AIM Mag Issue 23 May 2010

Regular Features… 5 Editor’s Note: Read Bea Broadwood’s introduction &

welcome to this month’s fabulous ‘ecclesiastically inspired’

edition of the FREE and ‘downloadable’ AIM magazine!

26 Fashion Gallery: Baby To Bride AIM members

showcase their miniature ‘special occasion’ outfits.

30 Getting To Know You: Get to know more about AIM

member Julie Dewar.

45 Blog Of The Month: This month we take a closer look at

AIM member Patricia Cabrera’s wonderful online blog.

46 Diary Of An Edwardian Dollshouse: Don’t miss the 4th

instalment of Julie Campbell’s fascinating miniature dolls

house adventure!

52 The Knitting Basket: Read the 2nd instalment of Frances

Powell’s fascinating new series.

64 Through The Keyhole: Ever wondered what it would be

like to be able to have a closer look at the working

environments of AIM members? This month we take a

peek at the work space of food artisan: Debbe Mize.

75 Aunt Anastasia: If you have a miniature dilemma , then

why not write to our very own agony aunt for her well

considered advice?

76 In Season This Month: Welcome to the next instalment

of this popular ‘miniature food’ feature. This month Vicky

Guile and her fellow AIM food artisans take a closer look at

the delicious ‘Mushroom’.

90 Cross Over Crafts: Have you ever stopped to consider what AIM

artisans get up to in their spare time? This month Sally Watson

reveals her fascinating (non miniature) hobby.

97 AIM Gallery: There Once Was A Vicar... AIM members come

together to celebrate their miniature ‘character’ creations.

102 Mini Aimers: Mini Makes for the artisans of the future. Written by

Debie Lyons

104 Show Reports: From all around the miniature world.

106 The Miniature Grapevine: Catch up on all the latest news and

announcements from the international world of miniatures, which

this month includes a ‘Kensington Dolls House Festival Preview’!!

Contents…Contents… May 2010: Issue No 24, Cover Image: Carol Bull

21

Artisans In Miniature 2

42

76

6 Cover Story: Bags Of Character: AIM member and doll artisan Carol Bull tells us more about her beautiful miniature ‘characters’. 12 Take A Seat: We take a closer look at the stunning miniature chairs

and furniture created by highly talented AIM member Colin Bird.

18 Religious Furniture: AIM member Jean Day investigates her family

connections with this traditional furniture.

21 A Norman Church: Food artisan Pauline Everett lets us take a peek

at her current project.

34 Mourning Fashion: Fashion expert Janine Crocker shares her

stunning, yet traditionally sombre hats.

38 The History Of Coffin Making: Gary Powell ‘lifts the lid’ on the

history of burial boxes.

42 Illuminating In Miniature: Read Jean Days insight into this age old

craft.

54 Our Little Church: Julia Jeffreys shares her very own miniature chapel. 58 Catholic Priest’s Robes: Montse Vives takes a close look at religious robes and their significance. 62 Stained Glass Windows: Jean Day brings us her research and and shares her sources of inspiration. 71 The Church Yard: A potted history by AIM member Frances Powell. 72 New Faces For Old Dolls: Mixed media artist Grimdeva shares her miniature creations. 86 Ecclesiastical Emphasis: A gallery of inspirational ecclesiastical miniatures from the members of AIM. 94 Chain Of Events: A real life miniature story from AIM member Kathi Mendenhall.

Free Projects… 24 1:12th ‐ Knitted Christening Robe: AIM member Frances Powell shares her delightful pattern create a traditional baby’s gown. 32 1:12th ‐ Stained Glass Tutorial: New member Regina Passy‐Yip teaches her wonderful tutorial for creating a beautiful stained glass window in miniature. 40 1:12th ‐ Religious Prayer Candle: AIM member Melanie Navarro shares her stunningly realistic tutorial for a traditional candle. 68 1:12th ‐ Folded Blanket Project: Christina Berry has the perfect technique to create a beautiful miniature blanket that would compliment any bed. 82 1:12th ‐ : Top food artisan Vicky Guile kindly shares her method of making a traditional French style ‘Mushroom Picking’ cane.

Features…


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Artisans In Miniature ?


CLICK…on Artisans In Miniature

How did you find the Online Magazine??

Did you follow a link? Did a miniature friend tell you about it?

...and do you already know about the Artisans In Miniature Website, and the talented members who have all helped create this Online magazine.?

If not, copy, paste and CLICK now – www.artisansinminiatures.com and come and meet us all. Founded in 2007 by Bea (Fiona) Broadwood of Petite Properties, the website has been created in order to showcase the fantastic work of the individual professional international artisan members who create beautiful and original scale miniatures for sale to the public. Together they form the Artisans In Miniature association. Since its launch the AIM association has rapidly grown and now boasts membership of well over 200 professional artisans, including some of the most talented within the miniature world! On the website you will find further information about them and their work; however, please note new pages are constantly being added and there are many members who are not yet included on the site... If you are a professional artisan who is interested in joining the association, you will find all the information there..... If you are wondering what Fairs may be on in your area – that information is there too… We have lots of links…to Fairs and Events Organizers…Magazines…Online Miniature clubs….Historical reference sites…..Workshops…and more… it’s all there!

If you’d like to contact us, copy, paste and CLICK... we’d love to hear from you!

www.artisansinminiature.com

Editor’s Note...

The AIM Magazine’s Editorial Team:

Bea Broadwood office@petite‐[email protected]

Debie Lyons [email protected]

Janine Crocker [email protected]

Julie Campbell [email protected]

Margaret Cassidy info@mags‐nificent.co.uk

Mary Williams [email protected]

Vicky Guile [email protected]

Please note

AIM is an active association to which all AIM

members contribute …

Formatted By Bea Broadwood & Vicky Guile

Dear Reader It’s that time of year again! Since my workshop was built, I have always adhered to a rigorous spring cleaning schedule ‐ I clean it ONCE a year, whether it needs it or not! So as I sit here typing this editor’s note there are simply no prizes for guessing what is on the agenda today? Yes that's right ‐ I am going in, where angels (and normal tidy humans) fear to tread! It is officially 'spring cleaning day' in the 'Beehive' workshop!!!

You would think that at this point Mr Bea is looking happy, given that he despairs daily at the chaotic state of my workshop and flatly refuses to enter it most of time; passing coffee cups through the windows instead! But NO... He is gloomy and down beat and is sporting a pensive 'dentist's waiting room' expression…

Why? Well each year, spring cleaning the workshop always seems to end in dispute. It starts full of optimism and enthusiasm and everything is eagerly emptied out of the workshop, so that cleaning can begin ‐ no problems there...

The mood changes however when it is time for it all to go back in, this is when I traditionally flatly refuse to throw anything away and it is this conflict which signals the start of UN style peace keeping negotiations, where Mr Bea tries to coax me (always unsuccessfully) into sacrificing key elements of my 'stash' into the recycle bin!!

As with any serious diplomatic dispute ‐ I always fail to concede, I always get stroppy and I always have my own way... (I can't see the problem with this) Mr Bea then 'always' retreats quickly, 'always' mumbling unmentionable adjectives and unknown foreign words and phrases as he exits...

How unreasonable of him? Yes my thoughts too... Take last year for example...I tried really, really hard to be 'tough' and 'thin out my treasures' and at the end of the official clean I proudly held up one small 'filled' bin bag at him. For some strange unknown 'man reason' he failed miserably to be proud of all that I had valiantly 'let go' of... mumbling instead something along the lines of 'is that it?' (Again punctuated with colourful adjectives) So it seems that there is just no pleasing some people!

Any how, it can not be put off any longer... 'dentist's expression' or not. We have the household cleaning box, loaded for serious action We have a sturdy broom, dust pan and brush Mr Bea is sporting a dust mask (drama queen) and I have a new packet of black bin bags ‐ even though we both know that I will only be needing the 'one'

For now we are talking, the sun is shining and the recycle bin is empty and pensively primed and we are off to clean the workshop, muttering under our collective breaths, "Once a year, whether it needs it or not...!"

Bea

Editor (& General whip cracker) May 2010 www.petite‐properties.com

BAGS OF BAGS OF


By AIM Member Carol Bull...


By AIM Member Carol Bull…

I've had a dolls house since I was

5yrs old which my dad made me

for Christmas. It was a replica of

the house we were living in. The

dolls house is still in the family

and gets passed on for all the

children to play with.

When I was about 24, I bought a

book on how to make your own

dolls house. I never did make

one, but my dad did, so as a

grown up I had another dolls

house and needed things to put

in it. I was told about Miniatura

by a colleague and a very large

1/2th scale world opened up for

me.

I started messing about with

Fimo in 1992 as therapy after a

very traumatic incident in my

life. After a few carrots & cauli's

I had a go at making a head, as in those days there were virtually no character dolls on the market, and

that was what I wanted to put in my dolls house. Everyone said I should I should sell them, so I did.

Bags of Character was

born.

I n d i v i d u a l l y

sculpted 1/2th scale

character people with

hand sewn clothes. I

started in this scale as

almost everything was

1/2th scale then and it's

a size I find pleasing to

work in as it allows me to

get in all the detail that is

a signature of my work.



People often ask me where I get my

ideas from. I can only say, out of my

head. They just come. I went to art

school and then worked in

advertising as a typographer, so I am

pretty creative by nature. I love the

illustrations by artists such as

Norman Rockwell, Donald Mcgill,

Lawson Wood etc all having the

character and humour that appeals

to me. I like to make a group of

characters that look well together in

a scene, such as you see in real life.

I am a self taught doll artist, so I

have not picked up anyone else's

style; it’s just what comes naturally

to me, like your handwriting. I put

my whole self into each piece I

make, everything is very personal. I

get lost inside my work, and love

holding the completed character,

feeling I have achieved something

that made my dad proud, as he was

such an inspiration to me my whole

life.

One of the worst things about

working in miniature for me is the

weather. It's either too hot or too

cold. I work in Fimo and anyone who

has used it will understand.

The other thing is the flipping

manufacturers who keep changing

the composition of the stuff. And it's

never for the better. So much so

that some artists who work in this

medium have given up miniatures

altogether because of this.


I sell my work at Miniatura at the NEC in

Spring & Autumn, where I also take

commissions from people who have a certain

thing in mind that they cannot see on my

stand. We chat about their project and I get a

feel for what they're doing and make what

they want. In the same way I work from

orders I get over the phone, e‐mail, letter and

internet. I love the variety and warmth of

people I come into contact with and have

enjoyed making and selling my work to them

worldwide. I am currently waiting to exhibit at

Kensington dolls house fair.

I am asked over and over for some of my char‐

acters, such as the colonels, dowagers and

jolly vicars etc. I don't mind because to me,

each one is individual and different in its

creation and I enjoy making them.

You ask me what is my biggest claim to fame.

ooh ek ‐ I don't know. Just the fact that

people like and buy my work, it makes them

smile, that's good enough for me. I have just

become a page 4 girl in the Financial Times!

I was photographed with

my work at Miniatura a

couple of weeks ago. A big

photo appeared on page 4

of the FT the next day,

and a photo of my 'Only

Fools & Horses' scene was

featured in the Mail on

Line the same day.

I have pieces in various

museums around the

world; I've made a scene

for The Big Breakfast

Show many years ago that

appeared on the show.

Text & Images © Carol Bull

I've been interviewed at BBC Pebble Mill a

few times, and appeared in a slot on a local

TV news programme when I was filmed and

interviewed at Miniatura at the NEC. Gosh,

sounds good doesn't it, so how come I'm

the one still cleaning the loo then!?

People will say to me 'I've had a go, but I

can't do it like you' and I say, 'when I

started, I couldn't do it like me either!' You

definitely get better with time and practice

if you still enjoy what you are doing.

Your skill will grow with experience and

knowledge and the demand of the market

around you. You become much more

efficient and adept too. Things just seem to

come naturally where before you really had

to work hard on them. You become all

fingers instead of fingers and thumbs, and

we've all suffered from that at one time or

another!

Why not find out more about Carol’s captivating character dolls by visiting her website:

www.bagsofcharacter.weebly.com Artisans In Miniature 11


TAKE A TAKE A

By AIM Member, Colin Bird.

Seat...

Double Bow High Back Elbow Chair:

“This is one of my favourite chairs. Originally made by chair maker John Gabbitass from Worksop in Nottinghamshire, dated from around 1822 to

1839. I copied this from various photos. The original would have been made of yew with an elm seat and I have used cherry for the seat, apple for the splat and yew for everything else. I also make a low back version of this

chair..”

CC


olin’s adventure into the world of miniatures started with his mum Maureen Bird. Having brought up

three children she found herself with time to spare and started making soft toys which she sold to

many of the top stores in London. She became a life member of the British Toymakers Guild and there she

got to know other members who made miniatures. Colin’s Dad Kenneth Bird who had always painted and

was a commercial artist by trade thought he'd have a go at painting miniature water colours. He was quite

successful and eventually retired early and started making miniatures full time. Colin was a BT engineer at

the time but had always liked making things and using his hands, so he went along to the London Dollshouse

Festival one year where his dad had a stand to see what all the fuss was about.

