0:00:02 > 0:00:05Hello, and welcome to the show that celebrates the joy we derive
0:00:05 > 0:00:07from that most basic of human pleasures,
0:00:07 > 0:00:09translating the world around us into art.
0:00:09 > 0:00:13We searched the country for enthusiastic amateur artists
0:00:13 > 0:00:15with bags of potential
0:00:15 > 0:00:19and invited ten of the best to join us in our artistic Boot Camp.
0:00:21 > 0:00:23Over the next six weeks, they'll be working alongside
0:00:23 > 0:00:27professional mentors, who will nurture their talent.
0:00:27 > 0:00:30OK, everyone? Pick up your bamboo sticks.
0:00:30 > 0:00:31- RICHARD:- So they can learn...
0:00:31 > 0:00:34You're going to start painting with these mops.
0:00:34 > 0:00:36..improve...
0:00:36 > 0:00:38Totally looks better the other way.
0:00:38 > 0:00:40..and grow as artists.
0:00:40 > 0:00:42Remember, you're not painting a pond.
0:00:42 > 0:00:44- What is it?- It's a flamingo.
0:00:46 > 0:00:50We'll take the artists to inspiring and testing locations.
0:00:52 > 0:00:55I turn around, my painting washes away!
0:00:55 > 0:00:57Each week, the challenges get a little bit harder
0:00:57 > 0:00:59to push our painters a little bit further.
0:01:00 > 0:01:02You've made her fat.
0:01:02 > 0:01:04Looking forward to this?
0:01:04 > 0:01:05I'm so excited.
0:01:05 > 0:01:08We want to see elephants, we want to hear elephants.
0:01:08 > 0:01:11Mariella wants to smell elephants.
0:01:11 > 0:01:13Each week, a panel of expert judges
0:01:13 > 0:01:17will decide on someone to send home.
0:01:17 > 0:01:19And the artist that's going this week is...
0:01:19 > 0:01:23- RICHARD:- But only one artist can be crowned winner.
0:01:23 > 0:01:25I wish we had a trumpet, don't you?
0:01:25 > 0:01:28- Can you play the trumpet? - I can, as a matter of fact.
0:01:29 > 0:01:32Welcome to The Big Painting Challenge.
0:01:36 > 0:01:41MARIELLA: It's 8am in London's historic Bermondsey.
0:01:41 > 0:01:44For the next two days, this 19th-century converted workhouse
0:01:44 > 0:01:48will become home to our hopeful amateur artists.
0:01:48 > 0:01:50I'm nervous, more than I've ever been
0:01:50 > 0:01:52in my life before, because I just don't know
0:01:52 > 0:01:54what is about to happen, really.
0:01:54 > 0:01:56As soon as I smell the turps,
0:01:56 > 0:01:59I'm away, and it's just wonderful.
0:01:59 > 0:02:01I feel really nervous,
0:02:01 > 0:02:03my legs are a bit jelly, everything's a bit hot and clammy.
0:02:03 > 0:02:06- RICHARD:- Mariella and I both love looking at art,
0:02:06 > 0:02:11but here are ten amateur painters who can actually do the business.
0:02:11 > 0:02:15Hello to you all, and welcome to six weeks of artistic inspiration,
0:02:15 > 0:02:17instruction and challenges.
0:02:17 > 0:02:21Mentors will be there to help you every step of the way, emulating
0:02:21 > 0:02:24the atelier system which produced such greats as Leonardo da Vinci.
0:02:24 > 0:02:27So if you have something in you to wipe the smile
0:02:27 > 0:02:28off the Mona Lisa's face,
0:02:28 > 0:02:31they're there to encourage you, to coach you,
0:02:31 > 0:02:33to push you to get it onto canvas.
0:02:33 > 0:02:36That's what we're looking for, a new Leonardo da Vinci.
0:02:36 > 0:02:37So, no pressure at all!
0:02:37 > 0:02:41Sadly, you won't all be here for the duration.
0:02:41 > 0:02:44We will be losing some of you over the course of the next six weeks.
0:02:44 > 0:02:48This week, our theme is still life, and you'll have two opportunities
0:02:48 > 0:02:52to show what you've got, the first by way of a sort of palate cleanser.
0:02:52 > 0:02:55Sorry! It's really just a chance for you to demonstrate your skill.
0:02:55 > 0:02:57In each of your mentors' studios,
0:02:57 > 0:03:00the judges have placed a group of objects on a table to create
0:03:00 > 0:03:02a classic still life composition.
0:03:02 > 0:03:04In a couple of hours, the judges will be coming by
0:03:04 > 0:03:08to make their judgements, but until then, mentors, let's get mentoring.
0:03:08 > 0:03:09Get mentoring!
0:03:18 > 0:03:19Who do you think's going to win?
0:03:19 > 0:03:22We could have a little sweepstake going, you know.
0:03:22 > 0:03:24Throughout the competition,
0:03:24 > 0:03:26the artists will be working in two groups.
0:03:26 > 0:03:30And, this week, they'll be in separate studios.
0:03:30 > 0:03:34They are about to come face-to-face with the items
0:03:34 > 0:03:37they have to paint in this still life challenge.
0:03:40 > 0:03:42- What do you think about this? - Challenging.
0:03:42 > 0:03:44Pretty difficult, to be honest.
0:03:44 > 0:03:48These five artists will be working with Pascal Anson,
0:03:48 > 0:03:52an artist, designer and guest lecturer at the Royal College of Art.
0:03:52 > 0:03:55- When did you last do a still life? - 30 years ago.
0:03:55 > 0:03:58Yeah, it's a little bit scary, isn't it?
0:03:58 > 0:04:02The other five artists will be guided by Diana Ali,
0:04:02 > 0:04:06art educator, curator and artist.
0:04:07 > 0:04:10This still life is a different set-up,
0:04:10 > 0:04:12but with equally tricky items.
0:04:12 > 0:04:14Don't be overwhelmed.
0:04:14 > 0:04:15- Oh, God!- Might be a time
0:04:15 > 0:04:17to break out of your comfort zone now.
0:04:17 > 0:04:19So you need to go and get your materials ready
0:04:19 > 0:04:21and the clock will start ticking.
0:04:23 > 0:04:27The artists have two hours for the challenge.
0:04:27 > 0:04:30They can use their own brushes, paints and tools from home...
0:04:30 > 0:04:32Oh, we've got drawers!
0:04:32 > 0:04:36..and the medium they wish to paint in is up to them.
0:04:40 > 0:04:44- Can I paint on the floor? - Absolutely, go for it.
0:04:44 > 0:04:48Never been so freaked out by a teddy bear in my life.
0:04:49 > 0:04:53Painting with other people, or drawing with other people,
0:04:53 > 0:04:54is completely new.
0:04:54 > 0:04:56I've never done anything like this before.
0:04:56 > 0:04:59It's not my favourite stuff, still life, I have to say.
0:04:59 > 0:05:01I'm just going to have a go.
0:05:01 > 0:05:04Still life arrangements emerged in Europe
0:05:04 > 0:05:06in the 17th century.
0:05:07 > 0:05:11The subjects were chosen to depict either mortality,
0:05:11 > 0:05:16so skulls and perishable foods, or material pleasures.
0:05:16 > 0:05:18The arrangements were constructed
0:05:18 > 0:05:21so that the artists could show off their proficiency
0:05:21 > 0:05:24in handling light, colour, texture and substance.
0:05:26 > 0:05:29So, as their very first challenge, still life
0:05:29 > 0:05:33is a great way to test our artists in these areas.
0:05:33 > 0:05:36This is nothing to, like, painting in your living room.
0:05:36 > 0:05:38And I think the colours,
0:05:38 > 0:05:43the shapes, everything, it's... it's quite challenging.
0:05:43 > 0:05:45The judges will be assessing the artists
0:05:45 > 0:05:49on how they've captured the resemblance of the objects.
0:05:49 > 0:05:52So the items they choose to paint must look like the items
0:05:52 > 0:05:54on the table in front of them.
0:05:54 > 0:05:59I've started with a pencil, and then I'm getting to block in the colours,
0:05:59 > 0:06:03shapes, then try and add some detail within the next two hours.
0:06:07 > 0:06:12Usually it takes me between 25 to 75 hours to do painting.
0:06:12 > 0:06:14I like the idea of the bear. Maybe putting
0:06:14 > 0:06:16a few books at the side there,
0:06:16 > 0:06:18pretending they're Pooh Bear books or something.
0:06:18 > 0:06:20Throughout the competition,
0:06:20 > 0:06:24Pascal will be mentoring David, Ruaridh,
0:06:24 > 0:06:26Camilla, Lesley and Suman.
0:06:26 > 0:06:28- Hi.- Help me!
0:06:28 > 0:06:33He's an experiment artist with an unconventional teaching style.
0:06:33 > 0:06:38My approach to teaching is alternative thinking.
0:06:38 > 0:06:40Sometimes you've got to take one step backwards
0:06:40 > 0:06:41to go two steps forward.
0:06:41 > 0:06:43A bit lower. That's cool.
