Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated:
1
00:00:06,000 --> 00:00:08,000
No, this isn't the bit they used to show
2
00:00:08,000 --> 00:00:10,000
between old programs.
3
00:00:11,000 --> 00:00:13,000
It's week five. Check out my pot.
4
00:00:14,000 --> 00:00:16,000
Welcome to the Great Pottery Throw Down.
5
00:00:17,000 --> 00:00:18,000
Previously.
6
00:00:18,000 --> 00:00:20,000
It's got 20 more inches.
7
00:00:20,000 --> 00:00:23,000
It was supersize sculptures for our potters.
8
00:00:23,000 --> 00:00:26,000
Why have I just burst out into a sweat? It's ridiculous!
9
00:00:26,000 --> 00:00:27,000
Matthew scored another huge win.
10
00:00:28,000 --> 00:00:31,000
Well done Matthew, second week in a row.
11
00:00:31,000 --> 00:00:33,000
While Sandra's piece failed to measure up.
12
00:00:33,000 --> 00:00:35,000
Oh, no!
13
00:00:36,000 --> 00:00:38,000
And she had to leave the pottery.
14
00:00:38,000 --> 00:00:41,000
Now, our judges, ceramic artist Kate Malone,
15
00:00:41,000 --> 00:00:44,000
and master potter Keith Brymer Jones,
16
00:00:44,000 --> 00:00:46,000
have set three more challenges.
17
00:00:46,000 --> 00:00:48,000
I don't know what I'm doing with it at all.
18
00:00:48,000 --> 00:00:51,000
Including most delicate build so far.
19
00:00:53,000 --> 00:00:54,000
Did that make you jump, Sara?
20
00:00:54,000 --> 00:00:56,000
A bone china chandelier.
21
00:00:59,000 --> 00:01:01,000
A mesmerizing spot test.
22
00:01:01,000 --> 00:01:04,000
I were going under there. I was gonna be your command.
23
00:01:04,000 --> 00:01:07,000
And a throw down that refuses to play ball.
24
00:01:07,000 --> 00:01:09,000
Don't tickle it. You're the boss.
25
00:01:09,000 --> 00:01:12,000
Oh no!
26
00:01:44,000 --> 00:01:46,000
I think there are
27
00:01:46,000 --> 00:01:47,000
a few people who really, really wants to do well
28
00:01:47,000 --> 00:01:49,000
and can get through to the final.
29
00:01:49,000 --> 00:01:51,000
I think everybody's gonna raise their game today.
30
00:01:51,000 --> 00:01:53,000
I think we're all sort of ecstatic
31
00:01:53,000 --> 00:01:54,000
to be here at the moment.
32
00:01:54,000 --> 00:01:56,000
I can't wait to get on with the day.
33
00:01:56,000 --> 00:02:01,000
I made it to the semifinals. Miracles do happen!
34
00:02:01,000 --> 00:02:02,000
Feel really excited,
35
00:02:02,000 --> 00:02:04,000
but nerve wracking 'cause I know the judges
36
00:02:05,000 --> 00:02:08,000
are stepping up their critique. They don't take any prisoners.
37
00:02:08,000 --> 00:02:10,000
And I can sense the tension in everyone.
38
00:02:10,000 --> 00:02:13,000
There's not anyone here that doesn't want to go all the way.
39
00:02:13,000 --> 00:02:16,000
It's the semifinal of the Great Pottery Throw Down.
40
00:02:16,000 --> 00:02:18,000
- Banished to the back. -Yes.
41
00:02:18,000 --> 00:02:20,000
Just five potters remain,
42
00:02:20,000 --> 00:02:23,000
but only four can make it through to the final.
43
00:02:24,000 --> 00:02:26,000
Well, good morning, potters.
44
00:02:26,000 --> 00:02:27,000
- Morning! -And here we are
45
00:02:27,000 --> 00:02:30,000
a brand new day in the pottery, and may I begin by saying
46
00:02:31,000 --> 00:02:33,000
a huge congratulations to you guys?
47
00:02:33,000 --> 00:02:35,000
You have reached the semifinal.
48
00:02:35,000 --> 00:02:37,000
All that stands between you and the winner's trophy though,
49
00:02:37,000 --> 00:02:40,000
is some pesky little tasks we're gonna make you do,
50
00:02:40,000 --> 00:02:43,000
the first of which is the main make,
51
00:02:43,000 --> 00:02:44,000
and Keith and Kate are really hoping
52
00:02:44,000 --> 00:02:47,000
that your creativity and your skills
53
00:02:47,000 --> 00:02:51,000
are gonna shine through with this one.
54
00:02:51,000 --> 00:02:54,000
And here to enlighten us with more details are the judges.
55
00:02:54,000 --> 00:02:59,000
We want you to produce a fine bone china chandelier.
56
00:03:01,000 --> 00:03:04,000
You're gonna be using fine bone china slip,
57
00:03:04,000 --> 00:03:07,000
and this has two beautiful qualities.
58
00:03:08,000 --> 00:03:12,000
It fires very white, and it's also translucent.
59
00:03:12,000 --> 00:03:15,000
We want you to slip cast.
60
00:03:15,000 --> 00:03:18,000
Now slip casting is a process where you pour
61
00:03:18,000 --> 00:03:23,000
liquid clay, slip, into a mold to create shapes or objects.
62
00:03:24,000 --> 00:03:28,000
Use your imagination, be adventurous and experiment.
63
00:03:28,000 --> 00:03:31,000
You have five hours to create and cast
64
00:03:31,000 --> 00:03:32,000
your chandelier pieces.
65
00:03:32,000 --> 00:03:34,000
Your time starts now.
66
00:03:34,000 --> 00:03:39,000
It'll take five long days to create a stunning chandelier.
67
00:03:39,000 --> 00:03:40,000
And if that isn't formidable enough,
68
00:03:41,000 --> 00:03:42,000
making it out of bone china
69
00:03:42,000 --> 00:03:45,000
makes it the toughest main make yet.
70
00:03:45,000 --> 00:03:46,000
First of all,
71
00:03:47,000 --> 00:03:50,000
they'll have to pour the bone china slip into plaster molds
72
00:03:50,000 --> 00:03:54,000
where it's left to harden into a thin wall of clay.
73
00:03:54,000 --> 00:03:57,000
The excess slip is tipped out, the molder cracked open,
74
00:03:57,000 --> 00:04:01,000
and then the thin wall of clay inside can be cut and shaped.
75
00:04:02,000 --> 00:04:06,000
These pieces are then dried and fired for 24 hours.
76
00:04:06,000 --> 00:04:08,000
They then need to be finessed, carefully hung,
77
00:04:08,000 --> 00:04:10,000
and the finished chandeliers
78
00:04:10,000 --> 00:04:12,000
will be judged by Kate and Keith.
79
00:04:12,000 --> 00:04:14,000
Look at these wonderful pieces here.
80
00:04:14,000 --> 00:04:17,000
This is what we really want to see, isn't it? Fine china.
81
00:04:17,000 --> 00:04:20,000
It's not like any other clay that they'll be using
82
00:04:20,000 --> 00:04:21,000
throughout these challenges.
83
00:04:22,000 --> 00:04:23,000
I mean, it's so extraordinary isn't it?
84
00:04:23,000 --> 00:04:25,000
Clay can be brick clay that we live in, our houses,
85
00:04:25,000 --> 00:04:27,000
and then it can be this. I mean the sound.
86
00:04:28,000 --> 00:04:30,000
I mean, it's as almost glass actually.
87
00:04:30,000 --> 00:04:31,000
It's sort of relatives of glass, isn't it?
88
00:04:31,000 --> 00:04:33,000
We really want to see them use
89
00:04:33,000 --> 00:04:34,000
the wonderful quality that this clay gives,
90
00:04:35,000 --> 00:04:37,000
which is, obviously, the translucency.
91
00:04:37,000 --> 00:04:39,000
So, if they use the clay at the correct thickness
92
00:04:40,000 --> 00:04:42,000
we're going to see the light coming through.
93
00:04:42,000 --> 00:04:44,000
The first time we're gonna see them casting,
94
00:04:44,000 --> 00:04:47,000
and not only casting but casting fine china.
95
00:04:47,000 --> 00:04:50,000
We really want to see them use the character of the material.
96
00:04:51,000 --> 00:04:53,000
That's what's so exciting about this challenge.
97
00:04:55,000 --> 00:04:58,000
The potters can choose from four shapes of mold.
98
00:04:58,000 --> 00:05:02,000
My chandelier shape is based on jellyfish and seaweed.
99
00:05:02,000 --> 00:05:07,000
I've gone for a cone, circular cylinder and two spheres,
100
00:05:07,000 --> 00:05:10,000
which apparently was a bit of a crazy idea
101
00:05:12,000 --> 00:05:13,000
because they're quite difficult to cast,
102
00:05:13,000 --> 00:05:14,000
but I like the shape.
103
00:05:15,000 --> 00:05:18,000
I'm aiming for using just one cylindrical shape,
104
00:05:18,000 --> 00:05:22,000
but modifying with a play on circles and a play on cylinders.
105
00:05:22,000 --> 00:05:25,000
Well, the inspiration comes from sort of a church organ.
106
00:05:25,000 --> 00:05:27,000
I can't even get the lid of the slip open,
107
00:05:27,000 --> 00:05:29,000
so I'm probably not gonna do very well in this.
108
00:05:32,000 --> 00:05:35,000
These two molds here are square section tubes if you like,
109
00:05:35,000 --> 00:05:39,000
I'm gonna use each face to cut
out some very long leaf designs.
110
00:05:40,000 --> 00:05:41,000
And the idea is
111
00:05:41,000 --> 00:05:43,000
I'm gonna try and make it as spiky as possible.
112
00:05:43,000 --> 00:05:45,000
I've got three cylinders and one cone,
113
00:05:45,000 --> 00:05:48,000
but I'm hoping to get three or four feathers
114
00:05:48,000 --> 00:05:51,000
out of each cylinder and perhaps, you know,
115
00:05:51,000 --> 00:05:52,000
twist them and really use that
116
00:05:52,000 --> 00:05:55,000
warping that fine bone china does apparently.
117
00:05:56,000 --> 00:05:57,000
We're at the semifinals and we're
118
00:05:57,000 --> 00:05:59,000
using something very difficult.
119
00:05:59,000 --> 00:06:01,000
I kind of want like a quilt kind of effect.
120
00:06:01,000 --> 00:06:04,000
Once I've got them, I'm going to cut them in half,
121
00:06:04,000 --> 00:06:06,000
and then I'm going to sort of push into them
122
00:06:06,000 --> 00:06:08,000
and just distort them.
123
00:06:08,000 --> 00:06:10,000
I've never done this. I never dreamt of doing this.
124
00:06:11,000 --> 00:06:12,000
I've never wanted to do this.
125
00:06:12,000 --> 00:06:15,000
So, yeah, this is very new and quite frightening.
126
00:06:17,000 --> 00:06:18,000
Tom's not the only novice.
127
00:06:18,000 --> 00:06:20,000
In fact, none of the potters
128
00:06:20,000 --> 00:06:23,000
have slip cast with bone china before.
129
00:06:23,000 --> 00:06:26,000
Nobody touches bone china.
130
00:06:26,000 --> 00:06:28,000
it's kind of a nemesis for potters,
131
00:06:28,000 --> 00:06:31,000
it's the monster in the castle.
132
00:06:37,000 --> 00:06:38,000
The first stage of the process
133
00:06:38,000 --> 00:06:41,000
is filling the molds with slip.
134
00:06:41,000 --> 00:06:44,000
Casting slip is a liquid form of clay
135
00:06:44,000 --> 00:06:47,000
which you pour into plaster molds.
136
00:06:50,000 --> 00:06:53,000
When the slip touches the plaster
137
00:06:53,000 --> 00:06:56,000
it starts drawing the water out of the slip.
138
00:06:56,000 --> 00:07:00,000
And that starts forming a skin on the surface of the plaster.
139
00:07:01,000 --> 00:07:03,000
How long they leave the slip inside the mold
140
00:07:03,000 --> 00:07:05,000
will determine the thickness of the cast.
141
00:07:06,000 --> 00:07:09,000
The potters want to make the thinnest pieces possible
142
00:07:09,000 --> 00:07:12,000
so their chandelier will be delicate and translucent.
143
00:07:14,000 --> 00:07:17,000
Timing is crucial here.
144
00:07:17,000 --> 00:07:19,000
Leave the slip in the mold for too long
145
00:07:19,000 --> 00:07:21,000
and the pieces will be too thick.
146
00:07:22,000 --> 00:07:23,000
But remove them too soon.
147
00:07:24,000 --> 00:07:26,000
And they'll be too fragile to work with.
148
00:07:28,000 --> 00:07:31,000
It's important to pour it all in one go because otherwise,
149
00:07:31,000 --> 00:07:34,000
if you only pour half of it then the plaster mold's
150
00:07:34,000 --> 00:07:37,000
gonna suck moisture out of that half,
151
00:07:37,000 --> 00:07:39,000
and then when you continue to pour it,
152
00:07:39,000 --> 00:07:42,000
the thicknesses of the walls are gonna be different.
