0:00:04 > 0:00:07I am so passionate about Britain's craft heritage
0:00:07 > 0:00:10and I'm determined to do whatever I can to safeguard those old skills
0:00:10 > 0:00:12for future generations.
0:00:12 > 0:00:15But I can't do it alone - I need your help.
0:00:15 > 0:00:18So come on, join me - Paul Martin - and my Handmade Revolution.
0:00:44 > 0:00:48We're searching the country to find the very best of amateur British makers.
0:00:48 > 0:00:50I'm a shape designer and I'm constantly drawing
0:00:50 > 0:00:52and coming up with new ideas.
0:00:52 > 0:00:56And we're going to be finding out how important their items could be,
0:00:56 > 0:00:59all made with skill and passion.
0:00:59 > 0:01:00I would love to take it further -
0:01:00 > 0:01:03to have my own exhibition of stuff that I've done.
0:01:03 > 0:01:08To be able to make your own fabric, I'm so filled with enthusiasm.
0:01:08 > 0:01:12But what these people don't realise is that one of them will be offered
0:01:12 > 0:01:14the chance of a lifetime.
0:01:14 > 0:01:18The opportunity to display their work at the home of the handmade.
0:01:18 > 0:01:21I'm pleased to announce the judges' favourite today is...
0:01:27 > 0:01:31In this series, I'm championing British craft heritage,
0:01:31 > 0:01:33and I'll show you how you can get involved.
0:01:34 > 0:01:39This county Worcestershire was once famed for its glove-making.
0:01:39 > 0:01:42The industry declined and the glove maker's art is all but lost.
0:01:42 > 0:01:45But the craftsmen and women who work here today
0:01:45 > 0:01:48at the Jinney Ring Craft Centre are flying the flag for history,
0:01:48 > 0:01:51upholding our fine craft traditions.
0:01:51 > 0:01:55But this is also about finding future classics,
0:01:55 > 0:01:57which will stand the test of time.
0:01:57 > 0:02:02And later on in the show, you can learn some tips from our master coppersmith.
0:02:03 > 0:02:05Ah! Magic!
0:02:05 > 0:02:06LAUGHTER
0:02:06 > 0:02:08Absolute magic! Look at that!
0:02:10 > 0:02:13From among hundreds of impressive applications,
0:02:13 > 0:02:16we've selected five talented amateurs
0:02:16 > 0:02:20to present their finest work to our panel of discerning judges,
0:02:20 > 0:02:22keeping a sharp eye out for the top talent.
0:02:29 > 0:02:32The stakes could not be higher
0:02:32 > 0:02:35because one of today's finalists will be given the chance
0:02:35 > 0:02:39to see their piece on display, at the Victoria and Albert Museum.
0:02:41 > 0:02:43I've been amazed at the response.
0:02:43 > 0:02:46But before we meet our finalists, let's meet the judges
0:02:46 > 0:02:50who'll decide whether they've really got what it takes.
0:02:50 > 0:02:54Mary Jane Baxter is a craft writer, teacher and milliner,
0:02:54 > 0:02:57who's passionate about handmade.
0:02:57 > 0:02:58I can't wait to see what we find.
0:02:58 > 0:03:03I know there's tons of talent out there. It's going to be great.
0:03:03 > 0:03:07Entrepreneur Piyush Suri is the force behind an organisation
0:03:07 > 0:03:10that champions up and coming designer-makers.
0:03:10 > 0:03:13It's going to be brilliant seeing all the wonderful creativity
0:03:13 > 0:03:17and skilled workmanship Britain has on offer. I'm very excited.
0:03:17 > 0:03:20And our chief judge, Glenn Adamson, is head of research
0:03:20 > 0:03:23at the Victoria and Albert Museum in London
0:03:23 > 0:03:25and at the very top of his field.
0:03:25 > 0:03:28This country has such a rich tradition of craft
0:03:28 > 0:03:32and I'm hoping to meet people who are carrying that on into the 21st-century.
0:03:32 > 0:03:36Everyone here is a signed-up member of the Handmade Revolution,
0:03:36 > 0:03:40and all determined to keep our traditional skills alive.
0:03:40 > 0:03:43But for one lucky maker, this day could change their life.
0:03:43 > 0:03:45It's time to let the judges loose.
0:03:46 > 0:03:50Our first finalist is Sue Christian,
0:03:50 > 0:03:52a retired police officer, who has a passion for weaving.
0:03:54 > 0:03:55Will Piyush be impressed?
0:03:55 > 0:03:59I was so looking forward to seeing you, you know.
0:03:59 > 0:04:02This is my area of expertise and I love weaving,
0:04:02 > 0:04:07and I've been weaving for so long and I must say I love the colours.
0:04:07 > 0:04:09It's so soft. What materials?
0:04:09 > 0:04:12It's silk, it's 100% silk,
0:04:12 > 0:04:16and I love using these very fine silk yarns.
0:04:16 > 0:04:21A - they drape so nicely but also they give you a lot of scope to do
0:04:21 > 0:04:24pattern in a comparatively small area.
0:04:24 > 0:04:26I think it's beautiful.
0:04:26 > 0:04:29How long have you been doing weaving?
0:04:29 > 0:04:32I learned to weave in 2005.
0:04:32 > 0:04:34- Do you have a loom?- I do.
0:04:34 > 0:04:38This was done on my floor loom, I can weave up to a metre wide on it.
0:04:38 > 0:04:45Completely hand and foot operated, no computer controls or anything.
0:04:45 > 0:04:48You can clearly see I'm loving this, I don't want to let it go!
0:04:48 > 0:04:51But, yes! Is it just a hobby craft right now
0:04:51 > 0:04:53or are you taking it commercially?
0:04:53 > 0:04:55I do sell.
0:04:55 > 0:04:58I don't earn a great deal of money out of it,
0:04:58 > 0:05:02so it's a hobby that pays for itself.
0:05:02 > 0:05:05- How much would a piece like this cost?- This would be about £190.
0:05:05 > 0:05:07That's reasonable enough.
0:05:07 > 0:05:10And is it because it's silk it's that expensive?
0:05:10 > 0:05:11It is.
0:05:11 > 0:05:14There is about £40 worth of silk in it,
0:05:14 > 0:05:18but most of what I put on as the cost
0:05:18 > 0:05:22is my time for work and my expertise, the designing time etc.
0:05:22 > 0:05:25You said you didn't have a design background,
0:05:25 > 0:05:26so what's your background?
0:05:26 > 0:05:28I've been interested in textiles all my life
0:05:28 > 0:05:31and when I retired from the police,
0:05:31 > 0:05:35I saw an exhibition of people spinning and I just thought, "wow".
0:05:35 > 0:05:39I didn't know, you see a spinning wheel or a loom in a museum,
0:05:39 > 0:05:42you don't realise people still do this sort of thing,
0:05:42 > 0:05:46so I thought, "I must learn how to do it!".
0:05:46 > 0:05:50And just to be able to make your own fabric, just...
0:05:50 > 0:05:55I just - I was so filled with enthusiasm for it.
0:05:55 > 0:05:56It's amazing when you're weaving
0:05:56 > 0:05:59and you suddenly see the yarn is becoming fabric.
0:05:59 > 0:06:01It's such a wonderful feeling.
0:06:01 > 0:06:03And they don't always turn out as you expect
0:06:03 > 0:06:06cos when the colours interact, you get something totally different.
0:06:06 > 0:06:09Sometimes it works, sometimes it doesn't.
0:06:09 > 0:06:12I think it's a fabulous product and it's a very clever use of colour.
0:06:12 > 0:06:14- Thank you very much. - Congratulations.
0:06:14 > 0:06:15Thank you.
0:06:15 > 0:06:18Piyush doesn't give praise easily,
0:06:18 > 0:06:21so clearly Sue's scarf has impressed him.
