edwardian era from the death of Queen Victoria through to the end of the First World War.The projects in this book take you through a typical middle class home of the time, with over 40 step-bystep projects. These are exclusively in 1/12th scale; although many are fairly easily halved to 1/24th scale. You enter Jane’s Edwardian dolls house through the hallway, and move on room by room making the furniture and accessories as you go. As you progress through the rooms in the book, a detailed description of the era, the wallpapers, floor covering, curtains and fabrics are all explained. Each project within the room setting is laid out with a brief history, the dimensions, and a list of materials required. This is followed by step-by-step instructions, diagrams and photographs. A project for a large item like a table will be followed by a smaller project to make the vase of roses to sit on top, thus providing an interesting and diverse array of projects. Whilst working through each room in the house, Jane teaches different methods and how to use various materials to achieve the look. Predominantly, the pieces are made from wood, but there is also metal and clay work, plus the use of paper, plastics, card, beads, paint and fabric. The book is a veritable master class, with many techniques for a modern day miniaturist to acquire in order to fill their dolls house with their own individually crafted items.
Pictured is a 1:12 scale of Adam Sweetington’s Edwardian Series. Photo curtisy of Adam Sweetington.
The 180 page book is in paperback format. The printing is clear and legible with easy to follow instructions, clear photos and accurate templates. The pages are dotted with extra photos, ideas and further ‘why not try’’ suggestions. I like to check out the instructions in all DIY books I review before giving the thumbs up.
p. 12
Do it
Yourself By: Ann Sutcliffe
etington
1
p. 13
Adam Sweetington
e
D
oll house plans are your guide when you decide to make your doll house yourself. They are the actual layout of the dollhouse that tells you what will be made where. Making of a doll house may not be possible without the doll house plans. However, to make a doll house from the doll house plans may not be that easy task for you. Particularly, for the people who are trying them for the first time, doll house plans can be very demanding. The doll house plans look very simple. However, the real strenuous task appears when you need to cut all the pieces by your self. All these pieces are then put together. This whole activity can be quite difficult, especially, as we said before, for the novice. However, if you have a little skill, knowledge or experience about the doll house plans, you may take real pleasure in making the doll house. The doll house plans then prove as a great help. There are many such dolls house plans available for children and adult collectors. You can buy them, from a doll house store or a hobby shop near you. Here are some tips for you to use the doll house plans effectively. You need to make out, what type of wood you will use in your doll house. Though there are many different types of woods available, MDF or plywood are the most popular. Selection of wood can alter the measurements so plan accordingly. If you will make your doll house with the help of the doll house plans, you will find that it is a very inexpensive way. Moreover, you get the doll house of your choice and liking. However, in any case, you need to buy the tools for it and this can be somewhat expensive.
Pictured is a 1:12 scale of a work in progress by Adam Sweetington. Photo curtisy of Adam Sweetington. p. 14
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p. 15
Ann Maselli
Two
pages _ -_
Inspire Me!
From our experts here at DollsHouse Magazine we present four great stories sure to inspire your next project. This issue we cover doll house miniature food, discover the health benefits of dollhouse making and more!
P. 17. EXQUISITE DOLLS: Art of Helena Reijnen P. 23. TINY APPETITES:Interview with Betsy Niederer P. 29. IT’S GOOD FOR YOU:Benefits of Dollhouse Making P. 33. THE SMALLEST OF THE SMALL:Roomboxes
Pictured to the left is a 1:12 scale of Helena Reijnen’s General Store series. Photo curtisy of Ann Maselli p. 16
Exquisite Dolls
Exquisitely dressed hand-Sculpted dolls from the wonderfully gifted Helena Reijnen
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p. 17
Pictured to the left is a 1:12 scale of Helena Reijnen’s General Store series. Photo curtisy of Ann Maselli
e
The history of the Low Countries is a rich cornucopia of Germanic and French influences. In a region
Surrounded by water, much of it below seal level, its residents have battled the elements for centuries, producing a nation of rugged explorers and discoverers, and proudly boasting some of Europe’s pre-eminent artist.
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Helena Reijen Growing up in Belgium’s port city of Antwerp, Helena Reijnen was a quiet child who loved reading and learning, paying little heed to dolls. Both her parents were artistically creative, but neither parent encouraged that creativity in their daughter, Instead guiding her toward skills like secretarial work which they felt was more appropriate for young ladies. It wasn’t until later that she took some evening classes to allow her to explore her love of art and sculpture.
