I was born and raised in Brazil – Sao Paulo in the 80s. Currently I work for a major broadcast television network, as a Motion Designer. The fact that I have built a solid career as a designer over 20 years only brought benefits when I decided to venture as miniaturist, 6 years ago.
My work in miniatures began more for hobby and the challenge of wanting to recycle me as digital artist , thus being able to produce something more realistic, out of digital that is widely used today. At first there were many doubts about almost everything that was related to this universe, as measures in scale, paints, techniques and means to achieve that authenticity that I watched in the works of other artists. The lack of information at the beginning made me adapt to various techniques that fortunately leaded to new results. When you can analyse a photograph and reproduce exactly what is observed in scale… it’s fantastic.
When it comes to personal projects, my mind mixing elements and various places details or memories, but more importantly I believe it is the care to recreate a proper atmosphere of the time or location. I like to try to recreate something that had its own history and was put aside for a while. I like these styles because they have so many details when it comes to textures and colours. But when a client requests a themed diorama, I try to follow faithfully their characteristics in reproduction. Well, I’m fascinated by classic and vintage cars. As an enthusiast and collector of vintage cars and antiques along with my father that I believe to be the main source for teaching me the history and beauty of these things.
Almost all the works using miniature techniques are complex projects. When working in scale and actual measurements, it is necessary to stick to these measures. Architectural Buildings are always a challenge. Personally, I believe that the greatest difficulty is to simulate an environment which existed in the past or still exists today. The positioning of elements should be as natural as rust texture. Rust has so many variations and colours that can say how long that piece was left behind. And like almost everything is practically done by hand, I’d be lying if I told you that there is something easy to do.
The non-use of human figures in my work is something I try to avoid it. Basically, I would like to create a climate in which the viewer make their own history. Sometimes I end up including some animals but rarely. Leaving the scene cleaner without human figures I end up expanding the imagination of those who are watching, because the possibilities are numerous when it builds a story with just the scenery.
I feel extremely happy to have discovered this hobby which is a real therapy, giving me possibilities that other activities couldn’t provide.
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