0:06:21 > 0:06:25Now that I understand how much effort and hard work
0:06:25 > 0:06:29has gone in to her hand-woven fabric, I'd pay Sue's asking price
0:06:29 > 0:06:32of around £200. But is it a winner?
0:06:32 > 0:06:37It's just that connection with the past, with tradition, you know,
0:06:37 > 0:06:42the idea that I'm doing something exactly the same way
0:06:42 > 0:06:45as somebody hundreds of years did.
0:06:45 > 0:06:48And producing something which I think is lovely at the end of it.
0:06:48 > 0:06:50So it gives me great satisfaction.
0:06:53 > 0:06:56From a traditional skill to something more contemporary.
0:06:56 > 0:06:5853-year-old Phil Drabble from Worcestershire
0:06:58 > 0:07:00works as a prison officer.
0:07:00 > 0:07:04Will his piece be the one that stands out?
0:07:05 > 0:07:08Perhaps you could tell me a little bit about the story
0:07:08 > 0:07:10of why you made it.
0:07:10 > 0:07:14This is a tap and it's pouring water into a heart-shape
0:07:14 > 0:07:17and it's overflowing and the piece is called Overflowing,
0:07:17 > 0:07:19and this came about at a point when I heard that my dad
0:07:19 > 0:07:22had a serious heart condition,
0:07:22 > 0:07:25and it was me wanting to express how I felt about him
0:07:25 > 0:07:27and about the whole situation.
0:07:27 > 0:07:30It's a really important and very personal thing for you, this piece.
0:07:30 > 0:07:32Most definitely, yeah.
0:07:32 > 0:07:36- It's not something that will appeal to everybody.- I understand that.
0:07:36 > 0:07:39Do you do this sort of sculpture for fun?
0:07:39 > 0:07:42Do you do lots of unusual, quirky pieces?
0:07:42 > 0:07:45Have you got, like, a crazy workshop full of strange bits of metal
0:07:45 > 0:07:47and things?
0:07:47 > 0:07:51I have got a crazy workshop full of metal bits and things!
0:07:51 > 0:07:54Since I've been doing this, many people have said to me,
0:07:54 > 0:07:56"I've got this, do you want this?"
0:07:56 > 0:07:59and I take it into my workshop and then pick two things up
0:07:59 > 0:08:02and see if they fit together, and if they don't,
0:08:02 > 0:08:04try something else and keep on till I've got bits that fit,
0:08:04 > 0:08:06then, what can I do with this?
0:08:06 > 0:08:08So for this one then, you had the old tap.
0:08:08 > 0:08:10Yes.
0:08:10 > 0:08:14And how did you make this part of it? Is it clay?
0:08:14 > 0:08:18OK. This is air-dried clay. I thought I'd give it a try.
0:08:18 > 0:08:21And I'm very impressed with it, it's very easy to use.
0:08:21 > 0:08:24And you just form it to whatever shape you want
0:08:24 > 0:08:26and over a period of time, it completely dries.
0:08:26 > 0:08:28And the colouring...
0:08:28 > 0:08:29- The colouring is shoe polish. - Really?
0:08:29 > 0:08:32- 50-year-old shoe polish. - 50-year-old shoe polish!
0:08:32 > 0:08:33It is, yeah.
0:08:33 > 0:08:36That's vintage! Where on Earth did you get hold of that?
0:08:36 > 0:08:37I have a lot of things in my cupboard.
0:08:37 > 0:08:41That's amazing! So I can see you in your crazy world,
0:08:41 > 0:08:43in a garage with all your bits around you,
0:08:43 > 0:08:47but do you think this is ever going to be more than a hobby for you?
0:08:47 > 0:08:50Are you content for it being that self-expression for you?
0:08:50 > 0:08:52I would love to take it further.
0:08:52 > 0:08:55I would love to have my own exhibition of stuff that I've done.
0:08:55 > 0:08:57I'd love to see some of your other work
0:08:57 > 0:08:59because I bet it is even more experimental.
0:08:59 > 0:09:02Thanks very much for coming along.
0:09:02 > 0:09:03It's been a pleasure.
0:09:03 > 0:09:09Phil's philosophy towards his pieces revolves around self-expression
0:09:09 > 0:09:11and innovation, and this is very evident in his work.
0:09:11 > 0:09:15But I feel the making and finishing might need perfecting -
0:09:15 > 0:09:17it's inventive but rudimentary.
0:09:17 > 0:09:21Now I wonder if any of our amateur makers here today
0:09:21 > 0:09:23have what it takes for their work
0:09:23 > 0:09:26to become sought-after antiques of the future.
0:09:26 > 0:09:29Regularly high-end auction rooms all over the world handle the work
0:09:29 > 0:09:33of celebrated master craftsmen of the past.
0:09:35 > 0:09:40Auction houses are a great source of quality handmade objects
0:09:40 > 0:09:41from all eras.
0:09:41 > 0:09:45This striking set of copper wall panels appeals to me straight away.
0:09:45 > 0:09:49In the arts and crafts period of the late-19th, early-20th centuries,
0:09:49 > 0:09:51copper and other non-precious metals
0:09:51 > 0:09:54became popular materials to work with.
0:09:54 > 0:09:58It was a chance for ordinary people to own lovely things.
0:09:58 > 0:10:03We've got 12 panels of copper inlaid with brass,
0:10:03 > 0:10:09a set of signs of the zodiac that are handmade, done in the 1940s,
0:10:09 > 0:10:13and the exciting thing is they were made for the Union-Castle shipping line,
0:10:13 > 0:10:15sailing in the '40s and '50s.
0:10:15 > 0:10:18The fascination people had for using a wider range of elements
0:10:18 > 0:10:19in the Art Deco period,
0:10:19 > 0:10:22pewter for example was being revived by Liberty's,
0:10:22 > 0:10:26copper by Newland, so there was a revival in all sorts of materials.
0:10:26 > 0:10:30Once upon a time they would've been lacquered brass and copper.
0:10:30 > 0:10:32They've suffered a little bit of distress.
0:10:32 > 0:10:35The surface patination has gone a bit damp and a bit tarnished,
0:10:35 > 0:10:39but they're still a decorative, amusing set of wall panels,
0:10:39 > 0:10:42and I'd envisage them in an architectural setting.
0:10:42 > 0:10:45Maybe a bar or an Art Deco ballroom or something.
0:10:45 > 0:10:48But what might they go for today?
0:10:48 > 0:10:50£500 at the moment. 550...
0:10:50 > 0:10:54What sells well at the moment is something little bit different,
0:10:54 > 0:10:57a bit unusual. I think 600 to 900.
0:10:57 > 0:10:58At that price they should go,
0:10:58 > 0:11:00and they hopefully might make a little bit more.
0:11:00 > 0:11:03750. 800.
0:11:03 > 0:11:06At 800 then. With them selling at 800.
0:11:06 > 0:11:10It's great to see craftsmanship valued so highly.
0:11:10 > 0:11:13I love copper and I'll be showing you how to fashion a copper item
0:11:13 > 0:11:16later on in the show - with a little help!
0:11:19 > 0:11:21Back in Bromsgrove,
0:11:21 > 0:11:24the pressure is on our finalists to prove their worth.
0:11:24 > 0:11:26Retired maths teacher, Steve Plummer,
0:11:26 > 0:11:28has turned tradition on its head.
0:11:28 > 0:11:31Steve, there's a lot more going on in this product than just the stripes.
0:11:31 > 0:11:33What is this illusion?
0:11:33 > 0:11:36You should see just stripes when you look on the surface of it,
0:11:36 > 0:11:39straight at the surface but when you look at an angle,
0:11:39 > 0:11:44as it turns in front of you, you will see the image begin to appear.
0:11:44 > 0:11:46This is illusion knitting.
0:11:46 > 0:11:48It's illusion or shadow knitting.
0:11:48 > 0:11:50How does it work? Tell me.