Colin was fascinated by what he found there and as he already had a small lathe at home he decided to try

making a few items of furniture; just for fun. People who saw Colin’s early attempts told him that he should

try to sell them, so he managed to

book a stand at the Dorking

Dollshouse Fair. Unfortunately

Colin didn't sell a thing but he was

not surprised as his ‘range’ then

consisted of only two items!

Unperturbed Colin sent a sample

of his work to Bob Hopwood who

gave him a stand next to his Dad at

Miniatura. After that Colin was

invited by Caroline Hamilton to

attend the London Dollhouse

Festival. In 1995 Colin decided to

take advantage of BTs very

generous voluntary redundancy

scheme and he started making

miniatures full time.

Most of Colin’s work is Victorian,

mainly because that is when the

majority of Windsor chairs were

made, although he is gradually try‐

ing to increase in crease his range

and make more pieces from other

periods and including a wider vari‐

ety of furniture, other than chairs.

A lot of Colin’s original chairs were

copied from those on display at the

High Wycombe Chair Museum. The

museum staff were very helpful

High Back Smokers Chair:

“This chair was made as a commission from the customer’s

photos and measurements and is now

one of my range.

From the Yorkshire region and

dated from the mid to late

19th century.

Similar to the more common

smokers bow but with a

higher back...”


and allowed Colin to take as many photos and measurements as he wanted. They even had some of

Colin’s chairs for sale in their museum shop for a while. Others pieces are copied from photos in books or

customer’s photos and measurements and nowadays of course there's the internet. Colin also finds

antiques web sites very helpful as they often have quite detailed photos and measurements depicted on

them.

Colin is a prolific chair maker and probably makes more chairs than anyone else within the miniature

world. He always tries to make his work look as realistic as possible and pays particular attention to the

wood that he uses. Colin explains how full size furniture uses woods such as oak, walnut and mahogany,

but in his opinion the grain of these woods tends to be too open and coarse and looks out of scale in

miniature. Instead Colin prefers to use woods such as cherry, pear and apple, stained to represent the real

thing.

Colin has a range of standard

items that he makes with the

only ‘one of a kind items’ made

as commissions and these

designs are then added to his

collection.

“The first one of anything I make

takes ages. I have to get all the

measurements right, make

notes , make up any jigs or

templates that may be

necessary, so with all that work

it's just not practical to only

make one of anything.”

Colin does accept commissions

but requires clear photographs

and plenty of measurements.

Much of his range started off as

privately commissioned pieces.

Although he prefers to work in

1/12th scale, Colin can make

some items to order in 1/24th

scale. However he finds making

Windsor chairs in 1/24th, VERY

fiddly!


Clissett Arm Chair. “This chair originates from the village of Bosbury near

Lebury in Herefordshire. Made by chair maker

Phillip Clissett who worked near Bosbury from about 1840. The original was made of elm, mine is

cherry with a light mahogany stain…”


Mendlesham Chair:

“This chair originates from the village of Mendlesham in Suffolk, made from around the early to mid 19th century.

There were numerous variations of this chair and this is a typical example..”

Colin attends three fairs a year; the Spring and

Autumn Miniatura and the Kensington

Dollshouse Festival in May. He also take orders

by phone or email and has an established

customer following. Colin also has a website

which has just been updated and is proving to be

very popular!

As you can see Colin is an amazingly talented

artisan and a very modest one at that. However

he is rightly very proud to have won gold medal

at the 1993 National Woodworker Show, which

we at AIM think was richly deserved!

Danish Table:

“An unusual Danish table.

This was a commission based on photos the

customer found on the internet, and so far is

the only one of these that I have made. I'm

unsure of its exact date or origin. The customer

was pleased with it anyway…”

Cross Splat Side

Chair:

“This is a typical

side chair from the

East Anglia region,

dated from around

1790 to 1840.

Cherry with an oak

stain..”


If you would like to see more of Colin’s stunning miniature

furniture, why not visit his website:

www.colinbird.co.uk Artisans In Miniature 17

Text & Images © Colin Bird 2010

Victorian Davenport:

“This is my latest piece, copied from photos I found on the internet. Davenports were usually made of walnut,

but I have used cherry with a walnut stain.

The grain of real walnut would tend to look

out of scale in miniature.

It is fully functional, the top

lifts up and the inside is

fitted with letter racks and

pen and inkwell holders.

The sloped writing surface

also raises to reveal three

dummy drawers, one

working drawer and two

pigeon holes.

The right hand side has four

working drawers and the left

has four matching dummy

drawers...”

Religious FURNITURE...FURNITURE...


By AIM Member, Jean Day

When I was very young, we would visit my grandfather, Adam Turnbull who was a wonderful carpenter by

trade. I would go down the stairs to his work area and smell the shellac, varnish, oils and glues that he

would warm on a small element. He had a very large work table where he would have a design sketched

on large sheets of brown paper. He would place various colours of thin veneers for his fabulous inlaid

tables. I have included a photo example of his inlaid furniture below for your ideas for miniature furniture.

I was interested to read on the back of the photo that this display had won a first price in a competition,

We are fortunate to have a

few of these pieces in our

home.

My grandfather, also received

commissions of furniture for

churches, many fonts, altars

and pedestals. I have

included photos of some of

his beautiful pieces on two

‘inspiration’ boards. I loved

the altar with the carved

wording. I later inherited my

grandfather’s and great

grandfather’s hand made

engraving gouges with their

initials stamped on them. I

have used these for turning

minis on the lathe, the

gouges are smaller than any I

could buy. It is so wonderful

to use these beautiful tools

for miniatures, knowing the

work they have done in the

past.

In with my grandfather’s old furniture books, I found an informative Worship Furniture brochure from the

1950's from The Valley City Manufacturing Co. Ltd. It is filled with the most wonderful Gothic designs

which may be an inspiration for those of you who might decide to make your own scene of worship in

miniature. Since I was concerned about copyright of these sketches, I found out that the company has

been in business since 1884 in Dundas, Ontario, Canada. They kindly gave me permission so share these

detailed sketches with you. You can find their web site here www.valleycity.com and see more modern

workshop furniture they are making today.

On the inspiration boards you can find fonts, altars, pulpits, chairs, communion tables, pews and hymn boards, all suitable for miniature projects… The fonts are often 39" in height and 20" in width to give you better idea for miniature scale. The communion tables average 32" in height, 48‐60" in length and the hymn boards are about 33" in height and 18" in width

Jean Day of Jean Day Miniatures

http://jdayminis.com http://jdayminis.blogspot.com [email protected]

A Norman Church A Norman Church

In Miniature...By AIM Member Pauline Everett

Having accidentally come across an Ebay listing for a stunning Norman Church which ended within a few

hours I added it to my watch list (just out of curiosity of course). Having somehow resisted the temptation

to bid on it I was surprised when nobody else did and told myself to forget all about it – I had already got a

part finished Victorian house and what did I want with a church anyway! I just couldn’t get it out of my

head and talked myself into thinking it was just what I needed as a showcase for my wedding gowns and it

would be easy to collect as the seller lived in a town was very close to me. The elderly lady seller who

owned it had actually won it from a magazine competition 3 years earlier. She was very pleased to receive

an offer and after some confusion with the dimensions and being unable to collect because of heavy snow

eventually it became mine. I sat admiring it and decided I didn’t want to use stone effect paper on the outer

walls so looked around for alternatives. Real stone would be too expensive and heavy on such a large

building so I did some of my own research and asked all the talented AIM members for their help and

suggestions too.

Thankfully I had lots

of useful and

interesting advice

from many AIM

members and after

some deliberation

decided to make

individual small stone

facing blocks using a

mould and stone

casting powder from

local supplier (just a 5

minute walk away)

t o g e t h e r w i t h

lightweight filler.



On my first attempt at casting

the blocks I used too much of

everything and made them

slightly too thick but soon

learned exactly how much

water and powder was

required to produce thinner

ones. In my cold house it took

about 40 minutes for the mix

to set well enough for the

blocks to be removed and

then left to dry out properly

(several hours) before being

used. I tried a few on a trial

run using a piece of plywood

and then started on the tower

which is not permanently

attached and could be laid

down to work on. It took a lot

longer than I thought to

arrange and attach the blocks

using PVA glue, breaking some into different sizes and shapes and making sure the front of the tower could

still be opened easily.

Once the glue had dried I used the lightweight filler as mortar to fill in between the blocks at first applying it

with a spatula and then working it in using my fingers but soon found it was easier to use just my fingers.

Finally I used a fairly stiff damp

paint brush to remove most of

the surplus from the face of

the blocks and left everything

to dry ready for painting. I

have now covered all but the

porch and the end wall where

the tower stands but not quite

completed applying the filler.

The stonework then has to be

painted to give a more realistic

effect and I am not confident

about doing this as I have very

little experience with artistic

painting.

To see more of Pauline’s fabulous miniatures why not visit her website:

www.12thhousebridalcouture.co.uk

Photographs & Text © Pauline Everett 2010

So my thoughts turned to how I would make the windows into stained glass (as the Perspex is already

sandwiched into them) which led me into the possibility of using inkjet window film and I have made all

5 small windows plus the very large end one too. The designs are authentic church stained glass images

resized as near as possible on the computer and printed onto the film. Cutting them to fit was a bit

fiddly and I will probably have to spend a lot more time making sure they are absolutely smooth.

The effect with the light shining through them is beautiful but to show this I have had to take the photo

of the outside with the light shining through from the inside. The picture of the inside had to be taken

at night.

Once the stonework is finished I plan to make flagstone flooring and wooden wall panelling for the

inside not to mention stone steps and of course a bell for the tower!!

Pauline

AIM member Frances Powell shares

her knitting pattern for a 1:12 scale

knitted Christening Gown.

For experienced miniature knitters.

(This is not suitable for first project in miniature

knitting) Cotton yarn is recommended for this

pattern as it drapes better and shows off the

lace pattern.

Abbreviations: st –stitch; k‐knit; p‐purl; yrn‐yarn round

needle to make a stitch; sl‐slip; sl 1‐slip next stitch from

one needle to the other without working it; psso‐pass

slipped stitch over; k2tog‐knit next 2 sts together to make

1 stitch; p2tog‐purl next 2 sts together to make 1 stitch;

p3tog – purl next 3 sts together to form one stitch; ( )‐

repeat instructions between brackets; ssk – slip next two

stitches (one at a time) knitwise from left needle to right

needle, insert point of left hand needles through front

loops of the two stitches keeping right hand needle through stitches, then knit both stitches together to make one twisted stitch; p2togtbl

– purl next two stitches together but insert needle into back of the loops to twist them as you do this; inc – increase by working twice into

next stitch to make 2 stitches; sst – stocking (stockinette) stitch – one row knit one, row purl.

Project...Project...Project...Project...Project...Project...Project...Project...Project...Project...Project...Project...Project...Project...Project...Project...


Christening gown

Materials: size 19 needles, 75 me‐

tres 1‐ply cotton, stitch holders, ¼

‐metre 2 mm wide silk ribbon for

waist tie, small button or bead for

neck fastening, 1 mm crochet

hook for neck (optional)

Back (make 1) *Cast on 33 sts. Row 1: k 1, (k 1, yrn, ssk, k 1, k2tog, yrn) to last 2 sts, k 2. Row 2: k 1, (p 2, yrn, p3tog, yrn, p 1) to last 2 sts, p 1, k 1. Row 3: k Row 4: k 1, (p 1, p2togtbl, yrn, p 1, yrn, p2tog) to last 2 sts, p 1, k 1. Row 5: k 1, k2tog, (yrn, k 3, yrn, sl 1, k2tog, psso) to last 6 sts, yrn, k 3, ssk, k 1. Row 6: p Rows 7‐48: rep rows 1 to 6 five times.

Row 49: k 1, (k 1, yrn, ssk, k 1, k2tog, yrn) to last 2 sts, k 2. Row 50: (decrease row) k 1, (p 2, p3tog, p 1) to last 2 sts, p 1, k 1. (23 sts) Bodice: Row 51: k 8, (k2tog) three times, k 9. (20 sts) Row 52: p** Row 53: k 4, (k2tog) twice, k 2, turn, Work on these 8 sts only: Row 54: k 2, p 6. Row 55: cast off 2 sts, k to end. (6 sts) Row 56: k 2, p 4. Row 57: k2tog, k 4. (5 sts) Row 58: k 2, p 3. Row 59: k Row 60: k 2, p 3. Row 61: k Row 62: cast off 2 sts, p 2. (3 sts) Row 63: k Cast off remaining 3 sts.

Rejoin wool to 10 sts left on nee‐dle: Row 53: k 2, (k2tog) twice, k4. (8 sts) Row 54: p 6, k 2. Row 55: k Row 56: cast off 2 sts, p 3, k 2. (6 sts) Row 57: k 4, k2tog. (5 sts) Row 58: p 3, k 2 Row 59: k Row 60: p 3, k 2 Row 61: k Row 62: p 3, k 2 Row 63: cast off 2 sts, k 2. (3 sts) Cast off remaining 3 sts. Front (Make 1) Work as for back from * to ** Row 53: k 4, (k2tog) twice, k 4, (k2tog) twice, k 4. (16 sts) Row 54: p Row 55: cast off 2 sts, k to end. (14 sts) Row 56: cast off 2 sts, p to end. (12 sts) Artisans In Miniature 24



Row 57: k2tog, k 8, k2tog. (10 sts) Row 58: p Row 59: k Row 60: p Row 61: k 4, cast of 2 sts, k4. Work on last 4 sts only: Row 62: p 2, p2tog. (3 sts) Row 63: k Cast off remaining 3 sts. Rejoin wool to sts left on needle: Row 62: p2tog, p 2. (3 sts) Row 63: k Cast off remaining 3 sts.

