0:00:02 > 0:00:04Hello and welcome to the show that celebrates the pleasure and the pain
0:00:04 > 0:00:07derived from creating paintings.
0:00:07 > 0:00:09We've found ten enthusiastic amateur
0:00:09 > 0:00:12artists to join our artistic boot camp.
0:00:12 > 0:00:15Are you looking forward to being painted by this lot?
0:00:15 > 0:00:17Very much, yes.
0:00:17 > 0:00:20They'll have to sharpen their skills.
0:00:20 > 0:00:22OK, everyone, pick up your bamboo sticks.
0:00:22 > 0:00:24And each week the challenges get a little bit harder
0:00:24 > 0:00:27to push our painters a little bit further.
0:00:27 > 0:00:29ELEPHANT TRUMPETS
0:00:31 > 0:00:34Along the way they'll be supported and guided by their two mentors,
0:00:34 > 0:00:36Pascal Anson, an artist, designer,
0:00:36 > 0:00:39and guest lecturer at the Royal College of Art.
0:00:39 > 0:00:42A good artist is somebody who's a troublemaker.
0:00:42 > 0:00:45Can I have a little bit of white in that as well?
0:00:45 > 0:00:48And Diana Ali, art educator, curator and artist.
0:00:48 > 0:00:51It's really important for an artist to be experimental
0:00:51 > 0:00:53and make the work exciting.
0:00:53 > 0:00:56But if our artists want to avoid being sent home,
0:00:56 > 0:00:58it's the judges they really have to impress.
0:01:00 > 0:01:03Last week, Lesley left the competition
0:01:03 > 0:01:05after still life got the better of her
0:01:05 > 0:01:09and Jennifer was top of the pile when she won the public vote.
0:01:09 > 0:01:13Nine painters now remain and the pressure's on for all of them.
0:01:19 > 0:01:23This week, we're in Hastings on the south coast.
0:01:23 > 0:01:25This historic seaside town has become
0:01:25 > 0:01:27a haven for artists and is an ideal
0:01:27 > 0:01:29location for landscape painting.
0:01:31 > 0:01:36Last week to me is still magical and crazy
0:01:36 > 0:01:39and, yeah, nerve-racking, still.
0:01:39 > 0:01:41I'm still shaking about it.
0:01:41 > 0:01:43I knew it was going to be difficult.
0:01:43 > 0:01:45I knew there was going to be a real...a real challenge,
0:01:45 > 0:01:47but I'm just trying to overcome that.
0:01:48 > 0:01:51Probably the enjoyment is so much that it outweighs all...
0:01:51 > 0:01:53All the pressures.
0:01:54 > 0:01:56Yeah, I'm excited to be here.
0:01:56 > 0:02:00Ready to have another go and do as well as I can, I think, yeah.
0:02:00 > 0:02:02That's what I'm aiming for.
0:02:03 > 0:02:05At the end of this week's challenges,
0:02:05 > 0:02:08one more artist will have to leave the competition.
0:02:12 > 0:02:15Welcome back. You've made it to week two, yay!
0:02:15 > 0:02:19Two challenges await you today and our genre is landscape.
0:02:19 > 0:02:23And somewhere behind the mist and rain stands Hastings Pier,
0:02:23 > 0:02:26and your job is to capture it on canvas.
0:02:26 > 0:02:28You've been challenged to paint the pier.
0:02:28 > 0:02:32You need to think about the scale of it, the perspective and proportion,
0:02:32 > 0:02:34and reflect that in your paintings.
0:02:34 > 0:02:37In a couple of hours, the judges will come by to give their judgement
0:02:37 > 0:02:42so, mentors and artists, please get into position on the prom,
0:02:42 > 0:02:44tiddely-om-pom-pom.
0:02:46 > 0:02:49For the next two days, come rain or shine,
0:02:49 > 0:02:51the Hastings seafront will be an
0:02:51 > 0:02:54open air studio for our nine artists.
0:02:54 > 0:02:57I'm not going to put up with any whingeing or complaining.
