0:00:02 > 0:00:05Britain has a long and proud craft heritage,
0:00:05 > 0:00:08with traditional skills being handed down from father to son,
0:00:08 > 0:00:11and mother to daughter, over many generations.
0:00:11 > 0:00:13But some of these traditional skills are under threat.
0:00:13 > 0:00:15Many risk disappearing for ever.
0:00:15 > 0:00:19If you want to help stop that decline, then join me,
0:00:19 > 0:00:22Paul Martin, in my Handmade Revolution.
0:00:22 > 0:00:24ALL: Hooray!
0:00:43 > 0:00:47We've been searching the country for Britain's very best amateur makers.
0:00:47 > 0:00:50Working with our hands gets us in touch with ourselves.
0:00:50 > 0:00:54And we'll be finding out just how important their items could be.
0:00:54 > 0:00:56It'd be fantastic to have my work recognised like that, yeah.
0:00:56 > 0:01:01'What they don't know is one of them will be given a life-changing opportunity.
0:01:01 > 0:01:05'A chance to see their work on display, at the spiritual home of handmade.'
0:01:05 > 0:01:09Today's Judges' Favourite is...
0:01:12 > 0:01:15Today, we're at the Amberley Heritage Centre in West Sussex.
0:01:15 > 0:01:19For centuries, this whole area was at the centre of the wool trade,
0:01:19 > 0:01:22so dyeing, spinning and weaving were all local traditions.
0:01:22 > 0:01:25Nowadays, Amberley is home to a host of inspirational craftsmen
0:01:25 > 0:01:27and craftswomen, who, like me,
0:01:27 > 0:01:29are all committed in keeping
0:01:29 > 0:01:32traditional skills alive.
0:01:32 > 0:01:35'This is about finding the antiques of the future
0:01:35 > 0:01:38'and I'll show you how to make a start in the ancient art of weaving.'
0:01:40 > 0:01:41Here we go.
0:01:43 > 0:01:45Not my fault, guv!
0:01:45 > 0:01:49Hundreds of you have responded to my invitation to come along today
0:01:49 > 0:01:52with a piece of your work, to show us what you're made of.
0:01:52 > 0:01:55As you can imagine, with some difficulty, we've whittled it down
0:01:55 > 0:01:58to five talented finalists,
0:01:58 > 0:01:59who will go before the judges.
0:01:59 > 0:02:03But remember, only one can be selected as Judges' Favourite.
0:02:05 > 0:02:07The stakes could not be higher,
0:02:07 > 0:02:10because one of today's hopefuls will be given the life-changing
0:02:10 > 0:02:12opportunity to see their piece on display,
0:02:12 > 0:02:17alongside the world's finest collection of decorative arts.
0:02:17 > 0:02:19I've been amazed at the response.
0:02:19 > 0:02:22But before we meet this week's finalists, let's meet the judges,
0:02:22 > 0:02:26who'll decide whether they've got what it takes.
0:02:28 > 0:02:34Mary Jane Baxter is a writer, teacher and milliner who is passionate about handmade.
0:02:34 > 0:02:37I just know there's real talent out there.
0:02:37 > 0:02:39I can't wait to see what we discover.
0:02:39 > 0:02:43Entrepreneur Piyush Suri is the force behind an organisation
0:02:43 > 0:02:46that champions up-and-coming designer-makers.
0:02:46 > 0:02:48I know there's so much talent out there.
0:02:48 > 0:02:50I see it every day.
0:02:50 > 0:02:54It's going to be brilliant seeing all this wonderful creativity and skilled workmanship
0:02:54 > 0:02:57Britain has on offer. I'm very excited.
0:02:59 > 0:03:06And our head judge, Glenn Adamson, is head of research at the Victoria & Albert Museum in London.
0:03:06 > 0:03:09Britain should be proud of its long history of making things by hand.
0:03:09 > 0:03:12I hope to meet people who honour that past,
0:03:12 > 0:03:15but are also exploring the future of craft.
0:03:15 > 0:03:18So, who's got the outstanding talent?
0:03:18 > 0:03:24'First in line is 51-year-old English Language lecturer, Nicole Pohl.
0:03:24 > 0:03:27'Outside the classroom, she's been trying her hand at weaving.'
0:03:27 > 0:03:30- Upcycling - bang on trend. - For once in my life, yes, thank you.
0:03:30 > 0:03:33THEY LAUGH I am, yeah.
0:03:33 > 0:03:35How did you get into this?
0:03:35 > 0:03:38I started weaving a couple of years ago, but I'm also interested
0:03:38 > 0:03:41in the environment, sustainability,
0:03:41 > 0:03:42upcycling.
0:03:42 > 0:03:45- Upcycling has become very fashionable now...- It has.
0:03:45 > 0:03:48- ..but before the Industrial Revolution, it was a fact of life. - It was.
0:03:48 > 0:03:51Everybody used to reuse their products.
0:03:51 > 0:03:52And so...
0:03:52 > 0:03:55I just want to know a bit more about your product choice,
0:03:55 > 0:03:57like material choice. Why plastic, only?
0:03:57 > 0:04:00Because... Actually, if you look very carefully,
0:04:00 > 0:04:03you see old fabric pieces, as well,
0:04:03 > 0:04:04which I found and can't use any more,
0:04:04 > 0:04:07so I use a combination of plastic and these bubbles,
0:04:07 > 0:04:09and fabric.
0:04:09 > 0:04:13So, not only with your work you're enjoying it, you're also sending a message to people...
0:04:13 > 0:04:14Yes, there was a point...
0:04:14 > 0:04:17..to try to upcycle and recycle whatever they can?
0:04:17 > 0:04:20Everything I use here is recycled,
0:04:20 > 0:04:21so there's an old T-shirt inside...
0:04:21 > 0:04:25and the ribbon, I found.
0:04:25 > 0:04:28These bubbles are out of a skip...
0:04:28 > 0:04:30from the Architecture Department where I work.
0:04:30 > 0:04:33Every single bit is recycled.
0:04:33 > 0:04:34You said "weaving".
0:04:34 > 0:04:36Isn't it a very complex process to do?
0:04:36 > 0:04:39No, this isn't complex at all.
0:04:39 > 0:04:42And I actually brought a little sample along.
0:04:42 > 0:04:44This is a peg loom.
0:04:44 > 0:04:48It's quite a primitive loom, but anyone can do this.
0:04:48 > 0:04:52I'll just use these to demonstrate.
0:04:52 > 0:04:54What you do is,
0:04:54 > 0:04:56I just weave it like this, around,
0:04:56 > 0:04:58and you can do it in all colours, with all fabrics.
0:04:58 > 0:05:01Where did you get this loom? Did you make it yourself?
0:05:01 > 0:05:04You can make this yourself, absolutely.
0:05:04 > 0:05:06You need to have sticks with little holes in them,
0:05:06 > 0:05:08where you put the warp.
0:05:08 > 0:05:11You could make it yourself. I got this second-hand.
0:05:11 > 0:05:12Are you selling these products?
0:05:12 > 0:05:15No. At the moment, not,
0:05:15 > 0:05:19because this is my hobby, so at the moment, I give these objects to my friends.
0:05:19 > 0:05:20If you want to make it more commercial,
0:05:20 > 0:05:23don't you think you have to use a table loom?
0:05:23 > 0:05:25I've never tried that with plastic. I would love to try that out.
0:05:25 > 0:05:27I've only done it with a peg loom, up to now,
0:05:27 > 0:05:29because of the thickness of the material.
0:05:29 > 0:05:32It would be very good,
0:05:32 > 0:05:34- because it would be more sturdy. - Yes.
0:05:34 > 0:05:36The fabric would be better, with the plastic,
0:05:36 > 0:05:38because of the pressure you apply to that...
0:05:38 > 0:05:41- That's true.- I do think that would be more commercially viable for you.
0:05:41 > 0:05:44- Fantastic! Good luck! - Thank you very much.
0:05:44 > 0:05:46I think that was a really good tip,
0:05:46 > 0:05:48with mixing materials, to try it on a different loom.
0:05:48 > 0:05:50I didn't think about that.
0:05:50 > 0:05:52I have to admit, I do like Nicole's originality.