Sleeves (Make 2 alike)

Cast on 12 sts.

Rows 1‐2: k

Row 3: k 2, (inc in next st, k 1)

four times, k 2. (16 sts)

Row 4: p

Row 5: k

Row 6: p

Row 7: Cast off 2 sts, k 13. (14 sts)

Row 8: Cast off 2 sts, p 11. (12 sts)

Row 9: k2tog, k 8, k2tog. (10 sts)

Row 10: p

Row 11: k2tog, k 6, k2tog. (8 sts)

Row 12: p

Row 13: Cast off 2 st, k 5. (6 sts)

Row 14: Cast off 2 sts, p 3. (4 sts)

Cast off.

To make up:

Join shoulder seams. If you wish to

work a crochet edging around

neck, then with right side facing

and using a 1 mm crochet hook

work 1 row dc around neck,

making a small loop for

buttonhole at one end. If you do

not wish to crochet a neck edging

then sew a small loop for

buttonhole at the top on one side

of back opening.

Set in sleeves. Sew up side and

sleeve seams. Sew in all loose

ends. Sew button or bead onto

neckband on opposite side to

Petticoat

Materials required: 25 metres 1‐

ply cotton in a contrast colour to

gown, size 19 needles

Back and front (make 2 alike)

Cast on 30 sts

Rows 1‐2: k

Rows 3‐48: sst

Row 47: (k2og, yrn, k 1) to end.

Row 48: k

Cast off

To assemble gown and petticoat:

With right sides together sew up

side seams of petticoat. Turn right

side out and place petticoat inside

skirt of christening gown, so the

right side of the petticoat lies

against the wrong side of the

gown. Thread ribbon through a

blunt pointed needle and starting

at the centre front feed through

one of the holes in the lace

pattern of round 49, through a

row 49. (There should be 10 eyelet

holes to match with the 10 holes

made in the lace pattern of row

49.)

Work around row 49 with the

ribbon carefully joining the

petticoat to the skirt section of the

christening gown. Do not tie bow

tight until the gown is placed on

the doll. If you are not placing on a

doll carefully draw up the ribbon

to form a waist and tie in a small

bow. Cut the ends fairly long so

they drape down the gown.

www.buttercupminiatures.co.uk

© Copyright F H Powell 2010

This pattern is for private use only

and may not be reproduced in any

form, or reproduced for

commercial gain including selling

any item knitted up from these

patterns without written

permission from Buttercup

Miniatures. Reproducing or

transmitting this pattern by any




In this regular feature a brave AIM member answers our probing questions, helping you to get to know both them and their work a little bit better!

This month our willing victim volunteer is the Canadian based miniature artisan; Julie Dewar of Westwinds Miniatures

Can you tell us a bit about your life before Miniatures? Well, I don't think I had a life before Miniatures. Growing up in Lancashire, England I spent hours

redecorating my dollshouse and making peg dolls. Now, I live in Canada with my Canadian husband and

since first walking into a Miniature's store, I've been "playing" with minis for 20‐mumble years. I just

turned "pro" in 2009.

As a child, what were your favourite toys? That's easy: paper, paints, glue and shoeboxes! I used to make little houses and room boxes.

What attracted you to miniatures in the first place? I have always loved small things and have

always loved to make things.

What was your first purchase? A Chrysnbon Victorian Dresser Set Kit.

‘Getting ‘Getting

to know to know

you...’ you...’



You can see more of Julie’s wonderful work in her gallery:

http://picasaweb.google.com/westwindsminiatures.com

Photographs & Text (Answers) © Julie Dewar 2010

What miniature item do you most covet? Anything by Lori Anne Potts. Her miniature accessories are exquisite.

Who do you most admire in the miniature world? Janine Crocker of Miss Amelia's Hats. Her hats are classy and have great style.

What made you decide to specialise in fantasy furniture and accessories? Making the range of items that I do, I am never stuck doing one thing. One day, I might be painting, another

sewing. I like the variety.

Have you had any unusual commissions? 10 pairs of gloves for one customer.

Do you have any hobbies unrelated to miniatures? Indian cooking with my husband. We make a butter chicken to die for.

Any phobias? Not really, but I am petrified of wasps.

Fantasies? I dream about being invited to top miniature shows and selling out.





By AIM Member, Regina Passy ‐ Yip.

Secure the template to be copied under the acrylic with

an adhesive tape. Cut very thin strips of lead tape, 1mm

to the edges of the design and even thinner for the

internal parts.

Cut the lead tape with the exacto knife.

To achieve best results, hold the lead tape on the cut

surface with an adhesive tape, the shiny piece of lead

downwards. Cover with a ruler and then slide the knife

along

With the help of tweezers, adhere the lead strip tape on

the edge.

In 1:12th Scale...

Stained Glass...

Directions...

Materials... Thin acrylic or glass

Tweezers Lead tape

Exacto knife or surgery knife Fine brush - 4 / 0

Varnish stained Stained-glass template

(outlines)




To view more of Regina’s fabulous miniatures, why not visit her website;

www.reginapassy.com.br

Text & Photographs © Regina Passy ‐ Yip 2010

Arriving at the

end of each line,

cut off the excess

with the knife.

Lead is malleable

and with the help

of forceps also

covers the curved

lines.

When all the outlines are covered, lay white paper over

your work and pass something like the cable clamp to

straighten and force the lead tape to adhere.

Release the back of the acrylic model and check the

seams, if necessary remove any possible excess of lead

with the knife.

Apply the paint with the brush vertically, letting a small

drop of ink fall and pulling it toward the edges of lead.

Making stained glass is a delicate work, which brings

great satisfaction.


By AIM Member, Janine Crocker. (Aka Miss Amelia)

MOURNING FASHION...

With the death of her beloved Albert in 1861 Queen Victoria entered

into a state of mourning that was to last for 40 years until her death.

Although mourning had long been an extravagant affair during this

period the rules became even more rigid and the public demand for

black fashionable clothing grew.

These are a few interesting snippets of information that I have come

across while researching mourning millinery to reproduce in 12th

scale and smaller.


The full mourning period for a widow was one year and

one day which required clothing draped in crape and

heavy veiling.

The secondary mourning period then lasted a further

year and during this time the widow was permitted to

gradually remove more and more of the crape until the

stage of half‐mourning was reached and she could then

wear other black silks with ornate trims, furs and

jewellery

The following half‐mourning period of six months

allowed the wearer to add grey, mauve and even white

to her outfit in discreet amounts

Only jewellery and ornaments of jet (black amber) were

to be used for the first 18 months

The crape used in the mourning veils was believed to

be harmful to eyesight and respiration and began to

smell strongly when stored.

Fashionable mourning dress could be used

to a young widow’s advantage in the latter

stages as she would be relatively free from

the restraints that would be applied to a

young single woman.

Many wealthier families dressed even the

servants in black if the head of the house

died.

The mourning industry was helped by the

belief that it was bad luck to keep

mourning attire for future use although for

the poorer classes this was the only

option. Many families would be found

dyeing their normal clothes black if they

couldn’t afford to buy new ones rather

than flout the tradition.

Accessories included black parasols, fans,

ornate jewellery, brooches with locks of

hair, and gloves. Hair was plaited into

trinkets as keepsakes.

Hankies and stationery were edged in

black and many women would even tie

black or purple ribbons around perfume

bottles and trinkets.

Although children’s clothes would be

trimmed in black or purple a girl was not

considered to be capable of wearing

mourning dress until she reached 17.

Known as ‘weepers’ the sleeves of a

mourning dress had extra long cuffs of

lawn to allow the wearer to wipe away her

tears.


You can see more of Janine’s wonderful work on her website:

www.missameliasminiatures.com

Photographs & Text © Janine Crocker 2010

fÉÅx Åtç áxx à{|á tá t ÅÉÜu|w áâu}xvà yÉÜ Éà{xÜá |à |á t vâÜ|ÉâáÄç |ÇàxÜxáà|Çz

àÉÑ|vA A box to bury the dead no matter the material

or shape, can be described as a coffin. In

North America the coffin is often described as

a casket. Undertakers used its original

association with a jewellery box to soften the

impact of the connection with the dead and

burials coined the term casket.

The term casket has since then become to be

associated with a 4‐sided rectangular box of

constant width. The 6‐sided traditional coffin

is an anthropodial shape. Coffin or casket

construction is not restricted solely to the use

of wood. Other materials including stone,

metal (lead particularly) and even crushed

seashells have been used in the past.

The practice of conducting a ceremony for the dead goes back to the dawn of civilisation itself. With this came a

sacred place for the dead to rest. Neanderthal man was found to bury the dead over 60,000 years ago.


Arguably, the Victorian era in Britain was the height

of Britain’s obsession with funeral etiquette. Funer‐

als for those who could afford it were grand affairs.

The funeral was announced with a suitably black

edged mourning card. The coffin would usually be

held at the deceased home from the morning of the

funeral, sometimes with the coffin lid open, so that

friends and relatives could pay their last respects.

The deceased would often be dressed in their finest

clothes or a specifically designed burial gown to

show them off at their best.

The coffin would be horse drawn through the streets in a glass sided hearse led by the chief mourner attended by

various foot attendants. The horses pulling the hearse would be decked in feathers and the coffin draped in black,

purple or dark green cloth. At the cemetery the procession would go to the chapel for a service then onto the grave‐

side for the burial. It was customary for the women to leave and the actual internment was observed by the men

folk.

As an idea for your Victorian dolls

house or miniature church: why not

dress it as it would have been for the

grand Victorian funeral? 1/12th scale

coffin (or coffin kit), coffin pall (or cof‐

fin pall crochet pattern) and mourning

cards are available from Buttercup

Miniature shop ‐

http://store.buttercupminiatures.co.uk

© Gary Powell 2010 ‐ Buttercup Miniatures ‐ www.buttercupminiatures.co.uk


By AIM Member Melanie Navarro

Religious prayer candles, also known as seven‐day

candles or, in Spanish, Veladoras, are used in everyday

homes to honor certain saints. Growing up with a very

religious Cuban grandmother, I saw many of these in my

day. The popularity of these candles however has now

reached new heights and can now be found just about

anywhere and now you can have one in mini too.

What you will need:

Candlestick ‐ Wick ‐ Lighter ‐ Scissors ‐ Crystal Clear Gallery Glass ‐ Aileens Fast Grab Tacky Glue ‐ Suitable container of choice ‐ Image of choice.

Step 1: Cut a small amount of your wick, approximately

½ inch long, and set it aside.

Step 2: Light your candlestick and let it burn for a few

seconds. Once you have accumulated a nice amount of wax

on your stick grab your container and carefully pour the

wax in. Fill it to 2mm from the top.



Step 1...




Step 3: While the wax is still fresh, insert your wick.

Depending how long you want your wick is

depending how far you should push it in.

Step 4: Once the wax is fully dry, apply a tiny dot of

tacky glue (Fast Grab glue is best for this) in

the middle of your container. Apply your

image of choice and hold for a few seconds.

Step 5: Using a paintbrush, apply a thin coat of gallery glass to the image. Applying more than one coat, could cause your

image to smear, so be careful.

The Final Step:

ENJOY YOUR NEW MINI CANDLE!

Until next time, Toodles!

Project text and photos ©2010 Melanie Navarro ‐ Mels Miniatures

www.melsminiatures.com

www.melsminiatures.blogspot.com



By AIM Member, Jean Day.

When we were in England I found the most beautiful

book from 1895 called "Illuminating" or The Art of

Illuminating by W. J. Loftie, BA FSA. I thought it would be

wonderful to reproduce in miniature.

This book has fabulous plates of examples of illumination

and Loftie also used his own illustrations to teach this art

form. I visualized monks spending years on their

exquisitely detailed manuscripts.

Here is my one twelfth scale version of this book

(See right). Since I like to make my reproduction books in

scale, in size and width with the original, I only included

the illustrated pages because I wanted to use all of the

exquisite illustrations.

‘Manuscript’ means made by hand and the ornaments or tiny illustrations on the manuscripts are called

Eluminures, illuminations or miniatures. Manuscript text includes decorated initials, borders and miniature

illustrations with such delicacy of touch. So Illuminating could also be called miniaturizing. Illuminated

manuscripts are priceless works of art and are in museums all over the world. The term illuminated

manuscript used to mean those decorated with silver or gold that were illuminated or lit up by these

additions but now the term is used more broadly.

After reading the book I was very excited to learn that the Illuminations were far more free form and

creative than I had ever imagined. They are created much as we would enjoy doodling around our initials

today. As related to miniature decorating for the home, in full scale more and more decorative initials can

be found on pillows, in collections of old hankies and even used on lamp shades. Each of these works well

in miniature too. It gives an old world look to a modern environment. A miniature illuminated initial could

be framed or placed on the wall of a dollhouse, Gothic castle or scene.