0:06:47 > 0:06:49Trying to get the composition right,
0:06:49 > 0:06:55so I'm starting with what I consider is the main object there
0:06:55 > 0:06:57and then relate the others to it.
0:06:57 > 0:07:01But I probably won't do all of the objects on the table.
0:07:01 > 0:07:05The teddy's definitely speaking to me. He's...
0:07:05 > 0:07:09He's gorgeous. I don't know who he belongs to, but...
0:07:09 > 0:07:12he might not be there at the end of the session.
0:07:15 > 0:07:1769-year-old retired nurse Lesley
0:07:17 > 0:07:22attends regular art classes and is excited to learn more.
0:07:22 > 0:07:26I've been painting for about 60 years.
0:07:26 > 0:07:28I don't mind being told what to do at all.
0:07:28 > 0:07:29I'm quite happy to take instruction.
0:07:29 > 0:07:33I do have a favourite subject to paint, and it's people.
0:07:33 > 0:07:36It's figures and faces.
0:07:36 > 0:07:39I don't like doing still life very much.
0:07:40 > 0:07:44Lesley seems like she really wants to learn,
0:07:44 > 0:07:46which is good to see in an older person,
0:07:46 > 0:07:49and hopefully she can kind of spread a bit of wisdom as well.
0:07:56 > 0:08:01I decided to sort of do minimal marks with a minimal palette,
0:08:01 > 0:08:02and try and get the whole scene in.
0:08:06 > 0:08:10Pascal's artist, Ruaridh, is the youngest painter.
0:08:10 > 0:08:12He's just 24.
0:08:12 > 0:08:14Hey, Ruaridh, how's it going?
0:08:14 > 0:08:17Yeah, I'm happy with my work so far.
0:08:17 > 0:08:18I know normally,
0:08:18 > 0:08:22artists would say negative things about their work initially.
0:08:22 > 0:08:24I'm keeping it in the positives.
0:08:24 > 0:08:26Do you think, in a way, being deaf,
0:08:26 > 0:08:30painting provides an extra sense for you?
0:08:30 > 0:08:33We all have five different senses, and as soon as we lose one,
0:08:33 > 0:08:36then the rest become heightened and a lot more sensitive.
0:08:36 > 0:08:39So my visual perspective is very sharp.
0:08:41 > 0:08:44Upstairs, the other artists are also getting stuck in.
0:08:48 > 0:08:52Can I just ask you, every so often, stand back, OK?
0:08:52 > 0:08:55Just stand back. Alan, stop a minute, stand back.
0:08:56 > 0:08:59As a lecturer and visual artist,
0:08:59 > 0:09:02Diana encourages boldness.
0:09:02 > 0:09:05My approach to teaching is get stuck in, be adventurous,
0:09:05 > 0:09:07really go for it and let's see what happens.
0:09:07 > 0:09:10It's taking that one thing that they're really into
0:09:10 > 0:09:11and then pushing them in that direction.
0:09:11 > 0:09:15She will be working with Alan, Angela,
0:09:15 > 0:09:17Maud, Jimmy,
0:09:17 > 0:09:19and abstract artist Jennifer.
0:09:21 > 0:09:24The only worry I really have at the minute is the resemblance.
0:09:24 > 0:09:27I'm calm now that I've got a wee bit
0:09:27 > 0:09:30of my base down on the canvas.
0:09:30 > 0:09:32And I'm now going to spend a wee bit of time
0:09:32 > 0:09:34just mixing up some of my oil paints.
0:09:35 > 0:09:37Retired optometrist Jimmy
0:09:37 > 0:09:39appears to be racing ahead of the others.
0:09:39 > 0:09:42You've got a lot of paint going on there,
0:09:42 > 0:09:44compared to this side, which is quite light.
0:09:44 > 0:09:46- Empty, right, OK. - So it makes it unbalanced.
0:09:46 > 0:09:48OK? So, no more work on this bit now.
0:09:48 > 0:09:51- Don't worry, don't worry. - Who set this pose up?
0:09:51 > 0:09:54- It wasn't me.- It wasn't you? - Get on with it.
0:09:54 > 0:09:56It was you! Scallywag.
0:09:56 > 0:10:01Jimmy has painted feathers, which are very light, very thin lines,
0:10:01 > 0:10:04but he's used really thick brush strokes, a lot like palm trees.
0:10:04 > 0:10:06I don't see a palm tree on that still life,
0:10:06 > 0:10:08I don't know why there is one in his painting.
0:10:09 > 0:10:12Jennifer has been working on the floor now
0:10:12 > 0:10:16for 45 minutes but still hasn't made much progress.
0:10:16 > 0:10:19It's really hard, actually having to, like, focus on something
0:10:19 > 0:10:22and paint what you see instead of just going with how you're feeling.
0:10:22 > 0:10:24OK, paint.
0:10:24 > 0:10:26- Get paint in there.- OK.
0:10:42 > 0:10:45In Pascal's studio, Camilla is steaming ahead.
0:10:45 > 0:10:47Camilla, stand back from that.
0:10:47 > 0:10:50There's some very beautiful bits in there,
0:10:50 > 0:10:54and try and identify which bits are looking really good.
0:10:54 > 0:10:57And look what needs attention and look what you can leave.
0:10:57 > 0:11:00- Can you give me a hint?- Er, vase.
0:11:00 > 0:11:03- Really?- Yeah, really.
0:11:03 > 0:11:04THEY BOTH LAUGH
0:11:04 > 0:11:06- So what do I do with it? - Leave it. Leave it alone.
0:11:06 > 0:11:08- Leave it alone. - Don't touch it, OK.
0:11:21 > 0:11:24- Lesley, how are you getting on? - Fine, I think.
0:11:24 > 0:11:26With this, don't do a kind of painting by numbers,
0:11:26 > 0:11:29where you do the drawing and then you fill it in.
0:11:29 > 0:11:31- Yeah.- That's something to bear in mind.
0:11:31 > 0:11:33- Keep standing back from your... - Yeah.
0:11:33 > 0:11:36..from your canvas, because you've started
0:11:36 > 0:11:38- quite small.- Yeah.
0:11:38 > 0:11:41Really bad colour. Had to get that back.
0:11:42 > 0:11:45So, on Camilla's canvas, she's started kind of messing around
0:11:45 > 0:11:47a bit with applying paint with her fingers.
0:11:47 > 0:11:49I don't quite know why she's doing that,
0:11:49 > 0:11:51and it's not working very well either,
0:11:51 > 0:11:54because it's starting to become all very muddy and homogenous
0:11:54 > 0:11:56and it's not representing the textures properly.
0:11:56 > 0:12:00Well, it's all a bit of a bloody mess, really, isn't it?
0:12:00 > 0:12:02Anyway, I can't get the perspectives right
0:12:02 > 0:12:04or anything, but hey-ho.
0:12:04 > 0:12:08Artists, this is a gentle reminder. You're halfway through the challenge now.
0:12:13 > 0:12:15Just to let you know, halfway.
0:12:15 > 0:12:19- That's not to panic you, OK? - Yep. OK.
0:12:19 > 0:12:21OK. Looking better, though.
0:12:23 > 0:12:26Time for me to catch up with Alan.
0:12:27 > 0:12:30Is still life a form that you're happy with,
0:12:30 > 0:12:32- familiar with?- Er...no.
0:12:32 > 0:12:34And what are the challenges,
0:12:34 > 0:12:36- do you think? - For me, it's drapery.
0:12:36 > 0:12:39It's notoriously one which separates the men from the boys, isn't it...
0:12:39 > 0:12:41- I'm a boy! - ..the conviction of your drape?
0:12:41 > 0:12:45What do you think is your kind of strongest approach?
0:12:45 > 0:12:46I'm quite literal when I paint,
0:12:46 > 0:12:49so I'm not bad at painting what's in front of me.
0:12:49 > 0:12:5140-year-old account manager Alan
0:12:51 > 0:12:54isn't exactly your typical artist.
0:12:54 > 0:12:57Where I work, I think people would be very surprised about the fact
0:12:57 > 0:12:59I've got this creative side.
0:12:59 > 0:13:03My dad's from a fishing island in Hong Kong.
0:13:03 > 0:13:05He came over to England when he was 17.
0:13:05 > 0:13:08They came here, put three kids through university.
0:13:08 > 0:13:11There are some themes in my paintings which are
0:13:11 > 0:13:13about China and about politics.
0:13:13 > 0:13:16I'm quite intrigued by Alan because he's quite controlled
0:13:16 > 0:13:19but he has got that personal voice somewhere, and I'm dying to
0:13:19 > 0:13:22work with him to see how I can get that personal voice out of him.
0:13:34 > 0:13:38With Jen, it's great that she's got this energy,
0:13:38 > 0:13:40but it is a still life, at the end of the day.
0:13:40 > 0:13:42There needs to be that resemblance.
0:13:42 > 0:13:44It's gone a little bit too abstract at the minute.
0:13:50 > 0:13:52There are now 20 minutes remaining.
0:14:11 > 0:14:14OK, Alan's lost control a little bit more, which is good,
0:14:14 > 0:14:17because he's getting a little bit more self-confidence.
0:14:17 > 0:14:18The way he's...