153
00:07:42,000 --> 00:07:47,000
You've got to try and pour quite
gently and quite evenly, really.
154
00:07:47,000 --> 00:07:50,000
But unfortunately, I'm not feeling brave enough
155
00:07:50,000 --> 00:07:53,000
just to handle the whole bucket.
156
00:07:53,000 --> 00:07:56,000
So, I'm just gonna try and do it gently with this.
157
00:07:58,000 --> 00:08:00,000
That was a bit messy.
158
00:08:02,000 --> 00:08:05,000
I want them quite thin as well for the translucency
159
00:08:05,000 --> 00:08:08,000
so that you do get light, some light just shining through it.
160
00:08:08,000 --> 00:08:10,000
So I think, because otherwise,
161
00:08:10,000 --> 00:08:12,000
there's no point in using bone china.
162
00:08:12,000 --> 00:08:14,000
And I think that for what I want to achieve,
163
00:08:15,000 --> 00:08:16,000
it should be just over three minutes.
164
00:08:19,000 --> 00:08:21,000
The period of time that I'm allowing
165
00:08:21,000 --> 00:08:24,000
the clay to soak into the mold is five minutes.
166
00:08:25,000 --> 00:08:27,000
It's very important they end up with, essentially,
167
00:08:27,000 --> 00:08:29,000
a creme egg inside your mold.
168
00:08:29,000 --> 00:08:30,000
You end up with the chocolate
169
00:08:30,000 --> 00:08:32,000
is the part you're going to keep.
170
00:08:32,000 --> 00:08:37,000
It's a thin film of dryer clay on the inside of the mold.
171
00:08:37,000 --> 00:08:41,000
And then the liquid in the center you're going to pour out.
172
00:08:41,000 --> 00:08:42,000
That's the excess.
173
00:08:44,000 --> 00:08:47,000
Just emptying the excess slip out of the molds,
174
00:08:47,000 --> 00:08:50,000
but you have to try and sort of twist the mold.
175
00:08:52,000 --> 00:08:55,000
According to what I've seen on the internet.
176
00:08:55,000 --> 00:08:57,000
And now we just to leave them to dry in there.
177
00:08:59,000 --> 00:09:01,000
After the potters have poured out the excess,
178
00:09:01,000 --> 00:09:03,000
how long they leave the remaining clay in the mold
179
00:09:04,000 --> 00:09:07,000
will dictate how hard the cast becomes.
180
00:09:07,000 --> 00:09:08,000
We need to catch it at the time where it's still malleable
181
00:09:08,000 --> 00:09:12,000
to be able to twist and cut, and make your shapes from it.
182
00:09:13,000 --> 00:09:16,000
But not so soft that when you break open the mold,
183
00:09:16,000 --> 00:09:18,000
it just completely collapses. So, it's quite a fine balance.
184
00:09:20,000 --> 00:09:23,000
Right, what's next after we've poured it out?
185
00:09:23,000 --> 00:09:25,000
Wait for it to dry!
186
00:09:25,000 --> 00:09:26,000
Matt, what are you doing?
187
00:09:26,000 --> 00:09:29,000
He's got a knife and stuff going on.
188
00:09:35,000 --> 00:09:37,000
They put me in front of the room so I can't copy.
189
00:09:37,000 --> 00:09:39,000
I need to be looking at everyone else,
190
00:09:39,000 --> 00:09:41,000
seeing what they're doing. Jim, look at him.
191
00:09:43,000 --> 00:09:44,000
He's all right, Jack.
192
00:09:45,000 --> 00:09:47,000
Sure, I look relaxed now 'cause
193
00:09:47,000 --> 00:09:48,000
I'm waiting for these to dry out.
194
00:09:48,000 --> 00:09:52,000
And once they're out gotta set up the casting for the next lot,
195
00:09:52,000 --> 00:09:54,000
so you're doing that at the same time as you're making,
196
00:09:54,000 --> 00:09:57,000
and then hopefully you get this little routine in place
197
00:09:57,000 --> 00:10:00,000
to create as much stuff as you can, actually,
198
00:10:00,000 --> 00:10:03,000
This particular process really transformed pottery
199
00:10:03,000 --> 00:10:06,000
into a real ceramics industry.
200
00:10:06,000 --> 00:10:08,000
Because once you've got the mold,
201
00:10:08,000 --> 00:10:10,000
you can make as many of them as you want.
202
00:10:10,000 --> 00:10:12,000
So you can just repeat the process again,
203
00:10:12,000 --> 00:10:14,000
and again, and again and produce thousands of things?
204
00:10:14,000 --> 00:10:17,000
Of the identical same shape.
205
00:10:19,000 --> 00:10:21,000
In the 18th century,
206
00:10:21,000 --> 00:10:24,000
the finest tableware was made from Chinese porcelain,
207
00:10:24,000 --> 00:10:28,000
but importing plates and bowls from China was expensive.
208
00:10:28,000 --> 00:10:33,000
In 1748, in his quest to produce English porcelain,
209
00:10:33,000 --> 00:10:36,000
Thomas Fry started adding cattle bone ash
210
00:10:36,000 --> 00:10:40,000
to a clay found in Cornwall and bone china was born.
211
00:10:41,000 --> 00:10:45,000
40 years later, the recipe was perfected by Josiah Spode,
212
00:10:45,000 --> 00:10:48,000
and his white, light and strong alternative to porcelain
213
00:10:48,000 --> 00:10:51,000
became a huge success and was produced
214
00:10:51,000 --> 00:10:55,000
almost exclusively in the UK for the next 200 years.
215
00:10:55,000 --> 00:10:58,000
Today, having gone full circle,
216
00:10:58,000 --> 00:11:02,000
the world's biggest producer of bone china is China.
217
00:11:08,000 --> 00:11:10,000
The potter's first casts have no firmed up enough
218
00:11:10,000 --> 00:11:12,000
to be removed from their molds.
219
00:11:13,000 --> 00:11:15,000
Yeah, I'm fettling, apparently.
220
00:11:15,000 --> 00:11:18,000
That's a great word, actually, fettle. To fettle.
221
00:11:19,000 --> 00:11:21,000
They must work fast to cut them into shapes
222
00:11:21,000 --> 00:11:24,000
before the clay becomes too hard.
223
00:11:26,000 --> 00:11:28,000
Well, I've taken the first one apart.
224
00:11:29,000 --> 00:11:31,000
This is just a little bit thin.
225
00:11:31,000 --> 00:11:32,000
So it's a bit of a learning process.
226
00:11:32,000 --> 00:11:34,000
But they are still a bit sticky.
227
00:11:34,000 --> 00:11:35,000
I should have left this in a little bit longer,
228
00:11:35,000 --> 00:11:38,000
but I actually want them to be flexible to actually use.
229
00:11:39,000 --> 00:11:42,000
So what's the key to getting this slip casting in spot on?
230
00:11:42,000 --> 00:11:45,000
Well, the key to the whole task, for me,
231
00:11:45,000 --> 00:11:47,000
is all about time and motion.
232
00:11:47,000 --> 00:11:49,000
It's getting those molds working.
233
00:11:49,000 --> 00:11:51,000
It's getting them out, getting more,
234
00:11:51,000 --> 00:11:53,000
more slip in them and a continual process
235
00:11:53,000 --> 00:11:55,000
to maybe build up your chandelier.
236
00:11:55,000 --> 00:11:58,000
There's a lovely rhythm, really to filling the mold,
237
00:11:58,000 --> 00:12:00,000
emptying them, filling them, emptying, cutting,
238
00:12:00,000 --> 00:12:02,000
but you know, the sense of repetition and rhythm
239
00:12:02,000 --> 00:12:04,000
is a lovely thing to do.
240
00:12:04,000 --> 00:12:07,000
I'm staggering, the casting,
241
00:12:07,000 --> 00:12:10,000
'cause while I'm fiddling with this, the others are casting.
242
00:12:10,000 --> 00:12:12,000
And if you do them all at once
243
00:12:12,000 --> 00:12:13,000
then you've got to deal with them all at once,
244
00:12:13,000 --> 00:12:15,000
and by the time I've emptied this one,
245
00:12:15,000 --> 00:12:16,000
gone back to that one,
246
00:12:16,000 --> 00:12:18,000
then these are too thick, you see what I mean?
247
00:12:18,000 --> 00:12:22,000
So it's kind of a, there's a plan of action there.
248
00:12:25,000 --> 00:12:26,000
Three hours remaining.
249
00:12:29,000 --> 00:12:31,000
The potters must use the brief time they have
250
00:12:31,000 --> 00:12:35,000
between refilling their molds and casting to cut their shapes.
251
00:12:36,000 --> 00:12:40,000
Matthew's advantage is that he's only producing one shape,
252
00:12:40,000 --> 00:12:42,000
but he still needs a lot of them.
253
00:12:42,000 --> 00:12:44,000
These are the first ones.
254
00:12:44,000 --> 00:12:47,000
And these are starting to become leather hard now.
255
00:12:48,000 --> 00:12:52,000
Just in the tops here, just put a small hole on each side
256
00:12:52,000 --> 00:12:54,000
and then some wire will go through
257
00:12:54,000 --> 00:12:55,000
then they'll all hang down.
258
00:12:56,000 --> 00:12:58,000
These are the feathers that are gonna form the chandelier,
259
00:12:59,000 --> 00:13:02,000
but I need so many of them to make it work.
260
00:13:02,000 --> 00:13:03,000
But I'm trying to get some feather detail on them
261
00:13:03,000 --> 00:13:04,000
before they harden up too much,
262
00:13:04,000 --> 00:13:06,000
'cause I don't want them looking like leaves.
263
00:13:06,000 --> 00:13:08,000
They've just definitely got to like feathers.
264
00:13:08,000 --> 00:13:11,000
You got a really short windo of opportunity to work with this.
265
00:13:11,000 --> 00:13:13,000
'Cause it's ever so thin is ever so soft
266
00:13:13,000 --> 00:13:15,000
and it dries out really fast.
267
00:13:15,000 --> 00:13:17,000
And if you want to play with it,
268
00:13:17,000 --> 00:13:20,000
you've gotta play with it at the right moment,
269
00:13:20,000 --> 00:13:21,000
otherwise you lose that opportunity.
270
00:13:27,000 --> 00:13:28,000
That was fun.
271
00:13:28,000 --> 00:13:30,000
Potters, you're halfway through your time,
272
00:13:30,000 --> 00:13:32,000
two and a half hours left.
273
00:13:33,000 --> 00:13:34,000
You finished yet, Matt?
274
00:13:34,000 --> 00:13:37,000
Even Matt's broken into a sweat for this one.
275
00:13:37,000 --> 00:13:40,000
I just, I just need to relax a little bit.
276
00:13:40,000 --> 00:13:42,000
That's what I need to do. Take a coffee break.
277
00:13:42,000 --> 00:13:44,000
Relax a bit? You'll go to sleep mate, honestly.
278
00:13:44,000 --> 00:13:47,000
Despite casting and finessing over 20 pieces,
279
00:13:47,000 --> 00:13:50,000
Matthew's now had a change of plan.
280
00:13:50,000 --> 00:13:52,000
It's taken me til literally these three
281
00:13:52,000 --> 00:13:55,000
to understand the best way to work with it.
282
00:13:55,000 --> 00:13:58,000
And I think if I work with it when it's still in a cylinder,
283
00:13:58,000 --> 00:14:00,000
'cause I started chopping them up at first-
284
00:14:00,000 --> 00:14:01,000
And then working on them then?
285
00:14:01,000 --> 00:14:04,000
Yeah, this way it kind of keeps it strength
286
00:14:04,000 --> 00:14:05,000
and I can wiggle that into it.
287
00:14:05,000 --> 00:14:08,000
And it creates some nice curves,
288
00:14:08,000 --> 00:14:09,000
and where the cracks are as well,
289
00:14:09,000 --> 00:14:11,000
I'm hoping, you know, you get some light just shining through.
290
00:14:11,000 --> 00:14:12,000
Absolutely.
291
00:14:12,000 --> 00:14:15,000
It will be a fine line between cracks and falling apart,
292
00:14:15,000 --> 00:14:17,000
and light and no light, so. -Yes, yes it will, yeah.
293
00:14:22,000 --> 00:14:24,000
- If it gets too hard, the clay, then it's,
294
00:14:24,000 --> 00:14:27,000
I'm just trying to do it and it just splits it,
295
00:14:27,000 --> 00:14:29,000
which is a little bit tiresome.
296
00:14:30,000 --> 00:14:32,000
How are you finding this process?
297
00:14:33,000 --> 00:14:34,000
I have to be honest,
298
00:14:34,000 --> 00:14:36,000
I was absolutely dreading it this morning,
299
00:14:36,000 --> 00:14:37,000
but actually wants to go into it.
300
00:14:37,000 --> 00:14:39,000
I don't want to tempt fate too much,
301
00:14:39,000 --> 00:14:44,000
but it's not as hideous as I anticipated it was going to be.