0:02:57 > 0:03:00This is Britain. This is the south coast and it's wet and it's rainy.
0:03:00 > 0:03:02That's what you expect.
0:03:02 > 0:03:05The artists only have a plastic shelter to protect them from the
0:03:05 > 0:03:08elements as they tackle this challenge.
0:03:09 > 0:03:15Pascal is mentoring David, Suman, Camilla and Ruaridh,
0:03:15 > 0:03:18who has his sign language interpreter on hand.
0:03:18 > 0:03:22So not quite as cosy as last week, but I'm looking for a bit of
0:03:22 > 0:03:24determination to deal with the elements,
0:03:24 > 0:03:26to deal with the little bit of wind
0:03:26 > 0:03:28and the little bit of rain that we have.
0:03:28 > 0:03:31So last week we learned about eye level being something that's
0:03:31 > 0:03:33horizontal on the page,
0:03:33 > 0:03:37and this time you've got eye level but you've also got horizon.
0:03:37 > 0:03:42Take that through into the pier, it drops as it moves towards us,
0:03:42 > 0:03:44but it's only a tiny bit.
0:03:44 > 0:03:47So don't have the pier soaring up at some extreme angle.
0:03:47 > 0:03:49It's pretty much a horizontal.
0:03:51 > 0:03:55Over in the other shelter, Diana will be mentoring Jennifer,
0:03:55 > 0:04:00Alan, Maud, Angela and Jimmy.
0:04:01 > 0:04:05OK, so, criteria for this week - proportion.
0:04:05 > 0:04:10So looking and measuring objects next to each other and perspective.
0:04:10 > 0:04:12Now, hopefully from the last challenge
0:04:12 > 0:04:15you got a little bit more confident with this perspective.
0:04:15 > 0:04:18So really look at your focus of your pier and measure
0:04:18 > 0:04:20out your lines, OK?
0:04:20 > 0:04:22Want to start the challenge? Good luck.
0:04:25 > 0:04:30Artists have been painting the great outdoors for thousands of years.
0:04:30 > 0:04:32But until the 17th century,
0:04:32 > 0:04:36landscape was confined to the background with
0:04:36 > 0:04:41paintings dealing with religious, mythological or historical subjects.
0:04:41 > 0:04:45However, by the 19th century, there was an explosion of naturalistic
0:04:45 > 0:04:47landscape painting with artists
0:04:47 > 0:04:50focused on painting directly from nature.
0:04:52 > 0:04:55And it is a realistic and atmospheric portrayal of their
0:04:55 > 0:04:59surroundings that the judges are looking to see in our artists' work.
0:05:01 > 0:05:05It's a lot to achieve in just two hours and painting en plein air,
0:05:05 > 0:05:07that's outdoors to you and me,
0:05:07 > 0:05:11has thrown everyone out of their comfort zone,
0:05:11 > 0:05:13even the camera crew.
0:05:13 > 0:05:15The conditions are a wee bit challenging,
0:05:15 > 0:05:17but they're all right, like.
0:05:17 > 0:05:21Well, I'll wait to the end and then we'll see how challenging they are.
0:05:24 > 0:05:26I feel quite happy out here today
0:05:26 > 0:05:29because in the past I've done farming
0:05:29 > 0:05:32and so the only days we ever get to go to the seaside was when it was
0:05:32 > 0:05:34chucking it down with rain and it
0:05:34 > 0:05:37was just too wet to do anything else,
0:05:37 > 0:05:40so these are the sorts of days that I'm used to at the seaside.
0:05:40 > 0:05:44Country girl Angela is the newest of our painters.
0:05:44 > 0:05:46She only started painting just over a year ago
0:05:46 > 0:05:48whilst recovering from an accident.
0:05:50 > 0:05:52On the day of the accident,
0:05:52 > 0:05:55it absolutely stopped my life completely.
0:05:55 > 0:05:59Without painting, my recovery would have been completely different.
0:05:59 > 0:06:03It really did give me, sort of, another reason to live.