0:14:18 > 0:14:22handled the paint, the way that it's quite geometric
0:14:22 > 0:14:24sums up his personality a bit more.
0:14:24 > 0:14:27Well, I've got the shapes, I've got the colours
0:14:27 > 0:14:30and I hope a wee bit of life into it, I hope so.
0:14:30 > 0:14:32We'll see!
0:14:32 > 0:14:36We've got five minutes left to finish this challenge.
0:14:37 > 0:14:40You've got five minutes. Sorry!
0:15:01 > 0:15:03Getting there.
0:15:03 > 0:15:07I don't think I've done a very good job, but...
0:15:07 > 0:15:10I kind of like some of the colours.
0:15:10 > 0:15:12So it's not all lost!
0:15:12 > 0:15:14Oh, God!
0:15:16 > 0:15:20I've got the wrong colour. I haven't brought the subjects out enough.
0:15:20 > 0:15:23Now I'm just trying to rectify my mistake,
0:15:23 > 0:15:26and I've only got about two minutes to do it in!
0:15:26 > 0:15:28So...controlled panic.
0:15:28 > 0:15:30I think my control's gone out of the window a little bit.
0:15:30 > 0:15:33I've just got to throw as much as I can at this canvas
0:15:33 > 0:15:34and hope it's OK.
0:15:48 > 0:15:50Artists, time is up.
0:15:50 > 0:15:52Stop working and put down your brushes.
0:15:55 > 0:15:58- Can I have a shower now? - So different, aren't they?
0:15:59 > 0:16:01You all right, Alan?
0:16:01 > 0:16:03I had a very difficult angle.
0:16:03 > 0:16:05- It was horrible!- That's...
0:16:05 > 0:16:06Do you know what, I like it.
0:16:06 > 0:16:08It's time for the finished paintings
0:16:08 > 0:16:11to be viewed and critiqued by our judges.
0:16:13 > 0:16:15Award-winning artist and member
0:16:15 > 0:16:20of the Royal Institute of Oil Painters Lachlan Goudie.
0:16:20 > 0:16:22I'm an emotional, instinctive, painterly artist,
0:16:22 > 0:16:23but I'm looking for artists
0:16:23 > 0:16:26who are technically competent but can also bring
0:16:26 > 0:16:29some real emotional depth into their paintings.
0:16:29 > 0:16:32Art historian and reader at Chelsea College of Arts
0:16:32 > 0:16:34Dr David Dibosa.
0:16:34 > 0:16:37I'm interested in seeing these artists
0:16:37 > 0:16:41show that they can master the techniques
0:16:41 > 0:16:45but also that they can give voice to their inner vision.
0:16:47 > 0:16:49And Daphne Todd OBE,
0:16:49 > 0:16:52former winner of the BP Portrait Award.
0:16:52 > 0:16:55Because I'm a portrait painter,
0:16:55 > 0:16:58and therefore a likeness is absolutely...
0:16:58 > 0:17:01fundamental to what I do, I have an eye for accuracy.
0:17:01 > 0:17:04First up, Pascal's team.
0:17:06 > 0:17:08This is the first time the judges have seen any work
0:17:08 > 0:17:11from our artists, and tomorrow they'll be deciding
0:17:11 > 0:17:13who is going home.
0:17:16 > 0:17:19Camilla, I think it's fantastic. You get your hands onto the paint,
0:17:19 > 0:17:22mess it around the canvas. But you've got to still try
0:17:22 > 0:17:24and keep things clean, and I think in your tablecloth
0:17:24 > 0:17:26at the back there, things got a bit muddy.
0:17:26 > 0:17:29I think there are a lot of successful things in the painting
0:17:29 > 0:17:31as a still life, there's a lot to enjoy.
0:17:31 > 0:17:34Where I think you're not quite so brilliant
0:17:34 > 0:17:36is the perspective.
0:17:36 > 0:17:38If you think, from where you were sitting,
0:17:38 > 0:17:40as to how wide, say,
0:17:40 > 0:17:43those books were compared to the height of the teddy bear,
0:17:43 > 0:17:46my guess is that at that distance,
0:17:46 > 0:17:49the teddy bear should've really finished about where his eyes are.
0:17:49 > 0:17:53It wasn't really in proportion, or the perspectives weren't perfect...
0:17:53 > 0:17:55Well, far from perfect. They weren't great.
0:17:55 > 0:18:00But two hours is really quick, so... I did my best.
0:18:06 > 0:18:10Well, Ruaridh, this is visual pleasure, for me.
0:18:10 > 0:18:14There's a cinematic feel to what you're doing here.
0:18:14 > 0:18:18Well, I've honestly never seen it in a cinematic way!
0:18:18 > 0:18:21I just had my own perspective.
0:18:21 > 0:18:23I wasn't expecting that comment, that's for sure!
0:18:28 > 0:18:32Well, Suman, I think you've done a really elegantly composed
0:18:32 > 0:18:34and drawn painting.
0:18:34 > 0:18:36It feels light, it feels fresh, and you should be
0:18:36 > 0:18:38very pleased with yourself. It's a complicated subject,
0:18:38 > 0:18:39and I think you've handled
0:18:39 > 0:18:41the positioning of the objects really well.
0:18:47 > 0:18:50David, I really like the way you've made
0:18:50 > 0:18:54that teddy bear so monumental and that you've been selective
0:18:54 > 0:18:56about the objects you've chosen to paint.
0:18:56 > 0:18:58In two hours, I think that's pretty good.
0:19:03 > 0:19:08Lesley, where you've been bold is in your decision to step back
0:19:08 > 0:19:12and give us a much broader view of what's going on.
0:19:12 > 0:19:14Having made that confident move,
0:19:14 > 0:19:17you've kind of fallen at the next set of hurdles,
0:19:17 > 0:19:21things like the use of shadow, tone etc.
0:19:21 > 0:19:23It's not quite coming together there.
0:19:23 > 0:19:27I have to plan a bit better. That's what I realised from that.
0:19:27 > 0:19:32And I wasn't totally sure what I was trying to achieve,
0:19:32 > 0:19:34and I think that came across in my painting.
0:19:34 > 0:19:35It's now Diana's artists' turn
0:19:35 > 0:19:37to hear what the judges have to say.
0:19:40 > 0:19:43Jimmy, the books on the right-hand side
0:19:43 > 0:19:45are convincingly sitting on that tabletop.
0:19:45 > 0:19:48Unfortunately, on the left-hand side, when we get to the feathers,
0:19:48 > 0:19:51the heavy, dark line seems to have become a bit of a mush.
0:19:51 > 0:19:54Well, Jimmy, I want to call you Hey, Mr Colour Man
0:19:54 > 0:19:58because of all this work you're doing with colour.
0:19:58 > 0:20:01- It's fantastic.- Thank you.
0:20:07 > 0:20:08Alan, I think the way you've treated
0:20:08 > 0:20:11the folds and the silk and the highlights
0:20:11 > 0:20:14that are in there, I'm intrigued by that.
0:20:14 > 0:20:16What you have almost done is create
0:20:16 > 0:20:18an abstract pattern of colours.
0:20:18 > 0:20:22It's not really reading as a selection of different objects
0:20:22 > 0:20:25but as quite an exciting use of paint.
0:20:25 > 0:20:28The main thing I'm going to take away from the challenge
0:20:28 > 0:20:31is working on the resemblance. That was a theme that came through.
0:20:36 > 0:20:38Great, Angela. Well, you've really gone for it.
0:20:38 > 0:20:41You've done a huge amount of work in the two hours.
0:20:41 > 0:20:45Real competence there. You've positioned all your objects.
0:20:45 > 0:20:48I'm particularly pleased with your copper teapot in the background.
0:20:48 > 0:20:49That's got a real sense
0:20:49 > 0:20:51of the metallic surface, with its highlights.
0:20:57 > 0:21:01Maud, what you've done here is you've really exploded, in places.
0:21:01 > 0:21:05So we've got this touch of red here which just seems to
0:21:05 > 0:21:07come out of nowhere, and this kind of
0:21:07 > 0:21:10coppery colour here and this little splash here.
0:21:10 > 0:21:13I love that explosive energy that you've got,
0:21:13 > 0:21:15and it seems like something that you should take further.
0:21:23 > 0:21:27Jennifer, bringing an abstract approach to a still life
0:21:27 > 0:21:29is difficult.
0:21:29 > 0:21:33Personally, I'm not feeling that even your abstractions
0:21:33 > 0:21:37have made many references to what's there.
0:21:37 > 0:21:39I can't see...
0:21:41 > 0:21:44.any resemblance with what you've painted,
0:21:44 > 0:21:47I'm afraid, Jennifer, with what's out there.
0:21:47 > 0:21:51I don't think it's sufficiently based on what you're observing.
0:21:51 > 0:21:54So, to me, it's - I'm sorry to say - but it's sort of meaningless.
0:21:54 > 0:21:55To me.
0:21:58 > 0:22:01Well, I feel like I was completely slated, but that's fine, because
0:22:01 > 0:22:04they are the professionals and they know what they're talking about.