There was a great description in Loftie’s book for what was meant by illuminating. It is a Book of Hours,

written in France at the beginning of the sixteenth century.

“It consisted of seventy seven leaves of vellum, which measured about seven inches by five, with an

illuminated border to every page. There were twenty miniatures, some the size of the full page and

some smaller. The borders were composed of flowers and fruit, interspersed with grotesque animals,

birds and human figures, most eccentrically conceived. Both the capital letters and the borders

were heightened with gold, sometimes flat, and sometimes brilliantly burnished.”

There were a large number of heraldic animals used these

manuscripts too, I was pleased to hear this as I worked for a couple

of years for a heraldry company and always enjoyed blazoning the

animal figures.

I thought I would try illuminating a letter on vellum and show you

how I did this. Here is a photo of my miniature illumination for the

letter A.

More photos for this workshop can be found on the ‘Illumination

Inspiration Board’ on page 34

I have used strips of frisket film from Grafix on the outside of my let‐

ter to hold it in place, it is wonderful because it doesn't stick to the vellum and can be reused. It can be

used for airbrushing, stencilling and protective coverings but you can use a light stick masking tape as

well for a short time. I used a magnifier for more detail while I'm tracing and painting. I put a bit of each

paint colour onto my pallet. First I painted the gold to identify the actual letter A shape, then I added each

of the other colours. When I was finished with the colours I added to the outline of the image and a few

more swirls with the micron pen. This painting might work well for a castle or gothic setting.

A few years ago I started being interested in illuminating

manuscripts when I bought a few true mineral paints for my

watercolours. I have real lapis lazuli watercolour from the stone for

ultramarine blue and malachite ground stone for green. Other real

minerals and natural ingredients that were used for painting in

Medieval times and later are gold as gold leaf, which is real gold

hammered very thin and bound in gum arabic or egg. Cinnabar or

vermillion, cochineal and iron oxide for red, yellows were from

ochre earth colours, weld or turmeric. Blue was also derived from

indigo, just like blue jeans or azurite. Black from lampblack,

charcoal or burnt bones.

Jean Day

Jean Day Miniatures www.jdayminis.com www.jdayminis.blogspot.com Text & Photographs © Jean Day

www.woolytalesminiatures.blogspot.com www.woolytales.com www.artisansinminiature.com/woolytalesminiatures.html [email protected]

“Brickwork begins…”

I began to attach my brick slips to the outside of the

house using PVA glue. 2000 brick slips later I have

completed the front, right hand side and the chimney of

the house and it looked lovely.

First of all I attached the two gate posts to the side door

walls. The final pillar will go on when I have the floor

decorated and am ready to put the railings up.

I bricked the outside of the wall to get back into

practice; it’s some time since I last used brick

slips. They are so simple to attach, its time

consuming, but also therapeutic and I did a lot

of planning as I sat there sticking bricks.

Once I was in the swing of things there was no

stopping me.


WEEK

3

DIARY OF AN EDWARDIAN DOLLS HOUSE

By AIM Member, Julie Campbell

First, as the house was lying on its

side post pebble dashing, I tackled

the right hand side of the house.

This is the largest wall space of the

whole building so I knew once this

side was done the rest would be

plain sailing.

It’s very simple to do.

Just paint a section of your wall with

pva, don’t coat too much or it will

dry out.

Then start to lay your bricks with each row staggered to give that familiar brick pattern. This is where you

really need a ruler. A clear one like this is great as you can see the rows of bricks beneath it.

The first time I used brick slips I was sure I didn’t need a ruler. I could easily lay my bricks in a straight

line… no problem… About 6 rows in I realised my bricks were starting to slant upwards. By then the

lower layers were already dry so it was too late. Lesson learned, I armed myself

with a long ruler! Artisans In Miniature 47


It’s most important when

bricking a wall with

windows to check that

you have the same

number of rows either

side of the window and

that they are level. Your

ruler is your most valuable

tool here.

I learned from my

mistakes on a previous

house!

Carry on working in sections until you

reach the end of your wall. The brick

slips can be easily snapped in half or

trimmed with scissors at the edges for

fitting around window and door frames.

You can see just how nice the wall looks

all bricked. As I was enjoying myself I

carried on and bricked the shop front.


I wasn’t happy with the shop

door surround so decided to

brick that too.

There is no architrave around

the door and I think this makes it

look very "dolls house".

I wanted my toy shop to look like

a real old building, not a dolls

house.

So improvisation time again! I

had an old piece of dado rail

which fit perfectly around the door frame so I painted this

and attached it before bricking the rest of the frame. I

think you will agree it looks better with the architrave.

Here is the finished front with architrave painted and bricks

in place ready for mortar.

I bricked the chimney stack, taking care to match the rows

of bricks upon all four corners.

My first pack of brick slips was all used up so now it was

time for the bit I like least!

Applying the mortar.

The powder was mixed

with water and PVA to a

stiff paste.

This is then rubbed over

the bricks pushing it

down between each

brick with a soft damp

cloth.

It’s gritty and messy and

you have to work

carefully one section at

a time. Here is the first

section of the wall with

mortar applied. (See

top left picture). I

found this quite scary

the first time I did it, all your hard work seems to

be covered in muck! Next you take a damp cloth

and a bowl of water and start cleaning. You want to

get the bricks clean but leave the mortar in the

gaps. If you have too damp a cloth you will simply

wash the mortar away so the trick is to wring out

well, fold your cloth into a fairly flat shape and

carefully wipe over the top of your bricks. Keep

wringing out the cloth and wiping, rinsing frequently. It does take some time but as your bricks emerge it

really does look very effective, just like a real wall! This is the finished cleaned up wall and doesn’t it look

fabulous!

I tipped the house over onto its back as I still had loose pebble

dash on the top section which I caught to re use on the left hand

side.

I then left the house on its back

so I could attach the front panel

with hinges once my mortar is

dry. Here is the completed front

and chimney looking very nice

with the mortar drying out.

As the characters that live in this

building are not rich the building

will look a little aged, not exactly

shabby but a little worn.

This is the wall half way thr

ough wiping clean.


To find out more about Julie’s beautiful dolls, why not visit her website; ‘Bellabelle Dolls’

www.bellabelledolls.co.uk

Text & Photographs © Julie Campbell 2010

When rinsing the mortar I left some showing around the edges of the window trims and sills which gives

a lovely slightly dirty effect.

I will be distressing the chimney stack a little and dirtying it up around the pots. I want this to look like a

real building rather than a toy and so far I'm very happy with the way it’s turning out.

Whilst waiting for more brick slips to arrive I attached the front of the shop with the hinges provided.

This was a simple and easy job thanks to my small dremel drill. There is a catch to go on the side but I

need to apply the bricks to this side first. However you can see here how good it looks so far!

I had intended to tile the roof this weekend but my time was taken up by the windows...

Simply glue the plastic window frames into the openings said the instruction manual. Well the small

windows fitted like a dream and I just popped them in with a touch of PVA. Then I came to the large

windows. Quite simply they didn’t fit! The window openings were 2 mm smaller than the plastic

windows !!!! There was only one thing for it.... sand papering. If you have never tried sanding a tiny

rebate on a window opening of a built dolls house you have never known true frustration!

In the end I rolled my sandpaper round a slim pencil and then rolled the pencil round and round the

rebate. Eventually I managed to widen the gap slightly but there was just no way I could find to

satisfactorily increase the gap.

I managed to wedge the windows in tightly, so tightly that they wouldn’t come back out. If forced too

much I think the plastic would snap. So my two windows on the front of the house are ever so very

slightly bowed. Nobody who has seen it has noticed but I know it is so, which is a bit frustrating.

Never mind, I will put it down to character!

I stood the house upright and attached the chimney.

Despite the window problem I have to say it looks pretty perfect so far !

Lace Knitting In Miniature…

Lace knitting can work very well in miniature

and a simple lace bedspread or dress can

make a stunning addition to your dolls house

or miniature scene. You do not need any

special equipment, except perhaps for a mag‐

nifier, but may need a lot of patience to

complete a lace pattern.

Many people are put off the idea of lace knit‐

ting, as it looks far more complicated than it

actually is. The key to lace knitting is to know

which row you are working on a pattern.

These patterns are often very simple repeats

of say 4 to 8 stitches over perhaps 4 to 6 rows

of knitting, but even so it can be difficult to

work out where you are in a pattern if you put

your knitting down mid row and leave it for a

few hours.

Lace knitting can also look very different if knitted in different yarns. Although lace knitting works best in

cotton yarns, it can look equally stunning in 1‐ply wool yarns depending on the pattern used.

More open lace patterns can be worked using larger needles and thinner yarns (these will also drape much

better). Experimentation is often the key, as some yarns will work better than others and the finished results

can look much better in one yarn type than another.

The Knitting BasketBasket

If you want to learn more about miniature knitting and sewing, then you are going to love this brand new regular feature, written by Aim member Frances Powell of Buttercup Miniatures...

NEW FEATURE!


Pictured above: 1/12th scale knitted lace curtains and bedspread.

If you would like to see more of Frances’ wonderful knitting, why not visit her website:


One thing to remember when

knitting miniature lace is that if you

scale up the lace pattern to ‘human

size’ the lovely lace design might

have enormous ‘holes’ in it and

would not look right, however it may

work in miniature.

When working a lace pattern for the

first time, it may be best to try the

pattern on much larger needles and

with thicker thread to get used to

the lace pattern before you move to

knitting it in miniature.

It will also help to have a plain cloth

on your lap (or skirt/trousers) in a

colour that contrasts strongly with

the miniature knitting so the pattern

shows up well as you are knitting it.

For example if you are knitting in a

pastel colour or white, use a very

dark colour cloth on your lap.

Artisans In Miniature 53 Photographs & Text © Frances Powell 2010

The stitches used to make lace patterns are generally quite simple and very often consist of knitting

stitches together and ‘making’ stitches by putting the yarn over or round the needle before working

the next stitch.

Even if you are an experienced knitter, if you start with a simple pattern (less than 10 rows repeat on

the pattern) and progress to a more complex pattern you will find it easier. Sometimes a good

magnifier can be of great help when working lace patterns.

Frances Powell

1/12th scale knitted Christening gown

Some years ago, Hywel and I

had made a lovely 12th scale

church, but it took up a fair bit

of room for something that we

only really appreciated at

Christmas time. So, we downsized! The Olde Abbey takes up only the space of a room box, so it is perfect

to use as a Christmas display and can easily be stored away after.

We bought the basic kit online and decorated the exterior and interior in our usual style using grey brick

compound to make the exterior stonework and pillars.

The roof has individual cedar wood shingle tiles, which I aged and then added some moss. We also

slightly altered the back of the kit, adding cross beams to make the open back smaller and more

decorative, as I wanted to display the Olde Abbey with the open side to the front, so that everyone could

see in at a glance.

Inside, the ceiling and walls are covered with good old DIY Decorators Filler, which is then given a light

coat of cream emulsion and a heavy coat of Tea bagging! I discovered whilst working on this project, that

if you ‘teabag’ whilst the emulsion is still damp, the finished effect is muckier and if you really squash the

teabag into the corners, it resembles damper patches and the little bits which break off the teabags

resemble mould!


OUR LITTLE

CHURCH...

‘THE OLDE ABBEY’ By AIM Member, Julia Jeffreys of Bearcabinminiatures


We couldn’t decide on

what flooring to have

inside; wood or flag‐

stones, so after a little

debate, we decided on

a real wood floor.

Hywel spent a whole

day, trimming the

wood planks and

laying out the pattern,

only to discover that

the pattern was lost

once the church

furniture went in!

The kit was supplied

without window

glazing, so I bought

some acetate and made up some ‘stained and leaded glass.’

TIP: If you have a pattern you like for your window, place it under your acetate, then trace around it with an outliner pen. Fill in the spaces with glass paints and hey presto, you have a lovely stained glass window.

Hywel also made all the

church furniture and we

made a wonderful mess

melting down candles and

pouring the wax into straws

to make our church candles!

Text & Photographs © Bearcabinminiatures 2010

Finally, I added some shop bought children dolls and my wonderful Reverend, who used to ‘live’ in the other

church. My Reverend was commission made for me a couple of years ago, by Julie of Bellabelle dolls. He is one

of Julie’s earlier dolls, so he is extra special and unique.

You can see more details of The Olde Abbey by looking on our blog, under blog archive 2009,

Bearcabinminiatures.blogspot.com

No doubt I will continue to work on and add more to The Olde Abbey for a few more Christmases to come and

that adds to the joy of it, as The Olde Abbey only comes out once a year, I never get fed up with it.

Julia Bearcabinminiatures.etsy.com Bearcabinminiatures.blogspot.com


CATHOLIC PRIEST’S ROBES CATHOLIC PRIEST’S ROBES

& & THEIR SIGNIFICANCE...THEIR SIGNIFICANCE... By AIM Member, Montse Vives

Religion is any form of spirituality with two ways: vertical (relationship with God and the Divine) and

horizontal (relationship with fellow human beings). Christian tradition is more than 2000 years old, and it

even adopted some symbols from older religions. This means that nothing is gratuitous or left to chance.