0:11:50 > 0:11:55This is all hand-knitted and every right-side row is knit stitches.
0:11:55 > 0:12:00On the wrong-side row, that's as you're knitting back.
0:12:00 > 0:12:02If it's a knit stitch, it'll stand forward.
0:12:02 > 0:12:05If it's a purl stitch, it'll pull back.
0:12:05 > 0:12:08And what you're actually seeing as this moves
0:12:08 > 0:12:11is you're looking across the top of purl stitches
0:12:11 > 0:12:13at the knit stitches beyond,
0:12:13 > 0:12:16and that's the thing that creates the illusion.
0:12:16 > 0:12:19So it's your background in maths which brings this precision?
0:12:19 > 0:12:23Shadow knitting or illusion knitting has been around for quite a long time.
0:12:23 > 0:12:26There's some evidence of it in some Japanese knitting.
0:12:26 > 0:12:32A lot of it, the shadow knitting, was just creating different shadows
0:12:32 > 0:12:36across garments, different hues on garments as you move past them.
0:12:36 > 0:12:39It's our background in mathematics,
0:12:39 > 0:12:43and thinking about charts and how to chart things
0:12:43 > 0:12:46that led us to develop the charting process,
0:12:46 > 0:12:49so we could actually create things as complex as this.
0:12:49 > 0:12:51If you had to put a value on this,
0:12:51 > 0:12:53how much would you think it would sell for?
0:12:53 > 0:12:57It takes me on average about 100 hours to draw the chart.
0:12:57 > 0:13:00Then about another 100 hours to hand knit.
0:13:00 > 0:13:04So we're talking about 200 hours for this piece.
0:13:04 > 0:13:07Now if you relate that to, say, a minimum wage...
0:13:07 > 0:13:08We can do the mathematics!
0:13:08 > 0:13:15If I said £800-£1000 would not be unreasonable for this type of piece.
0:13:15 > 0:13:19I think it has a lot more value than you think it does
0:13:19 > 0:13:21because it's a piece of art.
0:13:21 > 0:13:24- I think it's a piece of art, yes. - Don't undervalue yourself.
0:13:24 > 0:13:26I agree with you that it's art.
0:13:26 > 0:13:30I was thinking a couple of thousand pounds to be honest
0:13:30 > 0:13:33and I can tell that a lot of people would go for this kind of piece
0:13:33 > 0:13:34because it's quite contemporary.
0:13:34 > 0:13:37Although inspired from traditional paintings,
0:13:37 > 0:13:38it's still a contemporary piece.
0:13:38 > 0:13:41So what's the next level now?
0:13:41 > 0:13:44The commercial side of it, my wife and I are both retired,
0:13:44 > 0:13:49and we're very happy with teaching other people how to do this type of thing.
0:13:49 > 0:13:53So that is the way I think it goes.
0:13:53 > 0:13:58We're after basically people seeing these, being inspired by them
0:13:58 > 0:14:01and wanting to do the things for themselves.
0:14:01 > 0:14:04Steve's illusion knits would command a high price tag.
0:14:04 > 0:14:06But Piyush knows his market
0:14:06 > 0:14:09so, if he says it's worth several thousand pounds, then I believe him.
0:14:09 > 0:14:12But it sounds as if it's not about the money.
0:14:12 > 0:14:15Steve is prepared to share his skills with others.
0:14:15 > 0:14:18A teacher who's swapped maths for knitting.
0:14:18 > 0:14:24I think anything that promotes craft is a good thing.
0:14:24 > 0:14:27Craft died out, in inverted commas, for an awfully long time.
0:14:27 > 0:14:31And I think there is evidence now that crafts are coming back.
0:14:31 > 0:14:34I think it can only be a good thing.
0:14:34 > 0:14:38The resident makers here range from potters, jewellers,
0:14:38 > 0:14:40even glassblowers!
0:14:40 > 0:14:44I've popped in to see Phil Baldwin, an on-site wood turner.
0:14:44 > 0:14:47That's something I would love to have done as a career too.
0:14:47 > 0:14:50I love being surrounded by wood.
0:14:50 > 0:14:51I envy you, actually, this is your office.
0:14:51 > 0:14:53How long have you been here?
0:14:53 > 0:14:55I've been working here seven years.
0:14:55 > 0:14:56- Yeah? Enjoying it?- Yeah, I love it.
0:14:56 > 0:14:58What's your speciality?
0:14:58 > 0:15:01I make wooden fret work trees, and wooden pens as well.
0:15:01 > 0:15:04- Wooden pens?- Yeah.
0:15:04 > 0:15:06This is nice, a little outline of an oak tree.
0:15:06 > 0:15:08- That's oak you're using as well? - Yeah.
0:15:08 > 0:15:10It all comes into pieces as well.
0:15:10 > 0:15:11- That's clever!- Like a jigsaw.
0:15:11 > 0:15:14So I guess you can use all different types of wood,
0:15:14 > 0:15:16and get the outline of trees.
0:15:16 > 0:15:18That's an ash tree, you've got ash there as well.
0:15:18 > 0:15:21Yeah, and I use native and exotic timbers.
0:15:21 > 0:15:24I try and use local timbers if possible.
0:15:24 > 0:15:27It's a great way of educating people, the grain of the wood,
0:15:27 > 0:15:29what it looks like in its finished state.
0:15:29 > 0:15:34But also, how to recognise the outline of a tree from a distance.
0:15:34 > 0:15:38Can you cut one out and show me how you do it? Do you mind?
0:15:41 > 0:15:43So you draw the outline on a piece of paper.
0:15:43 > 0:15:45Stick it on the block of wood.
0:15:45 > 0:15:47Then, off you go.
0:15:49 > 0:15:53The type of woodwork Phil's doing here is best described as fretwork.
0:15:53 > 0:15:57He's using the saw to create a pattern of inner cuts,
0:15:57 > 0:15:59creating the shape of the tree branches.
0:15:59 > 0:16:03It's a method that, historically, would be done with hand tools.
0:16:03 > 0:16:06You can regularly spot ornamental fretwork on furniture,
0:16:06 > 0:16:09musical instruments and architectural features.
0:16:09 > 0:16:12You can see he's been doing that for a few years, can't you?
0:16:12 > 0:16:15That's something I would not attempt to do.
0:16:15 > 0:16:19Very dangerous, but very skilful.
0:16:25 > 0:16:28That is incredible, that's so clever.
0:16:28 > 0:16:31The speed you did that at was unbelievable.
0:16:31 > 0:16:34The sections of wood are rounded, stained and polished
0:16:34 > 0:16:37into these beautiful, crafted pieces.
0:16:39 > 0:16:43Phil is a great example of a young man continuing a traditional craft
0:16:43 > 0:16:45and making it a career, not just a hobby.
0:16:45 > 0:16:47Another handmade revolutionary.
0:16:52 > 0:16:55From tiny trees, to huge horses,
0:16:55 > 0:16:56woodworkers have no boundaries
0:16:56 > 0:17:00to the shapes and the sizes of the pieces they create.
0:17:00 > 0:17:04Our head judge Glenn, always keen to find a story behind the maker,
0:17:04 > 0:17:08has found a fascinating sculptural example.
0:17:08 > 0:17:10Thanks for bringing your horse in.
0:17:10 > 0:17:12I'm afraid I don't have my boots or my 10 gallon hat with me,
0:17:12 > 0:17:15but, as an American, I can say this makes me feel right at home.
0:17:15 > 0:17:17Can you tell us a little bit about it?
0:17:17 > 0:17:20It's made of recycled timber.
0:17:20 > 0:17:22It's six foot six high.
0:17:22 > 0:17:25- It's more your Greek than your yank! - I see, OK.
0:17:25 > 0:17:28So it's the Trojan horse. Right, OK.
0:17:28 > 0:17:29Is this the first one you've made?
0:17:29 > 0:17:32It's the first horse, but not the first large animal.
