The miniature doll making process begins with casting the figures out of porcelain slip, using production moulds. The porcelain is cleaned twice before the final kiln firing and the finished pieces are polished by hand. Remaining loyal to traditional production techniques, the dolls faces are hand painted ensuring that no two faces are the same.
Once the individual pieces of porcelain are made the doll is assembled, paying close attention to scale and proportion as this can make or break the realistic persona of a miniature character. Once the figure is assembled, the painstaking process of costuming and wigging begins, bringing the piece “to life.” At this stage each piece becomes inevitably unique.
“The costuming process begins with a period of careful research, using a variety of reference works, to ensure both realism and authenticity. Once the miniature doll’s persona is decided I can then begin selecting the correct materials to clothe him or her. I use only the finest lace and silks and am constantly on the look out for special miniature dress making fabrics.
Wig making is one of my favourite stages as it can make such a difference (just like real hair) by altering face shape to convey a particular characteristic or personality. I use man made fabrics to make the wigs and often spend hours meticulously styling and re-styling so that the hair is perfect. Finally, I craft accessories with which to add the final touches to the dolls house doll’s character; ranging from ladies fans, the essential 18th-century accessory, to the brightly flamboyant shoes of the 20th century.
Described as one of the miniature world's finest artisans by by Sadie Brown, Dolls House and Miniature Scene, Georgina Ritson began making porcelain figures for miniaturists in 2006. "During the course of just over a decade, Georgina has become one of our most highly regarded miniature doll artisans, bringing to life fascinating characters who take your breath away with their amazing detail."
Georgina is constantly asked how she "got into miniatures". She begins by describing her first dolls' house (made by her father) as: "a source of much childhood enjoyment. Other dolls’ houses followed and I began dressing miniature dolls for my own dolls’ house in 2000. Several years later I took the plunge and purchased a kiln and moulds to begin making the entire doll from scratch.”
Doll's House and Miniature Scene