Let’s talk about how these traditions and symbols are shown in the robes of the catholic priests.

What does the priest wear? First of all, the priest puts on the Amice. It is a rectangular piece of white linen with two strings at the upper

corners, used under the Alb to cover the neck. It recalls the humiliation put upon Christ, who died as a

criminal condemned to death, and is a symbol of the helmet of salvation.

The Alb comes second, a white robe‐like vestment or tunic, symbolizing Purity.

Next comes the Cincture: a cord to tie the Alb around the waist, symbolizes chastity.

The fourth is the Stole, a kind of scarf worn over the Alb, around the neck hanging equally on the chest, or

forming an x‐shaped Cross. It is a symbol of the clerical office, and of immortality.

The Chasuble, matching the liturgical colour, is the long, sleeveless cape worn over the Alb and stole during

the Mass. “On top of everything else”, to put it simply. It is a symbol of the yoke of Christ, learning from

him, this symbolizes charity (love).

Another vestment, the Maniple, was used before the liturgical reform. It is a strip of linen, matching the

Chasuble, suspended on the left forearm and hanging equally on both sides.

Remember, also, that a priest until the middle of the 20th century would wear a cassock, and it may show

under the vestments. Modern priests wear trousers, but this is quite recent. My grandmother, born in 1914,

used to tell me she had a good laugh the first time she saw a priest in trousers… she was a married woman,

by then, and she got married after the Spanish Civil War (1939).

Getting dressed is not as simple as for common mortals: every vestment has a prayer that must be recited

when putting it on, so getting dressed is, for the priest, a moment of preparation for the religious service.

The diversity of colours is not a question of fashion either: it is used to express the particularity of every day

in the liturgical year:

White is the colour of happiness, glory, innocence and purity. It is used between Christmas and the Baptism

of our Lord, and on holidays related to Virgin Mary, for example.

Red, the colour of blood and fire, is used on Palm Sunday, Good Friday, and Pentecost.

Green, the colour of hope, is used through the year in the ordinary time.

Violet is the colour of penance and humility, used in Advent and Lent, and on Holy Saturday liturgies.

Pink, a colour of happiness and love, and Blue, a colour for purity and the sacred, are used in some places.

Pink for the 3rd Sunday of advent and forth of lent, and blue for the Immaculate Conception Holiday.

Black may be used for funerals, and other colours, such as gold or silver, for solemnities. At a friend’s wed‐

ding, the priest, who was a friend too, wore gold, and he said he looked like a Ferrero Rocher!

Text © Montse Vive 2010



Vestments...





To find out more about the miniatures made by Montse aka

Minimontse, why not visit her blog site… http://minimontse.blogspot.com/

Minimontse

©2010 Montse Vives





By AIM Member Jean Day

When we visited Spain and Brazil last year I really enjoyed taking these photos of

the wonderful stained glass windows and churches we visited. I thought they

might be inspiring for your own miniature stained glass windows. I am showing

a few of my favourites on the inspiration board. The photos on the bottom half

are from the amazing Antoni Gaudi, La Sagrada Familia, Cathedral in Barcelona.

It was designed in 1883 and is still being worked on today. The stained glass is

very modern looking and glows so beautifully.

The photos on the top were from the Metropolitan Cathedral we visited in

Fortaleza, Brazil. It was built in 1939 by the architect George Mounier. They

are more traditional and so elegant. These photos have also inspired me to

do a watercolour, either miniature or large, perhaps a collage style. I have

free watercolour workshops on my blog if you are interested..

You can find many books with stained glass designs for your miniature

creations such as the design I have shown from Dover publishers.

www.doverpublications.com

©2010 ‐ Jean Day ‐ Jean Day Miniatures

http://jdayminis.com ‐ http://jdayminis.blogspot.com ‐

email: [email protected]

Illustrations on the right of this page are copyright free clip‐art.

By AIM Member, Debbe Mize

ThroughThrough The Keyh le...


Ever wondered what it would be like to be able to have a closer look at the working environments of AIM members? This month food artisan Debbe Mize tells us in her own words all about her workspace in Georgia, USA...

I live in Cumming, Georgia, USA, 40 miles north of

Atlanta GA.

My studio is a converted bedroom in my house. I had

adjustable shelves put up on 2 of the longest walls on

which I keep my labelled plastic boxes of miniatures and

materials that I work with, along with all of my miniature

magazines for reference. I have a barrister bookcase

along one wall in which I keep my clays and

paints. There are two work tables in my studio.

The largest one is the one I use most often. The smaller

white tin table belonged to my Nana and was her

canning table. I keep this in the studio for nostalgic

reasons and also because it has a great smooth surface

to work on when I'm claying. I keep all my packing

supplies in the large closet. In one corner I have a very

comfortable wicker chair and small table where I take

my breaks and read for a while.

My studio is known as "Mimi's Dungeon”. My grandies

made a sign years ago and stuck it on the outside of the

door! I also have a CD player in there and work to either

classic rock or classical music. Sitting on my larger table

is a small serenity pond a dear friend made for me and

when I get frustrated or blocked, I gaze at it for awhile

and it really helps to get my mind working again. And my

cup of coffee is never far from hand :}

Like most miniaturists, I started out working at my

dining room table and worked there for 10 yrs or

so. When my youngest daughter moved out, I decided

to "move up in the world" and make my own studio, so I

converted her bedroom.

If you would like to find out more about the beautiful miniatures that Debbe creates in Mimi’s Dungeon - why not visit her website:

www.cdhm.org/user/trisscade or http://community.webshots.com/user/debbem101

I create various miniatures. I am mainly a foodie and love making prep tables. I also make other types of furniture

scenes such as a doll artisan's table, bathroom and garage shelves, scrap booking tables and so on. I just let my

imagination guide me. There are endless miniatures you can create! I sculpt food, flowers and dishes from

polymer clay. I prefer using Sculpy and Fimo, but have used Kato from time to time.

The best thing about my workspace is the amount of room I have. It's large enough to move around in

comfortably so I don't feel closed in. I have claustrophobia and could not stand being closed up in a small room!

You know, I don't believe I would change anything about my workspace. I think it's perfect!

I store everything in see through plastic boxes. This is the best way I have found of keeping up with small

items. My boxes are labelled and when I need an item I can go straight to it. It helps to keep everything organized

which is a big help to me as I am a most unorganized person :}

I have a lovely view from my window! My husband is a landscaper and he and my youngest daughter built me

a beautiful water feature. In warmer weather I open my window and listen to the soothing sound of the

waterfalls. It's very relaxing.

I have worked in my studio since 1997.

Debbe Mize

Are YOU a professional miniature artisan??

Do you sell quality handmade miniatures to the public??

Do you want to showcase your work and talents on a global platform??

Do you want to be part of a supportive professional association??

AND do you want it all for FREE???

If you answered 'YES' to EVERY question…

Then look no further, AIM is the professional miniaturists association for YOU!!

AIM is completely FREE to join and completely FREE to be part of.

So...if you are a professional miniature artisan and you would like to find out

more about joining the AIM Association,

please email AIM’s Membership Secretary: Mary for more information:

[email protected]

Or alternatively visit our website… Artisans In Miniature 67

AArtisansrtisans IInn MMiniatureiniature“An association of professional artisans, dedicated to promoting a high standard

NEW www.artisansinminiature.com

artisansinminiature.blogspot.com




By AIM Member, Christina Berry

This project shows how to make a folded blanket that you can place

in a blanket box or linen press. You could leave it at the foot of a bed in case there’s a cold snap.

A piece of cream coloured doctor’s flannel 160mm X 120mm A piece of cream coloured satin bias binding 190mm long

Matching sewing thread Pins

Scissors Sewing needle size 9 sharp

Milliner’s needle (not essential)

(Use matching sewing thread. Contrasting thread has been used in the photographs for clarity.)

1. Cut the doctors flannel to size 160mm X 120mm

2. Cut a length of satin bias binding 190mm long

3. Open one edge of the bias binding and pin it to the longer edge of the doctor’s flannel in the following

way.

The shiny side of the bias binding should be towards the doctor’s flannel.

The edge of the bias binding should be positioned 2mm above the edge of the doctor’s flannel and should

stick out 15mm at each end.

4. Pin and tack the bias binding into place.

5. Machine the bias binding to the doctor’s flannel along the pre‐folded crease. Take the stitching right to the

ends of the bias binding and tie off the ends of the thread. Remove the tacking.

1:12th Scale...

Folded Blanket Project...

To make one folded blanket you will need...



6. Tuck in the ends of the bias binding. Fold the bias

binding over the edge of the doctor’s flannel. The

creased edge of the bias binding should just meet the

row of machine stitches. Pin the bias binding into place

inserting the pins vertically as shown in picture 2.

Pictures 1a & 1b show this stage from both sides of the fabric...

1a 1b

2 7. Unpin and carefully raise a corner of the bias binding and fasten on a length

of sewing thread with the size 9 sharp needle as unobtrusively as you can.

Put the pin back and begin to attach the creased edge of the bias binding to the machine stitches in the

following way.

Pick up each alternate machine stitch with the point of the needle and then catch a few threads of the bias

binding.

Draw the bias binding carefully into place as shown in picture 2.

Work to the end of the binding removing the pins as you go and then fasten off unobtrusively.

The blanket is now ready to be folded.

8. Fold the blanket into three lengthwise and secure with pins keeping the best side of the bias binding on

the outside. Do this in the following way.

Now that you have applied the bias binding that edge of the blanket will be fractionally shorter. To allow for

this place the first pin vertically in the centre of the folded blanket and pin outwards to the edges.

Tack into place, see picture 3.

Keep the centre pin in place and

remove the rest.

3


9. With the side of the blanket that has the bias binding

away from you begin to fold in the sides of the blanket

using the centre pin as a guide. Because you have to

accommodate the thickness of the three layers of blanket

the ends will not meet in the middle. There will need to

be a gap of 10 to 12mm. See picture 4

Pin and tack and then remove the pins.

Finally fold the blanket in two, closing it towards you like

a book.

10. Insert two or three pins to keep the folds in place. You

can hold the folded blanket together with tacking if you

prefer to do so. Using matching thread, fasten on

unobtrusively and secure the folds of the blanket in place.

You can use a milliner’s needle if you have one. You will

probably need to stitch in to all three open edges of the

folded blanket to get a neat finish. See picture 5.

Remove pins and tacking.

The folded blanket is finished

If you have any difficulty getting

hold of doctors flannel or satin

bias binding then The Dolls

House Bedding Co. can supply

you.



4

5

Bed commissioned from Willow Models

(Also AIM members)

© Christina Berry 2010 The Dolls House Bedding Co.

To see more of Christina’s stunning bedding why not visit her website: www.thedollshousebeddingco.co.uk

By AIM Member Frances Powell

The start of summer reminds us that as people pose for

wedding photos outside the church, few really notice how

much wildlife and plant life there is in the churchyard.

Trees have always played a part in religion and those found

in churchyards are no exception. This may have stemmed

from earlier religions that worshipped the actual trees and

incorporating this into the ‘new’ Christian religion made

life easier all round.

Many trees and plants were sacred to the Druids who lived in the UK prior to Christianity arriving, these were

incorporated into the church ceremonies and things like holly and mistletoe are still associated with religion today

and these trees are often found in the churchyards. Willow trees are also found in churchyards (people may have

planted weeping willows overhanging a tomb of a loved one). Yew trees are often found in churchyards as these

represent everlasting life.

Today our churchyards are often a haven in a busy town for both people and wildlife. Church towers are often used

as nesting places by many different birds. The trees are often centuries old and provide habitats for many small

animals and birds. The church itself may be covered in moss and lichens. Older areas of the churchyard may be left

untended and many native wild flowers and small bushes grow up. Some churchyards have a hedge rather than a

wall surrounding them and this may be home to many types of plants. The compost heap in the corner of a

churchyard often provides a winter home for hedgehogs and other small mammals.

Some people may see churchyards as a sad place that is full of dead people, in reality there is probably more life in a

churchyard than most people could imagine and many are now being documented as havens for wildlife, complete

with nature trails.

So if you have or want a miniature church, don’t forget the churchyard and the plant and wildlife that can be found

there.

©2010 ‐ Frances Powell ‐ Buttercup Miniatures

www.buttercupminiatures.co.uk Artisans In Miniature 71

By AIM Member Grimdeva

Being a miniature and mixed media artist, I have many bins and

boxes filled with toy parts, faux greenery, crystals, and trims.

Besides constantly scrounging through thrift stores, hobby shops,

and online for supplies, much of my stash is also donated by well

meaning friends and neighbors. In the mix, I have quite a bit that

is not suitable for 1:12 dollhouse scale, such as cloth prints or

laces that are too large. Then people began bringing me broken

and unloved porcelain baby dolls too. I ended up with a trunk full

of them and various mismatched clothes. What to do with them?

Living in Texas, I often see the brightly colored sugar skulls, called

Calaveras, in many forms of art and fashion. I learned how to

make these and a bit of the history by attending a community

college workshop on Day of the Dead traditions last year. They

were very messy to decorate and the chocolate ones were

delicious! Sugar Skulls are a traditional folk art from Mexico used

to celebrate El Dia De los Muertos, the Day of the Dead.