0:17:32 > 0:17:35So do these things find any purpose, or is it just for your own amusement?
0:17:35 > 0:17:37I make them because I want to make them.
0:17:37 > 0:17:41- And if someone wants to buy one, they can pay for it.- Right.
0:17:41 > 0:17:42But, if they don't, I keep it.
0:17:42 > 0:17:45OK! But I imagine, by the side of the road,
0:17:45 > 0:17:48- it would be quite an eye-catching thing, good for a sign.- Businesses.
0:17:48 > 0:17:50- Businesses buy them. - Yeah, absolutely.
0:17:50 > 0:17:52It makes all kind of sense to me, I must say.
0:17:52 > 0:17:55Mind you, I come from a country where there's giant hamburgers
0:17:55 > 0:17:57and giant ducks on the side of the road all the time!
0:17:57 > 0:17:59So, it looks pretty simple to make.
0:17:59 > 0:18:02- It's basically screws through the boards.- It is.
0:18:02 > 0:18:05- The frame inside is quite complicated.- I was going to say.
0:18:05 > 0:18:07But it is, structurally sound?
0:18:07 > 0:18:09- Oh, yes!- OK. Shall we put that to the test?- Yes.
0:18:09 > 0:18:11- Do you mind if I get on? - I don't mind at all.
0:18:11 > 0:18:13- OK, shall we give it a try?- Yes.
0:18:13 > 0:18:15HE GRUNTS
0:18:18 > 0:18:20And he's comfortable too!
0:18:20 > 0:18:22I thought you said you were an American.
0:18:22 > 0:18:26HE LAUGHS Always going wrong way, yeah, yeah.
0:18:26 > 0:18:30That's how I wound up in England in the first place, yeah.
0:18:30 > 0:18:32I find it extraordinary,
0:18:32 > 0:18:35the range of things British people are making behind closed doors!
0:18:35 > 0:18:39But Mary Jane is right at home with the passion and the pastime
0:18:39 > 0:18:43of our next finalist, 30-year-old housewife Isla Wong.
0:18:43 > 0:18:46Headwear!
0:18:46 > 0:18:48These are beautiful!
0:18:48 > 0:18:52- Thank you. - I have to say, I really love them.
0:18:52 > 0:18:56I'm imagining strolling down an avenue in Tokyo,
0:18:56 > 0:18:59cherry blossoms everywhere.
0:18:59 > 0:19:01I feel so transported, looking at them.
0:19:01 > 0:19:03Yes.
0:19:03 > 0:19:04Tell me what they're called?
0:19:04 > 0:19:07This sort of particular style is called tsumami kanzashi.
0:19:07 > 0:19:08What does that actually mean?
0:19:08 > 0:19:12Tsumami is the name of the technique, it's pinching.
0:19:12 > 0:19:17Each petal has been pinched, or folded, using tweezers.
0:19:17 > 0:19:21From the petals, you can create whatever flower you feel you would like to create.
0:19:21 > 0:19:23And the kanzashi part of it?
0:19:23 > 0:19:25Kanzashi translates as hair accessories.
0:19:25 > 0:19:26So, tell me
0:19:26 > 0:19:29- how you got into making them? - I got into making them
0:19:29 > 0:19:32because I originally was interested in wearing kimonos.
0:19:32 > 0:19:35You can't just wear kimonos. You need all the accessories as well.
0:19:35 > 0:19:38Being a milliner, I do look at the detail of things,
0:19:38 > 0:19:41especially that are worn in the hair or on the head.
0:19:41 > 0:19:44And, I have to say, your finish is spotless.
0:19:44 > 0:19:46I can't see a dot of glue on there.
0:19:46 > 0:19:51It really is a lovely, clean, crisp finish.
0:19:51 > 0:19:57And, the way you've bound the wires, it's really good, it really is.
0:19:57 > 0:20:00- You've used a certain way of making the flowers here.- Yes.
0:20:00 > 0:20:03Are there lots of ways of making the flowers?
0:20:03 > 0:20:06- There's two main ways to make the petals.- Right.
0:20:06 > 0:20:08- This is what's called the round petal.- Right.
0:20:08 > 0:20:11The other style, these are called the pointed petals.
0:20:11 > 0:20:13I see, isn't that beautiful?
0:20:13 > 0:20:15But, once you've made the petal,
0:20:15 > 0:20:18it's a case of deciding what flower to make.
0:20:18 > 0:20:20- So these ones are cherry blossoms. - Yes.
0:20:20 > 0:20:22Cherry blossoms are five petals.
0:20:22 > 0:20:25And in the middle of each one, there's a slight indentation,
0:20:25 > 0:20:27to represent little heart-shapes, that the petals represent.
0:20:27 > 0:20:32And then, how long would it take you to make just one flower?
0:20:32 > 0:20:34Probably 5-10 minutes, depending on the complexity.
0:20:34 > 0:20:35- Per flower?- Yes.
0:20:35 > 0:20:37Then you join them all together
0:20:37 > 0:20:41to make this beautiful hair decoration.
0:20:41 > 0:20:45- There are 42 flowers in total in this.- 42 flowers in total?
0:20:45 > 0:20:48So we're talking about five, six, seven hours' work
0:20:48 > 0:20:51in something like this separate piece?
0:20:51 > 0:20:53This set takes around four days to make.
0:20:53 > 0:20:56- Four days!- Four days to make because it includes drying time.
0:20:56 > 0:20:58Once I've put the petals on the bases,
0:20:58 > 0:21:00I have to let the flowers dry.
0:21:00 > 0:21:04If I then try to move them, they will fall apart.
0:21:04 > 0:21:06I really am taken with these.
0:21:06 > 0:21:08They've obviously taken a huge amount of work,
0:21:08 > 0:21:10and there's a real attention to detail.
0:21:10 > 0:21:12At the moment, you're, I guess,
0:21:12 > 0:21:15producing designs that you've seen, is that fair?
0:21:15 > 0:21:17I do produce designs I've seen.
0:21:17 > 0:21:18I'll also produce, like these ones.
0:21:18 > 0:21:20These are not typically traditional.
0:21:20 > 0:21:22I have made up brooches.
0:21:22 > 0:21:25I always think about making,
0:21:25 > 0:21:28because this technique can also be applied to boxes,
0:21:28 > 0:21:30and photo frames, I've thought about doing that.
0:21:30 > 0:21:34I'd love to see some absolutely enormous thing.
0:21:34 > 0:21:36- Think big, and see what happens.- Yes.
0:21:36 > 0:21:38This work is very small and very detailed.
0:21:38 > 0:21:41In a way, you can get drawn into the smaller detail.
0:21:41 > 0:21:44It would be fascinating to see what happened if you thought big.
0:21:44 > 0:21:46It's been really lovely to see these here today,
0:21:46 > 0:21:49Thank you so much for bringing them in to show me.
0:21:49 > 0:21:52It's my pleasure.
0:21:52 > 0:21:56I can see a bride buying both Isla's pieces for £200.
0:21:56 > 0:22:00It's an exquisite and ancient craft, dating back 3,000 years,
0:22:00 > 0:22:02in which Isla has become proficient.
0:22:02 > 0:22:04But, in Japan,
0:22:04 > 0:22:07where tsumami kanzashi is a traditional handicraft,
0:22:07 > 0:22:10to be recognised in the field,
0:22:10 > 0:22:14you'd need to do a five or ten-year apprenticeship with a master.
0:22:14 > 0:22:16There's a seriously important opportunity
0:22:16 > 0:22:19on the line for today's Judges' Favourite.
0:22:19 > 0:22:23If Mary Jane gets her way, Isla's hairpieces might be on display
0:22:23 > 0:22:26at one of the world's most celebrated museums.
0:22:28 > 0:22:31Today, teams of professionals have been busy sharing their skills
0:22:31 > 0:22:35and inspiring people to try out new things.
