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No, this isn't the bit between the programs,
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in the 1960's, it's the final!
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And I think I've nailed it.
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Aaargh!
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27 days ago, Middleport Pottery
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opened its doors to ten of Britain's
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most passionate home potters.
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Oh, Nigel, you look quite at home there, I must say.
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That's, ha!
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It's taken 15 grueling challenges-
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Don't worry, you're fine, you're fine.
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Over 500 hand-crafted and beautiful items.
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And you've just excelled yourself-
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Don't start-
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But now, the studio awaits four finalists.
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Major Tom was out first top potter and no one's work
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in the competition has shown more technical discipline.
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Look at the inside. Absolutely beautiful.
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I've made it as far as I can make it in this competition
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and I'm looking forward to it enormously.
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Can't wait to get my hands wet.
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Matthew had a disastrous start-
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You've got a bit of a problem here-
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But has emerged as a natural.
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Winning top potter, three times.
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I wasn't quite sure that I'd be here.
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I thought they'd be plenty of
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opportunities for me to have left.
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Jim's flair for beautiful form
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and skill with the brush,
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meant his place in the final was never in doubt.
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I didn't have much sleep last night actually.
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Lying awake, I'm thinking, what is it I've been doing
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that's good and how can I bring that all together for the final?
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And I've got no answers at all.
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Sally-Jo's brilliant eye for color and gift
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for abstract design has kept her in contention
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in every single challenge of the competition.
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I do feel like I'm the underdog,
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I really haven't had much time to think about
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how I'm gonna take the boys down.
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Now they have 7 days left.
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I'm doomed!
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Three final challenges-
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It's like surgery this-
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To find one winner
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of The Great Pottery Throw Down.
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Time, to face the teapot.
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In seven days time, either Sally-Jo,
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Matthew, Tom or Jim will be declared the winner
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of "The Great Pottery Throw Down."
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There you are then chaps.
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Well, good morning potters.
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And a huge congratulations on reaching the Grand Final
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of The Great Pottery Throw Down.
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Judges, I imagine you've got something
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pretty special in store for them.
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We want you to make a 12-piece porcelain tea set.
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A teapot, four cups, four saucers, a sugar bowl,
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a milk jug and a cake stand.
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Now, we specify porcelain because it's so unforgiving.
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This clay holds no prisoners, so focus.
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So, your grand final tea set starts now.
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Tough stuff.
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Making a tea set from porcelain
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is the perfect challenge for the grand final.
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I always wanted to make a tea set.
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Because it requires
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the skill and patience of a champion.
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I am nervous. I'll admit that.
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It will take a week to perfect.
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First, they'll have to make the basic structure
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of each of their 12 pieces.
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Dry them overnight and then add spouts,
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handles and any decorative trimming.
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They'll be fired, glazed and fired again.
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And finally, they'll be presented to the judges.
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- So, a tea set. -Yeah.
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We take it for granted really, don't we?
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But actually, it's a really complicated thing to make.
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It has all the elements.
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Just alone, the tea pot itself
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is a cacophony of a technical skill.
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The lid has got to fit, the spout has got to pour,
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the handle has to be not only the right size
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but practically you're gonna have to be able
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to pick the thing up, with the tea in it.
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And of course the design of the tea set is key.
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We want to see features working across the whole set
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as if they're a family and at the same time I want
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to see character in it.
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And we've given them the trickiest of all clays.
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We've given them porcelain.
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It's such a contradiction, porcelain,
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because when you're making with it,
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it's so delicate but the minute it's fired,
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it's very very strong.
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It actually takes your fingerprint, doesn't it?
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And you leave a mark,
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so really, you have to be accurate and skillful.
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Although I have dabbled, I'm, not overly familiar
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but I'll try and tame the clay.
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Porcelain originated in China.
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The main ingredients where china stone and china clay,
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both derived from decomposed granite
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and when it decomposes you get a very soft, white clay.
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It's got very fine particles in it.
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It's like chewing gum, this stuff.
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Do you see it?
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It just stretches and stretches and stretches and stretches.
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Porcelain can be pottered very thinly,
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that makes it ideal for tea,
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which of course was drank a lot in China.
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It can actually withstand the thermal shock
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of the very hot liquid coming in to it
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but also you can really judge the color
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and the quality of the tea very beautifully in that material.
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And then, as it is very thin, it's beautiful
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to hold it to your mouth and to drink from it.
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Both these materials were imported into the West
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from the 17th Century, so people encountered
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for the first time tea but at the same time wares
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came with it that enabled people to drink this special drink
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that they hadn't encountered before.
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And it was a symbol of sophistication
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to have these exotic products in your house.
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This is my first touch of the clay on the wheel.
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I feel this sort of, butterflies of trepidation
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and nerves, I'm about to start throwing!
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So, this is my cake stand.
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Tom's aiming for a tea set
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that will follow the clean lines he's hoping
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to achieve on his cake stand.
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Quite a traditional look, with straight lines,
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and I'm looking to create forms
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that will hold an incised pattern.
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Upright figures, but quite delicate.
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It's not as responsive as most things,
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because it's so plastic, it wants to hold its form.
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And so, for centering, it takes longer.
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For opening, it takes longer, you have to coax it
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to get it open, 'cause if you try
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and do it too fast it'll just wobble of center.
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I wish you could feel this stuff, it's,
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it's like silk in your hands, it's just wonderful stuff.
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Throwing with porcelain, it's very smooth,
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it's very plasticity, it collapses, it cracks,
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it does everything you don't want it to do.
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It's your worst nightmare as a potter.
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Labor with it too long, it will start to get upset.
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It's like visiting the Queen this, you know,
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total reverence for the material.
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Jim and Matthew have decided to get a feel
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for the porcelain, by throwing the smallest items,
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the cups, first.
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- Hi Jim. -Hello.
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Bit small that tea pot, mate.
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Well, you know, start small, get bigger as you go along.
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How are you enjoying this working with the porcelain?
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I'm treating it with utter respect, I mean,
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I've started off with the cups, I'm getting used
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to the clay and I'm gonna move into the tricky stuff.
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What kind of design are you going
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to go for with your tea set?
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I love rounded shapes and obviously, with this stuff,
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it's a bit tricky to get those kind of rounded shapes,
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so I've kind of set myself a task with the throwing side.
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But, on top of this,
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I'm going to create some quite organic handles,
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all this kind of stuff.
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Is this kind of down your road?
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See Kate's face lit up then.
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Well, it's you're so good at animating things aren't you?
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You know, that's what you've done all the way through.
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They're very finely thrown, they're very thin
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and it is a challenging shape,
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this sort of belly if you like, sticking up,
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so you have set yourself a challenge.
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It is the grand final, Jim,
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do you feel like you're stepping up a little bit?
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Yeah, there is a sort of funny little pressure
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that's hanging around the place.
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So, we'll throw a jug next.
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Matthew is risking a decorative touch
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at the throwing stage to bring his tea set together.
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I'm just running like a sharp spiral up it,
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and then I'm hoping that the glaze is going to sink into it
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and then for the teapot I'm going to try
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and have a traditional shape.
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However I'm concerned that those
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aren't quite a traditional shape.
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So I'm going to try and have that contemporary,
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traditional kind of contrast going on.
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Does that sound like and all right plan?
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Well, it's your, it's your tea set.
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Sally-Jo is taking an even
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bigger gamble with her tea set.
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I've decided to hand build.
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Just because I think, given the competition,
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there's not much point throwing it at this point.
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Also, I think I'm better at hand building.
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I've rolled it out to about five mil, but I'm going
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to just roll it a bit thin and try
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and leave the impression of the lace,
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so hopefully that'll be a really nice texture
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on there and the glaze can pick up detail on it.
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I've never hand built with porcelain.
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I don't know, I think it's going to be really important
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to catch it at the right time because if I leave it too long
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to dry, then it'll just crack.
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I'll match that straight sided form in the jug
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and in the cups and in the teapot.
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Anyone having fun yet? Probably not.
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You're halfway through your time.
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Two hours is gone, two hours remaining.
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Hello?
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Thanks!
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They're in the zone.
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Is it frightening? Yeah.
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I really need to be getting on with the teapot.
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But there's no point coming this far with the mugs
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and not putting the bottom on them
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so it's more important to do this bit first!
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Tom's got a secret plan for his cups.
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I find it a little bit difficult,
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to work on a very small lump of clay.
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He's making them from one large lump of clay,
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by throwing them off the hump.
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I quite like getting into the rhythm
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that throwing off the hump allows you to do.
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If you get too much thickness when it dries, it will crack.
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So, you can avoid that by really compressing the base
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and also turning it so that it is nice and thin.
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The porcelain is so delicate at the wet stage,
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putting the paper over the top to lift it off is a good idea.
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The paper will just trap the air inside,
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and that means that the rim won't distort,
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it'll hold the body.
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Oh, you prat.
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Good start.
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With every item they make,
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porcelain takes a familiar potter's problem-
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You've got to remember that
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these little bad boys will shrink.
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And makes it twice as hard.
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Great.
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Shrinkage when you fire porcelain can be very large.
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An understanding of the shrinkage in three dimensions,
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from the clay body to the fired piece is crucial.
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So, if you're trying to make a tea cup
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and the shrinkage is much greater than you expect,
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you may end up with a thimble.
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And it's not very useful for drinking tea.
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The shrinkage of this clay is 17%.
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And that's almost as bad as VAT.
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Losing around a fifth of its size,
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porcelain shrinks almost twice as much as any other clay.
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Constantly finding out it has different limitations-
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So you gotta remember than when you're building,
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00:11:09,000 --> 00:11:10,000
because you've gotta build that extra size in.
261
00:11:10,000 --> 00:11:12,000
When it shrinks, it might tighten up
262
00:11:12,000 --> 00:11:14,000
or it might pull away, I'm not sure.
263
00:11:14,000 --> 00:11:16,000
I can't stand it when things are too precise.
264
00:11:16,000 --> 00:11:17,000
Makes me rebel against it.
265
00:11:19,000 --> 00:11:21,000
You all right Jim?
Yeah.
266
00:11:21,000 --> 00:11:22,000
What are you doing there?
267
00:11:22,000 --> 00:11:25,000
This is going to be the top part of me cake stand.
268
00:11:25,000 --> 00:11:27,000
Oh, keep going, don't let me stop ya.
269
00:11:27,000 --> 00:11:29,000
- Really takes a lot of concentration, doesn't it?
270
00:11:30,000 --> 00:11:31,000
Yeah, yeah.
271
00:11:32,000 --> 00:11:34,000
We're all a bit quiet in the workshop today-
272
00:11:34,000 --> 00:11:36,000
You wouldn't notice anything that was going on,
273
00:11:36,000 --> 00:11:40,000
would you, while this was happening, anything else,
274
00:11:40,000 --> 00:11:42,000
I'll let you get on with it, Jim.
275
00:11:42,000 --> 00:11:44,000
Thank you, very kind.
276
00:11:44,000 --> 00:11:48,000
Finalists! You have one hour left.
277
00:11:48,000 --> 00:11:50,000
You sweating it Tom? -No.
278
00:11:50,000 --> 00:11:51,000
I think I might go first.
279
00:11:51,000 --> 00:11:52,000
The important thing with the saucer
280
00:11:52,000 --> 00:11:55,000
is that it's got a nice curve in so it can hold the teaspoon.
281
00:11:55,000 --> 00:11:57,000
Just needs to be, nicely bowed.
282
00:11:57,000 --> 00:12:00,000
So, I'm starting off with a little bit of a bowl shape.
283
00:12:01,000 --> 00:12:02,000
And then taking it out.
284
00:12:03,000 --> 00:12:04,000
I've still got to finish off the handles
285
00:12:04,000 --> 00:12:06,000
of the cups and the jugs.
286
00:12:06,000 --> 00:12:08,000
The trickiest piece will be the tea pot.
287
00:12:08,000 --> 00:12:10,000
I think the tea pot is the Achilles Heel.
288
00:12:15,000 --> 00:12:16,000
Ordinarily, you could make a bulbous shape
289
00:12:16,000 --> 00:12:19,000
like this quite easily, 'cause it kinda contains itself.
290
00:12:19,000 --> 00:12:20,000
But with this material, you just don't know
291
00:12:20,000 --> 00:12:22,000
when it's going to start going on you.
292
00:12:25,000 --> 00:12:28,000
I'm pleased with the way the teapot is gone so far.
293
00:12:30,000 --> 00:12:31,000
I'm actually going to try
294
00:12:31,000 --> 00:12:33,000
and push that beyond the spherical.
295
00:12:33,000 --> 00:12:35,000
I'm gonna make a more domey sort of shape.