0:22:04 > 0:22:06- You all right?- Yeah.
0:22:06 > 0:22:08Don't worry about it.
0:22:08 > 0:22:11And I'm going to work on it, and tomorrow when we're painting,
0:22:11 > 0:22:12I'm just going to smash it.
0:22:12 > 0:22:17That is the most difficult thing imaginable for still life.
0:22:17 > 0:22:19Oh, man. This is...
0:22:19 > 0:22:21I'm just glad to get it under our belt. I'm just, like...
0:22:21 > 0:22:25I think the first one is always going to be the most...whew.
0:22:25 > 0:22:28Following critique from the judges,
0:22:28 > 0:22:29Diana and Pascal are considering
0:22:29 > 0:22:32who is in danger of being sent home
0:22:32 > 0:22:35and will be needing extra help in the next challenge.
0:22:35 > 0:22:38A couple of them mismanaged their time, because they spent
0:22:38 > 0:22:41too much time sketching out perspective.
0:22:41 > 0:22:44With Jennifer, she was upset with the first challenge.
0:22:44 > 0:22:47I think that's really geared her up to not change who she is
0:22:47 > 0:22:49but listen a little bit more to the criteria.
0:22:49 > 0:22:50Lesley needs to be
0:22:50 > 0:22:53a little bit bolder with her approach, and have the confidence.
0:22:53 > 0:22:57I think Camilla needs quite a lot of help. She clearly loves painting,
0:22:57 > 0:22:59but she needs a really sound knowledge
0:22:59 > 0:23:01of understanding what perspective is
0:23:01 > 0:23:05and understanding how to translate what she sees onto the canvas.
0:23:10 > 0:23:13Another day, another challenge,
0:23:13 > 0:23:16and a second chance for our artists to impress the judges.
0:23:16 > 0:23:20We started you out with a fairly tricky, rather small still life.
0:23:20 > 0:23:26Next, we want you to tackle a very tricky, very large still life.
0:23:26 > 0:23:29In your studios, you'll find two bedrooms,
0:23:29 > 0:23:32which you may or may not recognise as recreations
0:23:32 > 0:23:36of famous paintings by Vincent Van Gogh and Roy Lichtenstein.
0:23:36 > 0:23:38Now, we're not asking you to copy those paintings
0:23:38 > 0:23:40nor the style of those painters.
0:23:40 > 0:23:42But one thing they have in common
0:23:42 > 0:23:45is the ability to distil from the ordinary something marvellous,
0:23:45 > 0:23:47and that's your challenge,
0:23:47 > 0:23:50to take the everyday and give us something wonderful.
0:23:50 > 0:23:53So, get on with it, have a good time,
0:23:53 > 0:23:54- and good luck.- Good luck.
0:23:56 > 0:23:59While our artists prepare for the day ahead,
0:23:59 > 0:24:01we've sent Lachlan to the Tate's stores,
0:24:01 > 0:24:05to tell us more about the original artwork by Roy Lichtenstein,
0:24:05 > 0:24:07Interior With Water Lilies.
0:24:15 > 0:24:18So, who would live in a room like this?
0:24:18 > 0:24:22I mean, it feels like we've been taken through the keyhole into a...
0:24:22 > 0:24:25a deceptively bland interior.
0:24:27 > 0:24:31In the 1960s, a new art movement emerged in America,
0:24:31 > 0:24:35which took its inspiration from American consumer culture.
0:24:35 > 0:24:37It became known as pop art.
0:24:37 > 0:24:39Tins of soup, comic books,
0:24:39 > 0:24:43billboard advertisements - pop artists took this pervasive
0:24:43 > 0:24:47consumer imagery and decided they could recycle it and turn it
0:24:47 > 0:24:50into a powerful new kind of painting.
0:24:52 > 0:24:53The artist Roy Lichtenstein
0:24:53 > 0:24:56was a leading figure in the pop art movement.
0:24:56 > 0:24:59He wanted to make images that appeared to have come straight off
0:24:59 > 0:25:03the printing press, mass produced, and drained of all emotion.
0:25:03 > 0:25:07The very opposite of what fine art was always meant to be.
0:25:07 > 0:25:10This painting actually mimics the dots, dashes
0:25:10 > 0:25:13and marks of commercial printing techniques.
0:25:13 > 0:25:16That's the effect that you get if you look at a newspaper photograph
0:25:16 > 0:25:18through a magnifying glass.
0:25:18 > 0:25:21But the fact is that this effect has been carefully created
0:25:21 > 0:25:24using hand-painted stencils.
0:25:24 > 0:25:26I mean, every single one of these marks
0:25:26 > 0:25:29has been painstakingly added by the artist's own brush.
0:25:29 > 0:25:33I mean, you're meant to think that the process behind this image
0:25:33 > 0:25:37is sort of a cold, manufactured attack, but, really,
0:25:37 > 0:25:39the truth is completely the opposite.
0:25:39 > 0:25:42And that's all part of Lichtenstein's intention,
0:25:42 > 0:25:43it's his vision.
0:25:43 > 0:25:48He's grabbing our attention with vibrant marks, crude colours,
0:25:48 > 0:25:51a huge bed whose perspective is drawn so extremely
0:25:51 > 0:25:56that it almost seems to invade the space we are standing in.
0:25:56 > 0:25:58This is an image you simply cannot ignore.
0:26:07 > 0:26:11And here's the set we've created for Pascal's artists,
0:26:11 > 0:26:16inspired by Lichtenstein's Interior With Water Lilies.
0:26:16 > 0:26:18So, here's your room. What do you think?
0:26:18 > 0:26:21There's a lot of clash of colours, but...
0:26:21 > 0:26:23Before they get started,
0:26:23 > 0:26:25Pascal shares some key tips
0:26:25 > 0:26:27which will help his artists work to their full potential
0:26:27 > 0:26:29in today's challenge.
0:26:29 > 0:26:32I want to go right back to basics with this and start from
0:26:32 > 0:26:36something that's very important when you're looking at an interior,
0:26:36 > 0:26:37which is eye level.
0:26:39 > 0:26:431 metre 55. Oh, look, Lesley, perfect!
0:26:43 > 0:26:46Can you stand and face those guys?
0:26:46 > 0:26:48As an artist,
0:26:48 > 0:26:51establishing your eye level is a useful starting point.
0:26:51 > 0:26:55It becomes a reference on your canvas, allowing you to work out
0:26:55 > 0:26:58which items sit above the line and which are below.
0:26:59 > 0:27:04Here, Pascal is marking out Lesley's eye level around the room.
0:27:04 > 0:27:05Thank you.
0:27:05 > 0:27:07Eye level varies according to your height.
0:27:07 > 0:27:09You two need to stand on tiptoes,
0:27:09 > 0:27:11you two need to crouch down a little bit,
0:27:11 > 0:27:13and make sure your eyes are on this eye level.
0:27:16 > 0:27:17So what's happening to the dots?
0:27:17 > 0:27:20- They vanished.- They disappear.
0:27:20 > 0:27:22Eye level helps determine your perspective.
0:27:22 > 0:27:27It's a reference point for you to use as structure for your painting.
0:27:28 > 0:27:31Camilla's perspective frustration continues.
0:27:31 > 0:27:36I can't do it. Hate it. I hate doing lines.
0:27:37 > 0:27:39- INTERPRETER: - Remember, you're picked
0:27:39 > 0:27:40to be a part of this competition.
0:27:40 > 0:27:43You can do it. You've got the skills to do it.
0:27:43 > 0:27:45It's a difficult process, but you're the one that's chosen to do it,
0:27:45 > 0:27:47because we all believe that you can do it.
0:27:47 > 0:27:51Before we start, I want us to get this perspective right.
0:27:53 > 0:27:54Pascal tries another tack.
0:27:56 > 0:27:59So, I want you to hold that so you can see the set through that.
0:27:59 > 0:28:02- So, hold it.- This technique
0:28:02 > 0:28:05is allowing Camilla to be able to see the simple
0:28:05 > 0:28:09lines and shapes that determine the perspective of this room.
0:28:09 > 0:28:10Just do one line.
0:28:10 > 0:28:12One line.
0:28:13 > 0:28:16One, two, three, four, five, six, seven.
0:28:16 > 0:28:17- Want to start again?- OK.
0:28:17 > 0:28:20When looking at just the skeleton of this set,
0:28:20 > 0:28:23what it boils down to is a straightforward box...
0:28:23 > 0:28:27So it's a vertical line that drops down to the bottom.
0:28:27 > 0:28:29Join that line next.
0:28:29 > 0:28:31OK, and then join that and that with one line - bam!
0:28:31 > 0:28:35..which can be described using just nine lines.
0:28:35 > 0:28:37If you start doing 20 lines there,
0:28:37 > 0:28:39suddenly we're going to have 400 lines describing the space.
0:28:39 > 0:28:41- Right?- This is what happens!
0:28:43 > 0:28:46Upstairs in Diana's studio, her artists
0:28:46 > 0:28:51will tackle a set of the Van Gogh painting Bedroom In Arles.