0:05:52 > 0:05:56She's helping the planet with her recycling.
0:05:56 > 0:05:58Look what can be achieved using simple techniques
0:05:58 > 0:06:01and cheap materials.
0:06:01 > 0:06:03I can see these bags being sold in small boutiques,
0:06:03 > 0:06:06perhaps with a price tag of £30 to £40.
0:06:06 > 0:06:11But will the judges think she's got what it takes?
0:06:13 > 0:06:18Our next self-taught amateur has been working with a much more traditional material.
0:06:18 > 0:06:2145-year-old David Barker is a full-time parent who spends
0:06:21 > 0:06:25the very little spare time he has working in wood.
0:06:25 > 0:06:27David, when I look at stools,
0:06:27 > 0:06:30I think of milkmaids and milking.
0:06:30 > 0:06:34So, convince me that this isn't for a milkmaid.
0:06:34 > 0:06:35The inspiration is really simple.
0:06:35 > 0:06:38Early in May, I was diagnosed with high blood pressure.
0:06:38 > 0:06:40So I spent an evening on the internet,
0:06:40 > 0:06:42researching all the natural ways to reduce it.
0:06:42 > 0:06:44And meditation was one of them.
0:06:44 > 0:06:46So I thought, "I'll make a meditation stool."
0:06:46 > 0:06:49I had a bit of timber in the garden and had the sticks, and I made it.
0:06:49 > 0:06:51Let me get this straight.
0:06:51 > 0:06:54You'd never attempted doing anything with wood before?
0:06:54 > 0:06:57I'd done bits and pieces. I've done things with my hands.
0:06:57 > 0:06:59I used to be a potter,
0:06:59 > 0:07:02and I worked with a sculptor for a short time, a few years ago.
0:07:02 > 0:07:04So I've always done stuff with my hands.
0:07:04 > 0:07:06But I just have a good feeling for the material.
0:07:06 > 0:07:09The way I approach it is a feeling for the material.
0:07:09 > 0:07:12What type of wood is this made of?
0:07:12 > 0:07:14These sticks are from a local woodland,
0:07:14 > 0:07:16that belongs to someone I know.
0:07:16 > 0:07:18They're just hornbeam sticks,
0:07:18 > 0:07:21which I'd taken the bark off, simply because I felt like it.
0:07:21 > 0:07:25They've been sitting there in my garden for a while, so I sort of had the materials.
0:07:25 > 0:07:28The top is a piece of driftwood. I live near a tidal creek
0:07:28 > 0:07:30and this driftwood plank
0:07:30 > 0:07:32had come in on the high tide about a year ago.
0:07:32 > 0:07:36I liked the look of it, so I picked it up, put it in my garden where it sat for a year.
0:07:36 > 0:07:38How is it jointed underneath?
0:07:38 > 0:07:40What's this technique called here?
0:07:40 > 0:07:44This is just a tenon and mortise, so the hole is drilled,
0:07:44 > 0:07:47the top of the stick is shaped with a spokeshave...
0:07:47 > 0:07:50until it's about the right fit.
0:07:50 > 0:07:52And then, hammered in with some glue.
0:07:52 > 0:07:54Then the top is cut off, flush, afterwards.
0:07:54 > 0:07:56I see.
0:07:56 > 0:07:58What I like about this, David,
0:07:58 > 0:08:01is driftwood pieces are often left quite raw and unfinished,
0:08:01 > 0:08:03but you've taken the decision to smooth it.
0:08:03 > 0:08:07Does that add or detract to that natural feel, in your opinion?
0:08:07 > 0:08:10I'd never thought of anything. I just did that because it felt right.
0:08:10 > 0:08:12The way I work with the material is,
0:08:12 > 0:08:15I sort of feel into the material in the moment, as I'm making it.
0:08:15 > 0:08:18It's not coming from a design type of thing,
0:08:18 > 0:08:20it's more like coming from a feeling type of thing.
0:08:20 > 0:08:22So, when I had the piece of wood,
0:08:22 > 0:08:24that's just what I felt to do with it,
0:08:24 > 0:08:26when I got my plane out and I started planing it.
0:08:26 > 0:08:29I don't think it through, I just go with the feeling of the moment.
0:08:29 > 0:08:31As a meditative object,
0:08:31 > 0:08:35something to soothe and calm, it's doing the business for me.
0:08:35 > 0:08:36I wonder, though, if perhaps,
0:08:36 > 0:08:39as a business,
0:08:39 > 0:08:41if you use feelings very much to create,
0:08:41 > 0:08:43it probably isn't a business proposition for you.
0:08:43 > 0:08:45Is that a fair thing to say?
0:08:45 > 0:08:48Um, I don't know. I wouldn't want to make 30 of them.
0:08:48 > 0:08:50I have made one, actually, more -
0:08:50 > 0:08:52because somebody really liked it and wanted one,
0:08:52 > 0:08:55so I have actually made another one. I'm not going to be a factory.
0:08:55 > 0:08:57It's a very emotional thing for you, in a way?
0:08:57 > 0:08:58Yeah, and sometimes,
0:08:58 > 0:09:01you have to wait for the piece to speak to me,
0:09:01 > 0:09:03as much as me imposing my will on the piece.
0:09:03 > 0:09:05It's a two-way... It's a relationship.
0:09:05 > 0:09:08David clearly has a close relationship with his work.
0:09:08 > 0:09:12For me, it's a classic design that's fit for purpose
0:09:12 > 0:09:15and harks back to the way all furniture was once made.
0:09:15 > 0:09:19David's motivation is not making money,
0:09:19 > 0:09:22but a lovely piece like this might sell for £250.
0:09:22 > 0:09:25I think it's great. I think it's essential to our nature
0:09:25 > 0:09:27to get in touch with our hands,
0:09:27 > 0:09:29so it's great if we encourage more people to do it.
0:09:29 > 0:09:32Working with our hands gets us in touch with ourselves.
0:09:34 > 0:09:38Today's crafted pieces could easily become tomorrow's antiques.
0:09:38 > 0:09:42The market is still buoyant for beautifully crafted things.
0:09:42 > 0:09:46Upmarket auction rooms all around the world are crammed full of discerning buyers,
0:09:46 > 0:09:48all eager to add to their collections.
0:09:51 > 0:09:55It was an emotional reaction to the mass production, back in the late 19th century,
0:09:55 > 0:09:58that led to an exciting new era in design -
0:09:58 > 0:10:02the Arts & Crafts movement, led by the English artist William Morris.
0:10:03 > 0:10:06Arts & Crafts is one of the major contributions
0:10:06 > 0:10:09that the United Kingdom made to the art world
0:10:09 > 0:10:10which is a recognised style,
0:10:10 > 0:10:14with a history, with a philosophy behind it.
0:10:14 > 0:10:17It really is very significant.
0:10:17 > 0:10:19They wanted to bring together
0:10:19 > 0:10:24the artist, the maker, and the person who bought the item.
0:10:24 > 0:10:27It was common back then for amateurs to take classes
0:10:27 > 0:10:31and then decorate items that were factory-made.
0:10:32 > 0:10:35This is a wooden box that has been painted
0:10:35 > 0:10:41by an artist, not necessarily the maker of the box.
0:10:41 > 0:10:43It's difficult to be 100% sure,
0:10:43 > 0:10:45but we feel that this is made in the United Kingdom.
0:10:45 > 0:10:49It has been hand-decorated in ink,
0:10:49 > 0:10:51and then it has been hand-coloured.
0:10:51 > 0:10:54There is little bits of gesso,
0:10:54 > 0:10:56which is plaster applied to give it a bit more texture,
0:10:56 > 0:10:59then we have some gilt detail on the top.
0:10:59 > 0:11:01The box is well done.
0:11:01 > 0:11:03It shows the charm, if you like,
0:11:03 > 0:11:07of people who came to art and design
0:11:07 > 0:11:10who weren't necessarily professionals.
0:11:10 > 0:11:13The estimate on the box is £1,000 to £1,500.
0:11:13 > 0:11:17The value, I think, reflects the amount of attention to detail,
0:11:17 > 0:11:20and the amount of art and effort that has gone into it.