0:06:03 > 0:06:05I do feel like a complete novice because
0:06:05 > 0:06:08I've just been doing it for such a short period of time.
0:06:16 > 0:06:19The hardest thing for me is definitely conditions.
0:06:19 > 0:06:20I've never painted outside before.
0:06:20 > 0:06:24If I did, I'm pretty sure I would have chosen a nice, sunny day.
0:06:24 > 0:06:27In Diana's group, Alan's wasted no time and is already blocking out his
0:06:27 > 0:06:31composition using oil paint and a brush.
0:06:31 > 0:06:34- It's rainy.- It's rainy.
0:06:34 > 0:06:36- It's diluted.- It's diluted.
0:06:36 > 0:06:37- Things look wet.- Things look wet.
0:06:37 > 0:06:39Stop repeating me.
0:06:39 > 0:06:42- I'll stop repeating you.- I will suggest, remember at the moment,
0:06:42 > 0:06:44your buildings are in the background,
0:06:44 > 0:06:47but they look a bit too dominating in terms of perspective.
0:06:47 > 0:06:51They need to go lighter and lighter as you're going through.
0:06:58 > 0:07:01This is Camilla's first attempt at a landscape.
0:07:01 > 0:07:04Not only that but she's also trying
0:07:04 > 0:07:07out a palette knife for the very first time.
0:07:07 > 0:07:09Try and do this thing where you mix the paint.
0:07:09 > 0:07:11- Yeah?- And then you apply it and leave it.
0:07:11 > 0:07:13Literally just...
0:07:13 > 0:07:16Stop, enough. Right, mix it again, apply it, and keep going like that,
0:07:16 > 0:07:18rather than blurring it all.
0:07:18 > 0:07:21So maximum four pushes.
0:07:23 > 0:07:24Stop, next.
0:07:28 > 0:07:33One minute I have got what I think is a decent picture and then within
0:07:33 > 0:07:35five minutes it's all drained off my...
0:07:35 > 0:07:37That's naturally coming out.
0:07:37 > 0:07:40I almost feel like I need to take that off and hold it upside down.
0:07:40 > 0:07:42- Do it.- So the streaks are going that way.
0:07:42 > 0:07:45- Do it, take it off.- And let it go that way...- Yeah.
0:07:47 > 0:07:50Angela hasn't painted landscapes before but she doesn't moan,
0:07:50 > 0:07:52she just goes straight in for it.
0:07:52 > 0:07:54It's like, "OK, what do I need to do?
0:07:54 > 0:07:56"How am I going to do it? Let's just try it."
0:07:56 > 0:07:58She has really, really just delved into it.
0:07:59 > 0:08:02But not everyone is loving the drizzle.
0:08:04 > 0:08:06Compared to painting from photographs,
0:08:06 > 0:08:07this is considerably more
0:08:07 > 0:08:09challenging in terms of getting what you intend.
0:08:09 > 0:08:12Promise me you're not going to fight it and allow nature to take its
0:08:12 > 0:08:15course on the canvas. Let's see what happens.
0:08:15 > 0:08:20In Diana's group, Maud's also feeling a bit washed out.
0:08:20 > 0:08:22It's like having a tap running on your canvas.
0:08:22 > 0:08:24There's just, like, water everywhere.
0:08:26 > 0:08:2948-year-old IT consultant Maud
0:08:29 > 0:08:32doesn't usually let it rain on her parade.
0:08:32 > 0:08:34Overall, I'm very positive.
0:08:34 > 0:08:38You know, if I start something, I like to try and finish it.
0:08:38 > 0:08:41Her love of art began when she was a youngster.
0:08:41 > 0:08:45I've always doodled, so I was always drawing on something.
0:08:45 > 0:08:47Normally on paper, not on walls.
0:08:47 > 0:08:51She joined her local art club and recently sold her first painting.
0:08:52 > 0:08:55But will she be able to sell this work of art to our judges?
0:08:58 > 0:09:00- Maud.- Hi. Is that a credit card?