The celebration occurs on November 2 in connection with

the Catholic holidays of All Saints' Day (November 1 for the

children) and All Souls' Day (November 2 for adults). Spirits

of deceased loved ones are welcomed back to their homes

with beautifully decorated altars and special foods. Sugar

skulls, marigolds, candles, incense and food adorn home

altars, along with photos and personal items of the

deceased. Families will also take the flowers and sugar

skulls to the cemetery to decorate tombs at this time. Sugar

skulls are colorfully decorated with icing, pieces of bright

foil, dyed sugars, and flowers. They might even bear the

name of the lost loved one being honored.

I was inspired to make my own family altar for the holiday.

I had pictures of both living and deceased relatives and on

one side, they went back 5 generations. I added

mementoes such as rosaries, prayer cards, handmade

doilies, and coins. It was a very meaningful experience.

Traditional Sugar Skulls

My Family Altar Artisans In Miniature 72

I also tried my hand at making miniature

Calaveras out of a Halloween garland I

had. In popular custom, some skulls are

personalized to represent certain

characters or even a specific individual.

They may reflect a hobby or a job. I

thought, “Hey, I grew up in the 80’s” so I

went for a punk rock theme!

I’ve begun collecting fabric printed with Day of the Dead designs and

trying to learn more about local culture. In Texas, it is very common to

see purses, skirts, shirts, and patches made with the theme.

On my quest, I’ve visited several

Botanicas, the local Mexican herbal

shops that have shelves of incense,

holy water, candles, and votive

figures. Often you will find a large

Santa Muerta, the Saint of Death. This

figure represents a syncretic blend of Spanish Catholic and earlier

Me s o am e r i c a n

b e l i e f s a n d

represents the

reverence of

mortality.

While not officially

sanctioned by the

Church, Santa

M u e r t a i s

i n c r e a s i n g l y

popular. The

various outfits

represent different

aspects of death. I

found a red robed

Reaper type and

another as the

Virgin.

Punk Rock Mini Skulls

Day of the Dead Fabric (above) and Virgin Santa Muerta (below)

Reaper Santa Muerta Artisans In Miniature 73

Santa Muerte is referred to by several alternative names.

She is Señora de las Sombras ("Lady of the Shadows"),

Señora Blanca ("White Lady"), Señora Negra ("Black Lady"),

Niña Santa ("Holy Girl"), and La Flaca ("The Skinny One"). A

common representation that I see all over the place is the

‘Catrina’ wood engraving by Jose Guadalupe Posada.

I think this is a beautiful tradition and I decided to repaint

some of my dolls as Calaveras and Santa Muertas. I make

any necessary repairs and sometimes alter the facial

features using fast drying epoxy clay. I then base spray the

dolls white and give them a thick layer of gesso on

the face and arms for texture. At this step, I’ve tried

crackle glaze using 2 color layers. I’ve also

experimented with multiple layers of dry brushing

and inking. After this, I draw the sugar skull pattern

on with gel pen. Using a combination of acrylics and

inks, I color the designs in and then matte spray it.

I give the dolls new wigs I make out of hand dyed

wool. Sometimes I take the eyes out. For the

clothing, I soak Victorian style outfits in a

combination of coffee, chestnut dye, indigo dye, and

tea. They smell wonderful! Once dry, the clothes

are embellished with additional ribbon, cameos,

pearls, laces, acrylic painting, and ink washes.

My Calavera dolls have been popular as

auction donations, gifts, and commissions.

©2010 Grimdeva ‐

Cauldron Craft Miniatures

www.cauldroncraftminiatures.blogspot.com

www.cauldroncraftminis.etsy.com

Posada’s Catrina

Sugar Skull Baby (above) and Sissy the Vampire Muerta (right)


Dear Aunt Anastasia… I have a problem that I hope you can help me with. My wonderful husband bought me a dollshouse kit and I am having such fun assembling and decorating it, but I am at a loss as how to paint the windows: they have non

‐removable panes and I just know that I am going to get paint all over the "glass". Do you know of a way to paint them neatly? Anxious in Accrington

Dear Anxious, Indeed, I do know of a cunning way of getting the paint on the parts and not on the panes. Trotters and I were faced with such a dilemma and this is what we did: we tootled down to the kitchen when Mrs. Murgatroyd was elsewhere and "borrowed" a goodly length of greaseproof paper (my niece in Canada tells me the nearest equivalent on her side of the Atlantic is waxed paper) and cut it into strips. The paper is thin enough to slip between the "glass" and the wood surround and won't let the paint through. Of course, you shouldn't overload your brush when painting to avoid any seepage. I hope this helps. AA

Dear Aunt Anastasia… I have some plastic miniature kits that I plan on painting, but I don't know how I am going to do it, some of the pieces are so small. How can I hold them? Mary

Dear Mary, It can be quite a challenge not to get more paint on self than on the miniature, but it can be done. Trotters, when he is not complaining about his bunions, can be extremely helpful and he suggests (having done quite a bit of model car and aeroplane building) that one can leave the tiny parts on the sprues (those apparently are those rod‐tye things that the plastic parts are moulded on) to paint them, then carefully cut the parts off and just touch up the spot where they were attached. One of my favourites (especially for things like plates & dishes) is to stick a lump of Funtak/BlueTac to a pencil or empty film canister and then paint the item, but the thing I use the most is what I call my painting board: it is just a 4" x 2" piece of scrap wood (we all have those laying around, don't we?) which I wrapped in ordinary masking tape until all the wood was covered. When I want to paint a tiny thing, I put a strip of double‐sided tape on the board and stick the part to the tape, paint one side and when it is dry, turn it over and paint the other side. One word of caution, my dears, double‐sided tape comes in different strengths of "stickiness", some is so strong that you might break the miniature when trying to get it off the board, so what I do is pat the tape repeatedly until it is just sticky enough to hold the piece without risk of snapping on removal. AA

Well, my dears, that is it for this month. Just remember, you can write to me in confidence that your email addresses with never be sold, shared or used for any other purpose (perish the thought!).

Now, where has Trotters got to with my afternoon tonic??


Aunt AnastasiaAunt Anastasia GGreetings from Miniscule Manor! I'm Aunt Anastasia, your very distant mini relative (sixth cousin, twice removed and scaled down) and when I am not making the most fabulous minis, sipping bubbly or bossing my butler Trotters about, I just love helping miniaturists and solving problems of a miniature nature, so if your paint won't stick and your glue won't glue, get in touch:

[email protected] Looking forward to hearing from you soon….

Aunt Anastasia

Aunt Anastasia

This month the members of AIM are taking a closer look at all things mushrooms and fungi.

So what exactly is a mushroom? The brief answer

would be to say that it is a spore producing fruit of a

fungus, in other words the mushroom itself is no more

than the reproductive organs of the fungus which lies

underground in a network of thread called ‘Hyphae’...

but mushrooms, I think, are so much more than that!

The fungi family is in a class of its own, separate to

other plants, vegetables or even bacteria and genetic

studies have shown that fungi are more closely related

to animals than other plants.

Each mushroom has within itself billions of spores, but

of these billions only a few will survive and go on to

meet a compatible spore from where they can go on

to create a network of Hyphae and more mushrooms.

Portabella Mushrooms Basket (left) by Kiva Atkinson

www.kivasminiatures.com &

www.kivasminiatures.blogspot.com

144th Scale Light Up Mushroom House in Glass Orb

(right) by Tori West ‐ Mini Motion

www.minimotion.com

Porcini Mushrooms (above) by Maria Teresa Espanet ‐

Minihouse di Terry

www.terry‐minihouse.blogspot.com

Laricino Mushrooms (top left) by Maria Teresa

Espanet ‐ Minihouse di Terry


Open‐cap Mushrooms (middle left)

by Vicky Guile ‐ NJD Miniatures

www.njdminiatures.blogspot.com

English Breakfasts (bottom) by Stéphanie Kilgast

‐ www.petitplatfr ‐

www.petitplatbysk.blogspot.com

The ancient Egyptians believed that the common

man was not worthy to feast on such a delicacy

as mushrooms, prized for their flavour they were

deemed a food only to be touched by the hand

of royalty. Throughout other cultures and

civilisations there have been many rituals

involving the use or worship of mushrooms. The

people of China, Russia and Greece, amongst

others believed that the mushroom could

Mixed Mushrooms (above) by Kiva Atkinson ‐



Fungi on step (top right) by Maria Teresa

Espanet ‐ Minihouse di Terry


Mushrooms crate (middle right)

by Carol Smith ‐www.starsgemini3.blogspot.com

Toadstool Rug Kit (bottom) by Frances Powell ‐

Buttercup Miniatures ‐


transport the soul to the heavens, locate lost

objects or even present the consumer with

super‐human strengths.

It is thought that the first country to cultivate

the mushroom was France. King Louis IV is said

to have set aside a labyrinth of caves near Paris

solely to be used for the cultivation of one of his

favourite food commodities.

Baked Stuffed Mushrooms and Peppers

(top left), Mushroom Basket (middle left)

and Scallop and Mushroom Mornay

(bottom left) by Linda Cummings ‐

www.linsminis.etsy.com,

www.linsminis.com &

www.linsminis.blogspot.com

From early cultivation in France to modern

day, the global market is now awash with a

wide variety of edible fungi that have a

wide range of culinary uses. The brown

Crimini, a button mushroom with a rich

and full earthy flavour is used mainly in

beef or game dishes but also delicious on

its own.

The Porcini or Cep mushroom with its

exquisite taste and price tag to match is

highly prized by chefs around the world

and prevalent in Italian cuisine. World

famous chef Antonio Carluccio describes

the Porcini as ‘the wild mushroom par

excellence!’ and it ranks as his most

preferred species of gastronomic fungi.

Dried porcini are also widely available, the

drying process results in a taste more

intense than the fresh version which

intensifies during cooking as the

mushroom soaks up and melds with the

flavours of what it is accompanying.

The Shitake mushroom, grown on oak logs,

is native to Eastern Asia. Known as Pyogo

in Korea or Hed Hom in Thailand amongst

other names throughout the region, the

Shitake is used in a wide variety of dishes

and is also available, like the Porcini, in a

dried form which must be reconstituted

before cooking. Another Asian mushroom

is the Enoki or Enokitake, easy to cultivate

at home and grown by many in bottles,

resulting in a clump of Enoki which can be

Shitake Mushrooms with Punnet (top right),

Mushroom Head Log (right), Chanterelle Basket

(bottom right) and Mushroom Log (below) by

Kiva Atkinson ‐ Kivas Miniatures ‐



All photographs ©2010 by

their respective artisans.

Text throughout this article

©2010 ‐ Vicky Gule/NJD

Miniatures ‐

www.njdminiatures.com

But probably the variety of mushroom that we

are all most familiar with is the common White

Mushroom, grown in over 70 countries

worldwide and consumed in even more. The

white mushroom comes in a variety of forms...

Open‐cap, Button, Portobello, Field, Table and

Swiss to name just a few, it’s bound to be a fungi

with which we are all familiar!






A gallery of inspirational ecclesiastical miniatures from the members of AIM

View of Chapel with Altar (left), Marriage Domes (above), The Baptism (below left) and Nun (below) by Béatrice Thierus ‐

Les Miniatures de Béatrice ‐ www.myminiatures.net

Gothic Pedestal (top left), Celtic Bible (top right), Mexican Votive Retablo (centre left), Celtic Church Set (centre right), Catholic Saint Votives (bottom left) and Votive Prayer Cards (bottom right) by Grimdeva ‐ Cauldron Craft

Miniatures ‐ www.cauldroncraftminiatures.blogspot.com & www.cauldroncraftminis.etsy.com

Church Flower Arrangements (right and above right) by Kathy Brindle ‐ www.kathybee.net

A Psalm of Life (above top and bottom) and Quarter Scale Wedding Album (above centre) by Jean Day ‐

Jean Day Miniatures ‐ www.jdayminis.com


Blue Angel (above) with golden halo and Guardian Angel (below) with baby in her arms by Louise Goldsborough ‐ Angelique Miniatures

www.angleiqueminiatures.co.uk

Framed Jesus (top), Framed Winchester Cathedral (centre) and Famil Tree and Birth, Marriage and Death

Certificates by The Dolls House Mall www.thedollshousemall.com


The Camera Never Lies...The Camera Never Lies... Oh Yes It Does!

By AIM Member, Sally Watson

This month Sally Watson of SallyCat Miniatures tells us more about her passion for photography...

How? Not just with clever Photoshop editing but also with size and illusion. I have enjoyed photography

form an early age and gradually it has crept into my mini‐work. This is not just for keeping a record of

what I make and showing up those un‐noticed errors in glue or paint; I use photographs in a variety of

ways including to trick the eye. Of course it isn’t cheating!

My earliest venture into the world of the camera must have been around 1958 as a precocious 10 year old

wanting “pin‐ups” of her dolls. Sigh... Now that I am almost grown up I use photography extensively both

for pleasure and to record and enhance my work in miniature.