302
00:14:45,000 --> 00:14:47,000
And as you were marking the surfaces with the shell,
303
00:14:47,000 --> 00:14:49,000
you're now scratching a pattern
and you're hoping that pattern
304
00:14:49,000 --> 00:14:52,000
will show more light through it?
305
00:14:52,000 --> 00:14:53,000
Exactly that.
306
00:14:57,000 --> 00:14:59,000
With just over an hour to go,
307
00:14:59,000 --> 00:15:02,000
Tom's having second thoughts about his organ design.
308
00:15:03,000 --> 00:15:05,000
I'm probably gonna shelve that idea
309
00:15:05,000 --> 00:15:07,000
and move on to having some more disks hanging down.
310
00:15:07,000 --> 00:15:09,000
I'm just worried it's gonna look like a
311
00:15:09,000 --> 00:15:11,000
sort of a kid's mobile or a wind chime or something
312
00:15:11,000 --> 00:15:14,000
rather than a chandelier, but-
313
00:15:17,000 --> 00:15:20,000
Try and get a circular cut.
314
00:15:20,000 --> 00:15:23,000
That what I want to do?
315
00:15:23,000 --> 00:15:25,000
It's probably gonna fail. But, let's do it again.
316
00:15:25,000 --> 00:15:29,000
This is not gonna work. It's a waste of a whole piece.
317
00:15:29,000 --> 00:15:33,000
I was trying to be clever. I know it's a forlorn hope.
318
00:15:34,000 --> 00:15:36,000
The air of positivity in the air.
319
00:15:38,000 --> 00:15:41,000
Oh, it's just awful. Yeek! Go with it.
320
00:15:43,000 --> 00:15:45,000
And the thing with this task as well is there's no,
321
00:15:45,000 --> 00:15:47,000
there's no decorating, there's no glazing.
322
00:15:47,000 --> 00:15:49,000
There's no color, no pattern.
323
00:15:49,000 --> 00:15:52,000
It's all done in the shapes we make today.
324
00:15:53,000 --> 00:15:55,000
Apart, oh, there you go.
325
00:15:56,000 --> 00:15:57,000
Next.
326
00:15:57,000 --> 00:16:01,000
♪ Bend it, bend it, just a little bit ♪
327
00:16:01,000 --> 00:16:06,000
♪ And take it easy, show you're likin' it ♪
328
00:16:06,000 --> 00:16:09,000
It's behaving badly.
329
00:16:09,000 --> 00:16:11,000
You obviously can't maneuver this clay too much
330
00:16:11,000 --> 00:16:16,000
when it's damp because it becomes very jelly like.
331
00:16:16,000 --> 00:16:18,000
It's been cast, and that should be kind of drying off now,
332
00:16:18,000 --> 00:16:19,000
but it doesn't want to.
333
00:16:19,000 --> 00:16:21,000
I think I'm gonna stop playing with this one,
334
00:16:22,000 --> 00:16:23,000
I think I'm wasting a lot of time.
335
00:16:23,000 --> 00:16:26,000
Oh, it looks like a goose down pillow has exploded.
336
00:16:26,000 --> 00:16:28,000
I know, remnants of a pillow fight.
337
00:16:28,000 --> 00:16:31,000
Beautiful feathers everywhere.
338
00:16:31,000 --> 00:16:33,000
I was gonna be casting when I did this bit,
339
00:16:33,000 --> 00:16:36,000
but, if I don't catch this quickly enough, it doesn't work.
340
00:16:36,000 --> 00:16:37,000
They will just dry out and crumble.
341
00:16:37,000 --> 00:16:39,000
Well, they look a bit like insoles,
342
00:16:39,000 --> 00:16:41,000
I mean, I know that's not the plan.
343
00:16:42,000 --> 00:16:43,000
- That's not helping. -Amazing.
344
00:16:43,000 --> 00:16:45,000
They're beautiful feathers, so,
345
00:16:45,000 --> 00:16:46,000
I'm just gonna let you, I'm sorry.
346
00:16:46,000 --> 00:16:48,000
Insoles. Oh man.
347
00:16:51,000 --> 00:16:52,000
Before firing,
348
00:16:53,000 --> 00:16:54,000
the potters need to pack their pieces
349
00:16:55,000 --> 00:16:57,000
in aluminium oxide or alumina,
350
00:16:57,000 --> 00:17:00,000
as bone china can warp and become sticky
351
00:17:00,000 --> 00:17:04,000
at temperatures of over 1,200 degrees C.
352
00:17:04,000 --> 00:17:07,000
Alumina has a very high melting point,
353
00:17:07,000 --> 00:17:09,000
which is over 2,000 degrees.
354
00:17:09,000 --> 00:17:11,000
So you can use it in conjunction
355
00:17:11,000 --> 00:17:13,000
with your firing your bone china,
356
00:17:13,000 --> 00:17:16,000
because it's not going to melt or flux or become hard.
357
00:17:16,000 --> 00:17:23,000
It can be used in quantities to support a free flowing shape.
358
00:17:23,000 --> 00:17:26,000
If it wasn't there then the bone china
359
00:17:26,000 --> 00:17:30,000
would probably just collapse on itself.
360
00:17:30,000 --> 00:17:32,000
The alumina prevents the clay from sticking.
361
00:17:32,000 --> 00:17:35,000
So it's the best stuff to put between your pot and the shelf.
362
00:17:36,000 --> 00:17:38,000
Think about these disks that you're doing.
363
00:17:39,000 --> 00:17:40,000
Think about how you're gonna stack them
364
00:17:40,000 --> 00:17:43,000
with the alumina in between them, okay?
365
00:17:44,000 --> 00:17:45,000
Right.
366
00:17:47,000 --> 00:17:48,000
All right?
367
00:17:48,000 --> 00:17:50,000
I don't know what I'm doing with it at all.
368
00:17:50,000 --> 00:17:53,000
- So I'm doing, yeah. -Just think alumina.
369
00:17:53,000 --> 00:17:54,000
Just always think alumina.
370
00:17:56,000 --> 00:18:00,000
Also I would put a bit more alumina on the shelf.
371
00:18:00,000 --> 00:18:05,000
You cannot underestimate the
way this stuff is fluid in the kiln.
372
00:18:05,000 --> 00:18:07,000
Oh, I can. -Yeah.
373
00:18:07,000 --> 00:18:09,000
We'll let you get on Tom.
374
00:18:10,000 --> 00:18:13,000
He's so intense when he works isn't he?
375
00:18:13,000 --> 00:18:15,000
I don't like to see him getting so uptight.
376
00:18:15,000 --> 00:18:17,000
Well, you haven't see me work, have you?
377
00:18:17,000 --> 00:18:19,000
Yeah, I'm a bit the same really.
378
00:18:19,000 --> 00:18:20,000
- Oh, yes? -You have to give yourself
379
00:18:21,000 --> 00:18:23,000
a bit of a hard time to get the best out of yourself.
380
00:18:23,000 --> 00:18:25,000
No one else is going to give you a hard time.
381
00:18:25,000 --> 00:18:28,000
Oh I don't know.
382
00:18:28,000 --> 00:18:30,000
Guys, the alumina. If you just pile it up
383
00:18:30,000 --> 00:18:32,000
To support it, support the shape.
384
00:18:32,000 --> 00:18:35,000
- Are you gonna do that, Matt? -What, the alumina?
385
00:18:35,000 --> 00:18:38,000
Matt's won't slump 'cause their Matt's.
386
00:18:39,000 --> 00:18:40,000
My porcelain's perfect.
387
00:18:40,000 --> 00:18:43,000
You're a star potter, it doesn't happen to you.
388
00:18:57,000 --> 00:18:59,000
Jane's design is made up of
389
00:18:59,000 --> 00:19:03,000
strands of hanging seaweed, and she's come up with a plan
390
00:19:03,000 --> 00:19:06,000
to make them look as authentic as they would in the sea.
391
00:19:06,000 --> 00:19:08,000
The materials completely bonkers.
392
00:19:08,000 --> 00:19:11,000
So, it's just drying so quickly
393
00:19:11,000 --> 00:19:14,000
that I'm not getting the curve I was sort of hoping for.
394
00:19:14,000 --> 00:19:16,000
And it's, ooh, you see, it's so difficult.
395
00:19:16,000 --> 00:19:19,000
Whoop, they're so fragile.
396
00:19:19,000 --> 00:19:22,000
So I've sort of, undulated the alumina.
397
00:19:22,000 --> 00:19:24,000
I've just put really loads on.
398
00:19:25,000 --> 00:19:26,000
And then I've used a rolling pin
399
00:19:26,000 --> 00:19:29,000
to create contours on the surface.
400
00:19:29,000 --> 00:19:32,000
And then I'm hoping as the,
401
00:19:32,000 --> 00:19:34,000
as the clay sort of becomes
402
00:19:35,000 --> 00:19:36,000
more malleable in the heat of the kiln,
403
00:19:37,000 --> 00:19:39,000
it'll sort of follow those contours.
404
00:19:39,000 --> 00:19:41,000
When it's in the kiln,
405
00:19:41,000 --> 00:19:44,000
it's probably going to warp a bit more and change and alter,
406
00:19:44,000 --> 00:19:47,000
but you know, that's down to the kiln gods really.
407
00:19:47,000 --> 00:19:51,000
As well as the inherent fragility of bone china,
408
00:19:51,000 --> 00:19:53,000
the alterations Matthew has applied
409
00:19:53,000 --> 00:19:55,000
could create further problems in the kiln.
410
00:19:56,000 --> 00:19:58,000
The only concern is like the cracks developing,
411
00:19:58,000 --> 00:20:00,000
which could happen.
412
00:20:00,000 --> 00:20:03,000
I think ceramics prepares you for disappointment, you know?
413
00:20:03,000 --> 00:20:05,000
Yeah.
414
00:20:06,000 --> 00:20:08,000
I'm doing the final cast now,
415
00:20:08,000 --> 00:20:09,000
but they've only be drying for 10 minutes.
416
00:20:10,000 --> 00:20:11,000
I thought I could get away with that one
417
00:20:11,000 --> 00:20:12,000
a bit sooner then I can.
418
00:20:13,000 --> 00:20:14,000
Just have to wait.
419
00:20:14,000 --> 00:20:16,000
Oh, just about top open this.
420
00:20:16,000 --> 00:20:18,000
Oh good. You're gonna crack, what's it called, crack a?
421
00:20:18,000 --> 00:20:20,000
- Crack a mold, mold. -Crack a mold.
422
00:20:23,000 --> 00:20:24,000
That make you jump Sara?
423
00:20:25,000 --> 00:20:26,000
It's always exciting with you, Jim.
424
00:20:29,000 --> 00:20:30,000
Ladies and gentlemen, five minutes left,
425
00:20:31,000 --> 00:20:32,000
if you wanna get your chandelier pieces
426
00:20:32,000 --> 00:20:33,000
in the drying room please?
427
00:20:33,000 --> 00:20:36,000
- Just gotta keep going. -I'm sweating.
428
00:20:36,000 --> 00:20:40,000
I'm loading this one up a little bit too much but...
429
00:21:07,000 --> 00:21:09,000
And off she goes, like a gazelle.
430
00:21:10,000 --> 00:21:12,000
Careful!
431
00:21:15,000 --> 00:21:19,000
I have no idea what I've got. No idea.
432
00:21:19,000 --> 00:21:21,000
Someone got one hole and some have got two holes.
433
00:21:21,000 --> 00:21:24,000
It'll be all right. We'll be all right.
434
00:21:24,000 --> 00:21:29,000
Five, four, three, two, one.
435
00:21:30,000 --> 00:21:30,000
Time's up.
436
00:21:31,000 --> 00:21:32,000
- Ay-ay-ay.
437
00:21:32,000 --> 00:21:35,000
Stage 1 of the potter's main make is over.
438
00:21:35,000 --> 00:21:37,000
- All right? -Yeah baby!
439
00:21:37,000 --> 00:21:38,000
Well done!
440
00:21:38,000 --> 00:21:41,000
Their chandelier pieces can not be altered anymore.
441
00:21:42,000 --> 00:21:44,000
They will now dry for two days
442
00:21:44,000 --> 00:21:47,000
and then fire for a further 24 hours.
443
00:21:47,000 --> 00:21:49,000
You've worked very hard.
444
00:21:49,000 --> 00:21:51,000
You can no go and have a bit of a breather
445
00:21:51,000 --> 00:21:54,000
and enjoy the Stoke-on-Trent glorious sunshine,
446
00:21:54,000 --> 00:21:55,000
but do come back here
447
00:21:55,000 --> 00:21:57,000
because I know you've toiled for a good five hours,
448
00:21:57,000 --> 00:21:59,000
but we think you wanna do a bit more work.
449
00:21:59,000 --> 00:22:00,000
So more surprises in store when you come back up.
450
00:22:00,000 --> 00:22:02,000
Thank you very much.
451
00:22:02,000 --> 00:22:04,000
Another hurdle.
452
00:22:04,000 --> 00:22:06,000
Well, it was a long time we were in there.
453
00:22:06,000 --> 00:22:08,000
I'm pretty exhausted.
454
00:22:08,000 --> 00:22:09,000
In fact, I'm shattered after the main make.