0:22:35 > 0:22:37From the traditional pastime of rag rugging,
0:22:37 > 0:22:39to the more up-to-date fabric corsages.
0:22:39 > 0:22:44In between creating fascinators and brooches using millinery techniques,
0:22:44 > 0:22:47the ladies, known as The Hattery,
0:22:47 > 0:22:50have made something for the ever-stylish Mary Jane.
0:22:50 > 0:22:52- Ladies, can I try it on? - You certainly can.
0:22:52 > 0:22:54That's what I'm dying to do.
0:22:54 > 0:22:55Let me give you my headband.
0:22:55 > 0:22:57I'll try this on.
0:22:57 > 0:22:58There we are.
0:23:01 > 0:23:03It fits like a glove.
0:23:03 > 0:23:05Thank you so much, ladies.
0:23:05 > 0:23:07It really is beautiful.
0:23:07 > 0:23:09I love the brim shape, actually.
0:23:09 > 0:23:10I feel very elegant wearing it!
0:23:10 > 0:23:13We thought we'd go slightly vintage with it.
0:23:13 > 0:23:14- It's lovely.- Classical.
0:23:14 > 0:23:17A lovely deep purple too.
0:23:17 > 0:23:21I make so many hats for other people, it's nice to have one for myself for a change.
0:23:25 > 0:23:28If you'd like to join the Handmade Revolution
0:23:28 > 0:23:31and try your hands at making some crafts from the series,
0:23:31 > 0:23:34why not order your free how-to guide, by writing to us at:
0:23:43 > 0:23:47And please remember to include your name and full postal address.
0:23:50 > 0:23:53At 25, Kayley Holderness is our youngest finalist today.
0:23:53 > 0:23:56She works in administration at the moment,
0:23:56 > 0:23:59but her dream is to make a living from her ceramics.
0:23:59 > 0:24:02Will Piyush like what she's showing him?
0:24:02 > 0:24:03What is this piece?
0:24:03 > 0:24:05This is a trug.
0:24:05 > 0:24:08I've called it the Forager's Friend,
0:24:08 > 0:24:10as it's a piece that people would use to help
0:24:10 > 0:24:15in the collection of fruits and vegetables from the garden, fields.
0:24:15 > 0:24:17- It's an unusual choice of material for this item.- It is.
0:24:17 > 0:24:21Ceramics is a practical material that people use for kitchenware,
0:24:21 > 0:24:23tableware.
0:24:23 > 0:24:27It's not actually a piece you would take into the garden and use.
0:24:27 > 0:24:31It sort of turned into a project that I wanted to create something
0:24:31 > 0:24:34which would ignite a conversation.
0:24:34 > 0:24:35So it would on somebody's kitchen table
0:24:35 > 0:24:37and they'd say, "What is that?"
0:24:37 > 0:24:39I'd say, "It's a trug."
0:24:39 > 0:24:42They'd say, "What's a trug, what do you use it for?"
0:24:42 > 0:24:46I wanted people to become aware of foraging, the importance of it,
0:24:46 > 0:24:50and how brilliant it would be if people started eating fresh food,
0:24:50 > 0:24:52fruits and vegetables from their gardens,
0:24:52 > 0:24:54from local fields and hedgerows.
0:24:54 > 0:24:57For me, the shape is very contemporary.
0:24:57 > 0:25:00You're still using it for a very traditional use.
0:25:00 > 0:25:03So I think it's a very clever idea.
0:25:03 > 0:25:05And I do like the use of the materials, the wooden handle.
0:25:05 > 0:25:08It's very, very minimalistic,
0:25:08 > 0:25:11but a clever attention to detail.
0:25:11 > 0:25:14- I love the choice of colours and things like this.- Thank you.
0:25:14 > 0:25:17It could be a sculptural piece as well,
0:25:17 > 0:25:19- it doesn't have to be a functional piece.- Exactly.
0:25:19 > 0:25:22When I started, I was thinking function.
0:25:22 > 0:25:25And I ended up realising it doesn't have to be used.
0:25:25 > 0:25:27It can be something that's placed somewhere
0:25:27 > 0:25:29and its function could be in instigating a conversation
0:25:29 > 0:25:32and raising awareness.
0:25:32 > 0:25:35It is very, very simple, very modern.
0:25:35 > 0:25:36That's my approach to design.
0:25:36 > 0:25:41I could see it in my house as a fruit basket on the dining table.
0:25:41 > 0:25:44It's a beautiful shape, a very simple shape, a modern shape.
0:25:44 > 0:25:47And it could be used as a fruit basket.
0:25:47 > 0:25:49That's actually what I've been using it for.
0:25:49 > 0:25:52It's been holding my bananas and apples at home.
0:25:52 > 0:25:55It would also look beautiful with anything in. Fir cones, nuts.
0:25:55 > 0:25:58But, by itself, empty, I think the shape speaks for itself,
0:25:58 > 0:26:00I don't think it needs to be filled.
0:26:00 > 0:26:02Tell me more about the techniques,
0:26:02 > 0:26:04what techniques have you used while making this,
0:26:04 > 0:26:07and how difficult or how easy it was to make?
0:26:07 > 0:26:10I created a plaster model. That was hand modelled.
0:26:10 > 0:26:13I then made the mould, and then I slip cast the piece.
0:26:13 > 0:26:17So this can be reproduced, the shape can be reproduced.
0:26:17 > 0:26:19The glaze is my own recipe.
0:26:19 > 0:26:20The handle I made myself as well.
0:26:20 > 0:26:23It's made with laser birch ply I stick together
0:26:23 > 0:26:25and press together in a mould.
0:26:25 > 0:26:28How much would you think this piece would sell at?
0:26:28 > 0:26:31I think it needs to be priced
0:26:31 > 0:26:34at a place somewhere between a piece of design and a piece of art.
0:26:34 > 0:26:38I would price this around the £300 mark, £290,
0:26:38 > 0:26:42because this particular piece is entirely a one-off.
0:26:42 > 0:26:44There is no others in this colour.
0:26:44 > 0:26:48- That's the thing that's so special to me, it's the colour.- Great.
0:26:48 > 0:26:50I would love to see more of your work in different shapes
0:26:50 > 0:26:52and in different sizes as well.
0:26:52 > 0:26:56Really big sizes, and little miniature pieces.
0:26:56 > 0:26:58I think it would look very good. Well done.
0:26:59 > 0:27:00I agree with Piyush.
0:27:00 > 0:27:04Kayley's trug is both functional and sculptural.
0:27:04 > 0:27:08I think, by combining the ceramic body with the bentwood handle,
0:27:08 > 0:27:11she's made an eye-catching piece in a heritage style,
0:27:11 > 0:27:14with a modern component.
0:27:14 > 0:27:17Now, what's your passion piece?
0:27:17 > 0:27:20Given the funds, what would your dream handmade object be made of?
0:27:20 > 0:27:23You're probably thinking, precious metal straightaway -
0:27:23 > 0:27:25gold, silver, platinum.
0:27:25 > 0:27:27Well, mine would be copper.
0:27:27 > 0:27:30But not any old copper, Newlyn copper.
0:27:30 > 0:27:34Newlyn, in Cornwall, has always looked to the sea for its economy.
0:27:34 > 0:27:38But, by the end of the 19th century, the fishing industry had declined.
0:27:38 > 0:27:41Unemployed fishermen were taught how to work copper
0:27:41 > 0:27:44into decorative and functional objects, to sell.
0:27:47 > 0:27:50The original copperworks fell silent after the Second World War.
0:27:50 > 0:27:54But ex-dancer Michael Johnson took on the design legacy here in Newlyn
0:27:54 > 0:27:57to bring copper into the 21st century.
0:27:57 > 0:27:58And he's done it with panache,
0:27:58 > 0:28:01furthering his life-long love of metal
0:28:01 > 0:28:03with training with his armourer uncle
0:28:03 > 0:28:07and working on costumes for Hollywood movies.