0:11:20 > 0:11:23It'll be interesting to see what this box, made by an unknown
0:11:23 > 0:11:28and decorated by an amateur, will make when it goes to auction.
0:11:28 > 0:11:32Lot number 241. Arts & Crafts painted gilt and inscribed box, showing here.
0:11:32 > 0:11:35800 on the telephone. 1,100.
0:11:35 > 0:11:361,200. 1,300.
0:11:36 > 0:11:391,400. 1,500.
0:11:39 > 0:11:42It's at 1,600. Fair warning. All done. 1,600.
0:11:43 > 0:11:46It seems people are willing to pay a considerable amount
0:11:46 > 0:11:50of money for the work of a talented amateur.
0:11:51 > 0:11:54Will we find anything good enough for the salerooms of the future
0:11:54 > 0:11:55from our makers here today?
0:11:58 > 0:12:01Our next Handmade Revolutionary, Onorio D'Epiro,
0:12:01 > 0:12:03works as a cash office assistant.
0:12:03 > 0:12:06But this 27-year-old likes to stay creative.
0:12:06 > 0:12:10Yes, this man likes to think outside the box.
0:12:10 > 0:12:13Onorio, what have we got here?
0:12:13 > 0:12:14Er, let me show you.
0:12:14 > 0:12:15SHE LAUGHS
0:12:15 > 0:12:18- Unpack it bit by bit.- Yeah, sure.
0:12:18 > 0:12:21- I'm intrigued by this. - OK. Pieces out.
0:12:21 > 0:12:23That looks like a pair of legs.
0:12:23 > 0:12:25Legs.
0:12:25 > 0:12:26The main piece...
0:12:30 > 0:12:31My first question has to be,
0:12:31 > 0:12:33what on earth is it?
0:12:33 > 0:12:35It's a little rusty robot.
0:12:35 > 0:12:38So, tell me a little bit about him,
0:12:38 > 0:12:39as you pop him together.
0:12:39 > 0:12:42It's a concept I had when I finished university,
0:12:42 > 0:12:44which was about four years ago.
0:12:44 > 0:12:47I sculpted it in about a week.
0:12:47 > 0:12:50And it's just a cute little robot that's just been playing in the rain.
0:12:50 > 0:12:53- I took you a week to make him? - Yeah.
0:12:53 > 0:12:54What's it made of, Onorio?
0:12:54 > 0:12:57It's made of polymer clay, which is baked in the oven.
0:12:57 > 0:13:00Then I put a rust finish on it, using glue and sand.
0:13:00 > 0:13:04I have to say, for something made of polymer clay,
0:13:04 > 0:13:07it has quite a sophisticated finish.
0:13:07 > 0:13:10I've seen things made of clay before, but nothing like this.
0:13:10 > 0:13:12You're a trained model maker, I take it?
0:13:12 > 0:13:14Yeah, I went to university
0:13:14 > 0:13:16and studied model design and special effects.
0:13:16 > 0:13:19I was unfortunate not to be able to get a job after I finished,
0:13:19 > 0:13:21in the field of model making,
0:13:21 > 0:13:23but I've carried it on, cos it's a hobby of mine.
0:13:23 > 0:13:26Where did you get inspiration for this little chap? He's quite a character.
0:13:26 > 0:13:30I don't know if he's scary or safe. I'm not quite sure.
0:13:30 > 0:13:32He's a little bit evil-looking, isn't he?
0:13:32 > 0:13:34I like stop-motion films
0:13:34 > 0:13:37like Wallace & Gromit and Nick Park's animation.
0:13:37 > 0:13:40I also like the work of Tim Burton.
0:13:40 > 0:13:42That sort of dark, cute sort of feel to it.
0:13:42 > 0:13:45- It's a dark humour in a way, isn't it?- Yeah.
0:13:45 > 0:13:49What would you like to do with your objects?
0:13:49 > 0:13:51Do you see them as craft pieces,
0:13:51 > 0:13:52or do you see them
0:13:52 > 0:13:55as perhaps something that will take you into the animation industry?
0:13:55 > 0:13:58Erm, I've had a lot of people say to me it'd be nice to have it animated,
0:13:58 > 0:14:00but I'm not trained in that.
0:14:00 > 0:14:04If someone would like to work with me and help me animate it, that'd be brilliant.
0:14:04 > 0:14:06It's quite a hard object
0:14:06 > 0:14:07to sort of begin to assess.
0:14:07 > 0:14:09So, what's your dream, then?
0:14:09 > 0:14:11Probably either to work in the industry,
0:14:11 > 0:14:15to get a job in model making and work on films and things,
0:14:15 > 0:14:18or possibly set up my own little studio
0:14:18 > 0:14:21or little website where people would buy my work from me,
0:14:21 > 0:14:24or even exhibit in a gallery or something.
0:14:24 > 0:14:26If you were going to sell something like this,
0:14:26 > 0:14:29what sort of price would it command, do you think?
0:14:29 > 0:14:31I don't know. £300, something like that?
0:14:31 > 0:14:32- Right.- Yeah.
0:14:32 > 0:14:37I have to say, Onorio, it really is a true one-off.
0:14:37 > 0:14:40You've almost converted me to strange-looking model figures.
0:14:40 > 0:14:42So, congratulations.
0:14:42 > 0:14:45I would never have thought it's something I would have said!
0:14:47 > 0:14:50I think she was a bit confused by it, but I hope she liked it in the end.
0:14:50 > 0:14:56Onorio's robot shows that handmade pieces can have a contemporary edge.
0:14:56 > 0:14:58Although £300 seems a lot to ask.
0:14:58 > 0:14:59But its inventiveness
0:14:59 > 0:15:02gives this little fellow real appeal.
0:15:02 > 0:15:04Now, being crafty
0:15:04 > 0:15:07doesn't have to be difficult, it just takes a little imagination.
0:15:07 > 0:15:09Down here, next to the resident potters,
0:15:09 > 0:15:13visitors to our Masters & Makers Day, young and old alike,
0:15:13 > 0:15:15have all been given a lump of clay.
0:15:15 > 0:15:17They've all been asked to make a little figure from it,
0:15:17 > 0:15:20so let's go and see how they're getting on.
0:15:25 > 0:15:27Hello, everyone.
0:15:27 > 0:15:29I can see the kids are enjoying it.
0:15:29 > 0:15:31What about the parents?
0:15:31 > 0:15:34- The big kids, yeah. - How are you getting on?
0:15:34 > 0:15:36All right. I'm not quite sure what it is.
0:15:36 > 0:15:37That doesn't matter at the moment.
0:15:37 > 0:15:40The thing is, it'll evolve,
0:15:40 > 0:15:41and it'll transform into something.
0:15:41 > 0:15:44I think it's great fun to do something completely different.
0:15:44 > 0:15:46It takes your mind off of everything else
0:15:46 > 0:15:48you've had to think about during the week.
0:15:48 > 0:15:51- It gets rid of all the stresses, doesn't it?- It does.
0:15:51 > 0:15:53Imagine doing that on a weekly basis, maybe.
0:15:53 > 0:15:55Going to evening classes, or something like that.
0:15:55 > 0:15:57This is something kids do all day long.
0:15:57 > 0:16:00- They love playing in mud and wet sand.- We've forgotten to play, haven't we?
0:16:00 > 0:16:02Yeah... Oh, look at that!
0:16:02 > 0:16:04Where are the wet wipes? Mum, help!
0:16:04 > 0:16:08We can see making things is an absolute joy, it really is.
0:16:08 > 0:16:11It doesn't matter what it looks like, it doesn't matter
0:16:11 > 0:16:14if it turns out slightly rough around the edges and looks naive.
0:16:14 > 0:16:16All the better, for me. Who knows?
0:16:16 > 0:16:19Maybe these little ones could be the talent of the future.
0:16:22 > 0:16:26Head judge Glenn is always on the lookout for new and gifted artists and makers,
0:16:26 > 0:16:28ensuring no talent has slipped through the net.
0:16:28 > 0:16:30He's found some makers
0:16:30 > 0:16:33who have brought along some examples of their work.
0:16:33 > 0:16:37I must say, ceramics is my absolute favourite kind of craft.