455
00:22:09,000 --> 00:22:10,000
You sort of finish and you think,
456
00:22:10,000 --> 00:22:14,000
"Oh God, I wish I could do it again, you know, tomorrow,
457
00:22:14,000 --> 00:22:15,000
'cause I could get it much better."
458
00:22:15,000 --> 00:22:18,000
Maybe I should have chose a different design,
459
00:22:18,000 --> 00:22:20,000
which was a bit more challenging.
460
00:22:20,000 --> 00:22:22,000
I think now, the success of my chandelier will all be,
461
00:22:22,000 --> 00:22:24,000
it'll be on the hanging.
462
00:22:28,000 --> 00:22:31,000
Whilst their chandelier elements dry,
463
00:22:31,000 --> 00:22:34,000
Kate and Keith have set a spot test to challenge the potters.
464
00:22:37,000 --> 00:22:40,000
♪ Turn it round, turn it round ♪
465
00:22:40,000 --> 00:22:42,000
- The skilled workers of Stoke
466
00:22:42,000 --> 00:22:45,000
would have needed a steady hand and keen eye
467
00:22:45,000 --> 00:22:47,000
to provide the distinctive finish
468
00:22:47,000 --> 00:22:49,000
associated with such names as
469
00:22:49,000 --> 00:22:51,000
Shelley's, Wedgwood and Minton.
470
00:22:52,000 --> 00:22:54,000
But can our potters match this standard?
471
00:22:55,000 --> 00:22:58,000
Now then, welcome along to your semifinal spot test,
472
00:22:59,000 --> 00:23:00,000
oh and it's a goody!
473
00:23:00,000 --> 00:23:02,000
If you look underneath your hessian,
474
00:23:03,000 --> 00:23:05,000
you will see six plates.
475
00:23:05,000 --> 00:23:09,000
We are testing your skills of banding.
476
00:23:10,000 --> 00:23:13,000
Banding is the process of putting a fine line
477
00:23:13,000 --> 00:23:14,000
on the body of an object.
478
00:23:14,000 --> 00:23:18,000
It must be consistently straight
and we don't want any wobbles.
479
00:23:18,000 --> 00:23:21,000
We want you to put two bands on these plates.
480
00:23:21,000 --> 00:23:25,000
One on the outer rim and one on the inner rim of each plate.
481
00:23:26,000 --> 00:23:29,000
You'll be banding with an enamel pigment.
482
00:23:29,000 --> 00:23:30,000
Because you're using enamels,
483
00:23:31,000 --> 00:23:34,000
you'll be able to wipe it off and redo it.
484
00:23:34,000 --> 00:23:35,000
Now, as usual,
485
00:23:35,000 --> 00:23:37,000
the judges won't be in there for this spot test.
486
00:23:37,000 --> 00:23:40,000
We shall see you in a little while.
487
00:23:40,000 --> 00:23:42,000
You have 30 minutes.
488
00:23:42,000 --> 00:23:45,000
Best of luck to you. Potters, get banding.
489
00:23:55,000 --> 00:23:56,000
So the first thing they've gotta do
490
00:23:56,000 --> 00:23:58,000
is center the plate on the wheel.
491
00:23:58,000 --> 00:24:00,000
If it's not centered,
492
00:24:00,000 --> 00:24:02,000
then obviously their line's gonna be completely wonky.
493
00:24:02,000 --> 00:24:04,000
It stands to reason.
494
00:24:04,000 --> 00:24:07,000
You see that's moving off, on and off my finger there?
495
00:24:07,000 --> 00:24:10,000
Ah yes. So there's a little bit of a wiggle in it.
496
00:24:16,000 --> 00:24:17,000
The potters have been given their own color
497
00:24:18,000 --> 00:24:19,000
with which to band their plates.
498
00:24:22,000 --> 00:24:23,000
This will help the judges
499
00:24:23,000 --> 00:24:26,000
distinguish between each set of six.
500
00:24:29,000 --> 00:24:31,000
The secret of banding successfully
501
00:24:31,000 --> 00:24:35,000
is to get the consistency of the enamel perfectly correct.
502
00:24:36,000 --> 00:24:39,000
If it's too thick, it'll sit in this lovely,
503
00:24:39,000 --> 00:24:41,000
big, fat, long haired brush.
504
00:24:42,000 --> 00:24:44,000
If it's too thin, it'll just run out.
505
00:24:45,000 --> 00:24:47,000
I just dribbled it, ugh!
506
00:24:47,000 --> 00:24:49,000
Cor, it's a tricky one this isn't it?
507
00:24:49,000 --> 00:24:50,000
Yeah, it's all about the consistency.
508
00:24:51,000 --> 00:24:54,000
I've watered it, thinned it down too much,
509
00:24:54,000 --> 00:24:56,000
'cause it's just dribbling.
510
00:24:56,000 --> 00:24:57,000
Is that Jim off?
511
00:24:57,000 --> 00:24:59,000
He's right swanning it.
512
00:24:59,000 --> 00:25:01,000
I've gotta give him- -Getting boring.
513
00:25:01,000 --> 00:25:02,000
Yeah.
514
00:25:02,000 --> 00:25:04,000
God, Jim, have you done one already?
515
00:25:04,000 --> 00:25:06,000
Oh, God!
516
00:25:06,000 --> 00:25:08,000
Gah, every time somebody walks past me,
517
00:25:08,000 --> 00:25:12,000
my paintbrush wobbles.
518
00:25:12,000 --> 00:25:15,000
They need to charge the brush up with enough enamel
519
00:25:15,000 --> 00:25:19,000
to get a full circular rim.
520
00:25:19,000 --> 00:25:20,000
If they don't have enough,
521
00:25:21,000 --> 00:25:22,000
you'll get something called chattering
522
00:25:22,000 --> 00:25:24,000
where you'll run out of color
523
00:25:24,000 --> 00:25:27,000
and you'll get this sort of juddery effect
524
00:25:27,000 --> 00:25:28,000
all the way around the plate.
525
00:25:29,000 --> 00:25:30,000
A loaded brush,
526
00:25:31,000 --> 00:25:33,000
a steady hand, and a calm demeanor.
527
00:25:33,000 --> 00:25:35,000
For Matthew, this should be a doddle.
528
00:25:35,000 --> 00:25:37,000
Is it harder than you thought, or?
529
00:25:37,000 --> 00:25:41,000
Yeah, I've never, ever, ever even thought about banding.
530
00:25:44,000 --> 00:25:46,000
It's like a dance. You have to be so graceful.
531
00:25:46,000 --> 00:25:49,000
You actually have to go down very gently
532
00:25:49,000 --> 00:25:51,000
and you have to let the enamel flow out of the brush
533
00:25:52,000 --> 00:25:55,000
and just come back up like a bird or a swan
534
00:25:55,000 --> 00:25:56,000
taking off from my Lake.
535
00:25:56,000 --> 00:25:59,000
It's gotta be so gentle and so graceful.
536
00:25:59,000 --> 00:26:01,000
If you're heavy-handed and you go down hard and fast,
537
00:26:02,000 --> 00:26:04,000
you're gonna get a splodge or a wobble.
538
00:26:04,000 --> 00:26:05,000
I think I'm drawn to yours
539
00:26:05,000 --> 00:26:08,000
'cause it's like there's a bit of gravy left on a plate.
540
00:26:14,000 --> 00:26:16,000
- Are you breathing? -I'm not-
541
00:26:17,000 --> 00:26:18,000
Are you breathing? I'm not breathing!
542
00:26:19,000 --> 00:26:22,000
I were goin' under then. I was gonna be at your command.
543
00:26:22,000 --> 00:26:26,000
- Yeah, back in the room. -Quite hypnotisiling isn't it?
544
00:26:34,000 --> 00:26:37,000
With 12 minutes still remaining, Jim has finished.
545
00:26:40,000 --> 00:26:43,000
But should he have made use of all the allotted time?
546
00:26:43,000 --> 00:26:47,000
Jim, well done. That's your sixth plate complete.
547
00:26:47,000 --> 00:26:48,000
It's my best one yet, getting better.
548
00:26:50,000 --> 00:26:54,000
Oh, Jane! Oh, I wanna marry that plate!
549
00:26:54,000 --> 00:26:58,000
It's a beauty. I could eat my dinner off it!
550
00:26:58,000 --> 00:26:59,000
Look at that!
551
00:27:01,000 --> 00:27:03,000
And Matthew has six plates at the front of the room.
552
00:27:03,000 --> 00:27:05,000
Thank you very much, Matthew.
553
00:27:09,000 --> 00:27:10,000
All right there Jim?
554
00:27:10,000 --> 00:27:12,000
Do you want to run round with a hoover or something
555
00:27:12,000 --> 00:27:13,000
while you're hanging about?
556
00:27:13,000 --> 00:27:15,000
I don't wanna disturb anybody, actually.
557
00:27:15,000 --> 00:27:18,000
A lot of concentrating over there.
558
00:27:18,000 --> 00:27:20,000
Jane's got six up at the front there.
559
00:27:20,000 --> 00:27:23,000
Everybody has actually, well done, apart from Sally-Jo.
560
00:27:23,000 --> 00:27:26,000
Two minutes left and Sally-Jo has finished her final plate.
561
00:27:27,000 --> 00:27:28,000
Well done.
562
00:27:29,000 --> 00:27:33,000
♪ Painter man, painter man ♪
563
00:27:33,000 --> 00:27:36,000
Has anyone achieved the precise banding
564
00:27:36,000 --> 00:27:37,000
Kate and Keith demanded?
565
00:27:37,000 --> 00:27:40,000
- Should we start at the end? -Yeah, absolutely.
566
00:27:40,000 --> 00:27:42,000
The strength of color is there,
567
00:27:42,000 --> 00:27:44,000
but there is a bit of inconsistency
568
00:27:44,000 --> 00:27:45,000
with the application, don't you think?
569
00:27:46,000 --> 00:27:48,000
Yes. Further up it looks like there's a bit of chattering
570
00:27:48,000 --> 00:27:50,000
or some of the color is slightly spreading.
571
00:27:50,000 --> 00:27:52,000
This end one, there's quite a bit of chattering on it.
572
00:27:52,000 --> 00:27:56,000
So shall we move to these darker blue?
573
00:27:56,000 --> 00:27:59,000
We're actually seeing a tonal change through all the color.
574
00:27:59,000 --> 00:28:01,000
Yeah. And we're also seeing
575
00:28:01,000 --> 00:28:03,000
the start of the band there.
576
00:28:03,000 --> 00:28:05,000
- Or a blip, yeah. -Yeah, this kind of blip here.
577
00:28:07,000 --> 00:28:08,000
- Hmm. Move along? -Yeah.
578
00:28:09,000 --> 00:28:11,000
It looks well centered.
579
00:28:11,000 --> 00:28:15,000
It looks as though the outer one is nicely on the edge.
580
00:28:15,000 --> 00:28:17,000
Not bad, actually quite consistent in color.
581
00:28:17,000 --> 00:28:18,000
Yes.
582
00:28:20,000 --> 00:28:22,000
So let's look at the yellows.
583
00:28:22,000 --> 00:28:25,000
I'm loving the delicacy of the banding in this.
584
00:28:25,000 --> 00:28:26,000
- It's really, really nice. -It's superb, actually.
585
00:28:26,000 --> 00:28:29,000
That to me is almost a set of plates.
586
00:28:29,000 --> 00:28:31,000
It's dead on.
587
00:28:31,000 --> 00:28:34,000
- And now to the orange. -Yeah, last but not least.
588
00:28:34,000 --> 00:28:35,000
I think there's a bit too much
589
00:28:35,000 --> 00:28:38,000
of the white rim of the plate showing here for my liking.
590
00:28:38,000 --> 00:28:40,000
- It's not right on the rim. -Hmm.
591
00:28:40,000 --> 00:28:42,000
But a pretty good effort actually.
592
00:28:42,000 --> 00:28:45,000
Yeah.
593
00:28:45,000 --> 00:28:48,000
But who served up a winning set of plates?
594
00:28:50,000 --> 00:28:53,000
The person who goes into 5th place, whose are these?
595
00:28:55,000 --> 00:28:56,000
- Oh right! -Matthew!
596
00:28:57,000 --> 00:28:59,000
Just a bit inconsistent with your application.
597
00:28:59,000 --> 00:29:01,000
There's a lot of blobs on the lines
598
00:29:01,000 --> 00:29:05,000
and the color is inconsistent throughout the whole set.
599
00:29:05,000 --> 00:29:07,000
In 4th place.
600
00:29:07,000 --> 00:29:10,000
The green row at the end here who's are those? Sally-Jo?
601
00:29:10,000 --> 00:29:13,000
Yes, there was chattering on the brush.
602
00:29:13,000 --> 00:29:16,000
And it was, there are thicker and thinner lines.
603
00:29:18,000 --> 00:29:20,000
In 3rd place.
604
00:29:20,000 --> 00:29:23,000
Who's done the orange ones, Tom?
605
00:29:23,000 --> 00:29:25,000
Really nice thickness of line.