In the so-called Dutch Golden Age, colonies and trading posts were established all over the globe. With wealthy trade routes established the Dutch imported many of the things its citizens desired, relying on the innovation of others to fill its shops and markets. Its toys and dolls came predominantly from Germany , as there was little time for doll making in a country that struggled to survive environmentally, economically, and politically. It wasn’t until the second half of the 20th century that Dutch and Belgian doll makers slowly began to emerge.
e One of the most well-known Dutch doll makers was Niesje Wolters van Bemmel. Classically trained in drawing and painting, she gave up portrait painting in 1973 to start making dolls and is often referred to as the mother of Dutch doll making. She went on to publish Poppen Magazine, has written hundreds of books about dolls and for the past twenty six years has organized doll and bear fairs throughout the Netherlands. Gradually, a unique art form began to emerge, with each generation of doll makers teaching the next. Helena ventured into doll making, sculpting larger dolls, drawing on her newfound skils and embracing the challenge of dressing each doll to give the impression of a live person. What started as a hobby soon grew into a career as regional doll shows provided a venue to display and sell her creations. It wasn’t long before her dolls attracted a following. A decade later Helena, who loves a challenge, was ready to tackle something different and it came in the form of 1/12 scale dolls inspired by the purchase of a dolls house. “During a visit to America I bought a dolls house kit that my husband and I assembled and decorated. It came with a set of dolls I didn’t like so I bought some doll bodies from several suppliers but was not really happy with the quality. I bought my own kiln and some commercial molds and sculpted my own”, Helena recalls. “Sculpting miniature porcelain dolls requires an entirely different technique. With larger dolls you can use commercially available tools. To make miniature dolls you often have to create your won tools and each one is a journey of discovery. For me, the fun is in the making”.
“During a visit to America I bought a dolls house kit that my husband and I assembled and decorated. It came with a set of dolls I didn’t like so I bought some doll bodies from several suppliers but was not really happy with the quality. I bought my own kiln and some commercial molds and sculpted my own”, Helena recalls. “Sculpting miniature porcelain dolls requires an entirely different technique. With larger dolls you can use commercially available tools, like spatulas. To make miniature dolls you often have to create your won tools and each one is a journey of discovery. For me, the fun is in the making”. Popular Period Dolls As she looked around at the work of other doll makers, Helena realized that Victorian dolls were most popular, but in order to attract more interest she ventured into dolls of other periods as well - Egyptian, Regency, Fantasy, even Eskimo. When she realized that miniaturists like creating historically accurate vignettes, she made sets of dolls to populate them. Recently, she created a set featuring Eugenie, wife of Napoleon III and last Empress of France, and her eight ladiesin-waiting. The Empress a close friend of Queen Victoria, was a fashion icon in France in the 1850s and 1860s. Ladies throughout Europe copied her hairstyles and even dyed their hair red to emulate her. Her name was applied to myriad fashion styles and accessories and Helena has captured the allure of the period in beautiful detail. Collectors can either buy the set and create their own grand court or buy the dolls individually. p. 20
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Research and Inspiration Inspiration comes from television dramas, films, paintings, and books on fashion and historical costumes. “I have a bigger collection of books about fashions and styles than many libraries,” Helena laughs. Once she makes a doll she’s ready to let it go, but her books are treasures.
“ Pictured to the left is a 1:12 scale of Helena Reijnen’s General History series. Photo curtisy of Adagio.
When she receives a commission, Helena searches the internet, the library or museums in search of inspiration and to ensure historical authenticity. Then she’s off in search of fabrics – rich colours in silk, cotton, and viscose. Trips outside the country afforded her the opportunity to shop for fabrics and Paris and New York are some of her favourite sources.
I like to share everything I know.
”
Doll Making Workshops Alone in her studio, Helena works seven days a week, soft piano music or a romantic audio book providing the perfect ambiance for her creativity. As she works she loses track of time, at times taking weeks to achieve the right look. As word spread about her dolls, Helena decided to give back to all her loyal customers by providing one-day doll making workshops for five to twenty students. By supplying commercial doll mold parts and Helena’s easy-to-follow instructions, miniaturists can try their hand at making their own dolls. “ I like to share everything I know. I teach on a regular basis, which gives me a lot of satisfaction.” Her website offers dolls for sale, Helena’s own self-help booklets on every aspect of doll making, as well as doll kits, doll bodies, and supplies. And if travel is out of the question, you can download free workshops with guidelines and patterns. Helena clearly loves to share her skills with others. Each commission challenges Helena’s abilities to translate a costumer’s desires into a perfect doll.
p. 22
Tiny
Appetites
O
ur guest fo r this interv iew is minia talented clay turist Betsy artist who ha Niederer, an s been mak incredibly ing polymer clay dollhou se food sinc e 2001.