0:16:37 > 0:16:40So I was really delighted to see these.
0:16:40 > 0:16:43Can you tell us about the ceramics you've brought in for us to look at?
0:16:43 > 0:16:45I've been making ceramics for about five years.
0:16:45 > 0:16:48I didn't want to make art, as such, but I've always loved ceramics.
0:16:48 > 0:16:50I've always collected them.
0:16:50 > 0:16:52So this is not wheel-thrown, but built with coil?
0:16:52 > 0:16:55This is hand-built, with coils, that's right.
0:16:55 > 0:16:58So, a coil's a long piece of clay that you bend...?
0:16:58 > 0:16:59You roll out, like this,
0:16:59 > 0:17:02and you gradually build up and up...
0:17:02 > 0:17:06trying to get, not a perfectly symmetrical shape,
0:17:06 > 0:17:08but symmetrical enough.
0:17:08 > 0:17:10- That's a wonderful pot.- Thank you!
0:17:10 > 0:17:12I saw it from a long ways off and fell in love with it.
0:17:12 > 0:17:15Kim, can you tell us about your plate?
0:17:15 > 0:17:17Unlike Anne's pot,
0:17:17 > 0:17:19this is not, of course,
0:17:19 > 0:17:20rolled out.
0:17:20 > 0:17:23This was made in a mould, plaster mould.
0:17:23 > 0:17:27So, I rolled out a flat piece of clay, big.
0:17:27 > 0:17:29And then...
0:17:29 > 0:17:31slid it into the mould.
0:17:31 > 0:17:32Just not the easiest thing to do.
0:17:32 > 0:17:35The pattern is taken from grasses,
0:17:35 > 0:17:37and it is, in fact, done freehand...
0:17:37 > 0:17:39really, just with a needle.
0:17:39 > 0:17:40In historical pottery,
0:17:40 > 0:17:43we would call this "grafito", which is the Italian for "scratching".
0:17:43 > 0:17:47What's wonderful about this technique is it's so quick and so expressive, as well.
0:17:47 > 0:17:50It really is like a drawing on the surface of the pot.
0:17:50 > 0:17:52Which I'm not really very good at, but I'm learning, as I say.
0:17:52 > 0:17:54- Not so bad! - THEY LAUGH
0:17:54 > 0:17:55DUCK QUACKS
0:17:55 > 0:17:59If you want to join my Handmade Revolution,
0:17:59 > 0:18:01you can find out more information on...
0:18:01 > 0:18:03bbc.co.uk/...
0:18:03 > 0:18:04ALL: Handmade!
0:18:04 > 0:18:08You never know, it could be you, pitting your skills
0:18:08 > 0:18:12against other talented amateurs for that coveted reward.
0:18:13 > 0:18:1729-year-old Katherine Womack is keen to give up her day job
0:18:17 > 0:18:18as an agency worker.
0:18:18 > 0:18:24She wants to get out of the office and into the forge.
0:18:24 > 0:18:26What an unusual piece - it looks like a transformer.
0:18:26 > 0:18:28Where did you get this inspiration?
0:18:28 > 0:18:30I got the idea when I went camping with some friends,
0:18:30 > 0:18:32and they gave us a wheel rim to have the fire in,
0:18:32 > 0:18:33but it was sat on the ground.
0:18:33 > 0:18:36It filled up with ash at the bottom and the fire went out, and I thought,
0:18:36 > 0:18:38"Why not put some legs on it?"
0:18:38 > 0:18:40Tell me a bit more about this piece.
0:18:40 > 0:18:41I'm fascinated by this.
0:18:41 > 0:18:43I just noticed that it's a spider.
0:18:43 > 0:18:46It's basically forged-steel legs,
0:18:46 > 0:18:48which are all hammered out with a power hammer.
0:18:48 > 0:18:50They start of as plain, round, ten-mil steel,
0:18:50 > 0:18:52then they're hammered down to a point
0:18:52 > 0:18:54and bent in a vice to get that shape.
0:18:54 > 0:18:57Then welded-on underneath, a couple of points where they're welded.
0:18:57 > 0:18:59Then the same way to make the fangs on the front,
0:18:59 > 0:19:01and the end of the poker on the back.
0:19:01 > 0:19:04- So something can...- Yup. Built-in poker.- That's fantastic!
0:19:04 > 0:19:06The poker slots into two little holes underneath
0:19:06 > 0:19:09you can slot the poker into. When you're not using it, you store it out of the way.
0:19:09 > 0:19:12It's metalwork you specialise in?
0:19:12 > 0:19:13Yeah, blacksmithing and forge work.
0:19:13 > 0:19:15Tell me a bit more
0:19:15 > 0:19:16about your forging process.
0:19:16 > 0:19:18How do you do it?
0:19:18 > 0:19:20It's basically lighting a fire with some coke,
0:19:20 > 0:19:22sticking a bit of metal in till it's red,
0:19:22 > 0:19:25and hitting it with a hammer till it looks how you want it to.
0:19:25 > 0:19:29Do you have to control the temperature, or do you do it as it goes along?
0:19:29 > 0:19:31You do it by colour.
0:19:31 > 0:19:33I don't even know what temperature a forge runs at.
0:19:33 > 0:19:35If it's a sort of nice, orangey yellow colour,
0:19:35 > 0:19:37that's the right temperature and hit it away,
0:19:37 > 0:19:40and as soon as it starts to cool down, stick it back in the fire again.
0:19:40 > 0:19:43So it's more of traditional methods you're using?
0:19:43 > 0:19:46It's a lot of traditional methods in the forging,
0:19:46 > 0:19:47but we cheat a bit.
0:19:47 > 0:19:50We use things like power hammers, which will do the work of...
0:19:50 > 0:19:53Traditionally, you would have had a young person with a sledgehammer,
0:19:53 > 0:19:55whereas nowadays, we use a power hammer.
0:19:55 > 0:19:57Saves the 14-year-old's arms, basically!
0:19:57 > 0:19:59So how did you get into blacksmith?
0:19:59 > 0:20:01I'd always wanted to have a go.
0:20:01 > 0:20:05When I was a little kid I was the one putting a poker in the fire
0:20:05 > 0:20:07and trying to get it go red so I could hit it.
0:20:07 > 0:20:12And got introduced to an old friend of the family who has his own forge and he took me on and he said,
0:20:12 > 0:20:16"Right, have a couple of lessons with me," and took it from there, basically.
0:20:16 > 0:20:19- How long have you been doing this? - Erm, just over 18 months now.
0:20:19 > 0:20:22So, I see a necklace around your neck, as well.
0:20:22 > 0:20:25- Is that something you made? - Yeah, I made this for my boyfriend
0:20:25 > 0:20:26and I do a lot of little twisty necklaces.
0:20:26 > 0:20:29I make them to friends for birthdays and Christmas, things like that.
0:20:29 > 0:20:32What fascinates you more, making jewellery pieces,
0:20:32 > 0:20:35small jewellery items or making big sculptural pieces?
0:20:35 > 0:20:38I like everything. I like making big sculptural pieces -
0:20:38 > 0:20:41it's nice to have something that's going to be displayed publicly
0:20:41 > 0:20:42but I also like making little things
0:20:42 > 0:20:44as just, sort of, little tokens for friends.
0:20:44 > 0:20:47So, are you looking into commercial prospects of that
0:20:47 > 0:20:51- and getting into commercial...? - I would like to do it for a living but you never really make it
0:20:51 > 0:20:53and I know a lot of blacksmiths who have other jobs to make money.
0:20:53 > 0:20:56You never hear anybody say, "That's the blacksmith's Porsche!"
0:20:56 > 0:20:59In commercial aspect, how would you price your work?
0:20:59 > 0:21:01Something which is very unusual,
0:21:01 > 0:21:03which is not available in the markets?
0:21:03 > 0:21:05If you are going to price something to make it
0:21:05 > 0:21:08you generally work out how much time you're going to spend on it
0:21:08 > 0:21:10and charge by the time you spend doing it.
0:21:10 > 0:21:13If that seems like an extortionate amount then you charge a bit less!