0:28:07 > 0:28:10- So that's kept you busy? - It's kept us really busy.
0:28:10 > 0:28:11You've done a big few shows as well, I see.
0:28:11 > 0:28:14We did Hampton Court Flower Show, we did that a few years ago.
0:28:14 > 0:28:16That was really successful.
0:28:16 > 0:28:17A lot of water features.
0:28:17 > 0:28:20- This is one of them? - This is one of them, yeah.
0:28:20 > 0:28:22- Can I see how it works? - Do you want it on? I'll turn it on.
0:28:22 > 0:28:25Did you have to collect all these taps from scrap yards?
0:28:25 > 0:28:27The taps have been collected...
0:28:27 > 0:28:29- HE LAUGHS - Look at that!
0:28:29 > 0:28:31How fabulous is that!
0:28:31 > 0:28:34There's a pump that drive them around?
0:28:34 > 0:28:37It sends the water round and round and round.
0:28:37 > 0:28:41- A bit of Monty Python madness for the garden.- You can have hours of fun!
0:28:41 > 0:28:43LAUGHS it's good, isn't it?
0:28:44 > 0:28:47Shelley Anderson, Michael's apprentice, grew up in Newlyn.
0:28:47 > 0:28:49And, as well as working on their commissions,
0:28:49 > 0:28:53he's also been making some very exciting pieces of his own.
0:28:53 > 0:28:56The next generation has also been inspired,
0:28:56 > 0:28:58and local kids come to the workshop after school
0:28:58 > 0:29:01to learn copper-smithing from Shelley and Michael.
0:29:03 > 0:29:06I'm delighted to see such enthusiasm from young makers.
0:29:06 > 0:29:09I can see lots of different objects straightaway.
0:29:09 > 0:29:12You've made a little diver's helmet, look at the detail in that.
0:29:12 > 0:29:14- What are you holding? - It took me ages.
0:29:14 > 0:29:18I think I'm going make something like this, a little rowing boat.
0:29:18 > 0:29:21- Was that difficult to do? - Some bits.
0:29:21 > 0:29:24Some good technique to learn. A bit of soldering going on.
0:29:24 > 0:29:27A bit of riveting. A bit of bending, a bit of hammering.
0:29:27 > 0:29:28What's this?
0:29:28 > 0:29:31That one's a serpent, and that one's going to be a cormorant.
0:29:31 > 0:29:33What will you do with these?
0:29:33 > 0:29:35Well, you could hang them up.
0:29:35 > 0:29:38Or you can just use them as an ornament.
0:29:38 > 0:29:41- What have you made?- A scorpion.
0:29:41 > 0:29:44That's very, very clever.
0:29:44 > 0:29:46I tell you what, I'm going to get making soon.
0:29:46 > 0:29:48You've put some pressure on me, haven't you?
0:29:48 > 0:29:50- Do you think I can do it? - Yeah.- Yeah.
0:29:50 > 0:29:53Good luck to you all. I'm going to need a bit of luck now.
0:29:53 > 0:29:54- Got my work cut out. - CHILDREN GIGGLE
0:29:57 > 0:30:00The original fisherman-makers were inspired by their surroundings
0:30:00 > 0:30:02and the coastal way of life.
0:30:02 > 0:30:06Their sought-after work typically features fish, sea birds
0:30:06 > 0:30:08and other nautical motifs.
0:30:08 > 0:30:12Today, pieces like these, in Penlee House Gallery Museum's collection,
0:30:12 > 0:30:14in neighbouring Penzance,
0:30:14 > 0:30:17are firmly in the arts and crafts antiques tradition.
0:30:18 > 0:30:22These timeless designs have influenced modern makers
0:30:22 > 0:30:23like our young apprentices.
0:30:23 > 0:30:26But will I capture a bit of Cornwall in my making?
0:30:26 > 0:30:29I like the idea of producing a little boat like this,
0:30:29 > 0:30:32- especially a clinker-built boat. - Yep, that's it.- Love that.
0:30:32 > 0:30:35Planked like that. Little rivets, can we do that?
0:30:35 > 0:30:38- You'll do all of that. - Ah! Right. Let's get started.
0:30:38 > 0:30:39- Shall we get cracking?- Yeah.
0:30:39 > 0:30:42First thing we do is fold in the keel line,
0:30:42 > 0:30:43straight down the middle of the boat.
0:30:43 > 0:30:47Line it up here in the vice. Just push it over.
0:30:48 > 0:30:51- This is 0.7 gauge copper. - It's quite soft metal.
0:30:51 > 0:30:54- It's fairly soft, yeah. - Perfect, good, good.
0:30:54 > 0:30:56And that, we put back in the vice,
0:30:56 > 0:31:00- Clamp it up along the keel line. - Yep.
0:31:00 > 0:31:04And fold the boat out like that.
0:31:04 > 0:31:06Perfect. Now we're going to anneal it.
0:31:06 > 0:31:09We'll take it round to the welding bay.
0:31:09 > 0:31:12Annealing, put simply, is the gentle heating of the metal
0:31:12 > 0:31:15to make it more malleable, and easier to work.
0:31:15 > 0:31:17Perfect for hand hammering.
0:31:17 > 0:31:20Old tools, old techniques!
0:31:21 > 0:31:23- Good. That's better.- Straight, yep.
0:31:23 > 0:31:27Now, it's covered in little dents, so it's time to planish now.
0:31:27 > 0:31:30We'll flip it over, put it on a stake,
0:31:30 > 0:31:32and get these little bumps and lumps out of it. OK?
0:31:32 > 0:31:34We've got the spoon mandrel over here.
0:31:34 > 0:31:38- That is an old stake for making spoons, from Sheffield.- Gosh!
0:31:38 > 0:31:40From their spoon making days.
0:31:40 > 0:31:44- It's the same sort of shape as the hull of the boat.- Right shape for it.
0:31:46 > 0:31:48Good.
0:31:51 > 0:31:53Yep, perfect. Perfect.
0:31:55 > 0:31:58Getting it? That's good enough for now.
0:31:58 > 0:32:01We're going to draw the planking in, the clinker planking in.
0:32:01 > 0:32:03I'm going to wheel it up on the jinney.
0:32:03 > 0:32:07The jinney pinches the copper between two rollers,
0:32:07 > 0:32:09adding perfect grooves to the metal,
0:32:09 > 0:32:11and bringing my new boat to life.
0:32:11 > 0:32:13When I first started making boats,
0:32:13 > 0:32:15I felt like I was trying to make
0:32:15 > 0:32:18absolute, fastidious copies of original boats.
0:32:18 > 0:32:21But that can be a little soulless, and I wanted that feeling...
0:32:21 > 0:32:24Yeah, just have a hint of, "Oh, this is a clinker boat,"
0:32:24 > 0:32:26but it doesn't have to be accurate.
0:32:26 > 0:32:27It's like a painting.
0:32:27 > 0:32:30It's the impression of a boat.
0:32:32 > 0:32:34It's more demanding than it looks!
0:32:34 > 0:32:37But anyone could learn what I'm doing
0:32:37 > 0:32:40with a good teacher by their side.
0:32:40 > 0:32:41You feel like you're not fighting it so much?
0:32:41 > 0:32:44- No, working with it. - Terrific.- There we go.
0:32:44 > 0:32:45Bang on, cool.
0:32:45 > 0:32:48- Now we have to roll an edge to make the gunwales?- That's it.
0:32:48 > 0:32:50We're going to do this section on the boat,
0:32:50 > 0:32:51we're going to fold the gunwales over.
0:32:51 > 0:32:53We'll do that on the creasing stake over here.
0:32:53 > 0:32:56- This will make life just a little bit easier.- Sure.
0:32:56 > 0:32:58Right, clamp the creasing stake in here.