296
00:12:35,000 --> 00:12:37,000
The very difficult thing is getting the gallery here.
297
00:12:37,000 --> 00:12:38,000
This is the gallery, where the lid's going to sit
298
00:12:39,000 --> 00:12:40,000
and it's really tricky to get that in.
299
00:12:44,000 --> 00:12:46,000
I'm in a sort of, mild state of terror
300
00:12:46,000 --> 00:12:48,000
at this point in time, I'd say.
301
00:12:53,000 --> 00:12:54,000
When you let your guard down,
302
00:12:54,000 --> 00:12:56,000
that's when it all goes pear shaped.
303
00:12:59,000 --> 00:13:00,000
Teapot now.
304
00:13:02,000 --> 00:13:05,000
Yeah. It's time. It's time to face the teapot.
305
00:13:05,000 --> 00:13:07,000
Just making my lid at the moment,
306
00:13:07,000 --> 00:13:08,000
but I'm making it upside down.
307
00:13:08,000 --> 00:13:11,000
I have a little trick, pop this on here
308
00:13:11,000 --> 00:13:13,000
and take it off and now I've got the diameter.
309
00:13:13,000 --> 00:13:17,000
I've measured the diameter and then what I'll do,
310
00:13:17,000 --> 00:13:20,000
I'll throw this section and then I'll just line them up.
311
00:13:20,000 --> 00:13:21,000
What I need to do is make my lid
312
00:13:21,000 --> 00:13:23,000
so it's just a shade narrower.
313
00:13:26,000 --> 00:13:29,000
Just taking my time. Refusing to panic.
314
00:13:32,000 --> 00:13:33,000
At the moment I'm just
315
00:13:33,000 --> 00:13:35,000
making the stem for the cake stand.
316
00:13:35,000 --> 00:13:38,000
You've got two minutes guys, two minutes left!
317
00:13:38,000 --> 00:13:39,000
I was not ready for this.
318
00:13:39,000 --> 00:13:41,000
What are you doing, Jim?
319
00:13:41,000 --> 00:13:43,000
Just knocking up a spout for the teapot.
320
00:13:43,000 --> 00:13:44,000
Thank heavens for that!
321
00:13:44,000 --> 00:13:46,000
I just thought he's just started something new!
322
00:13:46,000 --> 00:13:48,000
He's just started his teapot, aargh!
323
00:13:49,000 --> 00:13:50,000
Ah, it's just, I can't do that.
324
00:13:56,000 --> 00:13:59,000
Your time is up for this section of your tea set making.
325
00:14:01,000 --> 00:14:02,000
Well done, troops.
326
00:14:02,000 --> 00:14:06,000
That's beautiful, isn't it? Doesn't that look nice?
327
00:14:06,000 --> 00:14:08,000
Dunno. Good lid.
328
00:14:08,000 --> 00:14:09,000
What a lovely texture on that.
329
00:14:09,000 --> 00:14:11,000
Is that gorgeous or is that gorgeous?
330
00:14:11,000 --> 00:14:13,000
My teapot is well behind.
331
00:14:13,000 --> 00:14:15,000
Before the finalists can refine their tea sets-
332
00:14:15,000 --> 00:14:17,000
Lovely.
333
00:14:17,000 --> 00:14:18,000
The porcelain needs
334
00:14:18,000 --> 00:14:20,000
to dry and become leather hard.
335
00:14:22,000 --> 00:14:24,000
Whilst it does, Kate and Keith have set
336
00:14:24,000 --> 00:14:27,000
a challenge involving a devilishly intricate technique
337
00:14:27,000 --> 00:14:29,000
that only the most skilled potters
338
00:14:30,000 --> 00:14:31,000
of Stoke were trusted with.
339
00:14:31,000 --> 00:14:34,000
It's the final spot test from hell.
340
00:14:34,000 --> 00:14:35,000
This week, the technique we're gonna ask you
341
00:14:36,000 --> 00:14:37,000
to use is known as the Devil's work.
342
00:14:38,000 --> 00:14:40,000
And it's cutting a design into an object.
343
00:14:40,000 --> 00:14:43,000
It's what you leave behind that counts.
344
00:14:43,000 --> 00:14:44,000
Remove the hessian.
345
00:14:45,000 --> 00:14:46,000
You've all been supplied
346
00:14:46,000 --> 00:14:48,000
with a leather hard cylindrical form.
347
00:14:49,000 --> 00:14:51,000
We want you to cut your designs into it.
348
00:14:51,000 --> 00:14:55,000
Not 10% of it, we want to see a bold design. Cut away.
349
00:14:55,000 --> 00:14:57,000
Now, as usual, the judges are going to go off,
350
00:14:57,000 --> 00:14:59,000
have a massage, finish their tattoos, judges,
351
00:14:59,000 --> 00:15:02,000
if you'd like to go and relax.
352
00:15:02,000 --> 00:15:07,000
So, to do this devil's work, you have 75 minutes.
353
00:15:09,000 --> 00:15:11,000
The potters have all been given the same set
354
00:15:11,000 --> 00:15:15,000
of cutting tools and identical leather hard cylinders.
355
00:15:15,000 --> 00:15:19,000
Everything else is down to their skill and imagination.
356
00:15:19,000 --> 00:15:21,000
The devil's work, is demanding them
357
00:15:21,000 --> 00:15:22,000
to show us their hand skills.
358
00:15:22,000 --> 00:15:25,000
I really want to see something intricate.
359
00:15:25,000 --> 00:15:26,000
I'm looking for that craft element.
360
00:15:27,000 --> 00:15:29,000
I'm looking for originality of design.
361
00:15:29,000 --> 00:15:31,000
I want to see a seamless design.
362
00:15:31,000 --> 00:15:34,000
I don't want to see where it begins and ends. And accuracy.
363
00:15:34,000 --> 00:15:36,000
So the angle at which they hold that knife
364
00:15:36,000 --> 00:15:39,000
and the angle at which they cut the clay away,
365
00:15:39,000 --> 00:15:42,000
it will really tell me that they've decided on a design
366
00:15:42,000 --> 00:15:44,000
and they're delivering it with skill and clarity.
367
00:15:44,000 --> 00:15:46,000
I'm looking for a wow factor, this is the final!
368
00:15:47,000 --> 00:15:50,000
We want to see something really quite spectacular.
369
00:15:50,000 --> 00:15:52,000
But then, one slip, if you're doing a regular
370
00:15:52,000 --> 00:15:55,000
and repeated pattern, and the whole thing will be spoiled.
371
00:15:58,000 --> 00:16:01,000
Phew, God.
372
00:16:01,000 --> 00:16:02,000
I thought I'd make a start on a border
373
00:16:02,000 --> 00:16:05,000
and then something will come to my mind.
374
00:16:05,000 --> 00:16:06,000
The devil's work.
375
00:16:07,000 --> 00:16:08,000
I think they used to call rock and roll the devil's music,
376
00:16:08,000 --> 00:16:09,000
years ago.
377
00:16:09,000 --> 00:16:12,000
It might suit me. For that, for that reason.
378
00:16:12,000 --> 00:16:14,000
I did some preliminary drawing on the pot just
379
00:16:14,000 --> 00:16:15,000
to get my bearings.
380
00:16:15,000 --> 00:16:17,000
Not quite sure what we're going to end up with.
381
00:16:17,000 --> 00:16:19,000
So I bought myself a little bit of thinking time
382
00:16:19,000 --> 00:16:21,000
by doing something definite on the rim round.
383
00:16:21,000 --> 00:16:22,000
It's quite therapeutic, sit and have a, have a fiddle,
384
00:16:22,000 --> 00:16:25,000
I've not, I've not done this sort of thing before.
385
00:16:27,000 --> 00:16:28,000
I love those big ceramic lanterns
386
00:16:28,000 --> 00:16:30,000
that have quite geometric design,
387
00:16:30,000 --> 00:16:32,000
almost sort of bamboo-like.
388
00:16:32,000 --> 00:16:34,000
This is gonna look better and quite precise.
389
00:16:35,000 --> 00:16:37,000
That's not quite precise.
390
00:16:38,000 --> 00:16:42,000
45 minutes to go in the final spot test.
391
00:16:46,000 --> 00:16:49,000
The next bit is a bit tricky,
392
00:16:49,000 --> 00:16:52,000
I'm trying to put a structure in that won't collapse.
393
00:16:52,000 --> 00:16:54,000
I have done piercing ceramics,
394
00:16:54,000 --> 00:16:56,000
I think in my first year of university,
395
00:16:56,000 --> 00:16:58,000
but other than that, the only piercing I do
396
00:16:58,000 --> 00:17:01,000
is on a teapot when I poke a hole through for the spout.
397
00:17:01,000 --> 00:17:03,000
The judges are going to look for a fairly neat offering.
398
00:17:04,000 --> 00:17:06,000
I think if you just slice it to hell it'll look scruffy.
399
00:17:06,000 --> 00:17:08,000
No, I think they're gonna really like that, Jim.
400
00:17:08,000 --> 00:17:09,000
I think they're looking for scruffy.
401
00:17:09,000 --> 00:17:10,000
- Oh really? -Yeah.
402
00:17:10,000 --> 00:17:12,000
Yeah, maybe.
403
00:17:12,000 --> 00:17:16,000
- You have 30 minutes left to complete your devil's work!
404
00:17:17,000 --> 00:17:18,000
Ha ha ha!
405
00:17:20,000 --> 00:17:22,000
Looks like a bit of firework in there actually.
406
00:17:22,000 --> 00:17:24,000
I quite like it. Rocket taking off, sparks flying.
407
00:17:25,000 --> 00:17:27,000
Stars all the way and then they'll fit
408
00:17:27,000 --> 00:17:29,000
in between each other and then I'll do something
409
00:17:29,000 --> 00:17:31,000
in the spaces in between.
410
00:17:31,000 --> 00:17:33,000
Probably not the easiest pattern I could have done, but-
411
00:17:33,000 --> 00:17:36,000
- What design are you doing, Tom? -I'm doing flowers.
412
00:17:36,000 --> 00:17:39,000
Oh, you big girl! -
413
00:17:39,000 --> 00:17:42,000
I'm doing something precise and manly over here.
414
00:17:42,000 --> 00:17:43,000
They'll probably think I've done that.
415
00:17:45,000 --> 00:17:47,000
- 'Cause it's that bad. -Oh, thanks.
416
00:17:49,000 --> 00:17:52,000
15 minutes left of your last ever spot test,
417
00:17:52,000 --> 00:17:55,000
- I know you're gonna miss them! -Just keep going.
418
00:17:56,000 --> 00:17:58,000
I'm starting to get worried for time.
419
00:17:58,000 --> 00:18:00,000
I'm starting with the new cuts in the center,
420
00:18:00,000 --> 00:18:02,000
so that if I don't get a chance to do it
421
00:18:02,000 --> 00:18:03,000
all the way through,
422
00:18:03,000 --> 00:18:05,000
at least it's in the centerpiece of the pot.
423
00:18:05,000 --> 00:18:07,000
The fireworks are fireworking away, yeah.
424
00:18:09,000 --> 00:18:10,000
Oh, it's getting wobbly.
425
00:18:10,000 --> 00:18:11,000
It gets harder the more you cut out,
426
00:18:11,000 --> 00:18:13,000
it starts to move as you push in.
427
00:18:13,000 --> 00:18:15,000
Also, keep cutting.
428
00:18:15,000 --> 00:18:18,000
I would like to take more away, but I may run out of time.
429
00:18:18,000 --> 00:18:19,000
What time are, are we on?
430
00:18:20,000 --> 00:18:22,000
Five minutes left, guys, you've got five minutes left.
431
00:18:22,000 --> 00:18:24,000
Started shaking-
432
00:18:25,000 --> 00:18:26,000
The top here now, is the limit,
433
00:18:26,000 --> 00:18:29,000
I can tell as I'm cutting, can't really get away
434
00:18:29,000 --> 00:18:30,000
with taking much more.
435
00:18:32,000 --> 00:18:35,000
I'm just taking out some of the burrs that I've left in here.
436
00:18:41,000 --> 00:18:42,000
How long have we got?
437
00:18:42,000 --> 00:18:46,000
Ten, nine, eight, seven, six,
438
00:18:46,000 --> 00:18:51,000
five, four, three, two, one,
439
00:18:51,000 --> 00:18:53,000
okay potters, time is up!
440
00:18:54,000 --> 00:18:56,000
That's a lot lighter now, isn't it?
441
00:19:00,000 --> 00:19:02,000
Gather up your masterpieces and bring them
442
00:19:02,000 --> 00:19:05,000
on your whirlers to the front please, ready for judging.