0:09:00 > 0:09:02- Yes, it is.- What's that about?
0:09:02 > 0:09:03Well, the thing about it,
0:09:03 > 0:09:06I've got to make some defined marks on the canvas.
0:09:06 > 0:09:08I'm just trying to see what I can do
0:09:08 > 0:09:10to add some atmosphere to the picture.
0:09:12 > 0:09:16And Maud's not the only one finding the exercise challenging.
0:09:16 > 0:09:18Proportion here.
0:09:18 > 0:09:22You've got the perspective right but not the proportion right.
0:09:22 > 0:09:23Bloody artistic licence.
0:09:26 > 0:09:28Can I ask you what's going on?
0:09:30 > 0:09:32My painting is dissolving in front of me.
0:09:32 > 0:09:35- Because of the rain? - Because of the rain and humidity.
0:09:35 > 0:09:36I notice as well that you have
0:09:36 > 0:09:38managed to find some colour in there,
0:09:38 > 0:09:42in what to me looks like an incredibly grey seascape.
0:09:42 > 0:09:45I don't see grey, I see yellows and magentas.
0:09:45 > 0:09:48You're getting all sorts of refractions in the clouds -
0:09:48 > 0:09:51- it's not really grey. - Whatever you're on, I'd like some.
0:09:56 > 0:10:00Deciding if the artists have managed to develop their sense of scale,
0:10:00 > 0:10:03proportion and perspective will be up to the judges.
0:10:05 > 0:10:07Lachlan Goudie, an award-winning
0:10:07 > 0:10:10artist and member of the Royal Institute of Oil Painters.
0:10:10 > 0:10:13We've given them one simple man-made structure - the pier.
0:10:13 > 0:10:15Can they at least get that right?
0:10:15 > 0:10:16Can they at least give the
0:10:16 > 0:10:19impression of it disappearing off towards the horizon?
0:10:19 > 0:10:21And then release themselves in the subject that surrounds it,
0:10:21 > 0:10:24the sea and the sky.
0:10:24 > 0:10:27Daphne Todd, former winner of the BP Portrait Award,
0:10:27 > 0:10:30who was given an OBE for her services to the arts.
0:10:30 > 0:10:34A good landscape painting is the one where you've got a sense of the
0:10:34 > 0:10:37mutability of everything, the changeableness.
0:10:37 > 0:10:40And Dr David Dibosa,
0:10:40 > 0:10:44an art historian and reader at the Chelsea College of Arts.
0:10:44 > 0:10:48What needs to happen in changing conditions is for an artist to make
0:10:48 > 0:10:54a decision about what point they're painting from and rely on almost an
0:10:54 > 0:10:56inner camera where they take an
0:10:56 > 0:11:01image in their head of the conditions that they're painting.
0:11:05 > 0:11:09Both Diana and Pascal's groups are an hour through their allotted two
0:11:09 > 0:11:11hours with their work well developed.
0:11:17 > 0:11:21Like all of Pascal's artists, Ruaridh is a novice at landscape.
0:11:22 > 0:11:26At the moment, everything feels like it's painted with the same brush,
0:11:26 > 0:11:28so I would treat it as three parts.
0:11:29 > 0:11:33Treat it as the sky, the sea and the sand,
0:11:33 > 0:11:37so try and separate the three elements and try and handle the
0:11:37 > 0:11:39paint in three different ways.
0:11:39 > 0:11:41I think Pascal was absolutely spot on.
0:11:41 > 0:11:44The colours I feel are working perfectly altogether,
0:11:44 > 0:11:48but at the moment, when I step back and look at it, it has no character.
0:11:50 > 0:11:52Schoolboy error.
0:11:59 > 0:12:02I turn around, my painting washes away.
0:12:04 > 0:12:06The marks they're putting on, it's washing away,
0:12:06 > 0:12:09but I think that's brilliant because they have to work with it,
0:12:09 > 0:12:11and it's making the work really quite dramatic.