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p. 23
S
International Guild of Miniature Artisans in 2004, and was juried in as a Fellow about 3 years ago. Betsy he joined the
teaches live classes and has several tutorials online.
She
Stewart
has even appeared on the
show
where
she
how to make polymer clay
Martha
demonstrated
Christmas
cookie.
e 1) We can see that you are a miniaturist and not strictly a polymer clay artist, true? Tell us a little about you, your background and your early influences, where you learned, any formal or informal training. I guess I am a little of both (polyclay artist and miniaturist), but since polymer clay is the medium that I use almost exclusively, I really feel that it is important to bring both communities together. Lots of miniaturists work with polymer clay, and introducing them to the larger world of clay artists in general will give them a broader idea of what kind of effects they can achieve with polymer. On the other hand, introducing polymer artists to miniatures might give them an additional area for business expansion, new directions for their work, and a fresh way to have fun with clay. I am a stay at home mom of 2 boys (10 and 13), and started making miniature food as a result of a Barbie kitchen that I bought for my boys when they were around 2. The plastic food got lost down heater vents, flushed down the toilet, and who knows where else it ended up. I had some Sculpey clay and decided to make more, rather than buy it (my husband didn’t want any more Barbie stuff in the house for “his” boys...I love Barbie and I guess I bought the kitchen for myself...). The food came out OK, but it was really was fun (I made cakes). One day I was on Ebay and on a whim I searched “miniature food” and I was shocked at the prices people were getting for handmade dollhouse food! Mine looked better than most of the stuff for sale, so a business was formed on the spot. A busy stove: The stove is 3.75” wide and 5” tall. I studied art and design in college, and have taken painting classes off and on. As far as the clay, I’m self taught. My work is the result of lots of playing around, and lots of burned clay...
2) Inspiration: Your astounding polymer clay miniatures always revolve around food themes and especially sweets. What inspires you to choose one type of design over another? Why food? I like to eat! Making food is fun - people love to put it in their dollhouses or miniature displays. Food brings a dollhouse to life. It makes it seem like tiny people actually live there. Miniature collectors decorate their kitchens with “work in progress” - as if the dolls were in the middle of baking cookies, or preparing dinner. The dining room can be set with an elegant dinner, a snack on the table in the family room gives it a touch of home, and a glass of milk near the bed suggest the occupant is ready for sleep. Chocolate chip cookies: This is the class Betsy will teach at Philadelphia Miniaturia. The board measures 1.75” x 2.5” I make lots of sweets because they make people happy, and they sell the best! Lots of collectors have miniature shops. Tea shops, bakeries, and sweet shops are very popular. I’m also a “chocoholic” so I make lots of chocolate things. Basically I make what I like to eat. I’ve never made a miniature brussel sprout. Brownies: 12th scale, the board measures 1.75” x 2.5”. The little cookbook was made by one of Betsy’s favorite miniaturists Pat Carlson.
p. 24
3) Materials: Do you use other types of materials to create miniatures (wood, glass, etc)? How much of the miniatures which is not polyclay is also created by you or commercially purchased? Food usually has to go in something, so I’m always looking for pots, pans, dishes, etc. Most of the items that I use are made by other artists. I’d love to use commercial items, but most aren’t well made. If I can’t find what I need I’ll make my own. I make dishes from polymer clay, cake stands from beads and findings, and I make food display stands from wood. Chocolate purse mold: It’s the big secret -- Betsy uses this tiny purse charm to make chocolate boxes. Chocolate purse: A plate of fine chocolates and cakes for your deserving dolls. It measures 1.5” long. I love working with paper, and make my own candy and pastry boxes. Those are created from scratch using Photoshop. Dollhouse cookies: The box measures .75”, and everything was handmade. I don’t work with glass so that has to be purchased. I’d also love to learn how to make miniature baskets.