0:28:51 > 0:28:54Known to be one of Van Gogh's personal favourites,
0:28:54 > 0:28:57his aim was to use his distinct colour palette
0:28:57 > 0:29:00to bring out the simplicity of the room.
0:29:00 > 0:29:02The lack of shadows and distorted perspective
0:29:02 > 0:29:05make some of the objects appear unsteady.
0:29:06 > 0:29:09- Oh, wow.- This is definitely a Van Gogh, isn't it?
0:29:09 > 0:29:12Forget the artist, it's your vision. My vision...
0:29:12 > 0:29:16Diana is demonstrating how to simplify composition
0:29:16 > 0:29:20using the artistic concept of negative space.
0:29:20 > 0:29:22What negative space is, it's the spaces
0:29:22 > 0:29:25in-between the positive objects.
0:29:27 > 0:29:29My positive objects that I'm seeing,
0:29:29 > 0:29:32the bed and the window and the table.
0:29:32 > 0:29:35She shades in the space between these objects.
0:29:35 > 0:29:39Purely a background, but from there, you can start building in
0:29:39 > 0:29:41the actual positive shapes on top of that.
0:29:41 > 0:29:43Do you want to have a go doing that?
0:29:46 > 0:29:49If you're working on a painting at home,
0:29:49 > 0:29:53it's likely you'd draw the objects in front of you first.
0:29:53 > 0:29:56But negative space is the empty space between the objects,
0:29:56 > 0:30:00for example, the space between the bed and the chair.
0:30:00 > 0:30:03If you shade it in,
0:30:03 > 0:30:06it helps you place the objects correctly in your composition.
0:30:06 > 0:30:09- So, you haven't finished your negative space yet.- Right, OK.
0:30:09 > 0:30:11Normally when you're drawing, you're thinking about
0:30:11 > 0:30:13the positive, and that's where you kind of work from.
0:30:13 > 0:30:15But this is actually really refreshing.
0:30:15 > 0:30:16It's nice to work like this.
0:30:16 > 0:30:20After the first challenge, which was horrendous for me,
0:30:20 > 0:30:23I feel like this is going to be something that I can really...
0:30:23 > 0:30:26really go forward with and hopefully do a really good job.
0:30:26 > 0:30:29Alan, well done for not getting any paint on your shirt!
0:30:31 > 0:30:34Armed with some new skills to put into practice,
0:30:34 > 0:30:37the artists have the rest of the day to complete the challenge.
0:30:38 > 0:30:41Composition is really important with this challenge,
0:30:41 > 0:30:44so choose your canvas really carefully.
0:30:44 > 0:30:47Their paintings will be judged on...
0:30:47 > 0:30:50Perspective - making the room three-dimensional.
0:30:50 > 0:30:54Composition - the arrangement of the items on the canvas.
0:30:54 > 0:30:57And also their own personal vision.
0:30:58 > 0:31:00Round canvas, anybody?
0:31:00 > 0:31:02Maybe I should have the round one!
0:31:02 > 0:31:04Not you.
0:31:04 > 0:31:06At the end of the challenge,
0:31:06 > 0:31:09their work will feature in a public gallery viewing,
0:31:09 > 0:31:11and the best painter will be chosen by the public
0:31:11 > 0:31:14to get immunity from this week's elimination.
0:31:25 > 0:31:29It's really daunting. I've no idea where to start, to be honest.
0:31:31 > 0:31:33I'm hoping it's all going to come to me shortly!
0:31:37 > 0:31:40Most of the artists are using their brush or pencil
0:31:40 > 0:31:43as a tool to measure the items in their view
0:31:43 > 0:31:47and transfer the dimensions onto their canvas.
0:31:49 > 0:31:51Be careful when you do this, because sometimes
0:31:51 > 0:31:53you might be like this, here,
0:31:53 > 0:31:54and then other times, you might be like this.
0:31:54 > 0:31:57If you're going to use this, you have to be in the right position
0:31:57 > 0:31:59- every time.- Don't move.- Don't move.
0:32:01 > 0:32:04- INTERPRETER:- I'm just trying to work out my perspective
0:32:04 > 0:32:05with regards to eye line,
0:32:05 > 0:32:08and then I'll let my imagination eventually stick in.
0:32:08 > 0:32:11I just need a wee bit more time at the moment.
0:32:17 > 0:32:19- You know when you did the drawing on the Tupperware lid.- Yeah.
0:32:19 > 0:32:22You started with a very big vertical and I got you to
0:32:22 > 0:32:25- reduce the vertical. I think the same thing's happened.- Too big.
0:32:25 > 0:32:27- It's too big, that vertical, isn't it?- This bit is wrong,
0:32:27 > 0:32:30- this bit is right.- Absolutely. OK.
0:32:30 > 0:32:35Camilla runs a small B&B from her countryside home.
0:32:35 > 0:32:39Her art is influenced by her community work and travel.
0:32:39 > 0:32:42I just feel I can't do good paintings, or meaningful paintings,
0:32:42 > 0:32:46unless I have an emotional tie to the subject matter.
0:32:46 > 0:32:50Because I've never been taught properly, but at least...
0:32:50 > 0:32:52it's a message, it's all I can do.
0:32:52 > 0:32:55Clearly, Camilla loves paint. But there's also something else.
0:32:55 > 0:32:57She has a bit of a rogue look in her eye,
0:32:57 > 0:33:00so I'm keen to see how that develops.
0:33:15 > 0:33:18A good night's sleep and some tips from Diana
0:33:18 > 0:33:20have done Jennifer the world of good.
0:33:20 > 0:33:22Hopefully, I'll get my perspective right
0:33:22 > 0:33:24and then we're good to go from there, really,
0:33:24 > 0:33:26so I'm just concentrating on it now,
0:33:26 > 0:33:28just sketching it out and taking my time.
0:33:31 > 0:33:33Though it seems Alan has lost his confidence.
0:33:34 > 0:33:36I'm a bit confused as to what to do.
0:33:36 > 0:33:39I think I'm just procrastinating, do you know what I mean?
0:33:39 > 0:33:41I think... I think I just need to just...
0:33:41 > 0:33:43just get on with it and stop...
0:33:43 > 0:33:45stop fannying about.
0:33:45 > 0:33:47Can't say "fanny", can I?
0:33:50 > 0:33:54OK, everyone, remember, you might want to start off with a wash
0:33:54 > 0:33:57and not spending ages doing a sketch.
0:34:03 > 0:34:06Downstairs in Pascal's studio,
0:34:06 > 0:34:10Lesley is thinking about how she's going to improve on yesterday.
0:34:10 > 0:34:13Taking onboard people's comments and everything,
0:34:13 > 0:34:16it was absolutely right, so I'm putting a bit more oomph into it.
0:34:16 > 0:34:19- I want it to sing out a little bit more.- How are you getting on?
0:34:19 > 0:34:21I think much better than the last challenge.
0:34:21 > 0:34:23- Painting alongside other painters. - I know.
0:34:23 > 0:34:25That's wonderful. It's really lovely.
0:34:25 > 0:34:27Cos you learn from their good bits,
0:34:27 > 0:34:30and all of our areas are helping each other, I hope.
0:34:30 > 0:34:33So, what do you want to get out of the process, Lesley?
0:34:33 > 0:34:36I want to paint pictures that people pick up and say,
0:34:36 > 0:34:39"Oh, that's a Lesley." It's not a, "Who did that?"
0:34:39 > 0:34:42- A picture of the you-ness of you? - Yes. Absolutely.
0:34:42 > 0:34:43- Yes.- Excellent.
0:34:43 > 0:34:45- Well, that will be lovely.- Yeah.
0:34:51 > 0:34:54If I move one inch, your whole angle changes.
0:34:58 > 0:35:01- It's a lot calmer today. - Yeah, it is.
0:35:01 > 0:35:04- After...the initial thing. - Yeah.
0:35:09 > 0:35:11We're now two hours into
0:35:11 > 0:35:13this six-hour challenge, and all of the canvases
0:35:13 > 0:35:15are at very different stages.
0:35:23 > 0:35:25- Hello.- How's it going?
0:35:25 > 0:35:27Getting there. I think I'm behind everybody else,
0:35:27 > 0:35:29which is a bit worrying, but, you know...
0:35:29 > 0:35:32I mean, you say that, but what I'm seeing in this picture
0:35:32 > 0:35:34is a degree of organisation
0:35:34 > 0:35:36that seems to be ahead of everybody else.
0:35:36 > 0:35:37Is that typical of you?
0:35:37 > 0:35:40Maybe I'm getting carried away too much with the technical side of it.
0:35:40 > 0:35:41That's the problem.
0:35:41 > 0:35:4450-year-old David is a former astrophysicist
0:35:44 > 0:35:47and has recently revisited his love of art.
0:35:49 > 0:35:52I have a PhD, which was done
0:35:52 > 0:35:55at the Institute of Astronomy, University of Cambridge.
0:35:55 > 0:35:58I do have a scientific approach to art.
0:35:58 > 0:36:01It can be, I suppose, quite analytical sometimes.
0:36:01 > 0:36:04I'm not a random... see-how-it-goes person.
0:36:04 > 0:36:08Whether people like my analytical process to some of the works I do,
0:36:08 > 0:36:10I don't know, but it's me.