606
00:29:25,000 --> 00:29:28,000
Just the placing of the outside line
607
00:29:29,000 --> 00:29:31,000
could have been just a bit further on that edge.
608
00:29:32,000 --> 00:29:35,000
The color consistency is slightly out as well.
609
00:29:35,000 --> 00:29:37,000
So we've obviously got two sets of plates at left,
610
00:29:37,000 --> 00:29:39,000
belonging to Jim and to Jane.
611
00:29:41,000 --> 00:29:45,000
So in 1st place, is these!
612
00:29:45,000 --> 00:29:47,000
Ah, well done, Jim.
613
00:29:51,000 --> 00:29:54,000
Really nice, concise lining there,
614
00:29:54,000 --> 00:29:56,000
a consistency throughout the whole set.
615
00:29:56,000 --> 00:29:57,000
So very good, yeah, really good.
616
00:29:57,000 --> 00:29:59,000
Well done Jim.
617
00:29:59,000 --> 00:30:01,000
And of course Jane, well done, 2nd place. Awesome.
618
00:30:04,000 --> 00:30:06,000
Now then, you've had a really busy day
619
00:30:06,000 --> 00:30:08,000
and we appreciate all your hard work.
620
00:30:08,000 --> 00:30:10,000
So you are free to leave the pottery
621
00:30:10,000 --> 00:30:11,000
and we will see you back here
622
00:30:11,000 --> 00:30:14,000
when we have a look at your chandelier pieces.
623
00:30:14,000 --> 00:30:15,000
Thank you very much.
624
00:30:20,000 --> 00:30:22,000
Well done you! Very good!
625
00:30:24,000 --> 00:30:26,000
I never imagined it's that difficult.
626
00:30:26,000 --> 00:30:28,000
It makes me want to sort of,
627
00:30:28,000 --> 00:30:29,000
well not get home and do it again straight away,
628
00:30:29,000 --> 00:30:31,000
but it's definitely something I'm going to do again.
629
00:30:31,000 --> 00:30:33,000
Zam!
630
00:30:33,000 --> 00:30:36,000
Yeah, I'm very chuffed about coming 2nd in the spot test.
631
00:30:36,000 --> 00:30:39,000
I needed that for my confidence.
632
00:30:40,000 --> 00:30:42,000
It has been mentioned that I needed to
633
00:30:42,000 --> 00:30:43,000
sort out my game a little bit,
634
00:30:43,000 --> 00:30:46,000
so, that's what I'm endeavoring to do.
635
00:30:48,000 --> 00:30:49,000
I'd have loved it if I'd have beaten him.
636
00:30:49,000 --> 00:30:51,000
That would have been amazing.
637
00:30:51,000 --> 00:30:56,000
Power to the Jimbo!
638
00:30:56,000 --> 00:30:58,000
The potters now face an anxious wait
639
00:30:58,000 --> 00:31:00,000
for their chandelier pieces to dry
640
00:31:00,000 --> 00:31:03,000
and be given their one and only firing.
641
00:31:11,000 --> 00:31:14,000
♪ Woke up this morning feeling fine ♪
642
00:31:14,000 --> 00:31:16,000
The five remaining potters
643
00:31:16,000 --> 00:31:19,000
returned to Middleport for the last day of the challenge.
644
00:31:19,000 --> 00:31:20,000
At the end of today,
645
00:31:20,000 --> 00:31:23,000
only four will make it through to the final.
646
00:31:23,000 --> 00:31:26,000
So as we approach semifinal judging,
647
00:31:26,000 --> 00:31:29,000
who is looking really strong for the final?
648
00:31:29,000 --> 00:31:31,000
We're looking at Matthew and we're looking at Jim really
649
00:31:32,000 --> 00:31:34,000
as being the ones riding at the front of the wave.
650
00:31:34,000 --> 00:31:36,000
You know, obviously we haven't
651
00:31:36,000 --> 00:31:37,000
seen their chandeliers yet.
652
00:31:37,000 --> 00:31:39,000
So anything could happen.
653
00:31:39,000 --> 00:31:40,000
With fine bone china,
654
00:31:40,000 --> 00:31:43,000
it's a very different kind of firing process.
655
00:31:43,000 --> 00:31:45,000
They could have all stuck together.
656
00:31:45,000 --> 00:31:47,000
Then who's in danger from leaving the pottery
657
00:31:47,000 --> 00:31:48,000
and not making it to the final?
658
00:31:48,000 --> 00:31:51,000
Well, there's Tom. He was 3rd in the spot test.
659
00:31:52,000 --> 00:31:54,000
What are you hoping to see from Tom's chandelier, Kate?
660
00:31:54,000 --> 00:31:57,000
He came in with one idea and he seemed to steer off it.
661
00:31:57,000 --> 00:31:59,000
So whether he's added to the original idea
662
00:31:59,000 --> 00:32:03,000
and added some dynamism,
which is what we want to see from Tom,
663
00:32:03,000 --> 00:32:05,000
or whether it's really taking it a step too far away
664
00:32:05,000 --> 00:32:08,000
from what he wanted to show us, I don't know.
665
00:32:08,000 --> 00:32:11,000
Who else is looking at, like they can't quite keep up?
666
00:32:11,000 --> 00:32:13,000
Jane and Sally-Jo are.
667
00:32:13,000 --> 00:32:15,000
Such a shame. Let's start off with Sally-Jo.
668
00:32:15,000 --> 00:32:17,000
I'm just hoping that her chandelier design
669
00:32:17,000 --> 00:32:20,000
is just going to pull her right to the top of this.
670
00:32:20,000 --> 00:32:21,000
So let's talk about Jane.
671
00:32:21,000 --> 00:32:24,000
All throughout this contest she's been pretty consistent.
672
00:32:24,000 --> 00:32:27,000
She's had a couple of hiccups, what's going on with her now?
673
00:32:27,000 --> 00:32:30,000
KATE"She's trying so hard and she's so focused.
674
00:32:30,000 --> 00:32:31,000
I just don't know whether she's done enough
675
00:32:31,000 --> 00:32:32,000
for this main make.
676
00:32:32,000 --> 00:32:35,000
I don't know whether she's done enough actual pieces
677
00:32:35,000 --> 00:32:37,000
to make her chandelier look so dramatic.
678
00:32:41,000 --> 00:32:43,000
Before the potters are judged on their chandeliers,
679
00:32:43,000 --> 00:32:46,000
they have one last chance to impress Kate and Keith,
680
00:32:46,000 --> 00:32:48,000
- Hello! -Hello!
681
00:32:48,000 --> 00:32:51,000
And secure their place in the final.
682
00:32:51,000 --> 00:32:53,000
Welcome back to the pottery.
683
00:32:53,000 --> 00:32:56,000
We've got the little matter of a throw down.
684
00:32:56,000 --> 00:32:58,000
This is the bit where you go up against each other.
685
00:32:58,000 --> 00:33:01,000
You go up against the clock, and you go up against this man,
686
00:33:01,000 --> 00:33:04,000
Keith, king of the wheel.
687
00:33:04,000 --> 00:33:06,000
What delights do you have in store
688
00:33:06,000 --> 00:33:08,000
for our five fabulous semifinalists please, Keith?
689
00:33:09,000 --> 00:33:11,000
Well, we've got a goodie this week, peeps.
690
00:33:11,000 --> 00:33:16,000
Today, you're going to throw a perfectly closed sphere.
691
00:33:16,000 --> 00:33:20,000
And we want that sphere to be as large as you can make it,
692
00:33:20,000 --> 00:33:24,000
but we don't want to see any evidence of that closed top.
693
00:33:24,000 --> 00:33:28,000
We want a smooth top hemisphere.
694
00:33:29,000 --> 00:33:31,000
- This is not easy. -Not easy.
695
00:33:31,000 --> 00:33:34,000
Beautifully put Tom. It's quite a tricky one.
696
00:33:34,000 --> 00:33:35,000
Now we're not just going to set
697
00:33:35,000 --> 00:33:37,000
you off to do it all by yourselves.
698
00:33:37,000 --> 00:33:39,000
Of course, first, you can watch the master at work.
699
00:33:39,000 --> 00:33:40,000
- So Keith? -Yep.
700
00:33:40,000 --> 00:33:43,000
Sit at the wheel, sunshine!
701
00:33:46,000 --> 00:33:48,000
Here we go.
702
00:33:48,000 --> 00:33:50,000
The great discipline with this is obviously
703
00:33:50,000 --> 00:33:53,000
the speed of the wheel when you're closing it up.
704
00:33:53,000 --> 00:33:54,000
And it's the control of the wheel
705
00:33:54,000 --> 00:33:57,000
throughout the whole process, really.
706
00:33:58,000 --> 00:33:59,000
The speed of the wheel is always altering
707
00:33:59,000 --> 00:34:01,000
depending on what you're doing.
708
00:34:03,000 --> 00:34:07,000
So, close it up.
709
00:34:08,000 --> 00:34:10,000
Could you just do that bit again?
710
00:34:12,000 --> 00:34:14,000
So you really need to come in to the base,
711
00:34:16,000 --> 00:34:17,000
Get that knuckle hurting.
712
00:34:24,000 --> 00:34:26,000
I'm now using the sponge to throw with
713
00:34:26,000 --> 00:34:29,000
because I can't really get my hand in there.
714
00:34:29,000 --> 00:34:31,000
The old sponge on the stick trick.
715
00:34:39,000 --> 00:34:41,000
This is the tricky bit.
716
00:34:42,000 --> 00:34:45,000
Yeah, this is the crucial bit, closing it in.
717
00:34:45,000 --> 00:34:47,000
Nice work, sir, nice work.
718
00:34:49,000 --> 00:34:52,000
So really is bringing it together bit by bit.
719
00:34:52,000 --> 00:34:54,000
Can you see him close, ah, there, it goes.
720
00:34:55,000 --> 00:34:57,000
- Oh, ho. -Whoop!
721
00:34:57,000 --> 00:34:58,000
Not quite there yet.
722
00:35:11,000 --> 00:35:12,000
That'll do.
723
00:35:12,000 --> 00:35:13,000
- That'll do won't it? -That's great!
724
00:35:13,000 --> 00:35:14,000
- Yeah, that'll do. -Not bad, mate, not bad!
725
00:35:14,000 --> 00:35:16,000
We're looking good.
726
00:35:17,000 --> 00:35:18,000
Let's see what it is.
727
00:35:19,000 --> 00:35:22,000
Well, that's, that's 17 and a half centimeters.
728
00:35:22,000 --> 00:35:24,000
- That one. -Nice.
729
00:35:26,000 --> 00:35:30,000
And make sure that the inside is like a bowl shape.
730
00:35:31,000 --> 00:35:34,000
There, so look, you've got a nice even thickness.
731
00:35:34,000 --> 00:35:39,000
And then when you come down, you would turn that.
732
00:35:39,000 --> 00:35:42,000
So it would be a complete sphere.
733
00:35:42,000 --> 00:35:46,000
You're going to have 12 minutes to make your sphere, okay?
734
00:35:46,000 --> 00:35:49,000
So go and get yourselves settled at the wheels please.
735
00:35:50,000 --> 00:35:51,000
- Good luck guys. -Good luck.
736
00:35:51,000 --> 00:35:53,000
- Good luck, dudes. -Magic.
737
00:35:53,000 --> 00:35:55,000
Okay, semifinalists.
738
00:35:55,000 --> 00:35:59,000
This is your throw down. 12 minutes for one sphere.
739
00:35:59,000 --> 00:36:01,000
Time starts now.
740
00:36:02,000 --> 00:36:05,000
Keith made throwing a sphere look almost too simple.
741
00:36:05,000 --> 00:36:07,000
So what could possibly go wrong?
742
00:36:11,000 --> 00:36:12,000
That's it, just relax.
743
00:36:12,000 --> 00:36:14,000
You got plenty of time to get it centered.
744
00:36:19,000 --> 00:36:21,000
Looking good Jim, looking good.
745
00:36:22,000 --> 00:36:24,000
- How's it going, Jane? -Yeah, it's going fine.
746
00:36:24,000 --> 00:36:29,000
Yeah. It's going fine.
747
00:36:32,000 --> 00:36:34,000
Jim's trying to close his in now.
748
00:36:34,000 --> 00:36:35,000
- Wow! -Yeah.
749
00:36:36,000 --> 00:36:39,000
- How's it going, Jim? -Trying to take it easy.
750
00:36:39,000 --> 00:36:42,000
Hope I've left enough there to do that join at the top.
751
00:36:42,000 --> 00:36:45,000
- It's kind of roughly shaped... -It's looking.
752
00:36:45,000 --> 00:36:47,000
- We're kind of getting there. -Yeah.
753
00:36:47,000 --> 00:36:51,000
- Don't let that collapse, Jim.
-Cheers mate. No pressure then.
754
00:36:51,000 --> 00:36:53,000
Sally-Jo is taking it really slowly.
755
00:36:54,000 --> 00:36:55,000
- Hey, Sally-Jo. -Hiya!
756
00:36:57,000 --> 00:36:59,000
I'm literally shaking.