443
00:19:08,000 --> 00:19:12,000
♪ If you could see through my eyes ♪
444
00:19:12,000 --> 00:19:15,000
♪ You would get a big surprise ♪
445
00:19:16,000 --> 00:19:17,000
Kate and Keith?
446
00:19:17,000 --> 00:19:20,000
Four cut out cylinders for your delight and delectation.
447
00:19:20,000 --> 00:19:22,000
Fantastic, people.
448
00:19:22,000 --> 00:19:23,000
Shall we do this one first?
449
00:19:23,000 --> 00:19:26,000
What we're seeing is the maximum cutaway out
450
00:19:26,000 --> 00:19:29,000
of the four and actually a very original use of the top.
451
00:19:29,000 --> 00:19:31,000
It's simple, but effective.
452
00:19:31,000 --> 00:19:35,000
And wonderfully executed, apart from a couple of joins.
453
00:19:35,000 --> 00:19:37,000
There's a lot cutaway here as well, isn't there?
454
00:19:37,000 --> 00:19:40,000
Loving all these holes down the bottom and on the top.
455
00:19:40,000 --> 00:19:42,000
There's a sense of symmetry to this design.
456
00:19:42,000 --> 00:19:43,000
Whoever did this,
457
00:19:43,000 --> 00:19:45,000
they held the knife at the correct angle,
458
00:19:45,000 --> 00:19:49,000
they finished very precisely to the corners.
459
00:19:49,000 --> 00:19:51,000
I particularly love all this detail on the top here.
460
00:19:51,000 --> 00:19:54,000
There's a very nice dynamic in the pattern.
461
00:19:54,000 --> 00:19:57,000
We really can't tell where it started and where it finished,
462
00:19:58,000 --> 00:20:00,000
because it's very well-spaced.
463
00:20:00,000 --> 00:20:03,000
I'd liked to have seen much neater ends.
464
00:20:03,000 --> 00:20:05,000
And going to this one, there is a nice energy, isn't there?
465
00:20:05,000 --> 00:20:08,000
Yeah.
466
00:20:08,000 --> 00:20:09,000
And there's a good use of the rim again.
467
00:20:09,000 --> 00:20:11,000
I'm finding the cutting a little clumsy,
468
00:20:11,000 --> 00:20:13,000
little edges coming out, the tips coming out-
469
00:20:13,000 --> 00:20:14,000
Well not quite defined, is it?
470
00:20:14,000 --> 00:20:16,000
Don't know if it was a time thing,
471
00:20:16,000 --> 00:20:19,000
but I find this least defined in its pattern.
472
00:20:21,000 --> 00:20:24,000
But whose hands have mastered the devil's work?
473
00:20:24,000 --> 00:20:29,000
- Fourth place, is this one. -Guilty, your honor.
474
00:20:29,000 --> 00:20:32,000
We felt the design was a bit naive.
475
00:20:32,000 --> 00:20:34,000
Third place is also at the back and it's this one here.
476
00:20:34,000 --> 00:20:37,000
- That's mine. -The ends of those wiggles
477
00:20:37,000 --> 00:20:39,000
could have been much more clearly cut.
478
00:20:39,000 --> 00:20:42,000
Which obviously leaves these two.
479
00:20:42,000 --> 00:20:43,000
Whose is this one? -It's mine.
480
00:20:43,000 --> 00:20:45,000
- Whose is this one? -It's mine.
481
00:20:45,000 --> 00:20:48,000
We decided that we wanted to award first place
482
00:20:48,000 --> 00:20:50,000
to the one who had been the bravest
483
00:20:50,000 --> 00:20:53,000
and had the most original design.
484
00:20:53,000 --> 00:20:55,000
And that goes to-
485
00:20:57,000 --> 00:20:59,000
Sally-Jo!
486
00:21:02,000 --> 00:21:04,000
It was very very close.
487
00:21:04,000 --> 00:21:06,000
But this really had the wow factor.
488
00:21:06,000 --> 00:21:09,000
The originality of the design, absolutely brilliant.
489
00:21:11,000 --> 00:21:12,000
♪ Come on ♪
490
00:21:17,000 --> 00:21:19,000
That's great, well done.
491
00:21:19,000 --> 00:21:20,000
Well done Sally. How about that?
492
00:21:20,000 --> 00:21:21,000
Thank you, thank you.
493
00:21:21,000 --> 00:21:24,000
Final's really where it really counts.
494
00:21:25,000 --> 00:21:27,000
Not only have I beaten Matthew,
495
00:21:27,000 --> 00:21:31,000
but I've also beaten Tom and Jim! It feels great!
496
00:21:31,000 --> 00:21:33,000
Spot test went really well, considering
497
00:21:33,000 --> 00:21:35,000
I didn't have a clue what I was doing until
498
00:21:35,000 --> 00:21:37,000
about half way through.
499
00:21:37,000 --> 00:21:40,000
If I'm gonna win this final, coming third in a spot test,
500
00:21:40,000 --> 00:21:42,000
that's gonna put me under a bit more pressure.
501
00:21:42,000 --> 00:21:44,000
- Fourth place.
502
00:21:44,000 --> 00:21:45,000
♪ Where it's at ♪
503
00:21:45,000 --> 00:21:46,000
♪ The name of the place is ♪
504
00:21:46,000 --> 00:21:49,000
♪ I Like it Like That ♪
505
00:21:56,000 --> 00:21:57,000
The finalists now have just three
506
00:21:58,000 --> 00:21:59,000
and a half hours to finesse
507
00:21:59,000 --> 00:22:01,000
all 12 pieces of their tea sets.
508
00:22:01,000 --> 00:22:04,000
And add handles and spouts before the first firing.
509
00:22:05,000 --> 00:22:06,000
I think coming into this,
510
00:22:06,000 --> 00:22:08,000
my main concern is just not finishing.
511
00:22:08,000 --> 00:22:09,000
I'm just getting the base attached to the cake stand
512
00:22:09,000 --> 00:22:11,000
and then it'll be straight on to the teapot.
513
00:22:11,000 --> 00:22:16,000
Because, it still needs a base, a top, a lid, a handle, a spout.
514
00:22:16,000 --> 00:22:18,000
Feel like there's a mountain to climb this morning.
515
00:22:18,000 --> 00:22:20,000
A heck of a lot to do today, in a short space of time.
516
00:22:21,000 --> 00:22:23,000
Porcelain has this very short window,
517
00:22:23,000 --> 00:22:26,000
of workable and then, not workable.
518
00:22:26,000 --> 00:22:29,000
And it's not a very good clay to bring back from the brink.
519
00:22:29,000 --> 00:22:31,000
It's very unforgiving for that.
520
00:22:31,000 --> 00:22:33,000
This had actually dried out a little bit more than I'd like.
521
00:22:33,000 --> 00:22:36,000
I'm keeping the pieces I'm not working on now covered up.
522
00:22:38,000 --> 00:22:40,000
As Tom's cups were thrown off the hump,
523
00:22:40,000 --> 00:22:42,000
there is more fragile porcelain clay to turn away
524
00:22:42,000 --> 00:22:45,000
on the base than with and individually thrown cup.
525
00:22:45,000 --> 00:22:47,000
There's a real danger that you get S-cracks,
526
00:22:48,000 --> 00:22:49,000
where the base is very very thick.
527
00:22:49,000 --> 00:22:51,000
So I've got to really get them nice and thin.
528
00:22:51,000 --> 00:22:56,000
I listen to the tap, so I can hear from the sound
529
00:22:56,000 --> 00:22:59,000
the clay makes how thin that is.
530
00:22:59,000 --> 00:23:01,000
I don't always get it right, trial and error.
531
00:23:01,000 --> 00:23:03,000
There's a bit of flaking going on because they are dry.
532
00:23:03,000 --> 00:23:06,000
So the clay is not turning smoothly as it would normally.
533
00:23:06,000 --> 00:23:07,000
Just by adding a tiny bit of water,
534
00:23:07,000 --> 00:23:10,000
it just brings it back to life and you can turn it.
535
00:23:10,000 --> 00:23:12,000
I may have to spray them before I put the handles on.
536
00:23:12,000 --> 00:23:15,000
Attaching damp clay to dry clay,
537
00:23:15,000 --> 00:23:16,000
it's gonna shrink at a different rate.
538
00:23:16,000 --> 00:23:18,000
But I'm not going to do that, because I'm going
539
00:23:18,000 --> 00:23:20,000
to leave these to dry out so it's the same consistency.
540
00:23:27,000 --> 00:23:28,000
This is why you make spares.
541
00:23:28,000 --> 00:23:31,000
After a disappointing spot test,
542
00:23:31,000 --> 00:23:34,000
Jim's hoping to add a couple of winning touches to his tea set.
543
00:23:34,000 --> 00:23:37,000
I'm pulling them out and creating some lines
544
00:23:37,000 --> 00:23:39,000
on the actual pull and then twisting them.
545
00:23:39,000 --> 00:23:41,000
That's really skillful.
546
00:23:41,000 --> 00:23:43,000
It looks so simple but actually he's got
547
00:23:43,000 --> 00:23:44,000
to be so gentle with his touch,
548
00:23:44,000 --> 00:23:47,000
otherwise the whole thing will fall to bits in the air.
549
00:23:47,000 --> 00:23:49,000
Tie a little knot.
Oooh, beautiful.
550
00:23:49,000 --> 00:23:50,000
Then we'll let you crack on.
551
00:23:50,000 --> 00:23:52,000
- Thank you very much. -Focus Jim.
552
00:23:52,000 --> 00:23:54,000
I'm focusing mate, I'm focusing.
553
00:23:54,000 --> 00:23:56,000
Well I haven't got the luxury of practicing anymore,
554
00:23:56,000 --> 00:23:58,000
all of the stuff has to go through.
555
00:23:58,000 --> 00:24:00,000
I think I'm distracting myself from the teapot,
556
00:24:00,000 --> 00:24:02,000
I'm like, scared of it.
557
00:24:02,000 --> 00:24:04,000
I'm such a deadline person, I've got to wait
558
00:24:04,000 --> 00:24:06,000
till I'm like really under pressure to do something
559
00:24:06,000 --> 00:24:07,000
I don't want to do!
560
00:24:12,000 --> 00:24:15,000
This is about 20 years old. I made it at school.
561
00:24:15,000 --> 00:24:16,000
It's a maker's mark.
562
00:24:16,000 --> 00:24:19,000
They're my initials actually. It hasn't changed since.
563
00:24:20,000 --> 00:24:23,000
I'm putting a little design on. Stuck in.
564
00:24:30,000 --> 00:24:32,000
It is harder when the clock's ticking,
565
00:24:32,000 --> 00:24:33,000
'cause you wouldn't mind a little chance
566
00:24:33,000 --> 00:24:35,000
to play around a little bit.
567
00:24:35,000 --> 00:24:37,000
Maybe the curl is nice, 'cause of the lace,
568
00:24:37,000 --> 00:24:39,000
it sort of like a ribbon. I think I'm gonna go with that.
569
00:24:39,000 --> 00:24:42,000
It's not really the handle I just planned but,
570
00:24:43,000 --> 00:24:47,000
No. God, this is horrible!
571
00:24:49,000 --> 00:24:51,000
I think doing this challenge has actually
572
00:24:51,000 --> 00:24:54,000
made me more relaxed.
573
00:24:54,000 --> 00:24:56,000
Matthew, will you stop talking about being relaxed!
574
00:24:57,000 --> 00:25:01,000
The truth is that inside you're churned up in turmoil!
575
00:25:01,000 --> 00:25:03,000
Truth is I'm crumbling.
576
00:25:03,000 --> 00:25:04,000
Half an hour to go.
577
00:25:04,000 --> 00:25:06,000
Now head down 'cause I've got so much to do still.
578
00:25:07,000 --> 00:25:09,000
Putting the stand together for this cake stand,
579
00:25:09,000 --> 00:25:11,000
it's going to look like a beanstalk.
580
00:25:11,000 --> 00:25:14,000
This teapot is not going to have a spout. Oh my God!
581
00:25:14,000 --> 00:25:15,000
I'm not going to get this done.
582
00:25:15,000 --> 00:25:17,000
Spout spout spout.
583
00:25:17,000 --> 00:25:19,000
Spout needs to just be like a big fan, doesn't it?
584
00:25:19,000 --> 00:25:20,000
It's like surgery this.
585
00:25:20,000 --> 00:25:22,000
I hate putting spouts on teapots.
586
00:25:22,000 --> 00:25:25,000
I'm not gonna put you off by spouting on anymore.
587
00:25:26,000 --> 00:25:29,000
I'm gonna make this little baby fit, which, again,
588
00:25:29,000 --> 00:25:31,000
it's such a tricky thing to do.