0:12:11 > 0:12:15I'm randomly trying things out and I don't think all of them are working.
0:12:16 > 0:12:19It's colourful. I think that's about the only thing you could say for it,
0:12:19 > 0:12:22but it's not meant to be colourful. It's meant to be muted.
0:12:33 > 0:12:34You all right, Jen?
0:12:34 > 0:12:37It's looking like a field of flowers at the minute.
0:12:37 > 0:12:40Yeah, I'm going to push that yellow out because it's just...
0:12:40 > 0:12:41I just want it underneath.
0:12:41 > 0:12:43OK. Measure, lines.
0:12:43 > 0:12:45Yes, measure, lines, do it.
0:12:47 > 0:12:5128-year-old Suman recently took a huge risk and left her career as a
0:12:51 > 0:12:54health professional to study art at college.
0:12:56 > 0:12:58What propelled you into doing that?
0:12:58 > 0:13:00For a job, in summary,
0:13:00 > 0:13:05I rehabilitate people who've had accidents or have maybe lost limbs.
0:13:05 > 0:13:09I think it's really quite inspiring when you see people in negative
0:13:09 > 0:13:13situations come out of that and then in some cases do things that they've
0:13:13 > 0:13:16- always put off.- Yeah, yeah.
0:13:16 > 0:13:19You know? And then I was thinking to myself, you know,
0:13:19 > 0:13:23I might as well take a chance and do something that I want to do and so
0:13:23 > 0:13:26it's sort of inspired by the people that I've helped.
0:13:26 > 0:13:28Do you think landscape will be in the menu for the future?
0:13:28 > 0:13:32We will see. If I can finish it, yes.
0:13:35 > 0:13:38With only 45 minutes to go,
0:13:38 > 0:13:41Pascal is struggling to keep some of his artists on track.
0:13:41 > 0:13:45Just the top of that building, the proportion, come on.
0:13:45 > 0:13:47I know, Pascal.
0:13:47 > 0:13:50- Come on.- Come on.
0:13:50 > 0:13:54Camilla is stopping thinking about proportion and that lack of
0:13:54 > 0:13:56concentration is meaning that, if she's not careful,
0:13:56 > 0:13:59it's just going to look like a big mistake.
0:14:08 > 0:14:10Jimmy, wow.
0:14:11 > 0:14:14- That's bold.- I haven't done this bit yet. I'm doing that in a minute.
0:14:14 > 0:14:19OK. Have we got the perspective sorted out for here?
0:14:19 > 0:14:22It's still looking like we're looking at it from front view.
0:14:22 > 0:14:24- What do you think? - I might remove him altogether.
0:14:24 > 0:14:26Yeah. He doesn't help.
0:14:26 > 0:14:28- Dump him? Right, OK. - And he's got a Mohican.
0:14:28 > 0:14:29Yeah.
0:14:41 > 0:14:45With time running out, Maud is feeling the pressure.
0:14:45 > 0:14:47I just thought with the time that I've got left,
0:14:47 > 0:14:49concentrate on getting that pier in
0:14:49 > 0:14:51because that will give it perspective.
0:14:51 > 0:14:53If I don't have that in, they're not going to see what it is.
0:14:53 > 0:14:55- No.- I'm being brave here.
0:14:55 > 0:14:57Yeah. And I'm going to walk away.
0:15:13 > 0:15:15You know how people get them worry dolls
0:15:15 > 0:15:16and they put them under the bed?
0:15:16 > 0:15:19I'm putting them into my painting to stop me worrying.
0:15:19 > 0:15:21This is Ralph. That's Jeff.
0:15:28 > 0:15:30Ten minutes, everybody.
0:15:30 > 0:15:33Remember, it's that crucial time where you've got to decide what to
0:15:33 > 0:15:35do and whether you should be stopping.
0:15:35 > 0:15:37Suman, I'm looking at you.
0:15:43 > 0:15:45I'm ready to stop.
0:15:45 > 0:15:47I think my tears are mingling with the rain.