757
00:36:59,000 --> 00:37:01,000
- Are you enjoying it? -Loving it, yeah.
758
00:37:01,000 --> 00:37:03,000
Yeah, he's getting the height now, isn't he?
759
00:37:03,000 --> 00:37:04,000
He's getting a decent bit of height.
760
00:37:04,000 --> 00:37:07,000
Matthew's got a great height at the back there.
761
00:37:09,000 --> 00:37:10,000
One minute to go.
762
00:37:19,000 --> 00:37:21,000
Don't tickle it. You're the boss.
763
00:37:22,000 --> 00:37:24,000
- Look at the horizon. -Ten,
764
00:37:24,000 --> 00:37:26,000
- Look at your horizon. -Nine, eight,
765
00:37:26,000 --> 00:37:31,000
Seven, six, five, four, three, two, one!
766
00:37:32,000 --> 00:37:36,000
Time's up, guys!
767
00:37:36,000 --> 00:37:37,000
I made an egg.
768
00:37:39,000 --> 00:37:40,000
On the upside, for one of you,
769
00:37:40,000 --> 00:37:42,000
that's your last ever throw down.
770
00:37:43,000 --> 00:37:44,000
Woo hoo!
771
00:37:44,000 --> 00:37:46,000
Okay guys, should we come and have a look?
772
00:37:46,000 --> 00:37:48,000
We're gonna come and check out your spheres.
773
00:37:51,000 --> 00:37:54,000
Right then, let's have a look here, Jane.
774
00:37:54,000 --> 00:37:56,000
Looks a bit like a head, argh!
775
00:37:56,000 --> 00:37:58,000
Oh, 17 and a half.
776
00:37:59,000 --> 00:38:00,000
Got it.
777
00:38:00,000 --> 00:38:04,000
It's a really nice shape. It's not quite a sphere.
778
00:38:04,000 --> 00:38:06,000
Oh, it's got a square bottom, hasn't it?
779
00:38:06,000 --> 00:38:07,000
- Square inside. -It's got a flat bottom,
780
00:38:08,000 --> 00:38:09,000
but it's definitely closed up,
781
00:38:09,000 --> 00:38:11,000
but really good effort there, Jane.
782
00:38:11,000 --> 00:38:13,000
- Brilliant. -Good effort, Jane.
783
00:38:14,000 --> 00:38:16,000
- Oh, Sally-Jo! -I know.
784
00:38:16,000 --> 00:38:20,000
As a sphere, it's absolutely hopeless,
785
00:38:20,000 --> 00:38:25,000
but, you actually finished it off incredibly well.
786
00:38:25,000 --> 00:38:28,000
If there was a mark for dignity, I think that would win.
787
00:38:29,000 --> 00:38:30,000
Hi, Matthew.
788
00:38:31,000 --> 00:38:33,000
Looking good.
789
00:38:33,000 --> 00:38:36,000
I wanna wolf whistle it it's that good.
790
00:38:36,000 --> 00:38:38,000
So that's 18 centimeters.
791
00:38:38,000 --> 00:38:41,000
The northern hemisphere looks really good, doesn't it?
792
00:38:41,000 --> 00:38:43,000
Lovely finish on the top of it there,
793
00:38:43,000 --> 00:38:46,000
the bottom part could have come out a bit more.
794
00:38:46,000 --> 00:38:48,000
Let's have a look at the cross section here.
795
00:38:50,000 --> 00:38:52,000
It's a really nice profile, isn't it?
796
00:38:52,000 --> 00:38:54,000
And look at that top seal. Good.
797
00:38:54,000 --> 00:38:55,000
Yeah, it's great.
798
00:38:55,000 --> 00:38:57,000
Excellent. Well done, Matthew. Thank you.
799
00:38:57,000 --> 00:38:58,000
- Thank you. -Good.
800
00:38:59,000 --> 00:39:00,000
- Hi, Jim. -Hello.
801
00:39:01,000 --> 00:39:03,000
- Let's have a look at yours, shall we?
802
00:39:03,000 --> 00:39:05,000
Just over 18 centimeters.
803
00:39:05,000 --> 00:39:07,000
It's a really, really good shape.
804
00:39:07,000 --> 00:39:09,000
- That is good, that is- -You look at that base.
805
00:39:09,000 --> 00:39:12,000
That is pretty good.
806
00:39:12,000 --> 00:39:14,000
You've got a lovely curve in there.
807
00:39:14,000 --> 00:39:17,000
Beautiful closing up. The profile is absolutely dead on.
808
00:39:17,000 --> 00:39:19,000
Yeah, well done Jim. That's a really good one.
809
00:39:19,000 --> 00:39:22,000
Last but not least.
810
00:39:22,000 --> 00:39:23,000
The southern hemisphere is,
811
00:39:23,000 --> 00:39:26,000
is not so bad up to about a third of the way.
812
00:39:26,000 --> 00:39:30,000
And then it just goes into a bit of a beehive shape there.
813
00:39:30,000 --> 00:39:32,000
I mean it's definitely closed up.
814
00:39:32,000 --> 00:39:33,000
- Good. -Great, Tom.
815
00:39:33,000 --> 00:39:35,000
- Great work, Tom. -Thank you.
816
00:39:37,000 --> 00:39:40,000
So, who's thrown the most impressive sphere?
817
00:39:40,000 --> 00:39:45,000
In glorious 5th place, which is special in a way, is?
818
00:39:45,000 --> 00:39:46,000
Sally-Jo!
819
00:39:46,000 --> 00:39:47,000
Best bowl in the room though.
820
00:39:47,000 --> 00:39:49,000
- Best bowl, I thought. -Best bowl in the room.
821
00:39:49,000 --> 00:39:51,000
- Yeah, the best bowl. -4th place, goes to Jane!
822
00:39:51,000 --> 00:39:54,000
It was very close, wasn't it. -It was close, yeah.
823
00:39:54,000 --> 00:39:57,000
Jane, you finished it off really, really nicely.
824
00:39:57,000 --> 00:40:00,000
It was just a bit too straight at the base.
825
00:40:00,000 --> 00:40:01,000
3rd place please, judges.
826
00:40:02,000 --> 00:40:05,000
3rd place today goes to Tom.
827
00:40:06,000 --> 00:40:08,000
What we liked about Tom's was
828
00:40:08,000 --> 00:40:11,000
he'd actually made the bowl shape
829
00:40:11,000 --> 00:40:13,000
at the beginning of his sphere.
830
00:40:13,000 --> 00:40:16,000
Who have you put into 1st place, please?
831
00:40:16,000 --> 00:40:19,000
So 1st place today-
832
00:40:20,000 --> 00:40:22,000
is...
833
00:40:22,000 --> 00:40:23,000
Jim.
834
00:40:23,000 --> 00:40:25,000
Ah, how lovely.
835
00:40:25,000 --> 00:40:28,000
- Well done, Jim. -Well deserved.
836
00:40:28,000 --> 00:40:29,000
And really Jim,
837
00:40:29,000 --> 00:40:31,000
you had a great curve on the inside of your base.
838
00:40:31,000 --> 00:40:33,000
You had a good overall shape.
839
00:40:33,000 --> 00:40:36,000
It could have been turned into a really lovely sphere.
840
00:40:36,000 --> 00:40:39,000
2nd place goes to Matthew.
841
00:40:39,000 --> 00:40:42,000
Really nicely finished, really nicely closed in.
842
00:40:42,000 --> 00:40:45,000
Just could have bellied out the bottom a bit more.
843
00:40:45,000 --> 00:40:49,000
That was the semifinal throw down. Still to come.
844
00:40:49,000 --> 00:40:53,000
We're gonna have a look at your bone china chandeliers.
845
00:40:53,000 --> 00:40:55,000
So we'll see you in a little while.
846
00:40:56,000 --> 00:40:58,000
Two out of three.
847
00:40:58,000 --> 00:41:00,000
Oh, my luck is holding up.
848
00:41:00,000 --> 00:41:02,000
A place in the final now rests
849
00:41:03,000 --> 00:41:04,000
on what emerges from the kiln.
850
00:41:05,000 --> 00:41:08,000
4th in the spot test, last in the throw down.
851
00:41:08,000 --> 00:41:11,000
Yeah, I am a bit concerned now about my place in the final.
852
00:41:12,000 --> 00:41:15,000
I'm really hoping to get through to the final.
853
00:41:15,000 --> 00:41:17,000
No one wants to go out at this stage.
854
00:41:17,000 --> 00:41:20,000
Not to go all the way, you know, it would be a real shame.
855
00:41:20,000 --> 00:41:25,000
Hopefully your chandelier will carry on in the same vein.
856
00:41:25,000 --> 00:41:28,000
I'll be, I'll be very pleased. I might even celebrate! Yeah.
857
00:41:29,000 --> 00:41:30,000
I'm not too concerned about winning,
858
00:41:30,000 --> 00:41:33,000
it's taking part that's important, I think you'll find.
859
00:41:41,000 --> 00:41:44,000
The bone china pieces are out of the kiln.
860
00:41:44,000 --> 00:41:45,000
Once the potters have dusted off
861
00:41:45,000 --> 00:41:47,000
the alumina and tidied them up,
862
00:41:47,000 --> 00:41:49,000
they can begin hanging their chandelier's.
863
00:41:50,000 --> 00:41:53,000
I put the alumina on the kiln shelf
864
00:41:53,000 --> 00:41:57,000
and I'd sort of run a rolling pin
865
00:41:57,000 --> 00:42:00,000
just create some sort of soft undulations,
866
00:42:00,000 --> 00:42:03,000
hoping that the tentacles would sort of slump into it.
867
00:42:03,000 --> 00:42:04,000
But they haven't.
868
00:42:04,000 --> 00:42:07,000
No, I'm slightly worried on some of these holes actually,
869
00:42:07,000 --> 00:42:11,000
because they have shrunk quite considerably.
870
00:42:12,000 --> 00:42:16,000
Yeah, so these little holes here, if they're too small,
871
00:42:16,000 --> 00:42:17,000
then obviously we're not gonna be able
872
00:42:17,000 --> 00:42:20,000
to thread our line through to hang them.
873
00:42:20,000 --> 00:42:23,000
I thought they were gonna be more translucent.
874
00:42:23,000 --> 00:42:25,000
Yeah, that might just be our process.
875
00:42:25,000 --> 00:42:27,000
Maybe because I've just made them too thick?
876
00:42:27,000 --> 00:42:29,000
I wasn't really,
877
00:42:29,000 --> 00:42:31,000
just wasn't sure what sickness I was aiming for, were you?
878
00:42:31,000 --> 00:42:33,000
No.
879
00:42:33,000 --> 00:42:35,000
Look at that. I've made myself a little needle.
880
00:42:35,000 --> 00:42:36,000
Wow!
881
00:42:36,000 --> 00:42:37,000
You should have some more alumina on your face.
882
00:42:37,000 --> 00:42:39,000
- It's a good look. -Have I got alumina on my face?
883
00:42:39,000 --> 00:42:40,000
Could you just actually add a bit more?
884
00:42:41,000 --> 00:42:43,000
- That's not bad. -Looking good.
885
00:42:43,000 --> 00:42:48,000
- Can I pick one up? -Yeah, pick one up, that's fine.
886
00:42:48,000 --> 00:42:49,000
Oh, you've got the light coming through haven't you?
887
00:42:50,000 --> 00:42:51,000
That looks really good.
888
00:42:51,000 --> 00:42:53,000
Should be all right, I think.
889
00:42:53,000 --> 00:42:57,000
Not surprised to see Matt's come out exactly as he'd hoped.
890
00:42:57,000 --> 00:42:59,000
He clearly understands the material really well.
891
00:42:59,000 --> 00:43:00,000
Which is great.
892
00:43:06,000 --> 00:43:09,000
With their bone china pieces now prepared,
893
00:43:09,000 --> 00:43:10,000
the potters have two and a half hours
894
00:43:11,000 --> 00:43:14,000
to bring their vision to life and light.
895
00:43:15,000 --> 00:43:17,000
The judges are looking for skillfully shaped,
896
00:43:17,000 --> 00:43:21,000
well-designed, and full chandeliers.
897
00:43:21,000 --> 00:43:25,000
I can't even get my wire open, that's a good start.
898
00:43:25,000 --> 00:43:27,000
Now, how do we go about this?
899
00:43:27,000 --> 00:43:34,000
I've got 80-odd pieces, quite literally 80 odd pieces as well.
900
00:43:34,000 --> 00:43:35,000
The only problem that I've got is time really,
901
00:43:35,000 --> 00:43:38,000
because I've got to hang every one of them
902
00:43:39,000 --> 00:43:41,000
pretty much to make it look less mobiley
903
00:43:42,000 --> 00:43:44,000
and more chandeliery.
904
00:43:44,000 --> 00:43:47,000
- Cor, this isn't easy, is it? -It's a little bit fiddly.
905
00:43:49,000 --> 00:43:51,000
- A third hand would come in useful, wouldn't it?
906
00:43:51,000 --> 00:43:55,000
I envisaged it as a longer column with more feathers,
907
00:43:55,000 --> 00:43:57,000
sort of a bit more dramatic,
908
00:43:57,000 --> 00:43:59,000
but within the time that we've got,
909
00:43:59,000 --> 00:44:02,000
that's pretty much what I thought.