589
00:25:31,000 --> 00:25:34,000
When you make a spout on the wheel, when you apply
590
00:25:34,000 --> 00:25:36,000
that to the body of your teapot, you always put that
591
00:25:36,000 --> 00:25:39,000
on at a slight angle, because in the kiln,
592
00:25:39,000 --> 00:25:41,000
it remembers the way it was going on the wheel.
593
00:25:42,000 --> 00:25:43,000
It sort of springs back a little bit.
594
00:25:43,000 --> 00:25:45,000
But if you're hand building a spout,
595
00:25:45,000 --> 00:25:47,000
you don't have to take that into account.
596
00:25:47,000 --> 00:25:49,000
Oh, I'm really worried now.
597
00:25:49,000 --> 00:25:52,000
It's got to pour well, it's got to be applied well
598
00:25:52,000 --> 00:25:53,000
and aesthetically it's got to fit
599
00:25:53,000 --> 00:25:55,000
with the main body of the tea pot.
600
00:25:55,000 --> 00:25:59,000
Shape wise, the spout is not particularly friendly
601
00:25:59,000 --> 00:26:01,000
to the overall feel of the pot.
602
00:26:01,000 --> 00:26:04,000
Try and tidy it up before the final bell goes.
603
00:26:04,000 --> 00:26:07,000
Ten, nine...
Don't rush.
604
00:26:07,000 --> 00:26:11,000
Eight, seven, six, five,
605
00:26:13,000 --> 00:26:18,000
four, three, two, one.
606
00:26:18,000 --> 00:26:20,000
- Oh, that was a shocker!
607
00:26:20,000 --> 00:26:21,000
Guys, congratulations.
608
00:26:22,000 --> 00:26:24,000
You've worked again really hard for this final
609
00:26:24,000 --> 00:26:27,000
and we shall see you in a few days.
610
00:26:27,000 --> 00:26:29,000
Well done.
611
00:26:30,000 --> 00:26:32,000
You've got it on your face again!
612
00:26:32,000 --> 00:26:34,000
I reckon that's your sign you were a bit stressed.
613
00:26:40,000 --> 00:26:42,000
♪ Makin' time ♪
614
00:26:43,000 --> 00:26:46,000
Even the slightest trace of moisture
615
00:26:46,000 --> 00:26:48,000
can destroy porcelain when it's fired
616
00:26:48,000 --> 00:26:50,000
and after 24 hours of drying,
617
00:26:51,000 --> 00:26:54,000
it's Richard's job to take the tea sets to the kiln.
618
00:26:54,000 --> 00:26:56,000
I've noticed on these handles cracks opening up.
619
00:26:56,000 --> 00:26:59,000
It's just where the handles have been joined a bit wet.
620
00:26:59,000 --> 00:27:01,000
It is more susceptible with porcelain.
621
00:27:01,000 --> 00:27:03,000
As those handles are drying, they're shrinking
622
00:27:03,000 --> 00:27:05,000
and the mug bodies have already started to shrink
623
00:27:05,000 --> 00:27:07,000
and they're just starting to crack.
624
00:27:08,000 --> 00:27:10,000
As their work is bisqued fired,
625
00:27:10,000 --> 00:27:12,000
and cooled the finalists face an agonizing
626
00:27:13,000 --> 00:27:15,000
48 hour wait at home with their families.
627
00:27:16,000 --> 00:27:19,000
♪ No, I won't be afraid ♪
628
00:27:19,000 --> 00:27:21,000
♪ No, I won't ♪
629
00:27:21,000 --> 00:27:23,000
I am so proud that Jim has reached the final,
630
00:27:23,000 --> 00:27:24,000
'cause it has been all-consuming,
631
00:27:24,000 --> 00:27:28,000
but he's really really really wanted to make it a go of it,
632
00:27:28,000 --> 00:27:29,000
he really has.
633
00:27:30,000 --> 00:27:31,000
I've missed him a lot,
634
00:27:31,000 --> 00:27:34,000
it's actually quite surprising how much you miss him
635
00:27:34,000 --> 00:27:36,000
when he's always strumming on his guitar
636
00:27:36,000 --> 00:27:38,000
or doing some pots or something.
637
00:27:40,000 --> 00:27:42,000
How has he been over the last few weeks, Matt?
638
00:27:42,000 --> 00:27:44,000
We weren't certain at one point I don't think
639
00:27:44,000 --> 00:27:46,000
if he was actually still in the competition.
640
00:27:46,000 --> 00:27:49,000
You know, it's like, "How is it going?"
641
00:27:49,000 --> 00:27:50,000
- "Fine." -Yeah.
642
00:27:50,000 --> 00:27:52,000
How's it going? "Okay."
643
00:27:52,000 --> 00:27:54,000
Few words. We don't find out much.
644
00:27:55,000 --> 00:27:57,000
Ready for this?
Yeah.
645
00:27:57,000 --> 00:27:58,000
Put the cheese inside.
646
00:27:58,000 --> 00:28:01,000
Tom is really relieved I think.
647
00:28:01,000 --> 00:28:03,000
He wasn't expecting to get into the final,
648
00:28:03,000 --> 00:28:06,000
having had quite a rough time making the chandelier.
649
00:28:06,000 --> 00:28:08,000
The night the judging happened,
650
00:28:08,000 --> 00:28:11,000
we were up emailing him and he was showing us photos
651
00:28:11,000 --> 00:28:13,000
saying that he'd got into the final.
652
00:28:13,000 --> 00:28:15,000
We felt really proud of him.
653
00:28:15,000 --> 00:28:18,000
He does think pots all the time.
654
00:28:18,000 --> 00:28:20,000
Well, not all the time but most of the time.
655
00:28:22,000 --> 00:28:24,000
There's a lot of pottery chat going on.
656
00:28:24,000 --> 00:28:26,000
There was one time when she was thinking
657
00:28:26,000 --> 00:28:29,000
of using the lace on her pajamas for the tea set.
658
00:28:29,000 --> 00:28:31,000
It's been all-encompassing.
659
00:28:31,000 --> 00:28:34,000
I just had no idea she was this talented.
660
00:28:34,000 --> 00:28:38,000
I don't even dare to think if she'll win the final.
661
00:28:38,000 --> 00:28:41,000
I'd love it if she did. She would love it.
662
00:28:41,000 --> 00:28:46,000
She is brilliant at glazing and decoration, so why not?
663
00:28:46,000 --> 00:28:50,000
He keeps telling us he's not expecting to win.
664
00:28:50,000 --> 00:28:52,000
But I guess you know,
665
00:28:52,000 --> 00:28:54,000
he has as much chance as everybody else.
666
00:28:54,000 --> 00:28:57,000
I don't think he's bothered about results though, because-
667
00:28:57,000 --> 00:28:59,000
- Oh no- -I think he's got out of it
668
00:28:59,000 --> 00:29:02,000
what he really wants, what he wants to do.
669
00:29:02,000 --> 00:29:03,000
♪ Well little darling ♪
670
00:29:03,000 --> 00:29:05,000
Well, he wants to win the final
671
00:29:05,000 --> 00:29:09,000
but he's not too bothered apparently, apparently.
672
00:29:23,000 --> 00:29:25,000
There's 24 hours left in the competition
673
00:29:25,000 --> 00:29:27,000
and the potters are back to discover
674
00:29:27,000 --> 00:29:30,000
how their tea sets fared in the first firing.
675
00:29:30,000 --> 00:29:33,000
- Best of luck. -And you, and you.
676
00:29:34,000 --> 00:29:35,000
- Great reveal.
677
00:29:35,000 --> 00:29:38,000
Any cracks at this stage may be impossible
678
00:29:38,000 --> 00:29:39,000
to recover from.
679
00:29:40,000 --> 00:29:41,000
Here goes nothing.
680
00:29:42,000 --> 00:29:44,000
They're looking okay actually, I'm really pleased.
681
00:29:46,000 --> 00:29:48,000
It's all right-
682
00:29:48,000 --> 00:29:52,000
Oh, all the handles have split.
683
00:29:52,000 --> 00:29:55,000
Ah. No.
684
00:29:55,000 --> 00:29:57,000
Couple of little casualties here.
685
00:29:57,000 --> 00:30:01,000
The glazing hopefully will be reasonably striking enough
686
00:30:01,000 --> 00:30:03,000
to distract from the fact that there
687
00:30:03,000 --> 00:30:05,000
are shortcomings with the make.
688
00:30:05,000 --> 00:30:07,000
The finalists now have just two hours
689
00:30:07,000 --> 00:30:09,000
to glaze their tea sets.
690
00:30:09,000 --> 00:30:10,000
I think the glaze will fill a few
691
00:30:11,000 --> 00:30:12,000
of the cracks that have appeared.
692
00:30:12,000 --> 00:30:15,000
At least none of the bottoms have fallen out. Yet.
693
00:30:15,000 --> 00:30:17,000
Before any glazing begins,
694
00:30:17,000 --> 00:30:20,000
the potters are applying a wax coating.
695
00:30:20,000 --> 00:30:22,000
The high temperature porcelain is fired at,
696
00:30:22,000 --> 00:30:24,000
increases the risk of melting.
697
00:30:24,000 --> 00:30:27,000
Fusing lids to tea pots and everything to the kiln shelf.
698
00:30:27,000 --> 00:30:30,000
Yeah, that would be a bit useless.
699
00:30:30,000 --> 00:30:31,000
Carefully applying a thin layer
700
00:30:31,000 --> 00:30:34,000
of wax should ensure all the pieces remain separate.
701
00:30:34,000 --> 00:30:36,000
That's my intention.
702
00:30:36,000 --> 00:30:37,000
They've been given a range of traditional
703
00:30:37,000 --> 00:30:39,000
Far Eastern glazes to work with,
704
00:30:40,000 --> 00:30:42,000
as well as a selection of oxides.
705
00:30:42,000 --> 00:30:44,000
We're really looking at natural colors, browns,
706
00:30:44,000 --> 00:30:45,000
blacks, greens, turquoises-
707
00:30:45,000 --> 00:30:47,000
Well you say that, all I've seen is like
708
00:30:47,000 --> 00:30:51,000
a dusky pink like a sort of '80s bridesmaid dress.
709
00:30:51,000 --> 00:30:53,000
They're not going to come out looking like that, are they?
710
00:30:53,000 --> 00:30:55,000
No, they're not. The sort of pale pink becomes blue
711
00:30:55,000 --> 00:30:57,000
and the black become green.
712
00:30:57,000 --> 00:30:58,000
It's just a magical
713
00:30:58,000 --> 00:31:01,000
transformation which is chemistry.
714
00:31:01,000 --> 00:31:03,000
Jim's hoping to play to his strengths.
715
00:31:03,000 --> 00:31:06,000
Hand painting a floral design with a blend of oxides.
716
00:31:06,000 --> 00:31:08,000
The main ingredient in this is cobalt,
717
00:31:08,000 --> 00:31:10,000
which give you quite a strong blue.
718
00:31:10,000 --> 00:31:13,000
I've muted that down by adding iron oxide to it
719
00:31:13,000 --> 00:31:16,000
and it just takes it down a few notches.
720
00:31:16,000 --> 00:31:18,000
Tom has chosen a base glaze called celadon,
721
00:31:19,000 --> 00:31:21,000
developed 2000 years ago in China to mimic jade,
722
00:31:21,000 --> 00:31:24,000
it should fire to a glassy pale green.
723
00:31:24,000 --> 00:31:26,000
I've just a single dip, very quick.
724
00:31:26,000 --> 00:31:27,000
It's quite thick, the glaze.
725
00:31:27,000 --> 00:31:29,000
Matthew has given his
726
00:31:29,000 --> 00:31:31,000
celadon base a bit of a tweak.
727
00:31:31,000 --> 00:31:33,000
I thinned mine down more than Tom's.
728
00:31:33,000 --> 00:31:35,000
Hopefully after the firing it
729
00:31:35,000 --> 00:31:37,000
will come out like a bluey color.
730
00:31:37,000 --> 00:31:40,000
Even at the glazing stage, Sally-Jo's teapot
731
00:31:40,000 --> 00:31:42,000
is still slowing her down.
732
00:31:42,000 --> 00:31:45,000
My teapot lid doesn't fit my teapot, so with sandpaper
733
00:31:45,000 --> 00:31:47,000
I'm able just to shave it down a bit.
734
00:31:47,000 --> 00:31:48,000
I really want the lid to sit flush
735
00:31:48,000 --> 00:31:50,000
with the top of the teapot.
736
00:31:52,000 --> 00:31:55,000
30 minutes to go, 30 minutes left.