4) Resources: Do you have any favorite books or magazines that guide you? I depend on style magazines for ideas and keeping up with trends. Martha Stewart Living is my favorite. I also depended on a great book when I first started making food “Making Miniature Food and Market Stalls” by Angie Scarr. Sue Heaser has some great miniature making books out there too. I also spend some time searching Etsy-esque sites for ideas of what is selling, trends, fads, etc. Cupcakes are big now, so I’m making a lot of those. I’m also making lots of French macaroons in this years popular colors. 100 Cupcakes 5) Technique: Are there other types of polymer
clay techniques that you enjoy as well? Do you make other types of items with Polyclay besides food-related miniatures?
There are lots of polyclay techniques that I want to learn. Particularly faux finishing (especially how to make wood grains), more detailed caning, beads, and figures so there is a lot that I can learn from the clay artists here. I make dolls from polymer. They aren’t great so I’m not going to show you a picture, but I love doing them.
6) Technique: How do you manage to get your miniatures so realistic? What type of details do you pay attention to when creating a piece?
p. 25
The biggest things to remember when making miniature food are (I’m going to list them, hope that’s OK...) a. Using enough translucent. Most food is filled with water or fat. Light gets into water and reflects out again. Not enough translucent make clay food look like...well...clay. b.Work from good pictures or from the real item if possible so that the color mix, texture, shape, and size is accurate. Attention to the details makes a huge difference. c. The biggest mistake that I see beginners making is putting gloss varnish on everything. Not all food is shiny. Observe what is matte, and what shines. It makes a big difference. d. Chalk pastels are great - they give soft color to the clay and allow you add delicate shading to a piece.
“
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W h y fo od ? I li k e to ea t! M a k in g fo od is fu n !
Pictured is a 1:12 scale of Betsy Niederer Mini Food series. Photo Stephanie Kilgast.
p. 26
The most chall enging thing is making things look as realist ic and natura l as possible
“
�
Pictured is a 1:12 scale of Betsy Niederer Mini Food series. Photo Stephanie Kilgast.
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p. 27
7) Advice for beginners: what are the fundamental skills needed to start working with polymer clay miniatures? Also, what is the most valuable skill a beginner can learn or acquire? Taking a class is a great way to get started. There are miniature dollhouse shows all over the country and most of them have classes. I teach at shows on the east coast a few times a year. If you can’t make classes, get a good book (Angie’s book is a great one to buy first)...or my tutorials...hehehe. Most miniaturists are happy to share advice with beginners (in fact we’re thrilled to get new people interested in tiny stuff). The best advice is to just do it! Jump in and have fun.Your first miniatures are probably going to be too big, or out of shape, but that comes with practice.You can give those away to the kids down the street who have dollhouses. Keep working and you’ll be surprised how good you can get! The main thing is to have fun. As far as fundamental skills...knowing how to keep dust out of the clay is a biggie.
8) Challenge: In your opinion, what is the most challenging part of designing/creating/assembling the pieces y ou make, including the fact that they are so tiny? The most challenging thing is making things look as realistic and natural as possible. If I can get a bunch of grapes to drape naturally over the side of a fruit bowl without grapes falling all over the floor, or how can I get chocolate clay curls thin enough to look “in scale” - those are pretty challenging.
9) Your process: Describe in your own words how you created one of your most unusual pieces (recent or not). My most unusual (and disturbing) piece was a tray of raw liver, fava beans, and a nice Chianti for a criminal psychiatrist with Silence of the Lambs tendencies. He keeps it on his desk under a glass dome. First of all I hate liver. I went to the grocery store with my camera and took photographs of packaged liver so I could get the size and color right (it was pretty disgusting), then I measured and photographed fava beans. There was no way that I was going to work from life for this. I mixed the clay according to the photos (the lighting was pretty good so it was accurate) and went to work. I used resin for the wine, and for the liver juices...ick...on the plate.The whole thing came out really well, and I hope I never have to make raw liver again.
10) Your favorite: show us a picture of one your favorite pieces you ever made, and tell us why. They are my favorites because I can’t believe that I actually made them :-) They sort of just happened, and I don’t know how! 12th scale chocolate lava cake: Only 3/8ths of an inch wide!
Betsy, thank you so much for such a fun and enlightening interview – you made our mouths water and put the desire to start making miniatures in our hearts! p. 28
It's Good For You! Exploring the health benefits of dollhouse making
By:
Mo Tipton Winnie Dawson Zulma Burgos-Dudgeon
e
N
early everyone has an amazing story about their first encounter with cute and tiny things. Whether they were given a dollhouse as a gift or stumbled upon an adorable piece of itty-bitty furniture at a garage sale, reading everyone’s responses gave me the same happy chills that I experience when I happen upon miniatures. If I was a mad scientist, I would love to do an experiment to see what occurs in a person’s brain when they interact with minis. At dollhouse shows, I see dozens of shoppers, young and old, lean in for a closer look, a uniquely private smile spreads across their face, and then they begin to talk in that special voice reserved for itty-bitty cuteness.