910
00:44:02,000 --> 00:44:05,000
I'd like to say it is my week for top potter,
911
00:44:05,000 --> 00:44:08,000
but I don't think that would be the case.
912
00:44:09,000 --> 00:44:11,000
That'd be nice. It'd be nice.
913
00:44:11,000 --> 00:44:13,000
It's Sally's week for top potter.
914
00:44:14,000 --> 00:44:16,000
Now, come on girls, that time?
915
00:44:16,000 --> 00:44:18,000
- Yeah. -Oh, Jim.
916
00:44:18,000 --> 00:44:20,000
- That's fighting talk. -Steady on.
917
00:44:24,000 --> 00:44:26,000
Maybe, they could be a tiny bit thinner,
918
00:44:26,000 --> 00:44:29,000
but no, I think the translucency is quite good.
919
00:44:29,000 --> 00:44:30,000
You can definitely see,
920
00:44:30,000 --> 00:44:33,000
when I held them up, I could see my hand through it.
921
00:44:36,000 --> 00:44:38,000
Oh, you all right?
922
00:44:38,000 --> 00:44:41,000
Yeah. Look that, actually stuck into the floor.
923
00:44:42,000 --> 00:44:44,000
Death by chandelier.
924
00:44:46,000 --> 00:44:47,000
Quite a lot still to do then.
925
00:44:53,000 --> 00:44:55,000
Could have done with being a bit more busy.
926
00:44:55,000 --> 00:44:57,000
I would have done a lot more of these,
927
00:44:57,000 --> 00:45:00,000
but, as an overall effect, I'm quite chuffed with that.
928
00:45:00,000 --> 00:45:01,000
I think it works.
929
00:45:02,000 --> 00:45:03,000
Sounds great.
930
00:45:03,000 --> 00:45:05,000
I could jingle that all day long.
931
00:45:09,000 --> 00:45:12,000
Oh, that sound is like music to my...
932
00:45:14,000 --> 00:45:16,000
We know that I don't mean that.
933
00:45:16,000 --> 00:45:18,000
It's all right. ou got plenty extra.
934
00:45:18,000 --> 00:45:20,000
Let's go for a couple more.
935
00:45:20,000 --> 00:45:22,000
- It's all right, is it? -Oh, look at that.
936
00:45:22,000 --> 00:45:25,000
- Wow, the dome's okay? -Oh, the dome's okay.
937
00:45:25,000 --> 00:45:28,000
Jim, would you mind just cupping my jellyfish?
938
00:45:28,000 --> 00:45:30,000
- Cupping your jellyfish. -Cupping it.
939
00:45:30,000 --> 00:45:33,000
- Cupping it, of course. -There we go, thanks dude.
940
00:45:33,000 --> 00:45:34,000
You found your vocation in life.
941
00:45:34,000 --> 00:45:36,000
Yeah.
942
00:45:41,000 --> 00:45:43,000
Five minutes to go before the chandeliers
943
00:45:43,000 --> 00:45:46,000
need to be ready for the final judging.
944
00:45:49,000 --> 00:45:50,000
Yeah. I don't think I can do this in time.
945
00:45:50,000 --> 00:45:54,000
It didn't appreciate quite how long
946
00:45:54,000 --> 00:45:56,000
this assembly was going to take.
947
00:45:56,000 --> 00:46:00,000
If I did it again, I'd hang the flowers so they were angled
948
00:46:00,000 --> 00:46:02,000
just to get more of the effect of the flower.
949
00:46:03,000 --> 00:46:04,000
But other than that it was on the right tracks.
950
00:46:05,000 --> 00:46:07,000
And that's good enough for me.
951
00:46:07,000 --> 00:46:09,000
Yeah, I'm all right with that.
952
00:46:09,000 --> 00:46:11,000
I can live with it.
953
00:46:14,000 --> 00:46:17,000
I think small fiddly stuff just doesn't look so good.
954
00:46:17,000 --> 00:46:21,000
And I think larger, larger shapes that have repetition
955
00:46:21,000 --> 00:46:23,000
to allow you to see that shape in different angles,
956
00:46:23,000 --> 00:46:25,000
'cause these are all twisting,
957
00:46:25,000 --> 00:46:27,000
and with the light and the glint, and you know,
958
00:46:27,000 --> 00:46:29,000
that's the way I think, to,
959
00:46:29,000 --> 00:46:31,000
to really impress with these chandeliers.
960
00:46:33,000 --> 00:46:36,000
Looking a little bit like a wind chime,
961
00:46:36,000 --> 00:46:38,000
which is not really what I was going for.
962
00:46:40,000 --> 00:46:41,000
Bit concerned now.
963
00:46:41,000 --> 00:46:43,000
Everyone's done a really nice job.
964
00:46:48,000 --> 00:46:51,000
Five days, five bone china chandeliers,
965
00:46:51,000 --> 00:46:53,000
but Kate and Keith can only send
966
00:46:53,000 --> 00:46:55,000
four potters through to the final.
967
00:46:58,000 --> 00:47:01,000
Potters. Talk about all things bright and beautiful.
968
00:47:01,000 --> 00:47:02,000
They look gorgeous.
969
00:47:03,000 --> 00:47:06,000
Five days ago, the judges asked you to design and create
970
00:47:06,000 --> 00:47:09,000
a bone china chandelier, which you have done,
971
00:47:09,000 --> 00:47:12,000
and they look great. It's time now for the judging.
972
00:47:27,000 --> 00:47:29,000
I think it's really successful. It's really lovely shape.
973
00:47:29,000 --> 00:47:31,000
Well, what's interesting, I think for me,
974
00:47:31,000 --> 00:47:33,000
is that the whole thing is very compact
975
00:47:33,000 --> 00:47:36,000
and it's very full isn't it? It's a very full design.
976
00:47:37,000 --> 00:47:39,000
I'm a bit disappointed by the flowers.
977
00:47:39,000 --> 00:47:41,000
I just like to see marks on those flowers,
978
00:47:41,000 --> 00:47:42,000
you could have done better with the flowers.
979
00:47:42,000 --> 00:47:46,000
I was really excited to see what these were gonna do.
980
00:47:46,000 --> 00:47:49,000
And actually they're not as
981
00:47:49,000 --> 00:47:50,000
impressive as actually your leaves,
982
00:47:51,000 --> 00:47:52,000
and I'm loving this double leaf.
983
00:47:52,000 --> 00:47:54,000
I think it's a really, really good idea.
984
00:47:54,000 --> 00:47:56,000
The leaves and the fluidity that you've got there,
985
00:47:57,000 --> 00:48:00,000
they're very, very nice flowing forms. Great, Jim.
986
00:48:15,000 --> 00:48:18,000
To me, it's lost its direction.
987
00:48:18,000 --> 00:48:19,000
Really, you should have been thinking about
988
00:48:19,000 --> 00:48:21,000
your original design and strengthening it.
989
00:48:21,000 --> 00:48:23,000
And I was very worried that you were weakening it.
990
00:48:23,000 --> 00:48:25,000
And that's how I feel with this.
991
00:48:25,000 --> 00:48:27,000
- It's interesting, 'cause it's slightly diluted
992
00:48:28,000 --> 00:48:30,000
as you go down the chandelier, isn't it.
993
00:48:30,000 --> 00:48:33,000
I can see the strong message around the top
994
00:48:33,000 --> 00:48:35,000
and as we come down, it gets more and more sparse.
995
00:48:35,000 --> 00:48:38,000
I really think you have salvaged the design
996
00:48:38,000 --> 00:48:40,000
quite a lot by hanging it so well.
997
00:48:40,000 --> 00:48:41,000
Yeah, it's very, very symmetrical, isn't it?
998
00:48:42,000 --> 00:48:43,000
It's very nicely balanced
999
00:48:43,000 --> 00:48:46,000
on the whole surround of the chandelier.
1000
00:48:46,000 --> 00:48:47,000
Thank you, Tom.
1001
00:48:47,000 --> 00:48:48,000
- Thank you very much. -Thanks, Tom.
1002
00:48:59,000 --> 00:49:01,000
Well, this is quite a departure for you
1003
00:49:01,000 --> 00:49:03,000
because usually you're quite free
1004
00:49:03,000 --> 00:49:05,000
and slip flinging all over the place,
1005
00:49:05,000 --> 00:49:08,000
and here you've gone for a really repetitive design.
1006
00:49:08,000 --> 00:49:10,000
I absolutely love it.
1007
00:49:10,000 --> 00:49:13,000
I think you've chosen this quilt effect really, really well.
1008
00:49:13,000 --> 00:49:17,000
I think as the sun goes down and the light comes through,
1009
00:49:17,000 --> 00:49:20,000
that would really, really show up really, really nicely.
1010
00:49:20,000 --> 00:49:23,000
I even like the way that the repetitive forms
1011
00:49:23,000 --> 00:49:25,000
actually slightly curl under because of the weight.
1012
00:49:25,000 --> 00:49:28,000
I think the sense of volume is really interesting
1013
00:49:28,000 --> 00:49:30,000
that you've managed to do that.
1014
00:49:30,000 --> 00:49:32,000
I also think you've threaded them really cleverly.
1015
00:49:32,000 --> 00:49:35,000
There's these double loops that work well.
1016
00:49:35,000 --> 00:49:37,000
You're so good at showing us how the clay really is.
1017
00:49:37,000 --> 00:49:39,000
You're showing us the soft,
1018
00:49:39,000 --> 00:49:42,000
beautiful silkiness of the slip as it comes out of the mold.
1019
00:49:42,000 --> 00:49:44,000
Thank you very much.
1020
00:50:00,000 --> 00:50:02,000
You could have done far more on this top ring, I think.
1021
00:50:02,000 --> 00:50:04,000
And also the other thing is that
1022
00:50:04,000 --> 00:50:07,000
the bottom ring does seem a bit one dimensional.
1023
00:50:07,000 --> 00:50:10,000
They're all sort of roughly the same length.
1024
00:50:10,000 --> 00:50:12,000
I don't know whether that's intentional or not,
1025
00:50:12,000 --> 00:50:14,000
but it does look a bit sparse
1026
00:50:14,000 --> 00:50:16,000
on the top half of your chandelier.
1027
00:50:16,000 --> 00:50:17,000
The textures that you've done,
1028
00:50:17,000 --> 00:50:19,000
I can actually see the light coming through
1029
00:50:19,000 --> 00:50:21,000
and that's very successful.
1030
00:50:21,000 --> 00:50:22,000
I'm loving all this texture
1031
00:50:22,000 --> 00:50:24,000
around the bottom ring here.
1032
00:50:24,000 --> 00:50:26,000
It could be better.
1033
00:50:26,000 --> 00:50:27,000
I'm just looking at things like this
1034
00:50:28,000 --> 00:50:30,000
articulated piece here with the threading.
1035
00:50:30,000 --> 00:50:32,000
What does that actually add to the whole design
1036
00:50:32,000 --> 00:50:34,000
if it had been a long piece?
1037
00:50:34,000 --> 00:50:35,000
- They are a bit too straight. -Yeah.
1038
00:50:35,000 --> 00:50:38,000
You know, there could have been a bit more fluidity in there.
1039
00:50:38,000 --> 00:50:40,000
I just think it's a really sweet design.
1040
00:50:40,000 --> 00:50:42,000
Very thoughtful, could have been done better.
1041
00:50:42,000 --> 00:50:45,000
Thank you.
1042
00:50:59,000 --> 00:51:03,000
I absolutely love the concept. I think it's fantastic.
1043
00:51:04,000 --> 00:51:06,000
I love the whole overall effect.
1044
00:51:06,000 --> 00:51:08,000
Obviously making the thing is one thing,
1045
00:51:09,000 --> 00:51:13,000
it's then placing those particular pieces
1046
00:51:13,000 --> 00:51:14,000
and arranging them in the chandelier
1047
00:51:14,000 --> 00:51:16,000
is another, isn't it really?
1048
00:51:16,000 --> 00:51:19,000
You could have maybe done with a few more feathers there,
1049
00:51:19,000 --> 00:51:23,000
but I really liked the way it sort of cascades down.
1050
00:51:23,000 --> 00:51:24,000
I love the movement.
1051
00:51:24,000 --> 00:51:27,000
I was a bit concerned about how the wings would hang
1052
00:51:27,000 --> 00:51:30,000
because there's a sort of sense of fallen wings
1053
00:51:30,000 --> 00:51:33,000
and we don't want wings falling like an Icarus or something.
1054
00:51:33,000 --> 00:51:34,000
We actually wanted flight.
1055
00:51:34,000 --> 00:51:36,000
And I think the level at which you've got the wings
1056
00:51:36,000 --> 00:51:38,000
is really good and the way the feathers
1057
00:51:38,000 --> 00:51:40,000
catch the light is exquisite.
1058
00:51:40,000 --> 00:51:41,000
I think it's a really successful design.
1059
00:51:41,000 --> 00:51:44,000
I love the way the light's shining through the wings.