0:36:10 > 0:36:15So, clearly, David has technical understanding and technical ability,
0:36:15 > 0:36:19but I'm hoping I can also bring out a creative side to him as well.
0:36:21 > 0:36:25They're now halfway through, and all of the artists
0:36:25 > 0:36:28have plotted out their composition and perspective.
0:36:28 > 0:36:32But what's also important is their interpretation of the space.
0:36:34 > 0:36:36It's very difficult for me as their mentor
0:36:36 > 0:36:39to tell them what their artistic vision should be.
0:36:39 > 0:36:42We've got five artists painting the same thing.
0:36:42 > 0:36:45They need to differentiate themselves from each other,
0:36:45 > 0:36:49and the way to do that is through their own artistic vision.
0:36:51 > 0:36:53What I'm trying to get in terms of my vision is the fact
0:36:53 > 0:36:58that it's a cramped, damp...bit of a miserable room,
0:36:58 > 0:37:01which is how I see it, and that blue doesn't really lend itself to that.
0:37:01 > 0:37:04I'm just wondering whether to get rid of the blue completely.
0:37:04 > 0:37:07I need to make a decision and do it pretty quickly, really.
0:37:07 > 0:37:10Alan's really hesitant. Like the last challenge, he's nervous.
0:37:10 > 0:37:13He did say to me, "I want to lose control."
0:37:13 > 0:37:15So he's trying to find that balance at the moment.
0:37:16 > 0:37:20We were told to start with negative shape,
0:37:20 > 0:37:23which... Maybe getting slightly out of my depth, but I'm really going to
0:37:23 > 0:37:25- fight myself to do it. - Is that out of your comfort zone?
0:37:25 > 0:37:28- Completely.- I know yesterday you were talking
0:37:28 > 0:37:29about wanting to break free.
0:37:29 > 0:37:32And the fact that the things to draw yesterday was a nightmare.
0:37:32 > 0:37:33- Yeah.- A nightmare.
0:37:33 > 0:37:35I have to say, it looked very complicated.
0:37:35 > 0:37:37I thought they threw you in at the deep end.
0:37:37 > 0:37:40Well, Richard and I are just doing a few sketches downstairs.
0:37:40 > 0:37:42- Good.- We may reveal them before the end of the series.
0:37:42 > 0:37:44Try our still life from yesterday.
0:37:44 > 0:37:46- And we'll judge it later. - No way.
0:37:46 > 0:37:49I can't go anywhere near that. I can just about do the window, maybe.
0:37:49 > 0:37:52- OK.- But just flat with no perspective.
0:37:52 > 0:37:54That's looking great. I'll talk to you later. Thanks.
0:37:54 > 0:37:57Jennifer is using a rather unusual method
0:37:57 > 0:38:01to give her canvas a personal touch.
0:38:01 > 0:38:05I use hair because it attaches the paint to some sections
0:38:05 > 0:38:08and it lets the other paint flow off it.
0:38:08 > 0:38:11So, between using inks, acrylics and emulsions,
0:38:11 > 0:38:17it kind of has a freestyle, kind of more relaxed flow about it.
0:38:17 > 0:38:19Jennifer, if she wants to succeed,
0:38:19 > 0:38:21we can't have a repeat of Challenge One.
0:38:21 > 0:38:23We're more than halfway through now.
0:38:23 > 0:38:25All we're seeing is a background.
0:38:25 > 0:38:28Some exciting textures. But they don't fit the criteria.
0:38:33 > 0:38:37I've just put this extra blue on, which is what I wanted to do.
0:38:37 > 0:38:40And then the dribbles started coming down really badly.
0:38:40 > 0:38:43- In terms of the drips...- Yeah. - You're clearly not happy.
0:38:43 > 0:38:47- No, I'm not. I don't like those drips at all.- Don't have to hide it.
0:38:47 > 0:38:50The more you build it up, the more layers of paint you put on there,
0:38:50 > 0:38:52you'll see a trace of them...
0:38:52 > 0:38:54But you won't be focusing...
0:38:54 > 0:38:56But they'll be ghostly, though. It's almost like a trace.
0:38:56 > 0:38:59It's almost like a memory of something that was there.
0:38:59 > 0:39:02- Oh, I see. Oh, yeah.- So think about your memory.- Yeah. Yeah.
0:39:02 > 0:39:04I don't know how it's all going to pan out.
0:39:04 > 0:39:08I'm well and truly lost with it.
0:39:23 > 0:39:26I think we can agree that the perspective is much better
0:39:26 > 0:39:28and it's starting to work.
0:39:28 > 0:39:30I can see a lot of things that aren't working.
0:39:30 > 0:39:32Me, too, but generally I think it's...
0:39:32 > 0:39:35- Yeah, generally... - Overall, I think you've got it.
0:39:35 > 0:39:37So, Camilla's doing really well now.
0:39:37 > 0:39:39It's looking accurate and successful, and she's learning
0:39:39 > 0:39:41and she's growing, which is great.
0:39:42 > 0:39:44Pascal may be happy
0:39:44 > 0:39:46with Camilla's progress, but he's clearly worried
0:39:46 > 0:39:48about David's.
0:39:49 > 0:39:53- David, let's have a talk. - That sounds ominous.
0:39:53 > 0:39:56What's your strategy going to be for finishing this?
0:39:56 > 0:39:58Do you have one?
0:39:59 > 0:40:02Yeah, but it's not... You're kind of implying that there's a global thing
0:40:02 > 0:40:03I should be aiming for.
0:40:03 > 0:40:04- I'm...- Definitely.
0:40:04 > 0:40:07I keep doing small steps, seeing what I do and I see what...
0:40:07 > 0:40:10Be brave and be experimental. Small steps and small dabs
0:40:10 > 0:40:12are not experimental - they're safe.
0:40:12 > 0:40:14Well, not necessarily, because you can
0:40:14 > 0:40:17end up with random events which take you off in a different direction.
0:40:17 > 0:40:20It's like chaos theory. You know, a little deviation
0:40:20 > 0:40:23can lead you off in a completely different avenue.
0:40:23 > 0:40:24Not in six hours.
0:40:24 > 0:40:25- Not in this painting.- Right.
0:40:25 > 0:40:28For me, a vision is something that every artist
0:40:28 > 0:40:29needs to be talking about.
0:40:29 > 0:40:31That's what he needs to focus on,
0:40:31 > 0:40:33and I'm not sure he quite understands it.
0:40:37 > 0:40:40You had a bit of a rough time with the judges
0:40:40 > 0:40:41on the first challenge.
0:40:41 > 0:40:43Have you got their voices ringing in your ears?
0:40:43 > 0:40:44Or have you blocked them out?
0:40:44 > 0:40:47No, I've blocked them out with Diana's voice,
0:40:47 > 0:40:50cos she's totally been here with us,
0:40:50 > 0:40:53just saying, "You can do this, you have got style.
0:40:53 > 0:40:54"Just keep true to yourself."
0:40:54 > 0:40:58So, something like this set-up, this room here,
0:40:58 > 0:41:02is that something that you feel a natural affinity with,
0:41:02 > 0:41:05something that you feel, "Oh, yes, I can do this, I can cope with this"?
0:41:05 > 0:41:08- Or would it be outside...- No! - ..your comfort zone?
0:41:08 > 0:41:10100% outside my comfort zone.
0:41:10 > 0:41:14I think these challenges have been massive
0:41:14 > 0:41:18in terms of the way I paint and how I can bring myself to it.
0:41:18 > 0:41:23But all the straight lines are a massive challenge for me.
0:42:00 > 0:42:03I'm feeling a lot more confident.
0:42:03 > 0:42:07And a lot more expressive. A lot more like myself.
0:42:07 > 0:42:09Which is great.
0:42:09 > 0:42:10Cos the more I feel like that,
0:42:10 > 0:42:15then the more I want to push things, or try to, or experiment.
0:42:16 > 0:42:19I really like the way Suman's handling this exercise.
0:42:19 > 0:42:21She's got a really good attitude.
0:42:21 > 0:42:23I'm not really worried about the final outcome with her.
0:42:24 > 0:42:27Following his chat with Pascal, David has been
0:42:27 > 0:42:30struggling to find a way to apply his vision to his canvas.
0:42:30 > 0:42:33I couldn't latch on to the point Pascal was making,
0:42:33 > 0:42:38so I don't know, it just... made me a bit frustrated.
0:42:38 > 0:42:41So this is what I'm doing now. I'm going to do this dabbing technique,
0:42:41 > 0:42:43cos I can use the opacity of the paints, and hopefully
0:42:43 > 0:42:45it'll have the impact that I want,
0:42:45 > 0:42:47because I'm committed - I can't do anything else.
0:42:47 > 0:42:48It's either going to work or it's not.
0:42:50 > 0:42:53Lesley has left her bedroom free-floating,
0:42:53 > 0:42:55but Pascal has other ideas.
0:42:55 > 0:42:56I would work on
0:42:56 > 0:42:59drawing some verticals and some background.