0:21:13 > 0:21:16With your work I do think that you could be very good at making large,
0:21:16 > 0:21:19unusual objects, which is, I think, your forte
0:21:19 > 0:21:22and, as you can see, the spider... Are you fascinated with spiders?
0:21:22 > 0:21:23Terrified of them!
0:21:23 > 0:21:26I've been terrified of spiders since I was tiny
0:21:26 > 0:21:29but somehow I, I just found this rim in the workshop and I just...
0:21:29 > 0:21:32Something about it just lent itself to being a spider
0:21:32 > 0:21:35so I thought, "I'll have a go at that," but I'm TERRIFIED of them!
0:21:35 > 0:21:38I think it's great, I think we're going to head back
0:21:38 > 0:21:40to more things being handmade in the future.
0:21:40 > 0:21:42I see metal railings that are hundreds of years old
0:21:42 > 0:21:46and it's nice to make something that you know that, if the scrappers don't get it,
0:21:46 > 0:21:49it's got a permanence to it and it could be around for a couple of hundred years.
0:21:49 > 0:21:52Catherine's enthusiasm is inspiring.
0:21:52 > 0:21:55Recycling old scrap wheels is brilliant
0:21:55 > 0:21:57and, of course, they don't cost the earth.
0:21:57 > 0:22:00I reckon she could get £100 for her fire pits
0:22:00 > 0:22:03but I know that Catherine's not just in it for the money,
0:22:03 > 0:22:07it's her passion and her creative outlet.
0:22:07 > 0:22:11But blacksmiths were essential to society for hundreds of years.
0:22:11 > 0:22:14Not only was he the local toolmaker and engineer,
0:22:14 > 0:22:19he was sometimes called upon to act as dentist, doctor and even undertaker.
0:22:19 > 0:22:22Now, I'm not sure Catherine would relish that challenge
0:22:22 > 0:22:27but it's great to see her putting a modern twist on this age-old skill.
0:22:27 > 0:22:31And, finally, today, here's 66-year-old accountant Anne Burke
0:22:31 > 0:22:33with something a bit more delicate.
0:22:35 > 0:22:37Anne, I have to admit,
0:22:37 > 0:22:40when I heard that you were going to be showing me a beaded necklace
0:22:40 > 0:22:42I didn't have very high hopes.
0:22:42 > 0:22:45But I have to say, I'm quite impressed by that.
0:22:45 > 0:22:47- Can I try it on?- Certainly.
0:22:47 > 0:22:52It's got a little magnetic clasp there, so very easy to put on,
0:22:52 > 0:22:54which is a really good thing.
0:22:54 > 0:22:58I mean, it doesn't quite go with the dress, unfortunately, but...
0:22:58 > 0:23:01it seems to lie very nicely.
0:23:01 > 0:23:03And you use quite a lot of unusual techniques.
0:23:03 > 0:23:05Talk me through some of the techniques you've used.
0:23:05 > 0:23:11The leaves are a variation of a St Petersburg chain
0:23:11 > 0:23:15and apart from that the rope itself is a twisted herringbone.
0:23:15 > 0:23:18Now, it all sounds terribly technical to me.
0:23:18 > 0:23:22How do you go about learning these technical stitches?
0:23:22 > 0:23:24It doesn't sound very easy.
0:23:24 > 0:23:27Mainly from books, erm...
0:23:27 > 0:23:31unless you are lucky enough to have a local beading group.
0:23:31 > 0:23:35And how did you get into the craft of beadworking?
0:23:35 > 0:23:37I have an older brother who lives in the States.
0:23:37 > 0:23:40He's a civil engineer.
0:23:40 > 0:23:43He lost two of his fingers in an accident,
0:23:43 > 0:23:44they reattached his fingers
0:23:44 > 0:23:49and to make him use them they introduced him to beadwork.
0:23:49 > 0:23:53We went to visit them and he took me to his bead store,
0:23:53 > 0:23:55and we walked into this vast warehouse.
0:23:55 > 0:23:57A whole emporium of beads!
0:23:57 > 0:24:02- Full of beads and that was it, I never looked back!- It was love at first sight, really!
0:24:02 > 0:24:06It's really very beautiful, some of the work in this.
0:24:06 > 0:24:10I mean, there's beadwork and beadwork, but this is so intricate.
0:24:10 > 0:24:15It's finding out HOW to do it as well and how you make even like this
0:24:15 > 0:24:18where you've got the petals that curve.
0:24:18 > 0:24:21Getting lost in something like this allows you to switch off completely
0:24:21 > 0:24:23- from the workaday world.- Yes. Yes.
0:24:23 > 0:24:27Would you say, Anne, this is very much a passion project for you?
0:24:27 > 0:24:30What do you want to do with it?
0:24:30 > 0:24:33It's very, very difficult to sell items,
0:24:33 > 0:24:37so I really just do make them for pleasure, I make them for friends,
0:24:37 > 0:24:43for family, as gifts, and that's really the best you can do.
0:24:43 > 0:24:46- Have you ever sold any pieces of your work?- I do sell the odd piece.
0:24:46 > 0:24:49I have a friend who has a dress shop
0:24:49 > 0:24:52and she occasionally sells pieces for me.
0:24:52 > 0:24:55You look at the work of some fashion designers
0:24:55 > 0:24:58and they incorporate beadwork into the beautiful embellished necklaces
0:24:58 > 0:25:02and bibs now, they're very fashionable.
0:25:02 > 0:25:04So, there is a demand for this sort of work.
0:25:04 > 0:25:06I guess, one of the questions would be
0:25:06 > 0:25:09how long would it take you to make something like this?
0:25:09 > 0:25:13- That probably took 30, 40 hours. - 30 or 40 hours?
0:25:13 > 0:25:15So, if we start pricing that up
0:25:15 > 0:25:19it makes for a deservedly expensive piece,
0:25:19 > 0:25:21you know, on sale in a high-end boutique.
0:25:21 > 0:25:25- Somewhere like Liberty's, in London. - It's a very limited market.
0:25:25 > 0:25:28A limited market, perhaps, but nonetheless, as I say,
0:25:28 > 0:25:33fashion designers are using this sort of piece in their collections.
0:25:33 > 0:25:36So, I suppose it's tricky, isn't it, to know where to take this next.
0:25:36 > 0:25:39I mean, do you imagine you'll carry on doing it for pleasure
0:25:39 > 0:25:42or would you like to take it to a slightly more professional level?
0:25:42 > 0:25:45I would like to take it to a more professional level.
0:25:45 > 0:25:46I mean, I work as an accountant
0:25:46 > 0:25:50so it's totally the other end of the scale.
0:25:50 > 0:25:52In the future, with full retirement,
0:25:52 > 0:25:56then maybe it might be something you can spend more time doing?
0:25:56 > 0:25:59Well, in theory, I retired six years ago! THEY LAUGH
0:25:59 > 0:26:02You're one of the new age of people who never retire, Anne,
0:26:02 > 0:26:04that's what it is!
0:26:06 > 0:26:09It's very difficult to find people
0:26:09 > 0:26:12who can either show you how to do something,
0:26:12 > 0:26:13or teach you how to do something.
0:26:13 > 0:26:16Most of what I learned was from books.
0:26:16 > 0:26:22Just to encourage more people to get involved in it would be wonderful.
0:26:22 > 0:26:28Potentially, Anne's work could sell from anything from £50-£200
0:26:28 > 0:26:29in high-end boutiques
0:26:29 > 0:26:33but her skill, attention to detail and talent
0:26:33 > 0:26:35is really hard to put a price on.
0:26:36 > 0:26:39My revolution is about celebrating our nation's skills
0:26:39 > 0:26:44and there's nothing more essentially British than cloth making.
0:26:44 > 0:26:46Earlier, we met Anne weaving recycled bags,
0:26:46 > 0:26:48something we could all try,
0:26:48 > 0:26:52but I've come here to the Black Mountains, in South Wales,
0:26:52 > 0:26:55to meet a master weaver who transforms the simplest of materials
0:26:55 > 0:26:58into something extraordinary.
0:26:58 > 0:27:00There is a rich tradition in textiles
0:27:00 > 0:27:02that spans the whole of the British Isles
0:27:02 > 0:27:05but this particular area is home to a breed of sheep
0:27:05 > 0:27:09whose fleece is perfectly suited to spinning and weaving,
0:27:09 > 0:27:13and it's been renowned for its weavers for hundreds of years.