1060
00:51:45,000 --> 00:51:47,000
What the light is doing is actually accentuating
1061
00:51:47,000 --> 00:51:49,000
the delicacy of the feathers.
1062
00:51:49,000 --> 00:51:52,000
It's giving this really delicate feel to the whole thing.
1063
00:51:52,000 --> 00:51:54,000
- Really good. -Thank you very much.
1064
00:51:54,000 --> 00:51:55,000
Really nice.
1065
00:51:55,000 --> 00:51:59,000
So potters, that is the semifinal judging done.
1066
00:51:59,000 --> 00:52:01,000
You guys can go and have a well-earned breather now,
1067
00:52:01,000 --> 00:52:04,000
because Kate and Keith have got a lot to discuss.
1068
00:52:04,000 --> 00:52:07,000
There's big decisions to be made.See you in a little while.
1069
00:52:23,000 --> 00:52:25,000
Well, judges, like a moth to a flame,
1070
00:52:25,000 --> 00:52:28,000
I'm just drawn to the glorious glow of these chandeliers,
1071
00:52:28,000 --> 00:52:30,000
especially now that we've dimmed the lights a little bit,
1072
00:52:31,000 --> 00:52:32,000
they look beautiful. What do you think?
1073
00:52:32,000 --> 00:52:34,000
- They're just gorgeous. -Incredible.
1074
00:52:35,000 --> 00:52:37,000
They've never touched bone china slip before
1075
00:52:37,000 --> 00:52:39,000
and look what they've done.
1076
00:52:39,000 --> 00:52:41,000
So let's start with your favorites then.
1077
00:52:41,000 --> 00:52:43,000
It's definitely Matthew.
1078
00:52:43,000 --> 00:52:45,000
I think it's absolutely fantastic
1079
00:52:45,000 --> 00:52:47,000
the way he's used that repeating shape,
1080
00:52:47,000 --> 00:52:49,000
the quilting effect that he's got on there.
1081
00:52:49,000 --> 00:52:52,000
We wanted to see this lush and precious,
1082
00:52:52,000 --> 00:52:55,000
lit up, a cascade, and we've got it.
1083
00:52:55,000 --> 00:52:57,000
Well, Jim's you see for me,
1084
00:52:57,000 --> 00:53:01,000
he's really captured the fluidity of fine bone china.
1085
00:53:01,000 --> 00:53:03,000
He's really used the light so beautifully.
1086
00:53:03,000 --> 00:53:05,000
He has a great sense of composition and volume
1087
00:53:05,000 --> 00:53:08,000
made of smaller pieces. It's really lush and dense.
1088
00:53:08,000 --> 00:53:11,000
We can't see the light bulb there. Really good.
1089
00:53:11,000 --> 00:53:13,000
So Jim came top in the spot test,
1090
00:53:13,000 --> 00:53:16,000
top in the throw down and he's made a lovely chandelier.
1091
00:53:16,000 --> 00:53:18,000
Surely he's gotta be up there for top potter?
1092
00:53:18,000 --> 00:53:21,000
He is up there, but is it really hanging?
1093
00:53:21,000 --> 00:53:24,000
Is it a great cascade of objects?
1094
00:53:24,000 --> 00:53:26,000
I'm loving Sally-Jo's, what do you think, Kate?
1095
00:53:26,000 --> 00:53:30,000
She's showing us light coming through cuts and marks
1096
00:53:30,000 --> 00:53:33,000
and I just think there's a great sense of light and movement.
1097
00:53:33,000 --> 00:53:34,000
Super.
1098
00:53:34,000 --> 00:53:36,000
I think it's a great, great concept.
1099
00:53:36,000 --> 00:53:37,000
And she's actually pulled it off.
1100
00:53:37,000 --> 00:53:40,000
In the throw down Sally-Jo came last
1101
00:53:40,000 --> 00:53:42,000
because throwing is just not her thing.
1102
00:53:42,000 --> 00:53:44,000
Has she pulled it back with her
1103
00:53:44,000 --> 00:53:45,000
gorgeous design of this chandelier?
1104
00:53:45,000 --> 00:53:47,000
Could she be our first female top potter?
1105
00:53:47,000 --> 00:53:52,000
I think it's a toss up between Matthew and Jim for top potter.
1106
00:53:52,000 --> 00:53:53,000
No, I'm not so sure.
1107
00:53:53,000 --> 00:53:55,000
I'd really like to keep Sally-Jo right in contention.
1108
00:53:55,000 --> 00:53:58,000
It's the most delicate use of fine bone china
1109
00:53:58,000 --> 00:54:00,000
out of the whole five of them.
1110
00:54:00,000 --> 00:54:04,000
So Sally-Jo is up there with those two gentleman there.
1111
00:54:04,000 --> 00:54:06,000
And another one you've gotta thrash out as well
1112
00:54:06,000 --> 00:54:10,000
is who is not gonna make it through to the grand final?
1113
00:54:10,000 --> 00:54:13,000
We've got Tom and we've got Jane.
1114
00:54:13,000 --> 00:54:16,000
Tom's is conceptually horrendous.
1115
00:54:16,000 --> 00:54:21,000
He started off with a really precise design
1116
00:54:21,000 --> 00:54:23,000
and he's changed it, which is great,
1117
00:54:23,000 --> 00:54:25,000
but he's absolutely done nothing.
1118
00:54:25,000 --> 00:54:27,000
It doesn't tell me anything.
1119
00:54:27,000 --> 00:54:30,000
It's just a few objects hanging from a frame.
1120
00:54:30,000 --> 00:54:33,000
If he hadn't hung it so well with this circle of discs
1121
00:54:33,000 --> 00:54:34,000
and the circle of twists
1122
00:54:35,000 --> 00:54:37,000
and then this circle of cheese gratery things,
1123
00:54:37,000 --> 00:54:40,000
I just think it would have been floundering even more.
1124
00:54:40,000 --> 00:54:41,000
I'm really annoyed with Tom.
1125
00:54:41,000 --> 00:54:45,000
We know he's technically brilliant at most things,
1126
00:54:45,000 --> 00:54:49,000
but where's the message? It's hopeless, absolutely hopeless.
1127
00:54:49,000 --> 00:54:51,000
Whereas if we turn to Jane's,
1128
00:54:51,000 --> 00:54:54,000
she always has these great ideas with depth and meaning.
1129
00:54:54,000 --> 00:54:57,000
And she's the one who made these gorgeous patterns
1130
00:54:57,000 --> 00:54:59,000
and we're seeing through the patterns to the light,
1131
00:54:59,000 --> 00:55:02,000
but she hasn't hung it as well as Tom did.
1132
00:55:02,000 --> 00:55:04,000
It just looks really boring the way she's hung it.
1133
00:55:04,000 --> 00:55:06,000
But I have to agree with Kate,
1134
00:55:06,000 --> 00:55:09,000
the concept of it, absolutely brilliant.
1135
00:55:09,000 --> 00:55:13,000
It just looks really, really immature the way it's been hung.
1136
00:55:13,000 --> 00:55:14,000
One has great ideas,
1137
00:55:14,000 --> 00:55:16,000
could have possibly done better with the hanging,
1138
00:55:16,000 --> 00:55:19,000
and Tom, the idea just dissolved to nothing,
1139
00:55:20,000 --> 00:55:21,000
and he's hung it very well.
1140
00:55:21,000 --> 00:55:23,000
It's always a big decision who's gonna leave the pottery,
1141
00:55:23,000 --> 00:55:27,000
but this week it's huge, because you've gotta get it right
1142
00:55:27,000 --> 00:55:29,000
'cause it decides who leaves the pottery,
1143
00:55:29,000 --> 00:55:31,000
and also who goes through to the grand final.
1144
00:55:31,000 --> 00:55:33,000
We can't look back. We can't look forward.
1145
00:55:33,000 --> 00:55:36,000
We have to take this week into account.
1146
00:55:50,000 --> 00:55:53,000
After much discussion between Kate and Keith,
1147
00:55:53,000 --> 00:55:56,000
they did eventually decide who is going to be
1148
00:55:56,000 --> 00:55:59,000
semifinal top potter.
1149
00:55:59,000 --> 00:56:04,000
They've shown a really good use of the material
1150
00:56:04,000 --> 00:56:06,000
and they've shown a really good design concept.
1151
00:56:06,000 --> 00:56:11,000
So top potter this week, goes to...
1152
00:56:13,000 --> 00:56:15,000
Matthew.
1153
00:56:16,000 --> 00:56:18,000
Again.
1154
00:56:21,000 --> 00:56:22,000
Congratulations on getting the hat trick
1155
00:56:22,000 --> 00:56:24,000
with top potter as well. Huge. Well done.
1156
00:56:24,000 --> 00:56:28,000
Now to the trickier decision.
1157
00:56:28,000 --> 00:56:31,000
And I've got to say a lot of heartfelt
1158
00:56:31,000 --> 00:56:35,000
debate, discussion, negotiation, wrangling went on,
1159
00:56:35,000 --> 00:56:38,000
to decide who was gonna leave the pottery.
1160
00:56:38,000 --> 00:56:41,000
The judges have made their decision though.
1161
00:56:42,000 --> 00:56:46,000
The person not making it through to the grand final
1162
00:56:46,000 --> 00:56:48,000
and leaving the pottery is,
1163
00:56:55,000 --> 00:56:56,000
Jane.
1164
00:56:58,000 --> 00:57:00,000
Oh, Jane, sweet.
1165
00:57:01,000 --> 00:57:05,000
It's all right. I knew it was coming. It's fine.
1166
00:57:06,000 --> 00:57:07,000
Jane had a lovely idea.
1167
00:57:08,000 --> 00:57:10,000
She just didn't really carry it through.
1168
00:57:10,000 --> 00:57:12,000
And the hanging of the chandelier was,
1169
00:57:12,000 --> 00:57:15,000
was not up to speed.
1170
00:57:15,000 --> 00:57:18,000
I knew a slip cast bone china chandelier
1171
00:57:18,000 --> 00:57:20,000
wasn't one of my strong points.
1172
00:57:20,000 --> 00:57:23,000
I shan't probably be doing it again.
1173
00:57:23,000 --> 00:57:25,000
I'm chuffed I got this far.
1174
00:57:25,000 --> 00:57:27,000
Staggeringly, I made it through.
1175
00:57:27,000 --> 00:57:29,000
Great to have been saved from the chop,
1176
00:57:29,000 --> 00:57:31,000
but very disappointed that I got such a-
1177
00:57:33,000 --> 00:57:36,000
rightly, harsh criticism for the chandelier.
1178
00:57:36,000 --> 00:57:38,000
You were up with top potter, actually.
1179
00:57:39,000 --> 00:57:40,000
What you did with that-
1180
00:57:43,000 --> 00:57:44,000
Brilliant.
1181
00:57:44,000 --> 00:57:46,000
You had it in you. It was brilliant.
1182
00:57:46,000 --> 00:57:48,000
Really, really good, fantastic concept.
1183
00:57:48,000 --> 00:57:49,000
I haven't yet managed to knock
1184
00:57:50,000 --> 00:57:51,000
one of those boys off the top spot.
1185
00:57:51,000 --> 00:57:54,000
There's a lot of talented potters left in the final.
1186
00:57:54,000 --> 00:57:57,000
I'll absolutely give it my best shot.
1187
00:57:57,000 --> 00:57:58,000
Top potter for a third time.
1188
00:57:58,000 --> 00:58:00,000
I'm trying not to think about it too much
1189
00:58:00,000 --> 00:58:03,000
because I don't want to go into the final
1190
00:58:03,000 --> 00:58:06,000
feeling a bit too confident and-
1191
00:58:06,000 --> 00:58:08,000
Yeah, making a fool of myself.
1192
00:58:08,000 --> 00:58:09,000
Down to the final four.
1193
00:58:09,000 --> 00:58:12,000
My wife whooped for joy this evening
1194
00:58:13,000 --> 00:58:14,000
when I told her I was in the final.
1195
00:58:14,000 --> 00:58:18,000
This is a real contest of four great makers
1196
00:58:18,000 --> 00:58:20,000
who have great skills.
1197
00:58:20,000 --> 00:58:21,000
And I can't wait to see what they do.
1198
00:58:22,000 --> 00:58:24,000
I'm hoping to sort of come through with my head held high.
1199
00:58:24,000 --> 00:58:27,000
It is literally anyone's challenge for the taking.
1200
00:58:27,000 --> 00:58:29,000
This week was the hardest so far,
1201
00:58:29,000 --> 00:58:31,000
but I've earned my place in the final.
1202
00:58:31,000 --> 00:58:33,000
And I'm gonna go out to win it.
1203
00:58:35,000 --> 00:58:36,000
Next time.
1204
00:58:40,000 --> 00:58:41,000
The final.
1205
00:58:41,000 --> 00:58:42,000
Here goes nothing.
1206
00:58:42,000 --> 00:58:44,000
It's your worst nightmare as a potter.
1207
00:58:44,000 --> 00:58:45,000
No!
89683
Can't find what you're looking for?
Get subtitles in any language from opensubtitles.com, and translate them here.