Daniele interviews: Pedro Fernàndez Ramos

by Daniele "Found" Trovato

Interviews of the Sculptors Legend #2

Daniele Found interviews

 Pedro Fernàndez Ramos

Hello everyone,
this is Daniele and today I'll interview a friend of mine and a powerful and incredible talented sculptor.

Pedro is an exceptional sculptor.

In his sculptures it is possible to feel technique, expressiveness and strong passion.

In the interview, Pedro will tell us how he became a sculptor, talking about how he started and what were the steps that led him to be one of the most important sculptors currently active.

We will deal with different topics including some ideas and differences between 3D and traditional sculpture, materials for sculpting, techniques, and many inspirations, based on Pedro's experience.

Pedro, in addition to being a great artist, is a very kind, friendly and very helpful person..

The interview is in Spanish, but I translated the most important thing below

Lo siento por mi Español, soy solo un principiante y estudiante
 Sorry for my Spanish, I'm a principiant and a student :-) :-)


Me, Pedro and Pepe

The transcription


How did you start sculpting and how did you start doing this profession?
I started thanks to a father of a friend of mine, who introduced me to monumental sculpture.
At the time he asked me to sculpt ( knowing of my interest in sculpture and drawing) .

Jean Fantin
Painted by Magnus Fagerberg

Have you studied art or something like that?
No, I studied advertising graphics, but actually, I never worked on it in that sector.
When I had the opportunity to work with people who already had experience in sculpture, I accepted.
I started as an apprentice.
At the beginning I was totally inexperienced and I asked myself "where am I going"?

How many years does all this?
About 25 years ago.
And so I began to sculpt large sculptures for a Marine Museum figures such as seals, whales, dolphins etc ... etc ...

Were you already good at drawing?
Yes, I practically devoted myself only to that.
But when I started with sculpture it was beautiful, because sculpting gave me the opportunity to touch what I created and also to create real "things" from scratch.
Drawing is beautiful, but it remains a draw, you cannot turn it over, or touch it. It isn't a real figure.
And so I began to learn the rudiments of sculpture like the common way: teacher-student.

Risultato immagini per zeus pedro fernandez
And so in 4-5 years I have sculpted more and more complicated things, which however have trained me as a sculptor.

What was the most beautiful thing about that experience?
Certainly that of having learned from people who already had a lot of experience in sculpting, this was crucial for me. Especially in the sculpting's interpretation, before the technique.
I learned how structures were made and then bronze statues.

Do you still know this teacher?
Yes sure. He is a teacher who lives in a small town near Seville.

Do you have a mentor?
Definitely him. He was very good, because he also allowed me to see the sculptures from my point of view, he gave me this freedom.
He was direct when he had to be direct, and gentle when he had to be gentle.
I always wished to look at the sculptures "with my own eyes". And he allowed me to do that.

Sculpted for Origen

After what have you done?

At that point I also began to sculpt miniatures.

What was the first miniature you sculpted?
If I'm not mistaken, he was a 30mm mummified Pharaoh.
After that, I began to understand the language of the miniature, which has its own language and interpretation, different from other types of sculpture.
The thing is that a miniature is born for an audience that in turn must be able to interpret it, because the miniature must be Painted.

Red Alabama - Pedro Fernandez Works
Painted by Pepa Saavedra

Do you think it is more difficult to sculpt a small or a large sculpture?
I don't think it's a question of size.
It is an interpretation question.
In large sculptures you have a lot to think about where the sculpture will go, the environment, the light, because large sculptures are normally not Painted.
For example, a portrait in natural size, which should not be painted, is easier for me.

I would have thought that smaller is easier because a smaller sculpture "forgives" some mistakes.
Yes, but you have to think of a miniature like theater: an actor at the theater, seen by a distant spectator, he sees the actor but doesn't see the actor's face. A miniature is very similar to an actor seen from afar.
The expressiveness of the sculpture depends on the distance from which you look at it

Speaking of sculpture miniatures, do you have any sculptor you particularly like?
Definitely Simon Lee and Noe Serrano who is a modern fantasy sculptor, and hyperrealism.