0:27:13 > 0:27:15The industry became heavily mechanised
0:27:15 > 0:27:16all over the United Kingdom
0:27:16 > 0:27:20but its roots are firmly in the domestic sphere.
0:27:20 > 0:27:23This little house is just the kind of setting for a cottage industry
0:27:23 > 0:27:25of the 19th century
0:27:25 > 0:27:30and it's here that master craftsman Stuart Neil weaves his magic.
0:27:30 > 0:27:32Stuart, there's a lot of work here in your studio,
0:27:32 > 0:27:34that's quite evident, it's jam-packed!
0:27:34 > 0:27:36But what do you specialise in? What do you enjoy making the most?
0:27:36 > 0:27:39Well, I mean, the flagship is the throw
0:27:39 > 0:27:42because we market that under the Welsh name of gwrthban.
0:27:42 > 0:27:44It was a traditional bed cover, if you like.
0:27:44 > 0:27:48Sometimes a farmer would bring the fleece to the mill, get it woven
0:27:48 > 0:27:50and then have the finished object back,
0:27:50 > 0:27:52you know, as part of an exchange.
0:27:52 > 0:27:55- Right, I see, like a bartering system.- That's it, that's it.
0:27:55 > 0:27:56Yeah, yeah, yeah, yeah.
0:27:56 > 0:27:58So, this is an essential piece of kit
0:27:58 > 0:28:01in traditional Welsh farm houses, and cottages, and mill houses?
0:28:01 > 0:28:03Yes, I mean, it's really interesting.
0:28:03 > 0:28:05At one time, if you go back 300 years,
0:28:05 > 0:28:08the family would be involved in the textiles.
0:28:08 > 0:28:09The womenfolk would spin,
0:28:09 > 0:28:12the children would card the fleece, ready for spinning,
0:28:12 > 0:28:14and then the husband would weave.
0:28:14 > 0:28:16And, also, in farms, very often,
0:28:16 > 0:28:18if you were an agricultural labourer, when you were being hired,
0:28:18 > 0:28:21if you could weave you had a better chance of being employed
0:28:21 > 0:28:24so it was very much a cottage industry.
0:28:24 > 0:28:27Now, these particular patterns, these, sort of, geometric forms,
0:28:27 > 0:28:29repetitive patterns, that's so typical of a Welsh throw, isn't it?
0:28:29 > 0:28:33Well, it's typical of South Wales and I picked it up
0:28:33 > 0:28:36because there was a mill very locally in Abergavenny,
0:28:36 > 0:28:40run by Lady Llanofer, who was a very famous lady,
0:28:40 > 0:28:44she insisted all her employees spoke Welsh.
0:28:44 > 0:28:49She was hated by half the community and loved by the other half!
0:28:49 > 0:28:54But she set up this mill to provide cloth for the poor of the parish.
0:29:01 > 0:29:03Cloth production in Wales dates from the 14th century
0:29:03 > 0:29:07as a natural by-product of sheep farming in the region.
0:29:07 > 0:29:10Stuart's workshop is in the village of Pandy,
0:29:10 > 0:29:11which means fulling mill,
0:29:11 > 0:29:16fulling being a technique used to wash impurities from woollen cloth.
0:29:17 > 0:29:21And cloth from Lady Llanofer's mill survives even today.
0:29:23 > 0:29:26Somebody said, "Oh, I've got this piece of textile,"
0:29:26 > 0:29:29and I was analysing, thinking, "Oh, could I...? I could repeat that!"
0:29:29 > 0:29:31- So, this is early 1900s? - This is 1920.
0:29:31 > 0:29:34This is so typical to the region of South Wales,
0:29:34 > 0:29:35this particular pattern.
0:29:35 > 0:29:38- I can't wait to get started, actually!- Oh, heck!- I really can't!
0:29:38 > 0:29:40I actually want to go home today with something that I'm proud of.
0:29:40 > 0:29:43Something tangible that I can show everybody and say,
0:29:43 > 0:29:45"Look, if I can do it, you at home can do it."
0:29:45 > 0:29:47- Oh, right-ho, then. Yeah. - OK?- Yeah, OK, right.
0:29:47 > 0:29:50- Traditional skills, using traditional methods... - We'll have a go!
0:29:50 > 0:29:52- ..taught by a master!- Oh, crikey!
0:29:55 > 0:29:57So, this is the first stage, really, stage one.
0:29:57 > 0:30:00Spinning raw wool into yarn?
0:30:00 > 0:30:03- That's right...- This is how it would have traditionally been done?
0:30:03 > 0:30:05- It was, all, it was... - A cottage industry?
0:30:05 > 0:30:08Yes, the womenfolk were in charge of this.
0:30:08 > 0:30:12There's a Welsh folk song where the girl's love has gone to war
0:30:12 > 0:30:16and she's being chided because she's not concentrating on her spinning.
0:30:16 > 0:30:17Are you going to sing it?
0:30:17 > 0:30:18Oh, no, no, no, I'm not!
0:30:18 > 0:30:20THEY LAUGH
0:30:21 > 0:30:25When I'm looking at that there's, sort of, mixed hues going on there.
0:30:25 > 0:30:29- Is that different sheep? - No, no, no, it's just the breed,
0:30:29 > 0:30:31the breed actually produces these variety of colours
0:30:31 > 0:30:34and you either separate them when you're spinning or you mix them.
0:30:34 > 0:30:37I love that. Can I have a little go at this process? Do you mind?
0:30:37 > 0:30:40Yes, yes, I'm... See how you, what you make of it!
0:30:40 > 0:30:43- I've got...- You're going to have to talk me through it.- Yeah.
0:30:45 > 0:30:49- You see, you're getting lovely lumpy bits, there.- I know, is that bad?
0:30:49 > 0:30:52Well, no, you're never reproduce that later on.
0:30:52 > 0:30:54However much you try, you won't be able to do lumpy
0:30:54 > 0:30:57and sometimes you would like to do lumpy!
0:30:57 > 0:31:01- Treasure your lumpiness! - OK, gosh, it's difficult!- Mmm.
0:31:01 > 0:31:04- Tease this out with both hands. - That's right.
0:31:04 > 0:31:06Uh-oh...
0:31:06 > 0:31:08I'm getting the feel for it, now. Oh! It's just come off.
0:31:08 > 0:31:12- That's all right. Just...- Oh, I'm sorry about that.- No, no, no!
0:31:12 > 0:31:16- But I guess these things happen and it's all part of the process?- Yeah.
0:31:16 > 0:31:19The next process is to set the yarn.
0:31:19 > 0:31:22This is where different coloured balls are mixed.
0:31:22 > 0:31:23It's a very important stage
0:31:23 > 0:31:27as it helps set the final pattern of the cloth.
0:31:27 > 0:31:29Oh, I'm on a roll now!
0:31:29 > 0:31:31It's like a giant game of Cat's Cradle...
0:31:31 > 0:31:33- Follow what's already there.- OK.
0:31:33 > 0:31:36..one that takes four hours to complete!
0:31:36 > 0:31:40- Let go of everything. Just pull... There we are.- Gosh, yeah!
0:31:40 > 0:31:42You've got to do a lot of calculation before you start.
0:31:42 > 0:31:45You can't just say, "Oh, here's some threads, oh, I'll make a wool!"
0:31:45 > 0:31:47- You've really got...- Can't, really!
0:31:47 > 0:31:49No, you can't! You've really got to plan it.
0:31:49 > 0:31:52- We have to get this upstairs, then? - Yeah, and that's a challenge.
0:31:52 > 0:31:53- So, you grab that...- Take that?
0:31:53 > 0:31:55Yes, that's right and then pull it through.
0:31:55 > 0:31:56Well, Paul...
0:31:56 > 0:32:00is not the finest bit of chaining I've seen
0:32:00 > 0:32:02but I do compliment you, that is pretty good.
0:32:02 > 0:32:03Thank you. Thank you.
0:32:04 > 0:32:06This is a lovely piece of kit.
0:32:06 > 0:32:08How old is the loom and where did you get it from?