0:33:00 > 0:33:02This line here on the stake, you want it line it up
0:33:02 > 0:33:06with the line we've drawn on the gunwale. Just gently take it over.
0:33:06 > 0:33:10- See the crease of the stake coming through?- Yes, I can.
0:33:10 > 0:33:12And, traditionally, in Newlyn copper,
0:33:12 > 0:33:14when you see these rolled tops,
0:33:14 > 0:33:16it is this a way of finishing off, aesthetically pleasing,
0:33:16 > 0:33:18and it's also quite safe to use,
0:33:18 > 0:33:22- so it's a utensil you can drink from, with a rolled edge.- Exactly.
0:33:22 > 0:33:24The sort of edge you would have done on a bowl, on a rose bowl,
0:33:24 > 0:33:27- on a vase or something.- Yeah. - We're doing it on the boat.
0:33:27 > 0:33:31It's a slight variation on what you would do as a rim on a bowl.
0:33:31 > 0:33:32It's those same principles.
0:33:32 > 0:33:35- It takes the sharpness off. - Takes the sharpness off it.
0:33:35 > 0:33:38And it gives the boat some solidity, some visual strength.
0:33:43 > 0:33:46- Are you getting a feel for it? - Yes, yes.
0:33:46 > 0:33:49It's tricky, because you cannot see the stake.
0:33:49 > 0:33:52No, you are having to picture the stake on the other side.
0:33:52 > 0:33:55You know the stake's there, you can't see it.
0:33:55 > 0:33:56I don't think I need to do much more on that.
0:33:56 > 0:33:59No, you're fine, you can flip over the other side now.
0:33:59 > 0:34:04Next, back to the dishing stump, to hammer the curves into the hull.
0:34:04 > 0:34:06And then a final round on the creasing stake.
0:34:06 > 0:34:08There are no short cuts!
0:34:08 > 0:34:10All a process of persuasion,
0:34:10 > 0:34:14persuading the metal to go into places it doesn't really want to go,
0:34:14 > 0:34:17- but a series of...- It did it. - Yeah, it went there in the end.
0:34:17 > 0:34:20Yeah, it did as it was told in the end!
0:34:20 > 0:34:22- Good boy!- Yes, precisely.
0:34:22 > 0:34:25Now we're adding to the illusion, by hammering in
0:34:25 > 0:34:28some dinks to suggest the boat's rivets.
0:34:28 > 0:34:31There we go, last bit of riveting.
0:34:31 > 0:34:35Yep, get those rows in. THEY CHUCKLE
0:34:35 > 0:34:36I mean, you could do this by yourself
0:34:36 > 0:34:39but it would take a long time, wouldn't it?
0:34:39 > 0:34:43- OK.- Excellent, Paul, lovely.- All the rivets are in. What's next?
0:34:43 > 0:34:45We're going to get a nameplate put inside here.
0:34:45 > 0:34:48Shelley's just working on the nameplate for us as we speak.
0:34:48 > 0:34:50I was going to suggest something like PZ,
0:34:50 > 0:34:52because all the boats here have Penzance.
0:34:52 > 0:34:54But, because it's Paul Martin's Handmade Revolution,
0:34:54 > 0:34:56we should have PMHR, shouldn't we?
0:34:56 > 0:34:57We'll let you do that.
0:34:57 > 0:35:00- Can we have those initials?- Yes. >
0:35:00 > 0:35:03Right, and we all put the copper work stamp on the bow of the boat,
0:35:03 > 0:35:06- so you know it was made here. - Made in Newlyn.- Yep.
0:35:09 > 0:35:12It's quite exciting now.
0:35:12 > 0:35:13Putting things together.
0:35:13 > 0:35:17We've been cutting things up, now we're putting everything together.
0:35:18 > 0:35:19There we are, look at that.
0:35:19 > 0:35:22Whoa! How about that? Nameplate.
0:35:22 > 0:35:24Paul Martin's Handmade Revolution.
0:35:24 > 0:35:27We are getting there, aren't we?
0:35:27 > 0:35:29Close that up, just literally drag the front end closed,
0:35:29 > 0:35:31the bow of the boat.
0:35:31 > 0:35:34That's it, pull it round. Then we're going to close it up in the vice.
0:35:34 > 0:35:36That's it.
0:35:36 > 0:35:40Straight into the vice.
0:35:40 > 0:35:44- Pinch it tight.- Pinch it tight.
0:35:44 > 0:35:46My boat's almost taking shape.
0:35:46 > 0:35:49It just needs the rear panel soldering on,
0:35:49 > 0:35:50and a few finishing touches.
0:35:50 > 0:35:52It's been such good fun,
0:35:52 > 0:35:55and so satisfying to make something from scratch!
0:35:56 > 0:35:59Let's test it, let's see if it floats, here we go.
0:35:59 > 0:36:02- Ah! Magic! - THEY LAUGH
0:36:02 > 0:36:06Absolute magic, look at that!
0:36:06 > 0:36:08- That's fabulous, isn't it? - Of course.
0:36:08 > 0:36:10- She works. Are you pleased?- I am.
0:36:10 > 0:36:13I can take passengers in my rowing boat now.
0:36:13 > 0:36:14Look!
0:36:14 > 0:36:16Isn't that fabulous?
0:36:16 > 0:36:19- That's fantastic, oh, thank you so much.- You're welcome.
0:36:19 > 0:36:21- Brilliant.- You're welcome.
0:36:21 > 0:36:23So you see, it is possible.
0:36:23 > 0:36:26Please, please, please, seek out a master, get some help,
0:36:26 > 0:36:28get some training, and enjoy yourself.
0:36:28 > 0:36:30I'm really chuffed with that.
0:36:30 > 0:36:32I think that's one of the nicest things I've ever made.
0:36:32 > 0:36:35- Well done. Thank you. - You're welcome, Paul.
0:36:46 > 0:36:48Back in Bromsgrove, it's crunch time.
0:36:48 > 0:36:50From among hundreds of applicants,
0:36:50 > 0:36:53five truly talented individuals
0:36:53 > 0:36:56were chosen to go before our panel of judges.
0:36:56 > 0:36:59And only one of them can be named Judges' Favourite.
0:36:59 > 0:37:03None of the finalists had the first idea of what's been lined up -
0:37:03 > 0:37:06an opportunity that could change one of their lives.
0:37:06 > 0:37:08It's the moment of truth.
0:37:10 > 0:37:12Piyesh, perhaps you could start us off
0:37:12 > 0:37:14with this monumental picture?
0:37:14 > 0:37:16This is an illusion knitting,
0:37:16 > 0:37:19done by Steve, who's a maths teacher.
0:37:19 > 0:37:21It's quite magical in a way.
0:37:21 > 0:37:23I can... People would queue up and be looking at that,
0:37:23 > 0:37:25trying to figure out what it is.
0:37:25 > 0:37:27It's interesting that it's done by a maths teacher, isn't it?
0:37:27 > 0:37:30- There is something calculated. - Definitely.
0:37:30 > 0:37:32Very precise,
0:37:32 > 0:37:36and obviously the alternation of the different knitting stitches making the image,
0:37:36 > 0:37:39- so there's something computer-like about it almost.- Yes.
0:37:39 > 0:37:43I'm very happy creating the illusion knitting myself.
0:37:43 > 0:37:46But it's important to me to try and get to other people,
0:37:46 > 0:37:49to inspire other people to try this for themselves.
0:37:49 > 0:37:51To win, I think, it's an avenue into that,
0:37:51 > 0:37:54I think that would be rather nice.
0:37:54 > 0:37:56Tell us about that scarf over there?
0:37:56 > 0:37:59Yes, that's a beautiful handwoven silk scarf, by Sue.
0:37:59 > 0:38:01She's a retired police officer,
0:38:01 > 0:38:05and she took up this hobby because she saw it somewhere,
0:38:05 > 0:38:07and she just got into it.