Risultato immagini per pedro fernandez ramos bust
Painted by Pepa Saavedra

How many miniatures have you carved in your career?
I have no idea. Maybe 100 or something. Consider that normally I sculpt 3-4 sculptures a month.

Sometimes it happens that people see a sculpture and don't think about the process. They only see the result, without thinking that there is a lot of work and study behind it.
It always happens. Sometimes they ask me how I made certain pieces, but consider that 70-75% is always a study. Study and study. Whatever I sculpt always requires a study first.
I normally never have a clear idea of ​​what I want to do, but then it becomes clear by working on it. But everything starts from the study: study of anatomy, details, textures, etc ... etc ...

Do you draw your sculptures before you sculpt them?
No, I almost never do it. I prefer to work directly and create while I sculpt. Then maybe even the drawing but normally I work directly on it.
I am very impatient, I want to create it immediately and not draw it. Sometimes I am very confused and I don't know what to do, sometimes I am very confident and I go straight.

Risultato immagini per pedro fernandez sculpting
Sculpted for FeR
Sometimes I draw it because I need it for a presentation or for advertising

What is the preferred material for sculpting?
It really depend on what I want to do.
I use mainly Super Sculpey and Fimo Classic.
If I have to do something that I don't have to cut, I only use Super Sculpey because when you cut it, after you have baked it, it is fragile and breaks.
If instead I have to do anatomy, an animal, a bust or something like that, I mix it with 50% -50% FIMO because Fimo is more elastic and flexible.

FIMO and Sculpey have different cooking temperatures, so you need to find the right cooking point for the new mix. But with this mix you can still do everything.

Risultato immagini per the hobgoblin pedro fernandez
Painted by Alejandro Prieto for Beyond Miniatures

Have you ever carved with wax?
I did a test. But I actually like to use it to sculpt larger sculptures.
Alfonso Giraldes "Banshee" suggested that I use it, and I accepted.
I like it very much but I prefer it for bigger things.
The reality is that I have the habit of using my clay that I've used since all my life.
Wax takes me too long.
Then, like everything, it's always a matter of practice.
I use wax when I have to create a bronze sculpture with the "lost-wax" technique, but it is a technical thing that has existed for thousands of years.

So the material you use isn't the most important thing, right?
You have to think about expressing your idea, your feeling, your emotion. It can be wax, Super Sculpey or a pencil. The material must be only a means of expressing what you want to create.
If something is wrong, it is not the fault of the material you have used.

Painted by Patricia Sancho

Dangerous question: you are one of the few sculptors who hasn't yet switched to 3D.
 Do you think that a digital sculptor should be considered a sculptor or rather a "digital artist"?
Very complicated question.
You have to think of 3D as a means of sculpting, nothing more.
There are sculptors who come from the traditional and others who started directly with 3D.
The sculptor who comes from the traditional has an experience, a knowledge, a point of view, he can do everything in 3D.
Example: a sculptor who comes directly from 3D, if you ask him to sculpt a girl, he cannot do it, because he lacks a type of education that traditional sculptors have.
I had this conversation recently with Raul Garcia La Torre who now only sculpt in 3D, but he comes from the traditional.
We cannot blame the medium we use to sculpt, 3D or traditional.
Everyone has their own experience and a way to "express" this experience.
In my case I feel comfortable with the traditional one, but obviously I don't close the door to 3D.
I miss this language.

If you can sculpt in traditional, you can also do it in 3D.

Risultato immagini per pedro fernandez ramos sirena
Sculpted for Origen

Raul Garcia La Torre is a perfect example because he comes from the traditional and is a great teacher.

Sure. The only thing about 3D that I don't like is that you don't have a real piece in front of you.
If I want to give the character an expression, I personally prefer the traditional. But 3D is always a valid tool.
Many always recommend drawing before working in 3D. If you have to make mistakes, first make them drawing.

I would love to interview Raul because talking about miniatures he is perhaps a legend of miniatures.

Yes, he is one of the greatest fathers of the miniature. I met him thanks to Pepa Saavedra who I recommend talking to him. Raul is kind, friendly and has given me his points of view, and I always thank him for that.
But after that I always put mine in the things I do. But every time I talk to him he always opens my eyes. Raul always recommends me switching to 3D.
Another example is Joaquin Palacios who sculpt both traditional and 3D.
 If I had to choose, I would probably go back to monumental sculpture, applying what I have learned now with miniatures, with new materials and with new technologies.