0:15:47 > 0:15:50It's just hard to keep something on the canvas today.
0:15:50 > 0:15:53I'm struggling. I'm struggling, yeah.
0:15:58 > 0:16:01It's so far away from what I would usually do that I don't really know
0:16:01 > 0:16:04what I'm doing, to be honest, so... Can I start again?
0:16:09 > 0:16:11A bit tired.
0:16:11 > 0:16:14A bit... A bit of a battle.
0:16:17 > 0:16:21The perspective isn't correct but hey, do you know, nor was Cezanne's.
0:16:21 > 0:16:23I'm not worried about it too much.
0:16:23 > 0:16:25I could be wrong.
0:16:25 > 0:16:26It could end in tears.
0:16:29 > 0:16:31Right, everybody, stop. Stop, stop, stop.
0:16:31 > 0:16:33Stop what you're doing.
0:16:33 > 0:16:35We had some fun today.
0:16:37 > 0:16:39Give me some sugar. Yeah.
0:16:39 > 0:16:42- What did you say, "Give me some sugar?"- Yeah.
0:16:45 > 0:16:47Judges Daphne, Lachlan and David
0:16:47 > 0:16:51will now give their verdict of the artists' paintings.
0:16:52 > 0:16:55And Diana's group is first under the microscope.
0:16:56 > 0:16:59Alan, there's part of this painting which I really enjoy,
0:16:59 > 0:17:03which is this top half, but this bottom half, I'm not quite getting
0:17:03 > 0:17:06why it's been so blocked and why it's so geometric.
0:17:06 > 0:17:10This painting for me gives a sense of struggle against the elements,
0:17:10 > 0:17:12it seems subtle, it's engaging.
0:17:12 > 0:17:14I think it's a very successful image.
0:17:14 > 0:17:16I'm very pleased with it.
0:17:16 > 0:17:20- Well done.- I personally, Lachlan, find the lower part unconvincing.
0:17:20 > 0:17:24I think, if it were on a hotel wall, I would just be bored.
0:17:29 > 0:17:32Hello, Jennifer. There is subtlety in here, there's movement,
0:17:32 > 0:17:33there's a lot going on.
0:17:33 > 0:17:35It's just a little bit limp.
0:17:35 > 0:17:36Yeah, it's missing something.
0:17:36 > 0:17:39Missing something. I can't put my finger on it.
0:17:39 > 0:17:42- Maybe Daphne can. - Well, Jennifer,
0:17:42 > 0:17:45I think there's so little there in a way, which is your strength,
0:17:45 > 0:17:48but I do think that you need to put more into your observation.
0:17:53 > 0:17:55Maud, this painting is a howl of pain, isn't it?
0:17:55 > 0:17:57It really is. There's a wee mouth there going, "Argh!"
0:17:57 > 0:18:00And this bit looks like a comb that you're dragging across a blackboard.
0:18:00 > 0:18:04I can hear your frustration and sometimes it just doesn't work.
0:18:04 > 0:18:08Well, we can always, I think, kind of snatch something from the jaws of
0:18:08 > 0:18:10defeat and I do think that the
0:18:10 > 0:18:13strong graphic qualities here is something
0:18:13 > 0:18:16that I think you can take forward with your work.
0:18:20 > 0:18:23Angela, one of the first things I like about it is the fact that
0:18:23 > 0:18:26you've actually painted in the herring gulls there.
0:18:26 > 0:18:30You've actually given us a sense that there is something supporting
0:18:30 > 0:18:33the structure and it's moving underneath the pier,
0:18:33 > 0:18:37so that's a really sophisticated little use of technique.
0:18:37 > 0:18:40The fact that everything dissolves in this limpid light,
0:18:40 > 0:18:43the milkiness of the whole thing, I think is very successful.
0:18:47 > 0:18:49I think, Jimmy, you've made a very
0:18:49 > 0:18:53strong decision to hone in on something
0:18:53 > 0:18:57you can grab hold of and you've held onto the pier like a drowning man.