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If there was such a thing as an MD (Miniatures Doctor, that is), they would prescribe tiny things as medicine, because each and every one of you said that you feel some combination of relaxed, happy, creative and playful when you’re around dollhouse minis and tiny food jewelry. Sounds like a pretty sure-fire stress reducer, wouldn’t you say? (It appears that Dr. Creagan at the Mayo Clinic would agree.) I found so many more reasons to love dollhouse miniatures and food jewelry from reading your responses, such as: Trying out new skills, like woodworking or sewing, without having to spend a lot of money on supplies. Playing with a dozen variations of your dream house, without hiring contractors and taking out a second mortgage. Reminding yourself how important it is to have a playful attitude and never lose your sense of humor by wearing fun food jewelry, even during those boring Monday morning meetings. Sharing connections with other people who are similarly obsessed with tiny things and who encourage you to be creative.
Get a Hobby Age is just a number!
Age demographics of Dollhouse enthusiasts
50-65
35-50
20-35 70 + plus 20 + under
Why Should I Have A Hobby? Much has been written about the importance of maintaining balance in our lives. While not downplaying the importance of hard work and succeeding in your chosen career field, the old adage about all work and no play is one we should all pay heed to. Whenever someone places more emphasis on one aspect of their lives at the expense of others aspects, difficulties can arise. An individual, dedicated to his/her professional life career, can be phenomenal at work due to his/her single-mindedness at achieving career objectives but, behind the façade of success, he/she suffers from poor health, relations with his/her spouse and children are strained and he/she really has no friends to speak of outside of work. Hobbies can be beneficial in restoring the balance and harmony that maybe missing from your life. Hobbies can provide an outlet for our innate need to create. They can uncover and nurture talents you didn’t even know you had. Pursuing your chosen pastime can broaden you social life as there are usually clubs and associations close by that hold regular meetings where people who share a common interest can gather to swap tips and stories and talk to their hearts’ content about their passion.
Let’s not forget the sense of competence and accomplishment that hobbies can provide. We’ve all had days when it seems like nothing is going your way. Your boss has just torn a strip off you for missing a crucial deadline, your partner is annoyed with you because you forgot what special day it is, even your dog seems miffed at you. The stress is rising and you feel like a total failure. So, when you finally get home, you lock yourself away and work on your pet project for a time. Despite all else that went wrong that day, you know you can do this and do it well. By the time you emerge from your cocoon, you feel calm and capable again. You resolve to be more careful at work, to make it up to your other half and to spend more time with Fido. If your hobby involves creating something, there is also the satisfaction of making something special for someone special. A hand-made gift says to the recipient, in no too uncertain terms, that you care. You cared enough to take the time and make the effort to create something truly unique for them and them alone. That gesture says more than any expensive, store-bought ever could.
Hobbies are encouraged by mental health professionals as a way to help people reduce their stress levels. When your mind is fully engaged in your hobby, the trials and tribulations of life in our fast-paced society have to take a backseat for awhile. By the time you return to your life, all those problems and challenges don’t seem quite so overwhelming and you find that you can handle effectively. p. 30
Studies Studies show, show, that that being being involved involved in in Arts Arts and and Crafts Crafts impoved impoved the the lives lives of of cancer cancer patients! patients!
quasi-experimental study was done in 50 adult cancer inpatients to determine the effect of art therapy on pain and other symptoms. The objective was for each patient to use creativity to increase awareness and expression of deeper emotions about their illness and hospitalization, as well as to attempt to reduce pain and other symptoms. An art therapist assisted patients in choosing their subject matter and media; stressing that it is the art process that can be therapeutic and not the end product. Each patient participated in the required 1-hour art therapy session and, subsequently, completed a modified Edmonton Symptom Assessment Scale (ESAS) and the state portion of the Spielberger State-Trait Anxiety Index (STAI-S). In addition, 3 qualitative questions were asked of all participants to capture additional impressions after the therapy session. ESAS results showed a statistically significant reduction in 8 of 9 symptoms (see Graph) and the global distress score. There also were statistically significant differences in most of the anxiety domains measured by the STAI-S. One of the most significant symptom changes was the reduction in “tiredness,� which was supported by anecdotal comments of feeling energized by the art therapy experience.