737
00:31:55,000 --> 00:31:57,000
I'm just banding some glaze around this.
738
00:31:57,000 --> 00:31:58,000
Matt's decorating his surfaces
739
00:31:58,000 --> 00:32:01,000
with a glaze called temmoku which should fire
740
00:32:01,000 --> 00:32:03,000
to a dark oil Coloured finish.
741
00:32:03,000 --> 00:32:05,000
So hopefully the temmoku
742
00:32:05,000 --> 00:32:06,000
will bleed into the celadon.
743
00:32:06,000 --> 00:32:08,000
That's the plan.
744
00:32:08,000 --> 00:32:11,000
Oh, it's like, like in a chemistry lab.
745
00:32:11,000 --> 00:32:13,000
Cobalt carbonate, the red iron oxide
746
00:32:13,000 --> 00:32:15,000
and that's the copper oxide.
747
00:32:15,000 --> 00:32:17,000
I think if you just use one it can look a bit harsh.
748
00:32:17,000 --> 00:32:20,000
Right, there' no going back after this bit.
749
00:32:20,000 --> 00:32:21,000
I'm not sure what it's going to do.
750
00:32:23,000 --> 00:32:24,000
As well as his flowers,
751
00:32:24,000 --> 00:32:27,000
Jim's coating his finished work in a light celadon,
752
00:32:27,000 --> 00:32:30,000
I think with that kinda classic blue design
753
00:32:30,000 --> 00:32:32,000
under the celadon it should look quite tasty.
754
00:32:32,000 --> 00:32:35,000
What color is it going to be, when it comes through?
755
00:32:35,000 --> 00:32:38,000
It's gray blue finish on the floral stuff.
756
00:32:38,000 --> 00:32:39,000
Jim's used his oxides, hasn't he?
757
00:32:39,000 --> 00:32:42,000
And mixed his two oxides, whereas Tom simply
758
00:32:42,000 --> 00:32:46,000
put tiny tods above each of his little lugs there on the side.
759
00:32:46,000 --> 00:32:47,000
They looked a bit small to me,
760
00:32:47,000 --> 00:32:48,000
I don't know if we're going to see them.
761
00:32:48,000 --> 00:32:50,000
Yeah, it depends on what the glaze does to them.
762
00:32:50,000 --> 00:32:52,000
I've made the solution too watery for the second batch.
763
00:32:52,000 --> 00:32:54,000
I didn't make enough in the first batch.
764
00:32:54,000 --> 00:32:56,000
So, it's different.
765
00:32:56,000 --> 00:32:58,000
Seems very calm here, you all right?
766
00:32:58,000 --> 00:33:00,000
You are aware this is the final, James?
767
00:33:00,000 --> 00:33:01,000
Yeah, I know.
768
00:33:01,000 --> 00:33:04,000
Are you done now? -Yeah, I've put my glaze on.
769
00:33:04,000 --> 00:33:06,000
I'm hoping the judges are gonna let me stick that
770
00:33:06,000 --> 00:33:08,000
- on top of there when we finish. -I'm sure.
771
00:33:08,000 --> 00:33:10,000
'Cause I can't do it now. Yeah, you gonna do it, a bit of glue?
772
00:33:10,000 --> 00:33:12,000
- I'll have a word. -Go on put a word in for me.
773
00:33:12,000 --> 00:33:14,000
Smooth the path a bit, a couple of quid.
774
00:33:15,000 --> 00:33:18,000
Ten minutes of titivation of the tea sets allowed.
775
00:33:18,000 --> 00:33:21,000
Just wiping off the oxide. So it reveals the design.
776
00:33:21,000 --> 00:33:24,000
'Cause otherwise it's a bit heavy.
777
00:33:24,000 --> 00:33:25,000
But I am seriously running out of time.
778
00:33:26,000 --> 00:33:28,000
Because I've got to get clear glaze on top of everything.
779
00:33:28,000 --> 00:33:30,000
I've just got to wipe all rims.
780
00:33:30,000 --> 00:33:32,000
Sally, then I'll give you a hand if you want?
781
00:33:33,000 --> 00:33:34,000
Amazing!
782
00:33:38,000 --> 00:33:40,000
- Can I be in your gang? -Yes.
783
00:33:40,000 --> 00:33:41,000
What's going on here?
784
00:33:42,000 --> 00:33:43,000
I've got no glaze on anything yet!
785
00:33:43,000 --> 00:33:45,000
You've had the same amount of time as everybody,
786
00:33:45,000 --> 00:33:46,000
what's been going on, Sally-Jo?
787
00:33:46,000 --> 00:33:48,000
I've been, decorating.
788
00:33:49,000 --> 00:33:51,000
- It'll all be fine. -It'll be fine in a minute.
789
00:33:51,000 --> 00:33:53,000
- Have you all finished? -Yesterday.
790
00:33:53,000 --> 00:33:55,000
Have you got a production line going here?
791
00:33:55,000 --> 00:33:57,000
Do you want me to wipe some bases here?
792
00:33:57,000 --> 00:34:00,000
If you win, there' gonna be some right ole trouble.
793
00:34:01,000 --> 00:34:06,000
- Ten, nine, eight- -Right hand, there's no glaze.
794
00:34:06,000 --> 00:34:12,000
- Seven, six, five, four, three, two, one, potters,
795
00:34:12,000 --> 00:34:13,000
your time's up, guys.
796
00:34:13,000 --> 00:34:17,000
Just in the nick of time Sally-Jo, well done.
797
00:34:22,000 --> 00:34:24,000
It's taken six days but the tea sets
798
00:34:24,000 --> 00:34:27,000
are ready for their final firing.
799
00:34:27,000 --> 00:34:29,000
Then they're done! Hurray!
800
00:34:29,000 --> 00:34:31,000
The fragile porcelain is headed in
801
00:34:31,000 --> 00:34:36,000
to the 1,280 degree heat of a gas fired reduction kiln.
802
00:34:36,000 --> 00:34:38,000
You're reducing the oxygen in the kiln chamber.
803
00:34:39,000 --> 00:34:41,000
So therefore, by reducing the oxygen,
804
00:34:41,000 --> 00:34:44,000
the flame has to burn something.
805
00:34:44,000 --> 00:34:46,000
So it attacks the pot, if you like,
806
00:34:46,000 --> 00:34:49,000
it attacks the oxides within the pot and the glazes.
807
00:34:49,000 --> 00:34:51,000
So we're talking about such high temperatures
808
00:34:51,000 --> 00:34:53,000
here that the oxides and the minerals that are
809
00:34:53,000 --> 00:34:55,000
in the glaze that give the color,
810
00:34:55,000 --> 00:34:57,000
they melt and they're like flowers opening, the sort
811
00:34:57,000 --> 00:35:01,000
of pale pink becomes blue and the black becomes green,
812
00:35:01,000 --> 00:35:04,000
the glaze responds to the body,
the body responds to the glaze.
813
00:35:04,000 --> 00:35:06,000
It's rich and luscious and it moves
814
00:35:06,000 --> 00:35:09,000
over the contours of the pot.
815
00:35:09,000 --> 00:35:11,000
As the reduction firing begins,
816
00:35:11,000 --> 00:35:14,000
the finalists will face one last challenge.
817
00:35:14,000 --> 00:35:17,000
A test involving a master potter's control
818
00:35:17,000 --> 00:35:19,000
that could help them become out first champion.
819
00:35:20,000 --> 00:35:22,000
This is your final ever throw down.
820
00:35:22,000 --> 00:35:24,000
Indeed, it's your final ever
821
00:35:24,000 --> 00:35:27,000
task here, in this pottery studio.
822
00:35:27,000 --> 00:35:30,000
What you're going to do today, is a classic shape,
823
00:35:30,000 --> 00:35:34,000
one of the hardest shapes that I had to learn as an apprentice.
824
00:35:34,000 --> 00:35:37,000
The high shouldered jug, with a nice neck on it
825
00:35:37,000 --> 00:35:40,000
and a nice finished lip. So, here we go.
826
00:35:41,000 --> 00:35:42,000
So the thing that makes this such a challenge
827
00:35:42,000 --> 00:35:44,000
is that there are several changes in direction
828
00:35:44,000 --> 00:35:47,000
of the clay, as you're going to see.
829
00:35:47,000 --> 00:35:48,000
I'm throwing it slightly out.
830
00:35:48,000 --> 00:35:51,000
My knuckle on the outside is below my hand on the inside,
831
00:35:52,000 --> 00:35:56,000
but as I come up to the shoulder, my knuckle takes over
832
00:35:56,000 --> 00:35:59,000
and that's now on the top of my hand on the inside.
833
00:35:59,000 --> 00:36:01,000
You've been using the sponge
on the stick before, haven't you?
834
00:36:01,000 --> 00:36:03,000
I'm really pushing out the clay,
835
00:36:03,000 --> 00:36:07,000
just to get me a nice generous belly.
836
00:36:07,000 --> 00:36:09,000
And then up to the shoulder.
837
00:36:09,000 --> 00:36:12,000
And then, you want enough clay at the top
838
00:36:12,000 --> 00:36:14,000
to make a really nice, generous rim.
839
00:36:14,000 --> 00:36:18,000
And now I need to pull up the lid, with the rim of the jug.
840
00:36:19,000 --> 00:36:21,000
Because then I'm not distorting the rest of the rim.
841
00:36:21,000 --> 00:36:23,000
And what you're really after here
842
00:36:23,000 --> 00:36:26,000
is a nice curve to the jug lip.
843
00:36:26,000 --> 00:36:28,000
So, the criteria that we're looking for,
844
00:36:29,000 --> 00:36:32,000
is the junction between this shoulder here and this neck here
845
00:36:32,000 --> 00:36:35,000
has got to be lovely and sharp.
846
00:36:35,000 --> 00:36:37,000
And the inside shape has really got to correspond
847
00:36:37,000 --> 00:36:40,000
to the outside so when we cut it in half,
848
00:36:40,000 --> 00:36:42,000
we don't see a thinness on that point there.
849
00:36:42,000 --> 00:36:46,000
We also want to see a lovely, generous rim,
850
00:36:46,000 --> 00:36:49,000
from which you can pull a very nice lip.
851
00:36:49,000 --> 00:36:52,000
It took Keith five minutes to throw his jug,
852
00:36:52,000 --> 00:36:57,000
so the good news is you guys have got 20 minutes, okay?
853
00:36:57,000 --> 00:36:59,000
The bad news is, you need to make three.
854
00:37:04,000 --> 00:37:08,000
20 minutes, three jugs. Time starts now.
855
00:37:13,000 --> 00:37:16,000
Here they go.
856
00:37:16,000 --> 00:37:18,000
Remember, get that knuckle or hand, get it in.
857
00:37:18,000 --> 00:37:21,000
You want that pot to have a nice uplift.
858
00:37:21,000 --> 00:37:22,000
Think about that rim as well.
859
00:37:25,000 --> 00:37:27,000
When I'm throwing in the studio,
860
00:37:27,000 --> 00:37:30,000
usually the first one I do always takes a bit more time
861
00:37:30,000 --> 00:37:31,000
and a bit more thought on it.
862
00:37:31,000 --> 00:37:34,000
And then obviously you get into the rhythm.
863
00:37:36,000 --> 00:37:37,000
Oh, Jim.
864
00:37:37,000 --> 00:37:39,000
I've lost it, I've just thrown it too thin.
865
00:37:39,000 --> 00:37:41,000
No, that's gone, mate.
866
00:37:41,000 --> 00:37:44,000
Just throw really two decent ones.
867
00:37:45,000 --> 00:37:50,000
Ah, fine specimen if ever there was one.
868
00:37:50,000 --> 00:37:52,000
Five minutes gone, you've got 15 left.
869
00:37:55,000 --> 00:37:57,000
Jim's is looking nicer now.
870
00:37:57,000 --> 00:37:59,000
There needs to be more definition
871
00:37:59,000 --> 00:38:00,000
between the pot and the shoulder.
872
00:38:00,000 --> 00:38:03,000
I think he had a shock with that first loss.
873
00:38:05,000 --> 00:38:08,000
Tom's is looking good. A nice poise.
874
00:38:08,000 --> 00:38:09,000
I would have got my sponge in there
875
00:38:09,000 --> 00:38:11,000
and just bellied out that bit more,
876
00:38:11,000 --> 00:38:12,000
just to give it a fuller figure.
877
00:38:14,000 --> 00:38:15,000
Usually at this point I go,
878
00:38:15,000 --> 00:38:16,000
you enjoying this throw down?
879
00:38:16,000 --> 00:38:18,000
But should I just not bother asking that after-
880
00:38:18,000 --> 00:38:21,000
We've been through it, haven't we, with this?