One thing you told me is that you create a story behind each sculpture. In each sculpture you create a character, a story and contextualize it. You introduced me to Pepe Gallego, a very nice person.
How did this collaboration with Pepe start?
Pepe is a writer who has published several things.
I met him through Fran Galàn and Pepe was the meeting point of the two of us. He gave us his opinion.
One day he told me about a fictional character and I sculpted him. This thing I liked very much because the story of the character is very important. We are very aligned and we think the same way. All my sculptures have details related to the story, or what the character is doing.

Painted by Mirko Cavalloni for Aradia Miniatures

What are you working on lately?
As far as I can tell, I'm going to finish the pieces of the OZ series, and after .... actually I have a thousand ideas. You will have many projects and things even outside the world of miniature.

Final thoughts

I want to thank personally Pedro for his availability, kindness and to share his experience with us.
Thank you Pedro!


Link and resources:
- Advanced sculpting workshop with Pedro Fernandez

More Interviews?


Support NOW Massive Voodoo!
If you like to support or say thanks the monkeys of Massive Voodoo in what they do, please feel invited to drop a jungle donation in their direction via paypal or check their miniatures they got on sale here.

FIN: Catwoman

by Roman aka jar

Heyho Jungle people,

just recently I got myself some Batman Boardgames y Knight Models.
I was superhappy with the quality of the models in Resin and as a big Batman Fan myself (even starting to proper cosplay) I do enjoy these sets a lot.

I will not play them, but will once in a while paint up a figure.
This just happened with Catwoman, a very fragile sculpt and really beautiful. Based her and put a cat to her base. And yes, converted her. Removed the gun from her hand and gave her a flashlight.

Knight Models, 28 mm

This was really enjoyable.
I created her as a give away to celebrate 20K Followers via my Instagram

Check for this upload there and comment with tagging a friend to be able to take part in the raffle that will happen on Thursday, 20th of February.

Viking-Batman approved! (Told ya, Cosplay! :D)

Keep on happy painting!
Ba... Roman

Inspiration Monday

by Josua Lai

Hey Jungle!

I want to introduce a format that will take place as regularly as possible.
In every Inspiration Monday post you will find a collection of inspirational stuff collected from the whole MV Team. They may say some words about it or just drop it without any words . Expect to see and hear some pretty awesome stuff to get the creative juices flowing.


This is the archive of the International Landscape Photographer of the Year Competition. You can view photos online, and download the PDF eBooks for free. These landscape photographs might help a lot in thinking about atmosphere and the influence of different ambiences on light on miniatures. They even might help a bit in thinking about composition and balance of elements in your dioramas/vignettes/scenes.

Landscape Photographer of the year

I love his Flow in his lines  and how he creates volume with it. It inspires me to give the same Flow to my brushstrokes

Benjamin Basso

James Gurney is not only author of the incredible book color and light. He also has a YouTube channel where he shows the process behind his breath-taking gouache paintings. Watch close and learn.

I hope the links where able to inspire you folks on this Monday.

Cheers Josua 

Review: Private Coaching with Christian

by Roman aka jar

Good Morning Jungle,

... time for another teaching review. Christian was visiting me for a two day private coaching and we enjoyed two beautiful days in the MV Studio with an incredible learning curve for Christian.

Christian & me

This is what Christian has to say about his coaching session:

"After one beginner workshop and an OSL / speed painting weekend last year, Roman's private coaching was my third trip to Augsburg and my first visit to the Massive Voodoo Studio. Just visiting this incredible studio was almost worth the trip.

Roman had proposed "painting atmosphere" as the subject of our coaching and I had brought the bust "The Alchemist" by Lucas Pina to Augsburg.

The first day was a mixture of exercises to warm up, theoretical basics and starting to paint the bust. The second day was all about painting. After the first day, I had some doubts whether we would finish the bust, but according to Roman, we were right on schedule. He was right of course and at the end of the second day, I actually held my first finished bust in hands!