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Popularity of Doll House miniatures have been on the rise since 2004! 2004
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Roomboxes are a great alternative for dollhouse miniature enthusiasts to a full-scale dollhouse. They take up less room, are more portable, easier to display, and the possibilities are as limitless as imagination. Naturally there are standard roomboxes. The ones that, on the outside, mirror the type of building in which the corresponding interior would reside. They can be a collection of rooms in an elegant piece of furniture like a Dutch cabinet. Or a display in a shadow box, the construction of which can range from simple to ornate.
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Smallest
of the Small
The Room Box By Lesley Shepherd, About.com Guide
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Pictured is a 1:12 scale of Adam Sweetington’s Gothic Room Box. Photo curtisy of Adam Sweetington.
Roomboxes are a great alternative for dollhouse miniature enthusiasts to a full-scale dollhouse.
e They take up less room, are more portable, easier to display, and the possibilities are as limitless as imagination. Naturally there are standard roomboxes. The ones that, on the outside, mirror the type of building in which the corresponding interior would reside. They can be a collection of rooms in an elegant piece of furniture like a Dutch cabinet. Or a display in a shadow box, the construction of which can range from simple to ornate.
 Roomboxes have a long tradition amongst dolls house miniature collectors. They are a simple way to show off a collection as you build it. Less expensive than starting with an entire dollhouse, they are also a good way to build up a child’s dollhouse collection as their interests change or develop. A childs doll house collection can be built room by room, to be housed in existing furniture until the entire collection can be linked in a single case. If you plan for the future when you build your first roombox, you can create a collection that will fit in an existing bookcase, or be built into a complete house. As a collection of roomboxes grows, it can go into a special baby house or a particular piece of furniture. If roomboxes are designed to be a standard size, you can create a village of one and two story shops or houses by attaching the roomboxes together. On their own, roomboxes can be left without fronts, fronted behind standard picture frames, or build with sliding glass tops or fronts to protect them from dust. As your skills grow, you can create opening fronts with windows and doors for shops or simple buildings. All are built on a simple box plan. provit, audi quodis maio qui blam suscid eosae antorep eritas corepel illabor eperferum ratent pliquasit aut omnias eossum eatiis dolori sumet quossi ommo es aut unt accae necest volut elitem rehenis simus ulpa porem ea esti consequod essimoloris recti odi cor rersper ehendelent ab ius di to moloribus ma sa si rem volore, simpers que nem.
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Three pages _ -_
Back to Reality
See how miniature doll house making inspires the world. In this issue discover the art of tilt shift photography!
P. 39. TILT SHIFT PHOTOGRAPHY: Our world, miniatureized!
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Tilt-shift photography may be destined to become a visual cliché.
e But for the moment, this playful technique — which can make shots of cityscapes, train stations and loading docks appear to be photos of obsessively detailed scale models — is flourishing on photo-sharing sites like Flickr. This year it even inspired the sincerest form of flattery: fakery. Tilt-shift lenses permit an unusual degree of control over a picture’s depth of field, allowing for more variation in what is in focus and what is not. In recent years, Olivo Barbieri and a handful of other adventurous art photographers found a novel application for the lenses. By radically skewing the gradient of focus in a landscape image, the photographer can make us feel disoriented, as if we’re looking close-up at a miniature. Barbieri’s aerial shots of Las Vegas make you wonder, What kind of person would bother to construct a perfect replica of the Luxor casino? No kind, of course, and that’s the point.
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e Making real tilt-shift pictures requires expensive photo equipment. But that has not deterred the multitudes who this year submitted their photos to Flickr’s Tilt-Shift Miniature Fakes pool. These are conventional digital photographs that have been manipulated in Photoshop to mimic Barbieri’s focal tricks. There’s a forlorn municipal golf course, an Ikea parking lot, an Auburn-L.S.U. football game — all cast in the same tiny unreality. In principle, it’s not hard to make a fake: essentially, pick an area in a photo that you want to sharpen, then blur the rest. (Unnatural color saturation, one helpful fake-tilt-shift tutorial offers, “makes it look more as if it’s built from polystyrene and lichen.”) In practice, it’s harder. “Mini Portsmouth” may have started out as just another charming quayside snapshot, but somebody spent an hour or two getting the level of Gaussian blur perfect enough to make you wonder, if only for a second, whether it was a model.
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DollsHouse and miniature scene