881
00:38:21,000 --> 00:38:24,000
Okay, half way through, guys, 10 minutes left.
882
00:38:24,000 --> 00:38:25,000
Take my time with this one.
883
00:38:33,000 --> 00:38:35,000
Has Matthew taken his time a little bit too much?
884
00:38:35,000 --> 00:38:37,000
I'm a little bit concerned.
885
00:38:37,000 --> 00:38:38,000
Yeah, I'm not sure if he's gonna have enough time.
886
00:38:39,000 --> 00:38:40,000
What's Sally-Jo doing?
887
00:38:40,000 --> 00:38:41,000
She's got the general concept right.
888
00:38:42,000 --> 00:38:44,000
'Cause remember, they don't have to be like mine,
889
00:38:45,000 --> 00:38:46,000
they don't have to look exactly the same,
890
00:38:46,000 --> 00:38:48,000
it's just the technique.
891
00:38:48,000 --> 00:38:50,000
Changing the direction of the clay, that's what we're after.
892
00:38:56,000 --> 00:38:58,000
Sally-Jo got a huge width there.
893
00:38:59,000 --> 00:39:01,000
It must be really thin,
894
00:39:01,000 --> 00:39:03,000
'cause she's got quite a good height there.
895
00:39:03,000 --> 00:39:04,000
I mean, do you know what?
896
00:39:05,000 --> 00:39:07,000
We've seen here really come on with her throwing.
897
00:39:08,000 --> 00:39:11,000
Okay guys, you got five minutes left. Five minutes left.
898
00:39:14,000 --> 00:39:15,000
Oh!
899
00:39:15,000 --> 00:39:16,000
- Look, Sally-Jo is losing hers.
900
00:39:17,000 --> 00:39:20,000
I just gouged it out with the credit card.
901
00:39:20,000 --> 00:39:22,000
Oooh, she caught it with her tool.
902
00:39:25,000 --> 00:39:26,000
Mind your hair there Matthew,
903
00:39:26,000 --> 00:39:28,000
can you get it over your shoulder?
904
00:39:28,000 --> 00:39:31,000
I'll do your hair for you.
905
00:39:32,000 --> 00:39:35,000
- Oh, thank you so much. -There.
906
00:39:39,000 --> 00:39:42,000
Go Sally-Jo come on, center that clay.
907
00:39:42,000 --> 00:39:45,000
Get that bloody arm in! Get that arm in!
908
00:39:45,000 --> 00:39:47,000
Get your weight behind that!
909
00:39:47,000 --> 00:39:49,000
Got one minute left, guys, one minute left.
910
00:39:51,000 --> 00:39:53,000
One minute, Matthew!
911
00:39:54,000 --> 00:39:56,000
Thank you for reminding me.
912
00:39:56,000 --> 00:39:57,000
Yeah, no pressure then.
913
00:39:59,000 --> 00:40:03,000
Come on Matthew! Come on Sally!
914
00:40:03,000 --> 00:40:04,000
Coming-
915
00:40:05,000 --> 00:40:07,000
Five...
Sprinting to the end.
916
00:40:07,000 --> 00:40:12,000
...four, three, two, one!
917
00:40:15,000 --> 00:40:18,000
Time is up guys, time is up!
918
00:40:19,000 --> 00:40:21,000
Has anyone mastered the changes
919
00:40:21,000 --> 00:40:24,000
in direction a perfect set of jugs demands?
920
00:40:24,000 --> 00:40:27,000
Starting up with you sir, Jim's jugs.
921
00:40:27,000 --> 00:40:29,000
Obviously, it's gone a bit wrong here, isn't it?
922
00:40:29,000 --> 00:40:31,000
- Jug number two. -Much improved.
923
00:40:31,000 --> 00:40:32,000
Well obviously you've learned a bit.
924
00:40:32,000 --> 00:40:34,000
Quite a nice transition between the shoulder
925
00:40:34,000 --> 00:40:38,000
and the neck and a nice thick rim for that spout.
926
00:40:38,000 --> 00:40:40,000
That's a really nice cross section there.
927
00:40:40,000 --> 00:40:41,000
Jug number three, are things getting better?
928
00:40:41,000 --> 00:40:44,000
Yeah, definitely on a positive path I think.
929
00:40:44,000 --> 00:40:45,000
We've got quite a nice transition
930
00:40:45,000 --> 00:40:47,000
between shoulder and neck.
931
00:40:47,000 --> 00:40:50,000
Your rim's far more exaggerated which is lovely.
932
00:40:52,000 --> 00:40:55,000
The base is a bit too thin.
933
00:40:55,000 --> 00:40:56,000
You could have probably used a bit more
934
00:40:56,000 --> 00:40:58,000
from the shoulder up into your rim really.
935
00:40:59,000 --> 00:41:01,000
Number two, there's this cinching in here,
936
00:41:02,000 --> 00:41:03,000
which it could have been fuller.
937
00:41:03,000 --> 00:41:05,000
Really nice, definite thick rim,
938
00:41:05,000 --> 00:41:07,000
just a bit more substantial there.
939
00:41:07,000 --> 00:41:08,000
Jug number three then.
940
00:41:08,000 --> 00:41:10,000
Well the profile isn't quite so cinched in,
941
00:41:10,000 --> 00:41:12,000
it's beginning to get a bit fuller, isn't it?
942
00:41:13,000 --> 00:41:15,000
And then the transition from shoulder
943
00:41:15,000 --> 00:41:16,000
to neck is quite good.
944
00:41:16,000 --> 00:41:19,000
The cross-section is far better on this actually.
945
00:41:20,000 --> 00:41:21,000
There isn't a brilliant transition
946
00:41:21,000 --> 00:41:22,000
from shoulder to neck.
947
00:41:22,000 --> 00:41:25,000
That's probably the best lips I've seen so far,
948
00:41:25,000 --> 00:41:27,000
and the rim is looking really really nice.
949
00:41:27,000 --> 00:41:28,000
Jug number two?
950
00:41:28,000 --> 00:41:31,000
The actual shoulder to the neck is better.
951
00:41:31,000 --> 00:41:33,000
You've got quite a lot of clay there, base
952
00:41:33,000 --> 00:41:34,000
is a bit on the thin side.
953
00:41:34,000 --> 00:41:36,000
Jug number three? -This was my two minute jug.
954
00:41:37,000 --> 00:41:38,000
I mean obviously the shoulder is looking a bit weak here.
955
00:41:38,000 --> 00:41:42,000
There we go. The base is really really thin on this one.
956
00:41:42,000 --> 00:41:44,000
Basically, this is an unfinished jug.
957
00:41:45,000 --> 00:41:47,000
Matthew?
958
00:41:47,000 --> 00:41:50,000
Nice width at the bottom, very generous rim,
959
00:41:50,000 --> 00:41:53,000
- possibly too generous. -Yeah.
960
00:41:53,000 --> 00:41:56,000
The base is a bit on the thin side, to say the least.
961
00:41:56,000 --> 00:41:59,000
A nice taper there, to give it support.
962
00:41:59,000 --> 00:42:01,000
Jug number two then Keith?
963
00:42:02,000 --> 00:42:05,000
Much nicer base, really really thick on the sides here.
964
00:42:05,000 --> 00:42:06,000
Jug number three?
965
00:42:07,000 --> 00:42:09,000
So, really just unfinished in essence isn't it?
966
00:42:09,000 --> 00:42:11,000
Yeah, again, just run out of time.
967
00:42:11,000 --> 00:42:13,000
The base, a bit on the thin side,
968
00:42:13,000 --> 00:42:15,000
bit too thick on the shoulder there.
969
00:42:17,000 --> 00:42:20,000
So, who will win the final throw down?
970
00:42:20,000 --> 00:42:23,000
Last but no means least, Jim.
971
00:42:23,000 --> 00:42:26,000
You obviously lost it on the first one.
972
00:42:26,000 --> 00:42:28,000
In third place, Sally-Jo.
973
00:42:28,000 --> 00:42:31,000
Second place, really nice structure
974
00:42:31,000 --> 00:42:34,000
between the shoulder and the neck, nice thick rims,
975
00:42:37,000 --> 00:42:39,000
Matthew.
976
00:42:39,000 --> 00:42:43,000
So, in first place, Tom.
977
00:42:43,000 --> 00:42:44,000
Well done, Tom.
978
00:42:47,000 --> 00:42:49,000
To go out on a win with the throw down,
979
00:42:49,000 --> 00:42:51,000
was absolutely great.
980
00:42:54,000 --> 00:42:57,000
Remarkably strange to have walked out of that last task
981
00:42:57,000 --> 00:42:59,000
and realized actually now there's nothing else
982
00:42:59,000 --> 00:43:02,000
that I can do to influence the outcome of this. It's all done!
983
00:43:02,000 --> 00:43:04,000
I'll be sad not to do any more challenges again,
984
00:43:04,000 --> 00:43:08,000
I think it'll take a while to readjust to reality.
985
00:43:08,000 --> 00:43:10,000
It would have been nice to have gone out, you know,
986
00:43:10,000 --> 00:43:13,000
with a flourish and, you know, all the rest of it.
987
00:43:13,000 --> 00:43:15,000
I do feel I've let myself down in that respect.
988
00:43:15,000 --> 00:43:17,000
I've got a first in the spot test and a third
989
00:43:17,000 --> 00:43:19,000
in the throw down so I'm, you know, I'm not
990
00:43:19,000 --> 00:43:22,000
in a bad position with my tea set, but,
991
00:43:24,000 --> 00:43:26,000
I don't think I've done enough.
992
00:43:31,000 --> 00:43:32,000
It's the final day of
993
00:43:32,000 --> 00:43:34,000
The Great Pottery Throw Down.
994
00:43:34,000 --> 00:43:37,000
It's been a long journey to get here though, what a pleasure.
995
00:43:37,000 --> 00:43:39,000
- Excited? -Yeah, can't wait.
996
00:43:39,000 --> 00:43:41,000
But the potters aren't heading in to the studio.
997
00:43:43,000 --> 00:43:47,000
It's been transformed into an exhibition space.
998
00:43:47,000 --> 00:43:50,000
To showcase everyone's work from the whole competition.
999
00:43:50,000 --> 00:43:51,000
Oh wow.
1000
00:43:51,000 --> 00:43:52,000
And the finalists' family
1001
00:43:52,000 --> 00:43:54,000
and friends are all on the guest list.
1002
00:43:54,000 --> 00:43:57,000
- That looks lovely! -Aaah!
1003
00:43:58,000 --> 00:44:00,000
This is the most amazing display.
1004
00:44:00,000 --> 00:44:02,000
There's nothing like when ceramic is finished
1005
00:44:02,000 --> 00:44:03,000
and then put on show.
1006
00:44:03,000 --> 00:44:06,000
Just seeing it all together. We've been busy!
1007
00:44:06,000 --> 00:44:08,000
- Oh, that's Tom's, yeah. -That's Tom's.
1008
00:44:08,000 --> 00:44:09,000
It's amazing seeing what they've done and how much
1009
00:44:09,000 --> 00:44:12,000
they've done in such a really quite short period of time.
1010
00:44:12,000 --> 00:44:15,000
There's an overwhelming sense of group pride, I'd say.
1011
00:44:15,000 --> 00:44:18,000
- Oh the Raku! -Yeah, those are Raku.
1012
00:44:18,000 --> 00:44:21,000
Sally's chandelier's really lovely, isn't it?
1013
00:44:21,000 --> 00:44:24,000
It works as feathers, hanging in the air.
1014
00:44:24,000 --> 00:44:27,000
If I was a betting person, my money would be on Tom.
1015
00:44:27,000 --> 00:44:28,000
Or possibly Matthew.
1016
00:44:28,000 --> 00:44:31,000
My money was on Tom from day one.
1017
00:44:31,000 --> 00:44:32,000
I think it might be Sally or Jim,
1018
00:44:32,000 --> 00:44:36,000
or Tom, or Matt, I think.
1019
00:44:37,000 --> 00:44:39,000
I can't wait to see the tea sets.
1020
00:44:39,000 --> 00:44:41,000
I cannot wait to see the tea sets.
1021
00:44:43,000 --> 00:44:45,000
As we both know, when we open that kiln,
1022
00:44:45,000 --> 00:44:46,000
we'll have to see what happens.
1023
00:44:47,000 --> 00:44:49,000
Yeah, absolutely, take those bricks down.
1024
00:44:49,000 --> 00:44:50,000
I mean it's the gas kiln, isn't it,
1025
00:44:50,000 --> 00:44:53,000
and it does this magical work, we hope for all of them.
1026
00:44:53,000 --> 00:44:54,000
Let's get these out.