0:38:07 > 0:38:08And I think that piece is really beautiful,
0:38:08 > 0:38:11because it's very well executed.
0:38:11 > 0:38:15And also, the finishing at the edge is extremely beautiful.
0:38:15 > 0:38:19- The colours are very subtle, aren't they?- Yes.
0:38:19 > 0:38:21I would be ecstatic.
0:38:21 > 0:38:24It would be, not a justification, but some...
0:38:24 > 0:38:30that somebody else loved my work as much as I did, basically, yes.
0:38:30 > 0:38:32It would be thrilling.
0:38:32 > 0:38:35Mary Jane, tell us about this little sculpture here?
0:38:35 > 0:38:38Phil is a member of the steam punk movement.
0:38:38 > 0:38:41He makes things out of stuff that's been chucked away.
0:38:41 > 0:38:43This is actually very personal to him,
0:38:43 > 0:38:47it's all about his dad, and when his dad became very ill.
0:38:47 > 0:38:51- So I think it's very, very special to Phil.- Yeah.
0:38:51 > 0:38:52Often, you find with craft objects,
0:38:52 > 0:38:54they mean so much to the person that makes them,
0:38:54 > 0:38:57- but maybe they don't communicate it. - To the public.- Exactly.
0:38:57 > 0:38:59That is perhaps the problem.
0:38:59 > 0:39:02But it is very earnest, very forthright, very direct.
0:39:02 > 0:39:05So, maybe the simplicity of the making reflects that.
0:39:05 > 0:39:08It's a great way of being able to express how I feel inside.
0:39:08 > 0:39:12A way of engaging in a different world.
0:39:12 > 0:39:14Of just creating without limitations.
0:39:14 > 0:39:17This is a slip cast struck by Kayley.
0:39:17 > 0:39:20Something about this piece really appeals to me.
0:39:20 > 0:39:24It's very, very contemporary, yet classic as well.
0:39:24 > 0:39:26The shape, the simplicity of this piece,
0:39:26 > 0:39:28and the combination of wood and ceramics.
0:39:28 > 0:39:31It's meant to be used for foraging.
0:39:31 > 0:39:34But she likes it to be like a conversation piece,
0:39:34 > 0:39:36so people can talk about it.
0:39:36 > 0:39:39I can see that as a fruit basket on anyone's dining table.
0:39:39 > 0:39:43I think that would be the most stylish forager I have ever seen!
0:39:43 > 0:39:45I really like it too, guys.
0:39:45 > 0:39:47It's not the most inventive thing I've seen in ceramics.
0:39:47 > 0:39:50However, it is very, very beautifully designed.
0:39:50 > 0:39:52That's something any crafts person could learn from,
0:39:52 > 0:39:54no matter what medium they are in.
0:39:54 > 0:39:56If I win, it would be amazing.
0:39:56 > 0:39:58It would give me the confidence
0:39:58 > 0:40:01to really plunge myself into my ceramics.
0:40:01 > 0:40:04It's taken me a little while after university to get started,
0:40:04 > 0:40:05and I feel I need something
0:40:05 > 0:40:09to propel me back into the design industry.
0:40:09 > 0:40:10OK, finally, these hair ornaments.
0:40:10 > 0:40:15Isla loves everything that is Japan -
0:40:15 > 0:40:18the culture, the people and, of course, the ornamentation.
0:40:18 > 0:40:21This is a Japanese flower-making method.
0:40:21 > 0:40:23Very delicate, as you can see.
0:40:23 > 0:40:24So, obviously, a tradition,
0:40:24 > 0:40:26not one that's probably known to most people in the UK.
0:40:26 > 0:40:30Yeah, very unusual for somebody to be practising it in the UK.
0:40:30 > 0:40:31Self-taught.
0:40:31 > 0:40:34As I say, very delicate, intricate work.
0:40:34 > 0:40:36For me, I wanted to show people that there is this technique,
0:40:36 > 0:40:38and it is dying in Japan.
0:40:38 > 0:40:41There's only a handful of people in Japan considered masters,
0:40:41 > 0:40:43special artisans, who make these for a living.
0:40:43 > 0:40:45There's so many things happening out there.
0:40:45 > 0:40:48I would hate to see this go, because it is very pretty.
0:40:48 > 0:40:52- So, it's a difficult decision for us. - It is.
0:40:52 > 0:40:55Piyesh, any strong sentiments about which way you are leaning?
0:40:55 > 0:40:57I did change my mind quite a few times.
0:40:57 > 0:40:59When I came in, clear favourite.
0:40:59 > 0:41:01But having seen other pieces,
0:41:01 > 0:41:04I do think, I'm not sure about it right now.
0:41:04 > 0:41:07- OK, so a lot to choose from.- Yes. - Mary Jane, what do you think?
0:41:07 > 0:41:09It is difficult. It is difficult.
0:41:09 > 0:41:14- I think there are probably two things that are appealing to me.- OK.
0:41:14 > 0:41:17I think I have a pretty strong sense of where I'm coming down as well.
0:41:17 > 0:41:21- So maybe it's time we have a word with Paul, what do you think?- Yeah.
0:41:23 > 0:41:26Judges, I need your decision?
0:41:26 > 0:41:28- We need your help!- You are joking?
0:41:28 > 0:41:30I'm afraid there's two objects we are down to,
0:41:30 > 0:41:32we love both of them, very impressed by both of them,
0:41:32 > 0:41:35so we'd love you to cast the deciding vote.
0:41:39 > 0:41:43As you can see, it is difficult. Who would want to be a judge?
0:41:43 > 0:41:46Well, we have now made our decision,
0:41:46 > 0:41:49so let's bring in the finalists.
0:41:52 > 0:41:54The judges are going to agree with me right now,
0:41:54 > 0:41:58there's a lot of talent standing right here in this room.
0:41:58 > 0:42:02Thank you for showing your work to us. You've all got what it takes.
0:42:02 > 0:42:05Now, there can only be one Judges' Favourite.
0:42:05 > 0:42:08Before I tell you who that is,
0:42:08 > 0:42:10I can just tell you what we have in store for you.
0:42:10 > 0:42:13Your work will be put on display
0:42:13 > 0:42:17in the V&A shop in the Victoria and Albert Museum,
0:42:17 > 0:42:22alongside the world's leading collection of arts and craft.
0:42:22 > 0:42:25I mean, it really is the spiritual home of what you are all about.
0:42:25 > 0:42:29Sadly, there can only be one of you.
0:42:29 > 0:42:32This wasn't an easy decision.
0:42:33 > 0:42:34What we are looking at here
0:42:34 > 0:42:37was the reinvention of something traditional,
0:42:37 > 0:42:41to be used today. OK.
0:42:41 > 0:42:43It was good design. Very, very good design.
0:42:45 > 0:42:48And I'm pleased to announce...
0:42:48 > 0:42:50the Judges' Favourite today is...
0:42:53 > 0:42:56..Kayley and her ceramic trug, well done!
0:42:56 > 0:42:58- That's marvellous.- Thank you.
0:43:00 > 0:43:02Great design, it really is.
0:43:02 > 0:43:05Well done, brilliant.
0:43:07 > 0:43:09The judges were torn with such a high standard
0:43:09 > 0:43:11of truly accomplished pieces.
0:43:11 > 0:43:16In the end, with my casting vote, they selected Kayley's trug.
0:43:16 > 0:43:20It's a shape that has all the hallmarks of a future design classic
0:43:20 > 0:43:22and it's extremely well made.
0:43:22 > 0:43:27There's no doubt that her work is worthy of its place.
0:43:27 > 0:43:28I hope this gifted lot
0:43:28 > 0:43:31has inspired you to bite the bullet and give it a go.
0:43:31 > 0:43:34It's amazing what you can do with a bit of patience,
0:43:34 > 0:43:38and a lot of practice. Come on, join the Handmade Revolution!