0:32:08 > 0:32:10Oh, it's about 120 years old.
0:32:10 > 0:32:13- It's seen some life, then? It's seen action?- Oh, it has.
0:32:13 > 0:32:14On the back there are some dates
0:32:14 > 0:32:17from, obviously, apprentices from 1929.
0:32:17 > 0:32:20- They're not inexpensive.- If you had to buy a one of these today what...?
0:32:20 > 0:32:23- Oh, £10,000.- Really?! That much? - Oh, yes. Oh, yes, yes.
0:32:23 > 0:32:28And you just simply pull on the chord and just... It whacks across...
0:32:28 > 0:32:30- And that's it?- ..and there you go.
0:32:30 > 0:32:33Change...and back it goes.
0:32:33 > 0:32:37- If you look, you see those shafts are lifted now and then I...- Yeah.
0:32:37 > 0:32:42- And then you've got a different set of shafts lifting.- Yes, yes.
0:32:42 > 0:32:44- And now it's a different set of shafts lifting again.- Yes.
0:32:44 > 0:32:47- I mean, that goes through...- Then that just repeats itself?- Yeah.
0:32:47 > 0:32:50So, the next time you put your foot down it's the other one.
0:32:50 > 0:32:53Well, I think it might be time for me to get my hands on the loom.
0:32:53 > 0:32:56Throw your shuttle.
0:32:56 > 0:32:58Cor, I can't do it as well as you! That was pathetic!
0:32:58 > 0:33:01- No, well, you, you will get... - That was absolutely pathetic!
0:33:01 > 0:33:04Right, now through the shuttle back.
0:33:04 > 0:33:06- That's better!- Yes!
0:33:06 > 0:33:08- And pull back?- Er, yes, beat up.
0:33:08 > 0:33:10Throw back?
0:33:10 > 0:33:12Change shed.
0:33:13 > 0:33:15Back, beat up.
0:33:15 > 0:33:19I mean, relax into it, don't... You're very tense.
0:33:19 > 0:33:21I am, I know, I'm very nervous!
0:33:21 > 0:33:23Here we go.
0:33:23 > 0:33:25- No, you didn't change the shed then.- Oh!
0:33:25 > 0:33:26Send it back.
0:33:26 > 0:33:29You have to have an awful lot of weight on your forearm
0:33:29 > 0:33:33pushing this forwards in order to get that shuttle to move across
0:33:33 > 0:33:34and at the same time you can't move
0:33:34 > 0:33:38because your leg is on this piece of wood, which is opening the gate.
0:33:38 > 0:33:40- It's...- It really is complicated! - It is, it is.
0:33:40 > 0:33:43You've been doing this, in this room, on this loom for 20 years.
0:33:43 > 0:33:47- Yeah, yeah. I mean... - And you're not potty!
0:33:47 > 0:33:50Have you had moments where you think, "I'm going mad doing this"?
0:33:50 > 0:33:51Yes, I've cursed and I've actually...
0:33:51 > 0:33:53I mean, sometimes it's better to walk away
0:33:53 > 0:33:55and to just leave it for a few hours.
0:33:57 > 0:33:58Ah!
0:34:00 > 0:34:02It's not easy, this, it's not easy, Stuart, is it?
0:34:04 > 0:34:07- It's not my fault, guv! - No, it isn't.
0:34:07 > 0:34:11- A bit of a pause, folks. - These things happen, don't they? - Yes, they do.
0:34:11 > 0:34:13You can see here, look, I've just gone wrong
0:34:13 > 0:34:16and that's probably about six times across,
0:34:16 > 0:34:18because it's lost its shape there.
0:34:24 > 0:34:26I can see the pattern evolving in front of my eyes.
0:34:30 > 0:34:32- I'm quite pleased with that. - Your little quirk...
0:34:32 > 0:34:35- It's almost Arabesque...- That's your signature, that's Paul Martin.
0:34:35 > 0:34:37HE LAUGHS
0:34:37 > 0:34:41I'm really, really happy with that. I love the blue colour, as well.
0:34:41 > 0:34:44- Well chosen, that's my favourite colour.- Well, there we are.
0:34:44 > 0:34:47Unroll your piece now.
0:34:50 > 0:34:55This is possible, go out and find yourself a master and start making.
0:34:55 > 0:34:59- This is it, cutting your piece off. - Fabulous.
0:34:59 > 0:35:02- Thank you, Stuart.- There we are. - Look at that.- Look at that.
0:35:02 > 0:35:05A moment I've been waiting for. Ta-da!
0:35:05 > 0:35:07Look, isn't that fab?
0:35:07 > 0:35:10Fantastic, thank you so much.
0:35:10 > 0:35:14I feel like I've had a hand in every stage of making this.
0:35:14 > 0:35:17OK, it's hard work and it takes a long time to make this
0:35:17 > 0:35:21and you do need a loom like that at home, but you can, if you want,
0:35:21 > 0:35:23sit at home in front of the telly, do some winding on
0:35:23 > 0:35:26and do some spinning, all traditional skills and methods.
0:35:26 > 0:35:30I think you should be proud of that. It's such a real achievement.
0:35:30 > 0:35:33Thank you. I'll certainly treasure this, that's for sure.
0:35:35 > 0:35:38But now, it's crunch time and I'm truly impressed
0:35:38 > 0:35:42at what's being made behind the closed doors of Britain.
0:35:42 > 0:35:46From among hundreds of applicants, these five talented amateurs
0:35:46 > 0:35:49were chosen to go before our panel of judges today.
0:35:49 > 0:35:52But only one of them can be nominated Judges' Favourite.
0:35:52 > 0:35:56None of the finalists know what could be in store for that person.
0:35:56 > 0:36:00An opportunity that could change their life and now,
0:36:00 > 0:36:02it's the moment of truth.
0:36:02 > 0:36:06OK, guys, here we are with our five finalists.
0:36:06 > 0:36:08I've had a look at them already and saw a couple of things
0:36:08 > 0:36:10that would be great to have at the V&A,
0:36:10 > 0:36:14but maybe we could start by telling me a bit about your conversations with the makers.
0:36:14 > 0:36:15So, Piyush, go ahead and start for us.
0:36:15 > 0:36:20We have Nicole, who has a strong message of recycling and upcycling,
0:36:20 > 0:36:24which is trendy at the moment. She uses old plastic bags and different materials
0:36:24 > 0:36:27to create bags. She weaves on a small pegged loom,
0:36:27 > 0:36:31but also now she is looking into working on a table loom and making
0:36:31 > 0:36:33a better fabric out of it.
0:36:33 > 0:36:36I just wanted to be here and get inspired.
0:36:36 > 0:36:38If it comes out that I am the Judges' Favourite
0:36:38 > 0:36:43that would be brilliant, but it's more important to be here, I thought.
0:36:43 > 0:36:46And here I have Catherine, she's a blacksmith,
0:36:46 > 0:36:49she uses different materials and here,
0:36:49 > 0:36:51she's used a wheel hub to create a fire plate
0:36:51 > 0:36:56and, guys, if you can notice, it's a spider and can I just tell you,
0:36:56 > 0:36:59that she's absolutely terrified of spiders.
0:36:59 > 0:37:01She doesn't pre-decide, whenever she sees an object
0:37:01 > 0:37:05and it comes to her mind that this should be the final outcome of it.
0:37:05 > 0:37:08- She goes with the flow.- So, whatever it suggests to her?- Exactly.
0:37:08 > 0:37:11I think he liked it, I think he was quite impressed with it.
0:37:11 > 0:37:14It's a bit unusual, not something you see every day.
0:37:14 > 0:37:17So, you literally put logs in this light a fire...
0:37:17 > 0:37:20- a flaming spider.- Something that won't be in my house,
0:37:20 > 0:37:23- but, yes, I think it's innovative. - Maybe in the back yard!
0:37:23 > 0:37:25OK, Mary Jane, how about you?
0:37:25 > 0:37:28I spoke to Onorio, who's a model maker,
0:37:28 > 0:37:31and this little fellow, he made with the idea
0:37:31 > 0:37:33- of perhaps using it in animation at some point.- I see.