My very first camera was a tiny plastic thing from Woolworths – cost me all of my half crown pocket

money! I was hooked! Saw things I liked – clicked – mine forever! Albeit the prints were not much bigger

than a postage stamp but that didn’t matter. A little Brownie replaced this and I loved it! There were piles

of black and white shots of indiscriminate places and people in my flowery decorated shoe boxes at this

Cross Over Crafts...



time. When I reached my early teens I regularly took shots of stately homes and buildings as well as

attempting to position dolls and small items (of no particular scale!) in snowy, aka cotton wool,

landscapes for Christmas cards. Although I had long abandoned the beautiful dolls house my mother

had built for me it started to come back into use: my two interests were starting to bond. By then I had

discovered colour prints and transparencies. Luckily developing had become much cheaper.

Years passed, cameras improved and I had the inevitable huge albums of my children but always there

were the landscapes, foreign holidays and those wonderful buildings. My most recent journey was to

Australia via Singapore to visit fellow AIM member Kathy Brindle – a wealth of opportunities for

snapping exotic wildlife there. So many, in fact, I have to go again in April!

It is difficult to select a favourite photo from this long period but I do love one of my then tiny sons

running through woodlands towards a cottage we had rented in France some time in the early 80s. This

was taken with my husband’s fairly ancient Leica and won top prize in the holiday company’s brochure,

gaining us a free holiday. Hooked again! Sadly it is

not digital and I have no idea where the negative is.

Eventually I ventured into digital and have never

looked back but have a vague regret for the passing

of the 35mm Kodak fast film.

I now use an SLR Fuji Finepix S5700 recommended

my dear friend Noni the Oz and love it. I bought a

couple of extras for it duty free in Singapore – a

Polaroid lens that allows photos to be taking

through glass or water and a frighteningly good

close up widening lens. This will show every fault in

a mini: both a curse and a blessing!

When photographing minis I use a collapsible “box”

with up to 3 spot lights or I take advantage of the

SLR and utilise different settings for light levels and

effects. I avoid flash with minis as it tends to leech

colour. For outdoor work I often use the auto

‐setting which is very accurate on the Fuji but if time allows I change settings manually.

I began to use my own photos in mini work quite simply: reducing and printing on canvas to provide

“art works” for my room boxes and houses. Print and frame – easy!

Since retiring I have been able to indulge my hobbies far more and use my work in vignettes and

shadow boxes as background or illusion. My earliest venture was in response to a GSOLFOT Club

challenge to create an autumn scene. Although quite pleased with the result – 12th scale on a 10” x 10”

base with wall was the challenge – there was something missing when I photographed it. The sense of

background distance just wasn’t there so I printed a view taken from a nearby ancient park and

carefully sized it. This took several prints and many drops of ink but eventually I got it right and the


piece was transformed. I decided that this was the way to show perspective in shadow boxes – the measly

depth of 2.5” of the ones I use is a challenge but with a bit of cheating – no, not cheating – illusory effects –

I am working with it. Continuation of the ground covering on to the background and forcing the perspective

helps here.

Both of these use photographs of the real place depicted in the box. The addition of TT and slightly larger

gauge models helps force the perspective. Do not look too closely at the bathers!

Another illusion is to take a photo of a real piece of furniture. I used this method to do an autumnal

scene, again as a response to a GSOLFOT Club challenge. The basic request was Halloween without the

pumpkins and witches. I chose to base my piece on the night when the veil between the real world and

the spirit world is thin enough to see through. I took a photo of the Edwardian fireplace in my sitting

room and printed it on acetate along with a wallpaper design. This had the addition of a photo of an

open fire, (it was a

very warm September

when I did this – I am

dedicated to my craft

but there is a limit!)

backlit by a red LED all

mounted on a sheet of

acrylic. 2” behind this

could be seen a spooky

landscape from a

children’s book. I was

pleased with the

effect.

Recently I have been

concentrating on

photographing the

progress of my fantasy

tower – each room has

its own album of

photographs. As for

the future……maybe

some more ghostly

effects. I have just

purchased a gadget to

convert old negatives

to digital – who knows what will emerge?

One tip for all? – use a tripod!

To see more of Sally’s fabulous miniatures why not visit her website:

www.sallycatminiatures.com Photographs & Text © Sally Watson 2010


Chain of Chain of

Events…Events… By AIM Member Kathi Mendenhall

(Here is the set up.)

Just as in the movie, “Apollo 13” an event hap‐

pens so early on one has no idea of the chain of

events that will follow. A friend of mine had an

exciting event, her first grandchild. We are in

the same miniature club called the Minigang

and I belong to an internet group

(MSATMinidollslist on Yahoo!) that talks about all things miniature doll. Hereafter called “the list”. Let

me go back a tiny bit farther.

Michelle Mahler owns Doll Artist’s Workshop (www.minidolls.com) and she had a pair of twins. Michelle

and I have been building the La Petite Belle Patterns since 1998. She was all about babies for a long time,

and wanted some patterns for babies. I resisted as long as I could.

The late Brad Deville, of Deville Dolls, had recently

sculpted some babies that are anatomically correct

and also articulated somewhat and wanted some

baby patterns, too. He and I had built a good

working relationship and thought it would be fun to

introduce the patterns with the List in January, New

Beginnings Month. We devised a plan; he made me

a boy and a girl baby. I started working on the

patterns.

I began sending little notices to the List and the first

was a declaration that in January I would be a proud

new momma. Some people knew it was a joke and

others were drawn in to the game. To make the

waiting period more suspenseful, we then sent in

Michelle’s Ultrasound of her twins and announced

we were having twins.


The patterns were “Bringing

Home Baby” including

everyday clothes, and a

“Special Day Baby” set that had

Christening clothes and

Photograph clothes, Sunday

Dress, etc. Instructions for the

accessories were included in

each pattern. Brad was busily

making the babies for Michelle

to sell with whole kits, and I

was working on patterns.

In the meantime, we were pulling

names for Christmas presents at the

Minigang meeting. I just happened

to pull my friend with the new

Grandbaby. I, however, had no idea

what to give her as a Christmas. It

would come to me.

I continued to send little notices to

the List, the babies are fine,

everyone is healthy, we are

expecting in January, are the types

of notes I would send.

In the meantime, I needed to make a

Christmas present and decided to

use the boy baby to celebrate the

grandchild and keep the girl baby for

myself. Presentation is everything in

a present. I found in a local hobby

store a small divided box that I

thought would be a perfect solution

to my dilemma. The box I later

learned is a card box for storing

decks of playing cards.

After deciding what to do, the box came together quickly. I

covered the outside with scrapbooking papers, miniature

trims, and scrapbooking embellishments. The inside was

completed similarly and I added batiste pillows edged with

more miniature trims and laces to finish the inside divisions.

To each of the box sections I placed the items I had made

from the pattern samples.

In the upper left of the box are day clothes, a jumper, onsie,

and embroidered bubble pants and tied in a rattle and a toy

horse. The upper right side is a diaper shirt, a bunting, and

another rattle and duck button. Also, included is an Ann

Vanture Nursery Rhyme Book. (www.paperminis.com)

The baby boy sleeps on his lace pillow in his simple Christening Gown with matching blanket and pillow

and a new baby scrapbook. I used free internet printable items to fill out the theme.

The lower right completes the box with a diaper bag, bib and baby products. I purchased the baby bib,

bottle, and little rubber ducky

from Kitz! (www.minikitz.com)

The alphabet beads, purchased

from a hobby store are a cute

accent.

The project was quite fun to do.

In December, my friend opened

her gift to complete delight and I

breathed a sigh of relief. We

announced the birth of the

babies to the List with a real birth

announcement, and then

another with their pictures. Soon

everyone was “in on the game”

and the patterns shown to the

List members. The whole event

was a hit.

Post Script... Shortly after announcing the birth of our babies, Brad caught a cold, which escalated into pneumonia. Admitted to the hospital, he stabilized and returned home. He told me he was having a hard time getting rid of this cold. Hospitalized, again, Brad soon lost the fight to the pneumonia and complications. I have his molds, but each time I see the little baby girl, I remember Brad and his kindness and love of sculpting. I miss him.

To see more of Kathi’s wonderful miniatures why not visit her website:

www.minipatterns.com Photographs & Text © Kathi Mendenhall 2010 Artisans In Miniature 96


...named Mcpinners,

he held regular classes for his sinners,

they were graded and sorted,

so the really distorted,

would not be held back by beginners!

1.

2.

3.

A vicar, the Reverend Bowles,

took care to protect all our soles,

with a stern but fair grin,

he would steer us from sin

and make godly living our goal!

1 & 5. by Joy Cox ‐ Adora Bella Minis

www.adora‐bella‐minis.co.uk

2, 3 & 4. by Teresa Thompson ‐ Costume

Cavalcade

www.costumecavalcade.co.uk

4. 5.


7, 8 & 10. by Joy Cox ‐ Adora Bella Minis

www.adora‐bella‐minis.co.uk

6, 9 & 11. by Teresa Thompson ‐

Costume Cavalcade


6. 7.

8.



A sister, who’s name was Felicity

tried living without electricity,

by propane she cooks,

and by oil lamp reads books,

and forbids watching TV

explicitly!

9.

10.

11.

12. 13.

14.

12. by Teresa Thompson ‐ Costume Cavalcade


13. by Tiggy Goldsmith ‐ Mrs Tiggywinkle’s Dolls

www.freewebs.com/tiggywinkles

14. by Béatrice Thierus ‐ Les Miniatures de Béatrice

www.myminiatures.net Artisans In Miniature 101

Mini Makes!

Mini Makes... Please read all instructions carefully before you begin.

This month we are going to look at how we can take a box or a small suitcase made from card and turn it into a room box. I found the cardboard suitcase in a shop that sold home furnishings and it was only £2.

With a little creativity and know how and by using simple techniques, it is possible to create something that you can use as a starting point for many projects. I used mine to create a simple playroom and to show you the toys on the shelf, which will be next month’s mini make.

The box with the press-studs was a flat packed document box that was brought from my local Wilkinsons for £2.50. This box has the added advantage in that as well as dropping one side of the box, you can also take off the lid for an aerial view. If you wish to decorate a box like this, you will need to secure one end with glue and cover up the messy end. First you should decide what theme you would like for your setting and plan which colours you would like to use as wells as which decorations. Planning is essential and it is important to make sure that you have all your materials before you start.

By AIM Member, Debie Lyons


Please note – although the projects in this column are for

children, adult supervision is recommended at all times.

The author cannot be held responsible for any accidents

arising from these projects and cannot take responsibility

for the final outcome of the project.

Text & Photographs © Debie Lyons 2010 Artisans In Miniature 103

A box of your choice Paint or wallpaper Floor covering (I used pre printed paper from Hobby Craft) Glue – UHU and PVA Paint brushes

Scissors A shop brought or homemade shelf. Additional Pictures (optional). Skirting boards or card, so that you can make your own.

.1 - Paint the in-side of the box. I

used a paper towel crushed into a little ball to create some texture on my walls. If you don’t want to paint the walls of the box you can use wallpaper.

2 – When the paint is dry, put down your chosen flooring.

3 – Measure how much skirting you will need and pre paint it before you stick it in place.

4 – Take your shelf, paint or stain it and then stick it into place using UHU glue.

5 – Your room/setting is now ready to decorate.

Materials needed...

Method...

All projects are intended for

children 14 years old and over.

By AIM Member Jain Squires

This spring was my first Miniatura as an exhibitor, having visited as

a customer for at least the last 10 years. I was thrilled when I got a

call from organiser Andy Hopwood offering me a table.

After weeks of preparation and stock building, the time came

round to set off to Birmingham. I was travelling with my friend and

fellow dollmaker Julie Campbell (Bellabelle Dolls) Julie has been

exhibiting there for a few years now and was an 'old hand'! Thank

goodness I had her with me, would have been a little daunting had

I been on my own.

On arrival we drove straight to the hall where we were able to

actually drive into the hall to unload!! The staff were marvelous

and very well organised, we were unloaded in no time, which is

more than can be said for my setting up. I had not had any real

practice of setting up my stand as I have it now, and think it took

me 3 and half hours to set it up, including (just a little) chatting!!! I

was exhausted!

Unfortunately as we set off to get some food (long awaited) and

check in to the B&B which I have stayed at many times, the Sat Nav

decided to go wibble on us and we lost all sound! A major issue as

neither Julie or I seemed to be able to read a map!!! About an

hour later, after pressing reset on the Sat Nav we got our food and

arrived at the B&B (5 minutes away from the NEC)!

Up on the Saturday morning bright and early, not quite bushy

tailed, but fairly excited. Last minute bits done to the stand, cup of

tea and toilet break and the punters were let in. We were a fair

way in to the hall and it seemed to be ages until people finally

starting filtering through to us. Julie had had a few customers who

had come straight to her stand, but as a newbie I just had to wait!!

Had a brilliant first day in the end and I had so much interest in my

little characters, including several press people, one of which took

a picture of everything on the stand!!

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The hall that we were in was the Pavilion hall and

compared to the other halls usually allocated, it

seemed slightly smaller. The canteen facilities

were perhaps not as good and toilets seemed to

be in short supply too. The biggest problem for a

lot of stallholders was the fact that it was a 50

minute walk (according to one of my

customers) to the nearest cashpoint. This may

have lost me a couple of potential sales and I

know other people said the same. This is going

to become a much bigger problem when they

get rid of cheques completely. The

organisation of the show and the friendly team they have working there

overrode any problems with the facilities and made my first exhibiting Miniatura a fantastic one, an

experience I won't forget and hopefully the first of many.