1027
00:44:54,000 --> 00:44:57,000
Jim's piece has got a bit oxidized, hasn't it there?
1028
00:44:57,000 --> 00:44:59,000
I mean that's essentially the same glaze.
1029
00:44:59,000 --> 00:45:00,000
You can see the variation in the color
1030
00:45:00,000 --> 00:45:03,000
and this is the difference the reduction atmosphere makes.
1031
00:45:03,000 --> 00:45:06,000
Yeah, so this one's been reduced
and this one's been oxidized.
1032
00:45:08,000 --> 00:45:10,000
Sally-Jo's surfaces are just so beautiful.
1033
00:45:10,000 --> 00:45:11,000
Beautiful.
1034
00:45:11,000 --> 00:45:13,000
One thing I did notice as they were decorating
1035
00:45:13,000 --> 00:45:16,000
and glazing their tea sets, finish is everything.
1036
00:45:16,000 --> 00:45:19,000
Did they glaze them and wipe those bottoms,
1037
00:45:19,000 --> 00:45:21,000
finish those bottoms off properly?
1038
00:45:21,000 --> 00:45:23,000
- 'Cause these glazes can slip. -They shift.
1039
00:45:23,000 --> 00:45:25,000
Down the pots and they could glue
1040
00:45:25,000 --> 00:45:27,000
the pieces to the kiln shelves.
1041
00:45:27,000 --> 00:45:29,000
Aaaah!
1042
00:45:31,000 --> 00:45:34,000
The base on Tom's, If the glaze isn't wiped back
1043
00:45:34,000 --> 00:45:36,000
well enough, the slightest bit of residue can just fuse
1044
00:45:37,000 --> 00:45:40,000
that to the shelf ant then as it's cooled the pot shrunk,
1045
00:45:40,000 --> 00:45:42,000
where it stuck it just pulled itself to pieces.
1046
00:45:43,000 --> 00:45:46,000
That's such a pity, such a pity.
1047
00:45:46,000 --> 00:45:49,000
Sally-Jo's pieces are so thin, just become so fluid
1048
00:45:49,000 --> 00:45:52,000
in the kiln, appears this piece has stuck.
1049
00:45:52,000 --> 00:45:55,000
Gonna just see if we can just, gentle leverage, yeah,
1050
00:45:56,000 --> 00:45:58,000
it's gonna go, yes.
1051
00:45:58,000 --> 00:46:03,000
Things become so fluid at top temperature, the clay moves.
1052
00:46:03,000 --> 00:46:04,000
Such a pity.
1053
00:46:05,000 --> 00:46:08,000
This far! This far from being good.
1054
00:46:19,000 --> 00:46:20,000
Hello, Jim. -Hello there Matt.
1055
00:46:20,000 --> 00:46:23,000
How's it looking? You chuffed, pleased?
1056
00:46:23,000 --> 00:46:25,000
- All right, yeah. -How are yours?
1057
00:46:25,000 --> 00:46:27,000
They are not too unhappy actually.
1058
00:46:27,000 --> 00:46:30,000
Shaking head? No! Surely?
1059
00:46:30,000 --> 00:46:32,000
It's terrible, I'd rather just, maybe not show it.
1060
00:46:32,000 --> 00:46:35,000
- Wow, that looks amazing! -Mixed bag actually guys.
1061
00:46:36,000 --> 00:46:38,000
- Oh, yeowch, what's that from?
1062
00:46:39,000 --> 00:46:42,000
- The tea pot- -Oh no.
1063
00:46:42,000 --> 00:46:43,000
The whole idea of gluing
1064
00:46:43,000 --> 00:46:45,000
a pot together is rather strange.
1065
00:46:45,000 --> 00:46:47,000
Even if I glue it, you can't get a mug on it.
1066
00:46:47,000 --> 00:46:50,000
Do some shenanigans with the cake stand.
1067
00:46:51,000 --> 00:46:54,000
Doesn't look too bad!
1068
00:47:01,000 --> 00:47:03,000
Tea, anybody?
1069
00:47:19,000 --> 00:47:21,000
Judges, would you like to start with Sally-Jo please?
1070
00:47:21,000 --> 00:47:23,000
- Yeah.
1071
00:47:38,000 --> 00:47:42,000
Did you know, that the lace and the coloured oxides
1072
00:47:42,000 --> 00:47:44,000
were going to be quite so beautiful?
1073
00:47:44,000 --> 00:47:45,000
I hoped.
1074
00:47:45,000 --> 00:47:50,000
Because really, the surface of this, is absolutely exquisite.
1075
00:47:50,000 --> 00:47:52,000
It's quite incredible how you've got this effect.
1076
00:47:52,000 --> 00:47:54,000
Yeah.
It really is.
1077
00:47:54,000 --> 00:47:56,000
But that is the best thing this service, don't we know?
1078
00:47:57,000 --> 00:47:59,000
You've got two cracked handles.
1079
00:47:59,000 --> 00:48:00,000
I take it this was done on the drying.
1080
00:48:00,000 --> 00:48:01,000
Yeah, I should have got them on sooner.
1081
00:48:02,000 --> 00:48:03,000
But do you know what?
1082
00:48:03,000 --> 00:48:05,000
I actually quite like the shape of that cup.
1083
00:48:05,000 --> 00:48:07,000
I think the weight is too heavy and I was concerned
1084
00:48:07,000 --> 00:48:09,000
when you were making, had you rolled
1085
00:48:09,000 --> 00:48:11,000
your slabs a little thinner, it would have been finer.
1086
00:48:11,000 --> 00:48:13,000
I mean, I haven't even picked this up yet.
1087
00:48:14,000 --> 00:48:16,000
It's heavy.
1088
00:48:16,000 --> 00:48:21,000
Now, I'm thinking that this might not actually hold tea.
1089
00:48:21,000 --> 00:48:23,000
I think there's a few crack issues in this.
1090
00:48:24,000 --> 00:48:25,000
Oh!
1091
00:48:25,000 --> 00:48:27,000
Oh, straight away.
Okay.
1092
00:48:27,000 --> 00:48:29,000
It's not holding the tea.
1093
00:48:29,000 --> 00:48:31,000
It's not even useful as a watering can.
1094
00:48:31,000 --> 00:48:32,000
Your making's let you down.
1095
00:48:32,000 --> 00:48:33,000
A shame, because really,
1096
00:48:34,000 --> 00:48:37,000
the most beautiful thing is the delicate surface.
1097
00:48:58,000 --> 00:49:03,000
You have managed to use the glaze really really well
1098
00:49:03,000 --> 00:49:06,000
on your surface design and the temmoku works
1099
00:49:07,000 --> 00:49:09,000
really well with the celadon, the way it bleeds down.
1100
00:49:09,000 --> 00:49:12,000
I think you're very bold with your use of glaze.
1101
00:49:12,000 --> 00:49:15,000
I like the way it's moved, there's a sort of rawness to it.
1102
00:49:15,000 --> 00:49:17,000
It's definitely not a fine tea set.
1103
00:49:17,000 --> 00:49:18,000
No, no.
1104
00:49:18,000 --> 00:49:20,000
Looking at the whole set, you've got this great rhythm.
1105
00:49:20,000 --> 00:49:23,000
The pieces turn on the wheel and you've really shown
1106
00:49:23,000 --> 00:49:27,000
us that, by doing some spirals, by marking it.
1107
00:49:27,000 --> 00:49:30,000
Actually, I'm amazed that
1108
00:49:30,000 --> 00:49:32,000
the handle has actually stayed on.
1109
00:49:32,000 --> 00:49:34,000
It's got a freshness to it, it's got a spring
1110
00:49:34,000 --> 00:49:38,000
in the handle there, which is actually, it's a miracle.
1111
00:49:38,000 --> 00:49:41,000
It's not easy to do. Credit to your technical ability.
1112
00:49:43,000 --> 00:49:45,000
God, it holds a lot!
1113
00:49:45,000 --> 00:49:46,000
I'm quite amazed with that.
1114
00:49:46,000 --> 00:49:47,000
Yeah! It's like the Tardis!
1115
00:49:48,000 --> 00:49:50,000
Well he has got a bow tie on after all.
1116
00:49:50,000 --> 00:49:52,000
Is it dribbling?
1117
00:49:54,000 --> 00:49:56,000
- Yeah, there's a little dribble. -A tiny, tiny bit.
1118
00:49:56,000 --> 00:49:57,000
It does hold together.
1119
00:49:57,000 --> 00:50:00,000
It really does sit in front of us as a 12-piece tea set.
1120
00:50:17,000 --> 00:50:18,000
I love the tonal changes between the sort
1121
00:50:18,000 --> 00:50:20,000
of different firing positions in the kiln,
1122
00:50:20,000 --> 00:50:23,000
and the rich turquoise, to the more sagey green.
1123
00:50:23,000 --> 00:50:26,000
I do love the delicacy that you've got with the tea cup.
1124
00:50:26,000 --> 00:50:29,000
It's porcelain, and it looks like porcelain.
1125
00:50:29,000 --> 00:50:32,000
The saucer has got a really lovely spring in it,
1126
00:50:32,000 --> 00:50:34,000
it's really nice and fresh.
1127
00:50:34,000 --> 00:50:36,000
You put an iron Oxide rim on here, did you?
1128
00:50:36,000 --> 00:50:38,000
Yes, they seem to have burnt away,
1129
00:50:38,000 --> 00:50:39,000
so that was a little bit disappointing.
1130
00:50:39,000 --> 00:50:41,000
I think you're a little sparse.
1131
00:50:41,000 --> 00:50:43,000
When you put your little tiny dots
1132
00:50:43,000 --> 00:50:45,000
above these little tiny nibs here,
1133
00:50:45,000 --> 00:50:46,000
I thought they were a bit spare.
1134
00:50:46,000 --> 00:50:48,000
For me that's a lot of decoration on a pot,
1135
00:50:48,000 --> 00:50:50,000
so the subtlety I was quite pleased with.
1136
00:50:50,000 --> 00:50:52,000
But what happened here Tom?
1137
00:50:52,000 --> 00:50:55,000
Do you know, I was meticulous about cleaning the bases off.
1138
00:50:55,000 --> 00:50:56,000
Unfortunate that-
1139
00:50:56,000 --> 00:50:57,000
You can't be too careful, can you?
1140
00:50:57,000 --> 00:50:58,000
Absolutely not.
1141
00:50:58,000 --> 00:51:02,000
The lid fits nicely, you've put your maker's mark
1142
00:51:02,000 --> 00:51:03,000
on the middle of the lid.
1143
00:51:03,000 --> 00:51:04,000
It's a delight to see, isn't it?
1144
00:51:04,000 --> 00:51:06,000
Shall we do the honors?
1145
00:51:09,000 --> 00:51:11,000
It's pouring well, dripping slightly.
1146
00:51:11,000 --> 00:51:13,000
It's really nicely finished off,
1147
00:51:13,000 --> 00:51:15,000
but then I would expect that from Tom.
1148
00:51:33,000 --> 00:51:36,000
- How you feeling? -Nervous.
1149
00:51:36,000 --> 00:51:38,000
Well do you know what, Jim?
1150
00:51:38,000 --> 00:51:42,000
This is fantastic.
1151
00:51:42,000 --> 00:51:44,000
It's fantastic. -Really?
1152
00:51:44,000 --> 00:51:45,000
This detail, is absolutely brilliant.
1153
00:51:45,000 --> 00:51:47,000
Making my eyes water actually.
1154
00:51:48,000 --> 00:51:51,000
God, even Jim's got a tear in his eye.
1155
00:51:51,000 --> 00:51:53,000
The beautiful, gentle marks that you made
1156
00:51:53,000 --> 00:51:55,000
with the cog, the way you use that brush,
1157
00:51:55,000 --> 00:51:57,000
it's one of the most successful decorative surfaces
1158
00:51:57,000 --> 00:51:59,000
I've seen in reduced porcelain.
1159
00:51:59,000 --> 00:52:01,000
Some of these have changed color, it's obviously
1160
00:52:01,000 --> 00:52:03,000
all the same glaze, just in different parts of the kiln.
1161
00:52:03,000 --> 00:52:04,000
That's right.
1162
00:52:04,000 --> 00:52:06,000
So that's the drought coming across one piece
1163
00:52:06,000 --> 00:52:09,000
of ceramics and giving us two different colors.
1164
00:52:09,000 --> 00:52:10,000
- But Jim- -Beautiful.
1165
00:52:10,000 --> 00:52:12,000
- Yes.
1166
00:52:12,000 --> 00:52:14,000
You're doing a delicate handle here, it's porcelain.