0:42:59 > 0:43:01- OK.- This needs... This set, I think,
0:43:01 > 0:43:04needs to be grounded, I want to see it standing on the floor.
0:43:04 > 0:43:07OK. Yeah. I can do that.
0:43:07 > 0:43:10Jennifer has spent most of her time
0:43:10 > 0:43:12getting abstract textures onto the canvas.
0:43:12 > 0:43:16But now she's struggling with the objects in the room, like the chair.
0:43:16 > 0:43:19Can you help me with something, please?
0:43:19 > 0:43:20Um...
0:43:20 > 0:43:25Just the chair that I'm kind of... can't figure out.
0:43:25 > 0:43:28So you have to forget, "Oh, it's a chair. What does a chair look like?"
0:43:28 > 0:43:29- And assume.- Yeah.
0:43:29 > 0:43:32- Just look at it and draw the lines. - Yeah.
0:43:32 > 0:43:33Now you have to be really refined
0:43:33 > 0:43:35- and precise.- Precise.
0:43:35 > 0:43:37OK.
0:43:37 > 0:43:40- You're not this at the minute. - Yeah. I've got this.
0:43:40 > 0:43:42- OK.- OK.- Thank you.
0:43:45 > 0:43:47We've got an hour and 20 minutes left.
0:43:47 > 0:43:49Start thinking about refinement.
0:44:03 > 0:44:06Alan is in need of a last-minute helping hand
0:44:06 > 0:44:07from Diana.
0:44:07 > 0:44:11Fill in all your negative spaces, OK? Finish things off.
0:44:11 > 0:44:13That refinement.
0:44:13 > 0:44:15- Clean it up. - Clean it up. Clean it up.
0:44:15 > 0:44:18I'm honestly not sure if I've got enough time to get
0:44:18 > 0:44:20where I want to get - probably not.
0:44:33 > 0:44:35Artists, you've got half an hour left.
0:44:35 > 0:44:39Think about using that time. Some of you need to stop.
0:44:39 > 0:44:41Some of you need to work twice as fast as you have been.
0:44:51 > 0:44:53Are you one of those people that needs to work twice as fast,
0:44:53 > 0:44:56or are you one of those people that needs to stop?
0:44:56 > 0:44:57- I need to stop!- OK, so stop.
0:44:59 > 0:45:01It's looking so good.
0:45:01 > 0:45:04I'm so happy that you've gone right the way to the edge of the canvas.
0:45:04 > 0:45:05Yeah, I thought that was good...
0:45:05 > 0:45:07But I'm going to leave you alone, and just finish this.
0:45:07 > 0:45:09You know how you've used this colour...
0:45:09 > 0:45:12- Yeah.- ..in here?- Yeah. - Do the same to this.
0:45:12 > 0:45:14- The blue or the red?- The red.
0:45:14 > 0:45:16- The red.- That brown, red, to here, yeah.
0:45:16 > 0:45:19Because we can still see outlines in pencil mark,
0:45:19 > 0:45:21- but it's not as defined as it could be.- OK.
0:45:21 > 0:45:24I don't think I've achieved what I set out...what I set out to do.
0:45:24 > 0:45:25What I've actually done
0:45:25 > 0:45:30is created a bit of a boring picture, although...
0:45:30 > 0:45:34you know, I wouldn't have it on my wall, so that's my barometer.
0:45:37 > 0:45:40Pascal suggested that it looked as though
0:45:40 > 0:45:42it was floating on a blank canvas.
0:45:42 > 0:45:45My aim was to have it floating
0:45:45 > 0:45:48so that it was almost an ethereal bedroom.
0:45:48 > 0:45:52Rightly or wrongly, I've ignored his advice on this one.
0:45:52 > 0:45:54A bit of rebellion there!
0:45:54 > 0:45:58That's it, painters, brushes down, please step away from your easels.
0:45:58 > 0:46:00Judgment is nigh!
0:46:04 > 0:46:06- INTERPRETER:- I think at the end of this process,
0:46:06 > 0:46:08I would like to take this one home.
0:46:09 > 0:46:10No, mine's not, either.
0:46:10 > 0:46:15- Are you exhausted, Lesley? - Yes, totally. Are you?
0:46:15 > 0:46:16Wiped out, yeah.
0:46:16 > 0:46:18I could never have done this perspective without Pascal.
0:46:18 > 0:46:20Make-up, hair and make-up!
0:46:20 > 0:46:23Oh, so sweaty now! Sorry.
0:46:23 > 0:46:26Before the judges give us their verdict...
0:46:28 > 0:46:30each week, an exhibition will take place,
0:46:30 > 0:46:31allowing members of the public
0:46:31 > 0:46:35to decide which is their favourite painting.
0:46:35 > 0:46:39This week's group are from the British Interiors and Textiles Association.
0:46:41 > 0:46:44What I find interesting is how everybody sees things differently.
0:46:44 > 0:46:46You know, so they've painted the same subject
0:46:46 > 0:46:49and it's a completely different handle on each one, isn't it?
0:46:49 > 0:46:53For some of our artists, it's the very first time their work
0:46:53 > 0:46:57has been seen by anyone other than their family and friends.
0:46:57 > 0:46:59They're all quite simple, and then there's that one.
0:46:59 > 0:47:01People are saying it's unfinished,
0:47:01 > 0:47:03- but I don't think so. - No, I think...
0:47:03 > 0:47:05Another brush stroke and I think they'd have ruined it.
0:47:05 > 0:47:09- It's almost like he's covered it in hair or pulled it off.- Yeah.
0:47:09 > 0:47:12I'm trying to work out whether this is intentional, these drips,
0:47:12 > 0:47:15or if she's had a bit of a wet brush dripping down.
0:47:15 > 0:47:18But I think they're meant to be there.
0:47:18 > 0:47:21I feel like they've kind of... It's not gone right
0:47:21 > 0:47:25and they've just kind of had to fill in areas. It looks unconfident to me, that.
0:47:25 > 0:47:28It almost feels like whoever painted this
0:47:28 > 0:47:31- likes to be the centre of attention.- Yeah.
0:47:31 > 0:47:34It's an illusion. Yeah.
0:47:34 > 0:47:37- I'd have that one on my wall. - Would you?- Yeah.
0:47:37 > 0:47:39The members of the public
0:47:39 > 0:47:42now have to select their favourite painting.
0:47:44 > 0:47:48And the artist with the most votes will be saved from going home.
0:47:53 > 0:47:56But before we find out who is safe,
0:47:56 > 0:47:59our judges, Daphne, David and Lachlan,
0:47:59 > 0:48:02will give their thoughts on the finished paintings.
0:48:02 > 0:48:05It's like a team of doctors heading for you, it's terrifying!
0:48:07 > 0:48:09First up, Pascal's artists.
0:48:15 > 0:48:17I think you've really taken on the brief, David,
0:48:17 > 0:48:19and to put your own sense of vision into it,
0:48:19 > 0:48:20and you've clearly done that.
0:48:20 > 0:48:23I think it's a very intelligent painting.
0:48:23 > 0:48:25This is like walking into Club Tropicana!
0:48:25 > 0:48:27I mean, the colours are exploding everywhere.
0:48:27 > 0:48:28Is this something new for you?
0:48:28 > 0:48:31No, this is my second attempt at this sort of painting.
0:48:31 > 0:48:35My mentor spurred me on to try something different.
0:48:35 > 0:48:37I can't remember a negative comment to it,
0:48:37 > 0:48:39so I thought it was absolutely phenomenal, really.
0:48:39 > 0:48:41Does my confidence the world of good.
0:48:46 > 0:48:50Suman, I think you've come on leaps and bounds.
0:48:50 > 0:48:56We see this rich use of colour here, on the under part on the bed.
0:48:56 > 0:49:01You've used this technique to give a sense of control
0:49:01 > 0:49:04in relation to the work, which really guides the eye.
0:49:09 > 0:49:11Camilla, I think it's quite interesting,
0:49:11 > 0:49:13the way that you've offset the composition.
0:49:13 > 0:49:16However, you've got a lot of... I think it's black paint.
0:49:16 > 0:49:17For me, it's dulling it down.
0:49:17 > 0:49:21I think, Camilla, you were intimidated a little bit by this set.
0:49:21 > 0:49:23- You've been tentative and tight. - Mm.
0:49:23 > 0:49:26- And grey.- Mm.
0:49:32 > 0:49:34Lesley, it's very blocky.
0:49:34 > 0:49:38We're getting these blocks of colour, so we're not getting
0:49:38 > 0:49:43a sense of subtlety or the mix of colours that we could have.
0:49:43 > 0:49:47You've got to be much more sensitive to how you're dealing with
0:49:47 > 0:49:50the design of the whole, so how you relate
0:49:50 > 0:49:53these very important edges
0:49:53 > 0:49:58to the edge of your canvas really, really should matter.
0:49:58 > 0:50:02I deliberately didn't paint the canvas because I wanted it on a canvas.
0:50:02 > 0:50:05If you like, the canvas was part of the message I was trying to
0:50:05 > 0:50:08get across, which obviously I didn't!
0:50:13 > 0:50:16Ruaridh, this is a haunting painting, isn't it?