©2010 - Jain Squires - www.giddykipperdolls.com

By AIM Members Julie & Brian Dewar

The 30th Miniature Enthusiasts of Montreal Annual Show was

held on March 27 & 28 at the Holiday Inn in Pointe Claire, Quebec. Twenty‐seven exhibitors from the

provinces of Ontario, Quebec and one from the state of Pennsylvania brought a broad array of miniature

treasures for collectors of all types. From one of a kind artisan crafted miniatures to mass produced items, it

all was there, as well as three members of AIM: Martha McLean of Martha

McLean Miniatures, Glenn Anderson & Nancy Keech of

Keenderson Miniatures and Brian & Julie Dewar of

Westwinds Miniatures.

Saturday was busy, with a nice steady pace and although it

was a little quiet on Sunday (possibly because it was Palm

Sunday) it was a good, well‐organized show. We will be

there again next year.

Julie & Brian Dewar - Westwinds Miniatures

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SHOW REPORT... SHOWPORT... SHOW REPORT... SHOW REPORT... SHOW REPORT..


The Miniature...

New AIM Members

We would like to extend a warm welcome to the

following new members who have joined AIM in the

past month:

Vintage ginger spice… New from Jean Day

Jean Day has recently designed a new Toddler Kit called Vin‐tage Ginger Spice and mother's matching apron and linens kit called Vintage Ginger Spice Apron set.

Visit Jean’s website for more details:

http://members.shaw.ca/jdayminis/html/jean_day.htm

Anne Walden mills… Anne Walden Mills of the Miniature Needlework Society is doing a workshop to make a patchwork cot quilt at this May’s Kensington Dolls House Festival.

Visit the website www.dollshousefestival.com for more details.

pastmastery… Also at the festival will be this wonder fu l Boot f rom Pastmastery which is for sale, Don’t miss the chance to own this wonderful piece Visit:

www.pastmastery.com/miniatures/phantasy‐

houses.htm to find out more….

In print...

Annemarie Kwikkel is delighted to let us know that Dolls House and Miniature Scene have an article on her dolls in the June issue. Visit Annemarie’s website to

see more of her work

www.byannemariedolls.com

Marsha hendrick... Marsha Hendrick recently won 1st place in the Pottery Miniatures division at the 52nd Annual Heard Museum Indian Market. This is a very large and prestigious Native American market that took place March 6th and 7th. She has several Native American pottery miniature pieces left that are suitable for use in dolls houses and 1 inch to the foot scale settings. These pieces each come with a certificate of authenticity and a little bit about the original artifact they are fashioned after. They are all in the style of the ancient mound builders of the southeastern US and are from the Mississippian period.

Visit Marsha’s website to see and read more!

http://choctawart.com/pottery.php

Ian Jones Regina Passy –Yip Sandy Calderon Carmen Llorca Jacqui Perrat

Christiane Lourier David Iriarte

Marianne Colijn Anne Fisher

NEW

GRAPEVINEGRAPEVINE


Buttercup miniatures…Buttercup miniatures… Buttercup Miniatures has been featured in an article on miniature crochet web sites in the current issue of ‘Inside Crochet’ (issue 7 April/M a y 2 0 1 0 ) . Although Buttercup Miniatures has been featured in several other magazines in the past, this is the first time they have featured in a magazine dedicated to crochet.

Buttercup Miniatures


New from New from

Helena Helena

bleeker…bleeker…

This colorful lady is new from Helena Bleeker S h e i s c a l l e d Independance and would certainly brighten up any scene! See more of Helena’s

work at

www.helena‐petitefashions.co.uk

New online shop forNew online shop for

peitite properties ltd…!peitite properties ltd…!

Petite Properties Ltd are delighted to announce the official opening of their brand new online shop, which is in the process of being stocked with all their kits, books and s m a l l e r s c a l e accessories…!

Why not visit today?

www.petite‐properties.com

nancy cronin… THE NANNY June 5/10 Full Day Class. 9am‐4pm NANCY CRONIN ~ MASSACHUSETTS Assemble a painted 1" scale original sculpted caricature doll cast in resin ready for you to breathe life into. She is dressed as an attractively serene English Nanny in "veddy" proper period attire. She holds a lovely Christening dress for the special day ahead..All the materials needed to assemble and dress this lovely doll plus make the Christening dress will be in the kit.

$175 76 Andover St.,

Wilmington MA 01887

[email protected] 978.657.7806 Nancy Cronin

www.picturetrail.com/nancyc1938http://

missameliasminiatures.com

Get well soon!!Get well soon!! We were sorry to hear recently that Muriel Hopwood of Miniatura has been ill. Anyone seeing Muriel Hopwood's brief appearance at Miniatura might have quite rightly thought she didn't look very well. Subsequently Muriel was admitted to hospital and has had her gall bladder removed and is now at home recuperating.

Everyone at AIM would like to wish her well!

The town & country planner New from Ian and Krystyna at the `Town and Country Planner`, a range of finescale building products for 1/12th scale miniature buildings under the `Salvage Yard` products label. A comprehensive list of materials is under development but those items just released include, a selection of handmade clay `Rosemary` roof tiles of traditional design and still used prototypically today. Also available are the patterned varieties to compliment the plain ended tiles, these include `Arrowhead, Bullnose and Fishtail` types to create intricate designs into the rooflines. (continued overleaf)


The tiles are handmade from Terra‐cotta clay, finely detailed but easy to cut and fit.

The first of a range of ridge tiles available to compliment both clay and slate tiles, are also just released. The simple half round types will be supported by a range of Victorian patterned angled `crested` types and highly detailed `Finials` to create su‐perb realism.

Next, a range of hand split roof slates is now available in initially, four sizes to allow va‐riety and style to tra‐ditional roofs, firstly in Welsh slate to be fol‐lowed by the Cum‐brian variety.

External wall surfaces are catered for by the new realistic `Pebbledash` and `Stucco/Terylene` ren‐dering mixtures.

Internal/external floor coverings are initially provided for in the supply of both 6 and 9" Traditional Terra‐cotta clay, square floor tiles. This small range will be expanded quickly to include many patterned/shaped designs.

All the products will be supplied in various size quantities for both large and small projects. Full detailed installation instructions are supplied with each product with hints and tips to create something a little different from the average current alternatives.

Full information on the ever expanding range can be

found at www.townandcountryplanner.co.uk

Stay updated,

follow The aim blog…! If you don’t want to miss what is going on in the

miniature world ‐ check out the AIM blog today:

www.artisansinminiature.blogspot.com

Preview...

The Kensington

Dolls house festival

London

The eagerly awaited Kensington Dolls House Festival will be held on

14th 15th and 16th of May.

The following AIM members will be exhibiting;

ANN HIGH ANRO MINIATURES

ARTFORGE BELLABELLE DOLLS

CAROL COOK CEYNIX

COLIN BIRD CRUMPLED & RUMPLED

DATEMAN BOOKS DEB JACKSON DESIGNS

DOLLS BY GEORGINA RITSON DOLLS HOUSE MALL ELF MINIATURES

ELLIE DE LACY MINIATURES FIONA'S MINIATURE WORKSHOP

GALE BANTOCK The GIDDY KIPPER JILL BENNETT

JO ARTS JOSEPHINE PARNELL

K DESIGNS LE COFFIE D'EMILIE LESLEY'S GARDEN

LISA JOHNSON‐RICHARDS LITTLE HATTER MINST.COM

PETITE PROPERTIES Ltd PLATTS MINI PACKAGES

ROOMBOXES ETC SHEPHERD MINIATURES

STOKESAY WARE TEMPLEWOOD MINIATURES

WILLOW MODELS WITCH & WIZARD MINIATURES



Here are just a few of the wonderful items that will be exhibited there by our members…

peter tucker Peter Tucker makes "one of a kind" lights, furniture and room‐boxes, although he won’t be bringing any room boxes to KDF. Most of the lights are made using LEDs but Peter assembles his own set ups so the lights can be quite different. For this show he has focused on the Art Deco period, but with his own designs

in that style. The sculptures are by Neil Carter.

See more of Peter’s work at www.roomboxes.com

and roomboxes.blogspot.com

K designs K Designs is a r e g u l a r a t Kensington. The K Designs table will have a few new additions, such as a flamboyant Tu‐dor officer. Kate will also have a modern family and most of her other figures. As always, Kate is happy to discuss any particular character you have in mind.

dateman books Dateman Books have lots of new things to offer at KDF this year. Firstly they have a book that no Victorian house would be without, The Bradshaw’s Railway Guide giving time tables for trains throughout the country. An absolute MUST.

For the gentlemen’s study there is a little something to be kept on a high shelf or in a bottom drawer. The Victorian Gentle‐man`s Companion, contains a selection of Victorian Post Cards, comes in its own brown paper wrapper.

Two new Rupert Annuals 1950 (for those getting their bus pass this year) and 1966.

In the children`s ranges are four new classic stories Cinderella, Tom Thumb, Jack and the Beanstalk and Little Red Riding Hood. Each is beautifully illustrated throughout as are all the “Forever Young” series.

Finally there are some new additions to poets corner, Keats, Wordsworth and Tennyson plus the classic parlour favourite “The Green Eye of the Little Yellow Idol” and other poems by J. Milton Hayes.

Something new for everyone so visit their stand in the Centre Hall, Ground Floor.

bellabelle dolls Julie Campbell of Bellabelle Dolls is a first time exhibitor at the summer festival although she has previously exhibited at the Xmas festival. Visit her table on the lower ground floor to see her unique dolls and a wonderful fairytale display featur‐ing Jack and the Beanstalk with the Giant amongst other well known nursery rhyme and fairy tale characters.

The giddy kipper Jain Squires aka The Giddy Kipper is a regular exhibitor. This is just a small selection of the wonderful characters she will have on her table. Be sure to visit her on the lower ground floor to see more!

www.giddykipperdolls.com www.giddykipperdolls.blogspot.com

Petite Properties ltd Bea (Fiona) Broadwood of Petite Properties is really excited to be launching her brand new range of 1:24th scale Petite Properties at the Kensington Festival. Petite Properties’ new ‘Premier Collection’ dolls houses all feature stunning completed / lit interiors.

Bea will also be launching the first addition of her unique new range of 1:48th scale ‘Room Box Kits’ priced at only £9.99 each!!

The new room box kits are complimented perfectly by Petite Properties’ highly versatile new collection of quarter scale chimney breasts & fire surrounds; all of which incorporate many periods of architectural influence, from 1940s retro chic to traditional Georgian panelled elegance. Numbers are limited, so don’t miss out…!!

Come and visit the Petite Properties’ stand in the foyer area.

www.petite‐properties.com

Witches & wizard miniatures

Nikki Rowe of Witch and Wizard Miniatures will be at Kensington for the first time this spring.

Nikki makes mostly One Of A kind, and limited number s o f various items like potions, man‐drakes, hats, potion baskets, pumpkins, books, scrolls, plants, bookstands, hat stands, filled furniture tables, shelves and beds, and just about everything for a witch or wizards needs.

Pictured above is a little preview of the type of mini’s Nikki makes and below: work in progress...

Don’t Miss A Thing!

All FREE and fully downloadable at:


Fabulous FREE projects; written exclusively by

AIM members!!!

A Miniature

Celebration 0f

Summer!!!

Written by artisans Enjoyed by miniaturists...!Please Note:

The projects included in this publication are not suitable for children under the age of 14* The miniatures featured in this magazine are collectors items and therefore unsuitable for children under 14*.

All projects are undertaken at your own risk. AIM does not accept responsibility for any injury incurred. All articles and photographs used in this magazine are copyright of their authors.

The AIM magazine’s content is for private use only and it must not be reproduced in part or in full for commercial gain in any form.

Each artisan contributor is responsible for their own work / contribution to the AIM magazine and retain full responsibility for their published work.

The authors/self publishers cannot be held legally responsible for any consequences arising from following instructions, advice or information in this magazine.

*with the exception of the Mini AIMers feature which is written especially for children under 14.

COMING nEXT MONTH…


See you again next month…!

‘Aunt Anastasia’ Bea (Fiona) Broadwood

Béatrice Thierus Brian Dewar Carol Bull

Carol Lester Carol Smith

Christina Berry Colin Bird Debbe Mize Debie Lyons

Frances Powell Gary Powell

Grimdeva (Jana Rowntree)

Helena Bleeker

Jain Squires Janine Crocker

Jean Day Joy Cox

Julia & Hywel Jeffreys Julie & Brian Dewar

Julie Campbell Kathi Mendenhall

Kathy Brindle Kiva Atkinson

Linda Cummings Louise Goldsborough

Mags Cassidy Maria Teresa Espanet

Mary Williams Melanie Navarro

Montse Vives Nancy Cronin

Patricia Cabrera Pauline Everett

Regina Passy-Yip Sally Watson

Stéphanie Kilgast Teresa Thompson Tiggy Goldsmith

Tori West Vicky Guile

This issue would not have been possible without the generous contributions from the following AIM members…

Many thanks therefore go to...

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AIM Mag Issue 23 May 2010

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