Both days were an intensive mixture of theory and actual painting. It was super exciting and helpful that Roman showed me how to design a painting concept from an initial idea and then gradually implement it. Equipped with this new tool in my toolbox, I now have the feeling that I can plan and start painting projects much better.

It was incredibly fascinating to get to know Roman's approach to painting and not to focus so much on details as the "perfect blend" or any technique, but to enjoy the process of painting without constant fear of making mistakes.  

Roman is simply a great teacher who shows his enthusiasm not only for painting but also for teaching and who succeeds in teaching and sharing his philosophy, great knowledge and experience as an artist in an understandable and joyful way.

Many thanks to Roman for two great days! 
I hope to be able to visit Augsburg again soon."- Christian


Christian and I enjoyed two really intense painting days together. It is really beautiful to see and feel the click moments of a student while teaching.

Christian's result

Thank you for the cool two days, Christian!
Keep on happy painting!


If you want to learn from me
in your very own private coaching session, do not hesitate to contact me for further details via

Plans for sessions in the first half of 2020 are in the making. I will be there for you and your personal growth as a painter! The first half of 2020 is filling up with private coachings and we can slowly start to plan for the second half. Just contact me!

You can find more information
about upcoming group workshops via this banner

You want to support Massive Voodoo? 
If you like to support or say thanks the monkeys of Massive Voodoo in what they do, please feel invited to drop a jungle donation in their direction via paypal or check their miniatures they got on sale here.

FIN: Seraphin la Roux

by Roman aka jar

Hello Jungle,
time for another finished model from my table:
This time "Seraphine la Roux" from Studio McVey. Unfortanetely this figure is long time out of production, but I can tell such a joy to paint even she is delicate, tiny and fragile like no other. My brain still hurts from seeing the little detail on her.

I hope you like her!

You can also find the bust up to:
This figure is in private collection.
Thank you for your support!

Keep on happy painting!
Best Wishes,

You want to support Massive Voodoo? 
If you like to support or say thanks the monkeys of Massive Voodoo in what they do, please feel invited to drop a jungle donation in their direction via paypal or check their miniatures they got on sale here.

Review: Private Coaching with Maarten

by Roman aka jar

Good Morning Jungle,
time for catching up with teaching reviews from 2019.
Maarten from the Netherlands visited me for a two day private coaching in the MV studio in December 2019. What a good time we had. Great chats, great learning curves on painting and many click moments.

Maarten & me

For me it is always important that my students find their own words on how they experienced the coaching. Maarten approached me to go a step further in his painting. He told me he was hitting a wall with his painting spirit and approach in painting recipes and not understanding the full picture on how you can approach a miniature project differently.

Maarten says:

"With turning another year older, i got a great gift from my girlfriend, a 2 day private coaching with Roman. Something i sometimes brought up, especially when the hobby didn't work out from brain to brush. 

After agreeing on the learning goals (Painting bust, painting atmosphere, focus on skin)  I went to Augsburg. 

We started with a bunch of theory and exercices. From this painting started to make sense. It can actually be understood, so great fun and a great result for me.

Roman thaught me how to paint atmosphere on a miniatures, and while doing this i got a lot of different tips and tricks to help me improve. The thing i liked in working together on learning this was the fact that while Roman is a idea catapult there was much room for mine ideas about painting this bust and other project we discussed. We paintend atmosphere e in a way that suits me.

The result on the miniature is very rewarding, totally forget we painted the second day for almost 12 hours.

After this workshop i 'm painting at home wih more confidence, i know what i'm doing, en with a lot to practice. And this practice is great fun." 

- Maarten

 Painting and learning the hours away ...

Maarten's result stunned me as a teacher ...

Thank you for the cool two days, Maarten!
Keep on happy painting!


If you want to learn from me
in your very own private coaching session, do not hesitate to contact me for further details via

Plans for sessions in the first half of 2020 are in the making. I will be there for you and your personal growth as a painter! Slowly the first half of 2020 is filling up with private coachings.

You can find more information
about upcoming group workshops via this banner

You want to support Massive Voodoo? 
If you like to support or say thanks the monkeys of Massive Voodoo in what they do, please feel invited to drop a jungle donation in their direction via paypal or check their miniatures they got on sale here.