1167
00:52:15,000 --> 00:52:17,000
You should have pre shaped your handles.
1168
00:52:17,000 --> 00:52:18,000
I'm used to stoneware where you can literally
1169
00:52:18,000 --> 00:52:21,000
pull a handle wet on a fairly leather hard pot.
1170
00:52:21,000 --> 00:52:23,000
You ain't gonna do that with porcelain.
1171
00:52:23,000 --> 00:52:24,000
No, you can't, I mean I realize that.
1172
00:52:24,000 --> 00:52:26,000
Your bottoms are the neatest that I've seen.
1173
00:52:26,000 --> 00:52:28,000
Very nicely finished.
1174
00:52:28,000 --> 00:52:31,000
Now, Jim...
Is that putty, Jim?
1175
00:52:31,000 --> 00:52:33,000
It's clay actually.
Okay, the plus is,
1176
00:52:33,000 --> 00:52:35,000
it looks very organic, doesn't it?
1177
00:52:35,000 --> 00:52:37,000
It looks like roots of a tree.
1178
00:52:37,000 --> 00:52:38,000
- But- -Yeah.
1179
00:52:38,000 --> 00:52:40,000
There' no way that was gonna sit on there.
1180
00:52:40,000 --> 00:52:42,000
Shame about this though isn't it?
1181
00:52:42,000 --> 00:52:43,000
Yeah, you've got a crack in there,
1182
00:52:43,000 --> 00:52:46,000
again it's an appendage on to the main body.
1183
00:52:47,000 --> 00:52:49,000
Kate, the honors.
1184
00:52:50,000 --> 00:52:51,000
Nice pour, isn't it?
1185
00:52:51,000 --> 00:52:54,000
Yeah, it's got the drip.
It's got a slight drip.
1186
00:52:54,000 --> 00:52:58,000
Few structural issues, but that design, perfect.
1187
00:53:11,000 --> 00:53:14,000
I felt a certain degree of triumph to see Keith
1188
00:53:14,000 --> 00:53:17,000
getting a bit emotional, but to see Kate going down
1189
00:53:17,000 --> 00:53:20,000
that road as well, I found myself going
1190
00:53:20,000 --> 00:53:21,000
down the same street, so it was kind of like,
1191
00:53:22,000 --> 00:53:23,000
whoa, hold off a minute!
1192
00:53:23,000 --> 00:53:24,000
What's going on here!
1193
00:53:24,000 --> 00:53:26,000
I was genuinely surprised that they found
1194
00:53:26,000 --> 00:53:28,000
so many nice things to say about it.
1195
00:53:29,000 --> 00:53:32,000
If I have won, well, you know, I'll be delighted.
1196
00:53:32,000 --> 00:53:34,000
If I don't win I'll be really happy that I've made
1197
00:53:34,000 --> 00:53:36,000
a tea set and I'm pretty proud of that tea set.
1198
00:53:36,000 --> 00:53:39,000
You are your own worse critic so, I, you know,
1199
00:53:39,000 --> 00:53:41,000
I just see the faults in mine,
1200
00:53:41,000 --> 00:53:44,000
but you know I suppose yes there is a possible chance.
1201
00:53:44,000 --> 00:53:48,000
I don't know if I'm in with a chance, to be honest.
1202
00:53:48,000 --> 00:53:51,000
Would be great though, wouldn't it? Yeah.
1203
00:54:00,000 --> 00:54:02,000
Tom, excellent!
1204
00:54:04,000 --> 00:54:05,000
Quite and extreme sight, innit?
1205
00:54:05,000 --> 00:54:08,000
In just a few minutes, either Sally-Jo
1206
00:54:08,000 --> 00:54:13,000
Tom, Matthew or Jim will be crowned the winner
1207
00:54:13,000 --> 00:54:16,000
of The Great Pottery Throw Down.
1208
00:54:16,000 --> 00:54:17,000
Let's talk about Sally-Jo.
1209
00:54:17,000 --> 00:54:20,000
Look, her surface design, the color choices
1210
00:54:20,000 --> 00:54:23,000
she's made are absolutely fantastic,
1211
00:54:23,000 --> 00:54:25,000
but on her technical ability, it's really let her down.
1212
00:54:25,000 --> 00:54:29,000
The wow factor with Tom, is attention to detail.
1213
00:54:30,000 --> 00:54:32,000
We know he's technically proficient.
1214
00:54:32,000 --> 00:54:35,000
He's shown us a real delicacy with his cups and saucers.
1215
00:54:35,000 --> 00:54:37,000
He's high in our mind, because he's
1216
00:54:37,000 --> 00:54:39,000
produced a beautiful tea set.
1217
00:54:39,000 --> 00:54:43,000
Matthew has produced a really strong kind of boyish tea set.
1218
00:54:43,000 --> 00:54:45,000
It's got lovely coarseness,
1219
00:54:45,000 --> 00:54:47,000
a sort of slightly engineered look to it.
1220
00:54:47,000 --> 00:54:50,000
He's used the glazes perfectly on the rims
1221
00:54:50,000 --> 00:54:51,000
of his whole tea set.
1222
00:54:51,000 --> 00:54:53,000
He just has this great knowledge, this like,
1223
00:54:53,000 --> 00:54:57,000
sixth sense of how to use the glazes.
1224
00:54:57,000 --> 00:54:59,000
Jim's surface pattern, it's so fantastic.
1225
00:54:59,000 --> 00:55:02,000
He uses the brush like a magician.
1226
00:55:02,000 --> 00:55:05,000
It's just so simple and so, so effective.
1227
00:55:05,000 --> 00:55:07,000
Does that mean that you are willing to overlook any
1228
00:55:07,000 --> 00:55:09,000
of the construction issues?
1229
00:55:09,000 --> 00:55:10,000
Oh well, you know, this is something
1230
00:55:10,000 --> 00:55:12,000
that we're gonna have to discuss.
1231
00:55:12,000 --> 00:55:14,000
The three of them, all have been top potters,
1232
00:55:14,000 --> 00:55:15,000
all the way through.
1233
00:55:16,000 --> 00:55:17,000
Who's it gonna be?
1234
00:55:17,000 --> 00:55:18,000
Can you give us a few more minutes?
1235
00:55:18,000 --> 00:55:20,000
I think I'm going to have to.
1236
00:55:28,000 --> 00:55:32,000
It is so fantastic seeing so many family
1237
00:55:32,000 --> 00:55:35,000
and friends here and of course, all our potters,
1238
00:55:35,000 --> 00:55:37,000
past and present.
1239
00:55:37,000 --> 00:55:41,000
Welcome all. Will our four finalists please step forward.
1240
00:55:49,000 --> 00:55:54,000
The judges have made their decision and the winner
1241
00:55:55,000 --> 00:55:58,000
of The Great Potter Throw Down is-
1242
00:56:11,000 --> 00:56:12,000
Matthew.
1243
00:56:16,000 --> 00:56:18,000
Well done, mate.
1244
00:56:23,000 --> 00:56:24,000
- Well done. -Well done, mate!
1245
00:56:25,000 --> 00:56:28,000
- Collect your trophy! -Thank you.
1246
00:56:28,000 --> 00:56:30,000
- Congratulations -Cheers.
1247
00:56:30,000 --> 00:56:33,000
Fantastic. Really, really good. Well done, mate.
1248
00:56:33,000 --> 00:56:35,000
- Thank you -Well done.
1249
00:56:35,000 --> 00:56:38,000
What a pleasure, to present the trophy to young Matthew.
1250
00:56:38,000 --> 00:56:41,000
He's really been consistently there, hasn't he?
1251
00:56:41,000 --> 00:56:43,000
Top potter, top potter, top potter.
1252
00:56:43,000 --> 00:56:45,000
Really applied himself.
1253
00:56:47,000 --> 00:56:49,000
What Matthew did to win this contest,
1254
00:56:49,000 --> 00:56:51,000
was he married design with technical ability
1255
00:56:51,000 --> 00:56:56,000
and a real knowledge and a sense and a love of ceramics.
1256
00:56:56,000 --> 00:56:58,000
Really and truly he's got a soul for it.
1257
00:56:58,000 --> 00:57:02,000
I think emotions are difficult, words can't describe it really.
1258
00:57:02,000 --> 00:57:03,000
Amazing.
1259
00:57:03,000 --> 00:57:07,000
And thank my mother and father for introducing me to clay.
1260
00:57:08,000 --> 00:57:09,000
He's a natural.
1261
00:57:10,000 --> 00:57:11,000
I think it's like, he's got clay in the blood
1262
00:57:11,000 --> 00:57:14,000
and slip in his brains and you know,
1263
00:57:15,000 --> 00:57:17,000
just it's definitely gone to the right guy, yeah.
1264
00:57:17,000 --> 00:57:18,000
- Come here!
1265
00:57:18,000 --> 00:57:21,000
He's got that youthful thing in his work,
1266
00:57:21,000 --> 00:57:23,000
it's almost nonchalance, it's like yeah,
1267
00:57:23,000 --> 00:57:24,000
I knocked up that and I knocked up this.
1268
00:57:24,000 --> 00:57:26,000
Fantastic, you know.
1269
00:57:26,000 --> 00:57:29,000
Your father, is a great potter.
1270
00:57:29,000 --> 00:57:30,000
The thing I'm going to miss most,
1271
00:57:31,000 --> 00:57:32,000
is the most amazing people.
1272
00:57:32,000 --> 00:57:34,000
We come from such diverse backgrounds,
1273
00:57:34,000 --> 00:57:37,000
but we're completely bonded by the same thing.
1274
00:57:37,000 --> 00:57:40,000
This passion to create and work with clay,
1275
00:57:40,000 --> 00:57:41,000
that's what I'm going to miss.
1276
00:57:41,000 --> 00:57:45,000
Anyone deserved this and we all deserve it.
1277
00:57:45,000 --> 00:57:48,000
If I could break it up into 10 shards,
1278
00:57:48,000 --> 00:57:51,000
I would, but it would be a shame to ruin a pot, wouldn't it?
1279
00:57:51,000 --> 00:57:55,000
♪ Don't ever change ♪
1280
00:57:55,000 --> 00:58:00,000
♪ Don't ever change from that way that you are now ♪
1281
00:58:02,000 --> 00:58:05,000
♪ If you ever change ♪
1282
00:58:05,000 --> 00:58:06,000
♪ I will be sad ♪
1283
00:58:06,000 --> 00:58:11,000
♪ 'Cause I wanted you just as you are ♪
1284
00:58:11,000 --> 00:58:15,000
♪ Don't you ever change now ♪
1285
00:58:15,000 --> 00:58:19,000
♪ Always be the same now ♪
1286
00:58:19,000 --> 00:58:22,000
♪ No, don't ever change from the way that you were ♪
1287
00:58:22,000 --> 00:58:27,000
♪ Last night ♪
1288
00:58:27,000 --> 00:58:31,000
♪ Don't ever change ♪
1289
00:58:31,000 --> 00:58:32,000
♪ What can you prove ♪
1290
00:58:32,000 --> 00:58:37,000
♪ If you change in your ways to me ♪
1291
00:58:37,000 --> 00:58:41,000
♪ Please don't ever change ♪
1292
00:58:41,000 --> 00:58:42,000
♪ Please don't be blind ♪
1293
00:58:42,000 --> 00:58:47,000
♪ 'Cause I need you, can't you see ♪
1294
00:58:47,000 --> 00:58:51,000
♪ Don't you ever change now ♪
1295
00:58:51,000 --> 00:58:55,000
♪ Always be the same now ♪
1296
00:58:55,000 --> 00:58:58,000
♪ No, don't ever change from the way that you were ♪
1297
00:58:58,000 --> 00:59:03,000
♪ Last night ♪
1298
00:59:04,000 --> 00:59:08,000
♪ Don't ever change ♪
1299
00:59:08,000 --> 00:59:10,000
♪ Don't ever change ♪
1300
00:59:10,000 --> 00:59:12,000
♪ I'll be sad ♪
1301
00:59:12,000 --> 00:59:14,000
♪ And I would cry ♪
1302
00:59:14,000 --> 00:59:16,000
♪ If you leave me ♪
1303
00:59:16,000 --> 00:59:19,000
♪ Don't ever leave me ♪
1304
00:59:19,000 --> 00:59:23,000
♪ Don't ever change ♪
1305
00:59:23,000 --> 00:59:28,000
♪ Don't ever change from the way that you are now ♪
1306
00:59:29,000 --> 00:59:33,000
♪ If you ever change ♪
1307
00:59:33,000 --> 00:59:34,000
♪ I would be sad ♪
1308
00:59:34,000 --> 00:59:38,000
♪ 'Cause I wanted you just as you are ♪
96587
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