0:37:33 > 0:37:37It is made of polymer clay and it looks very heavy,
0:37:37 > 0:37:40- but it's not, actually. - It looks like metal.- It does, yes. - I love the texture.
0:37:40 > 0:37:44It's interesting, he uses bits he's found to add to the design.
0:37:44 > 0:37:48We've got a rust, sort of, finish that he's invented himself,
0:37:48 > 0:37:49it's quite interesting.
0:37:49 > 0:37:52If I was chosen as Judges' Favourite it would be fantastic.
0:37:52 > 0:37:54My parents would be really proud of me. Yeah.
0:37:54 > 0:37:56Once-in-a-lifetime experience, I guess.
0:37:56 > 0:37:59This is David's meditation stool
0:37:59 > 0:38:02which was made from a piece of driftwood
0:38:02 > 0:38:05and you can see the heartwood and the sapwood in the piece.
0:38:05 > 0:38:08I think it's interesting, because often drift wood is left quite raw,
0:38:08 > 0:38:13but he's obviously refined it, so that was the detail I quite liked.
0:38:13 > 0:38:14If I was chosen as the Judges' Favourite,
0:38:14 > 0:38:17then I would be very happy.
0:38:17 > 0:38:19It would, I suppose, be an affirmation of the stuff
0:38:19 > 0:38:22and the things I've made and my creativity.
0:38:22 > 0:38:25And then this piece here,
0:38:25 > 0:38:29a beautiful necklace with very fine detailed beadwork.
0:38:29 > 0:38:32You know I like girlie stuff, so it sort of appealed to me.
0:38:32 > 0:38:37A beautiful floral design, lots of very intricate work
0:38:37 > 0:38:40and this lady got into beading because her brother hurt his hand
0:38:40 > 0:38:43and she took it up to sort of keep him company.
0:38:43 > 0:38:48It would mean an awful lot to me, it would confirm that I can do what I am trying to do
0:38:48 > 0:38:52and that what I try to do is appreciated by other people.
0:38:52 > 0:38:55Yes, you can tell she has a big repertoire, doesn't she?
0:38:55 > 0:38:58Yes, she does, and she gets lots of inspiration from the garden
0:38:58 > 0:39:01and her flower displays and she loves colour
0:39:01 > 0:39:03- and I think that's quite clear. - Too much bling for me, though.
0:39:03 > 0:39:06- For you, maybe.- Too much bling!
0:39:06 > 0:39:08Well, it's an interesting group of objects,
0:39:08 > 0:39:11because we have a couple of things, the beadwork necklace
0:39:11 > 0:39:15and this little figure here, which look like something they're not,
0:39:15 > 0:39:17so beadwork that looks like flowers,
0:39:17 > 0:39:20and then this rather amazing use of polymer clay to look like metal,
0:39:20 > 0:39:24but then these other three objects are very straightforward.
0:39:24 > 0:39:26You can really tell what they're made from,
0:39:26 > 0:39:28so it's all very direct craftsmanship.
0:39:28 > 0:39:33They're all expressive of their makers' ideas and passions, so...
0:39:33 > 0:39:38I would go for something which has more surprise factor in this case.
0:39:38 > 0:39:40Some of the things are very obvious
0:39:40 > 0:39:43and a couple of them have a surprise factor, so for me
0:39:43 > 0:39:47I would go for something that is quite interesting to see.
0:39:47 > 0:39:50- Mary Jane, what do you think? - Oh,
0:39:50 > 0:39:52it's a difficult one this time.
0:39:52 > 0:39:56I mean, there are some little oddities amongst what we have
0:39:56 > 0:39:59and it is going to be quite hard to choose.
0:39:59 > 0:40:03Very different things, from very different ends of the spectrum
0:40:03 > 0:40:05- and my mind's not quite made up yet.- OK.
0:40:05 > 0:40:07I think I have a pretty firm idea of what I think.
0:40:07 > 0:40:10I'm really impressed at what's on display here.
0:40:10 > 0:40:13There is a lot of talent and attitude and remember at this stage,
0:40:13 > 0:40:16none of the finalists know what is at stake -
0:40:16 > 0:40:18a chance to have their work on display
0:40:18 > 0:40:20at the Victoria & Albert Museum.
0:40:20 > 0:40:24- So?- I've got a possible frontrunner.
0:40:24 > 0:40:28We are running out of time, the judges need to make a decision.
0:40:29 > 0:40:31- I know where you are heading to. - OK.
0:40:31 > 0:40:34Shall we get Paul involved in the decision, then? What do you think?
0:40:34 > 0:40:37- I think so, yeah.- OK. - It would be a good idea.
0:40:37 > 0:40:39- He can be the tie-breaker for us. - OK.
0:40:45 > 0:40:48So, you know what I'm going to say, have you reached a decision?
0:40:48 > 0:40:51I'm afraid we haven't, Paul, we could really use your help.
0:40:51 > 0:40:54It seems they're split.
0:40:54 > 0:40:57Mary Jane is clearly undecided.
0:40:57 > 0:41:00- You're not convinced. - No, I am. I...am.
0:41:00 > 0:41:04Glenn really loves the workmanship from one of our finalists
0:41:04 > 0:41:07but he's pulled toward something he thinks is more inspired.
0:41:07 > 0:41:09We're thinking about here, the amount of skill involved
0:41:09 > 0:41:11and also inventiveness.
0:41:11 > 0:41:15Piyush thinks one of the frontrunners lacks originality
0:41:15 > 0:41:18and he has a definite favourite.
0:41:18 > 0:41:19I think I'll go for the concept one.
0:41:19 > 0:41:22This is genuinely a tough decision.
0:41:22 > 0:41:27But after some deliberation, we finally have a Judges' Favourite.
0:41:27 > 0:41:29- We've reached a decision? - Yeah.- Good.
0:41:29 > 0:41:34We have agreed. I think it's time we called in the finalists.
0:41:45 > 0:41:48Well, you've all done extremely well to get this far
0:41:48 > 0:41:51and I've been so impressed with your work, the diversity
0:41:51 > 0:41:55and the attention to detail and the skills, so thank you.
0:41:55 > 0:41:57I can now reveal who the Judges' Favourite is,
0:41:57 > 0:42:01but before I do that, let me tell you what's at stake.
0:42:01 > 0:42:04It's the chance to have your work put on display
0:42:04 > 0:42:06in the shop at the V&A,
0:42:06 > 0:42:09at the Victoria & Albert Museum in London,
0:42:09 > 0:42:12the spiritual home of Arts & Crafts.
0:42:12 > 0:42:14Now, that is a wonderful showcase for your work.
0:42:14 > 0:42:19So, good luck. And whatever happens to the outcome,
0:42:19 > 0:42:21well done to all of you, OK?
0:42:21 > 0:42:24Now, we only have four finalists in front of us today.
0:42:24 > 0:42:26Nicole sadly couldn't be here,
0:42:26 > 0:42:30but her work has been included in the judges' final deliberations.
0:42:30 > 0:42:34And I can now reveal who the Judges' Favourite is.
0:42:42 > 0:42:44So, it gives me great pleasure to announce
0:42:44 > 0:42:49that today's Judges' Favourite is...
0:42:56 > 0:43:00Onorio with the model. Well done.
0:43:00 > 0:43:03Well done. Original. Totally original.
0:43:03 > 0:43:05Well done to all of you, as well, because that was close.
0:43:05 > 0:43:07Onorio's rusty robot is definitely unique.
0:43:07 > 0:43:10This piece just grabbed our attention -
0:43:10 > 0:43:14it's original, it boasts precision craftsmanship
0:43:14 > 0:43:17as well as the surprise factor. Onorio must have some mastery
0:43:17 > 0:43:19to turn children's modelling clay
0:43:19 > 0:43:24into rusty metal. We think he may be a bit of an alchemist.
0:43:24 > 0:43:27It's been so encouraging to see so many talented makers today
0:43:27 > 0:43:29using such a diverse range of materials
0:43:29 > 0:43:32and some of them will have a bright future ahead of them.
0:43:32 > 0:43:35This is just the start, come and join in the fun,
0:43:35 > 0:43:37join our Handmade Revolution.
0:43:37 > 0:43:40See you next time.