0:50:16 > 0:50:18It's like a death in the Travelodge!
0:50:18 > 0:50:21I've stayed in hotel rooms like this. They're a killer!
0:50:21 > 0:50:24And the reason that we can feel our way
0:50:24 > 0:50:27into that sort of uneasy narrative
0:50:27 > 0:50:30is because of the way that you've controlled your palette.
0:50:30 > 0:50:33Now it's Diana's artists.
0:50:39 > 0:50:41Oh, Jimmy, this is lovely. I really like it.
0:50:41 > 0:50:45It's warm and inviting and personable.
0:50:45 > 0:50:47The perspective isn't at all bad,
0:50:47 > 0:50:49I think it holds together terribly well.
0:50:54 > 0:50:58Maud, I think that there are clear issues of perspective.
0:50:58 > 0:51:02The chair is all over the shop, so is the table in the background.
0:51:02 > 0:51:04And if we're going to forgive that,
0:51:04 > 0:51:08it's because you do give the whole image a jaunty sense of movement.
0:51:13 > 0:51:16I don't know how you've made this texture
0:51:16 > 0:51:19that you've got into the paint...
0:51:19 > 0:51:23sort of hairiness, but it's incredibly effective of suggesting
0:51:23 > 0:51:28dreams and sort of ephemeral angst.
0:51:28 > 0:51:33I think that these little areas are less successful,
0:51:33 > 0:51:36but not so much so that they detract from the overall painting.
0:51:36 > 0:51:40What is it? How have you made these little scratchy marks?
0:51:40 > 0:51:42I use hair. Hair extensions.
0:51:42 > 0:51:44Your own hair? You pull your hair out?
0:51:44 > 0:51:47Hair exten...? That's a first! Daphne, get onto hair extensions,
0:51:47 > 0:51:50we're going to work... with our next move.
0:51:55 > 0:51:58What kind of atmosphere were you trying to put into this painting yourself?
0:51:58 > 0:52:00I was trying to make it a bit gloomy
0:52:00 > 0:52:02and somewhere you probably wouldn't want to be.
0:52:02 > 0:52:04Well, I definitely don't want to be there.
0:52:07 > 0:52:10I can see the intention of gloom,
0:52:10 > 0:52:13and I think that side of it is successful,
0:52:13 > 0:52:16but I think your composition
0:52:16 > 0:52:19needs to be worked on, it wasn't successful in the end.
0:52:19 > 0:52:24In terms of observation, I think you've got quite a long way to go.
0:52:24 > 0:52:27I don't really like the end result, but it was...
0:52:27 > 0:52:29You know, it's a learning experience.
0:52:34 > 0:52:37Angela, this has got some very engaging aspects to it.
0:52:37 > 0:52:41You've got quite a light touch, which I find very charming.
0:52:41 > 0:52:44When we have a look at the floorboards, we get this...
0:52:44 > 0:52:48brushwork, and then you accentuate it with these drips,
0:52:48 > 0:52:52and I think that's an incredibly successful choice to have made.
0:52:52 > 0:52:54The vision is there.
0:52:54 > 0:52:56Well, thank you, all, and thank you, Diana,
0:52:56 > 0:52:58because I couldn't have done it without her.
0:52:58 > 0:53:01You painted it. You know, you painted it!
0:53:01 > 0:53:03- And that's why we have mentors. - Yeah.
0:53:03 > 0:53:08Great artists do make mistakes, and her mistakes, her anxieties,
0:53:08 > 0:53:11worked in her favour at that end. It was brilliant for her to hear that.
0:53:11 > 0:53:12Well, the judges have had their say.
0:53:12 > 0:53:15Now it's time to let the people speak.
0:53:15 > 0:53:17The person the panel chose
0:53:17 > 0:53:18was Jennifer.
0:53:18 > 0:53:21APPLAUSE
0:53:24 > 0:53:27Having the public saying good things about my work,
0:53:27 > 0:53:30and the judges, is just second to none.
0:53:30 > 0:53:33Like, it is the best feeling in the world.
0:53:33 > 0:53:35Congratulations, Jennifer.
0:53:35 > 0:53:38We know who's definitely going through next week.
0:53:38 > 0:53:41So, judges, a very tough decision for you to make.
0:53:41 > 0:53:42Good luck.
0:53:42 > 0:53:46'The judges will now decide which artist to send home.'
0:53:48 > 0:53:53Overall, it's such a difficult task deciding between these people,
0:53:53 > 0:53:56who have taken onboard these challenges
0:53:56 > 0:53:59in such restricted circumstances.
0:53:59 > 0:54:01Alan's an interesting problem, I think.
0:54:01 > 0:54:05He was able to paint the folds on that very difficult cloth
0:54:05 > 0:54:08almost better than anyone else. They were sculptural.
0:54:08 > 0:54:10I was very taken by his first painting,
0:54:10 > 0:54:12but I was desperately unimpressed by the second one.
0:54:12 > 0:54:14It was disappointing, yes.
0:54:14 > 0:54:17Deeply disappointing, I thought, the second attempt.
0:54:17 > 0:54:19There's something about light that he just
0:54:19 > 0:54:20can't deal with at the moment.
0:54:20 > 0:54:23But can we talk about Lesley?
0:54:23 > 0:54:26I wasn't entirely convinced by Lesley's second painting.
0:54:26 > 0:54:29But that bed was treated so wimpishly
0:54:29 > 0:54:32and the perspective was just not there.
0:54:32 > 0:54:36And that outside shape relating to the rectangle of the canvas,
0:54:36 > 0:54:37- that didn't work, did it? - It didn't work.
0:54:37 > 0:54:39It wasn't considered sufficiently.
0:54:39 > 0:54:42Camilla is a painter's painter.
0:54:42 > 0:54:47You can see that she enjoys that application of paint on the canvas.
0:54:47 > 0:54:50- She did that in the first. - She did in the first one.
0:54:50 > 0:54:52In the second one, I didn't think it was as good in the second one.
0:54:52 > 0:54:54- No. - Somehow, she seemed restricted.
0:54:54 > 0:54:56The first painting, with the teddy bear,
0:54:56 > 0:55:00it was muddy and it was crude and it didn't work for me.
0:55:00 > 0:55:03The second painting, I liked the off-kilter composition,
0:55:03 > 0:55:06- and it was a statement. - Yes. Yes.
0:55:06 > 0:55:08I think we've talked our way to a decision here
0:55:08 > 0:55:09and we seem to be in agreement.
0:55:21 > 0:55:24So, Lachlan, can you please let us know your decision?
0:55:24 > 0:55:27Well, it has genuinely been excruciating to make this decision,
0:55:27 > 0:55:32particularly because we've seen so little of all your work.
0:55:32 > 0:55:34Now, this artist has shown great sensitivity,
0:55:34 > 0:55:38taken many risks with their work, and I know and I'm sure
0:55:38 > 0:55:42that they're going to continue testing themselves and enjoying
0:55:42 > 0:55:45the great pleasure that can be derived from creating paintings.
0:55:45 > 0:55:50Someone's got to leave, and the artist that's going this week is...
0:55:57 > 0:55:59..Lesley.
0:56:02 > 0:56:05- What a shame!- Cuddle me!
0:56:05 > 0:56:09- I think it was written in the stars!- You did really well.
0:56:09 > 0:56:13I'd sort of kind of realised when I was listening to judges' comments,
0:56:13 > 0:56:18that this might be on the cards, and I got myself ready,
0:56:18 > 0:56:19had a chocolate bar...
0:56:19 > 0:56:24I was very disappointed, because I felt like with a little bit more time,
0:56:24 > 0:56:27she could have really developed and gone somewhere,
0:56:27 > 0:56:29so I think it's very unfair to go in the first week.
0:56:29 > 0:56:32I'm really sad to see Lesley go.
0:56:32 > 0:56:35She clearly has great sensitivity.
0:56:35 > 0:56:40Lesley's talent lies in her very delicate touch.
0:56:40 > 0:56:45Where she fell down was in trying to cope with the larger issues
0:56:45 > 0:56:47of perspective and composition.
0:56:47 > 0:56:50Lesley has a lot of momentum in her work,
0:56:50 > 0:56:52and it's what's brought her this far.
0:56:52 > 0:56:53She must never give up.
0:56:53 > 0:56:57I feel really sorry that I'm going.
0:56:57 > 0:57:00I think my artistic identity doesn't...
0:57:00 > 0:57:02It can't be found within a still life.
0:57:02 > 0:57:06And so I'm still roaming about, looking for it.
0:57:06 > 0:57:08And if anybody finds it, please let me know!
0:57:13 > 0:57:17Next week on The Big Painting Challenge...
0:57:17 > 0:57:19landscapes.
0:57:19 > 0:57:22The conditions are a wee bit challenging!
0:57:22 > 0:57:24It's like having a tap running on your canvas.
0:57:24 > 0:57:26There's just, like, water everywhere!
0:57:26 > 0:57:29My painting is dissolving in front of me!
0:57:29 > 0:57:30Right, let's start again.
0:57:30 > 0:57:34Do you honestly think every brilliant artist starts doing it like this?