0:18:57 > 0:19:01- Absolutely.- This is something I can actually get to grips with.
0:19:01 > 0:19:05There is a problem with perspective and it's pretty much in these roof
0:19:05 > 0:19:08lines, which are all tipping up that way.
0:19:08 > 0:19:11We seem to be looking at a plane that's going that way.
0:19:11 > 0:19:13It hasn't got it for me.
0:19:13 > 0:19:15You know, it looks pedestrian and lumpen.
0:19:17 > 0:19:21There's nothing like a good going over to make you try harder the
0:19:21 > 0:19:24following day and, my goodness, I'll try harder tomorrow.
0:19:24 > 0:19:27I am just absolutely over the moon.
0:19:28 > 0:19:30Yeah, all three judges liked it.
0:19:30 > 0:19:35- I can't believe it.- Well, I tried to salvage what, you know, what I could
0:19:35 > 0:19:40on the canvas from the rain...but I don't think I pulled it off.
0:19:41 > 0:19:43Now it's time for Pascal's artists to find out
0:19:43 > 0:19:46what the judges make of their landscapes.
0:19:48 > 0:19:51For me, David, this painting is a painting about mood.
0:19:51 > 0:19:54You've created a certain kind of mood through your use of colour.
0:19:54 > 0:19:57David, it's a trippy painting, isn't it?
0:19:57 > 0:19:59It's working and you've enjoyed it.
0:19:59 > 0:20:01I feel your enthusiasm.
0:20:01 > 0:20:03I feel your struggle and well done.
0:20:06 > 0:20:08Hello, Ruaridh. There are quite a lot of good things.
0:20:08 > 0:20:12I think the thing that's letting it down is the pier itself.
0:20:12 > 0:20:16The way you've also handled the sea is very enticing.
0:20:16 > 0:20:20It's energised. There's a lot of action there in the sea.
0:20:23 > 0:20:26Suman, we do get a sense of your bold, dynamic lines,
0:20:26 > 0:20:29diagonals fighting against each other.
0:20:29 > 0:20:31There is a tension in your painting.
0:20:31 > 0:20:33I'm assuming these are two little fishermen.
0:20:33 > 0:20:35- Yes.- But they look like drowned parrots.
0:20:35 > 0:20:39I like your sea. I like the kind of mirror, glassy quality in there.
0:20:39 > 0:20:42There's movement. If the sea had not met exactly the top line of the
0:20:42 > 0:20:45railing, it would have definitely helped.
0:20:49 > 0:20:53Camilla. Turner being lashed to the mast in a storm so that he could
0:20:53 > 0:20:56experience what it was like.
0:20:56 > 0:20:58That's what immediately comes over to me,
0:20:58 > 0:21:02that you have experienced it and you've used paint to bang it down
0:21:02 > 0:21:06and you've got the change of everything and you've got...
0:21:06 > 0:21:08I think you've got some pretty good colours there as well.
0:21:08 > 0:21:12You can see the fun in the way that you've applied the paint and all of
0:21:12 > 0:21:16this action going on here, where the sea meets the shore.
0:21:16 > 0:21:20The actual sort of observation of shapes isn't quite so brilliant.
0:21:21 > 0:21:25I didn't concentrate enough on the pier, to be honest.
0:21:25 > 0:21:29The structural, linear perspective again left me cold.
0:21:31 > 0:21:34It's very difficult to say who's in a difficult place at the moment.
0:21:34 > 0:21:36I wouldn't like to say, in fact.
0:21:36 > 0:21:38Let's wait and see. The next challenge is going to get bigger in
0:21:38 > 0:21:42scale and I think that's going to present some big challenges as well.
0:21:48 > 0:21:51It's a new day and a new challenge.
0:21:52 > 0:21:55You painted the pier and now you're standing on it.
0:21:55 > 0:21:58You might as well get used to that because it's offering the viewpoint
0:21:58 > 0:22:01to you for your main challenge this week.
0:22:01 > 0:22:05We've asked you to paint a landscape and what better place to capture
0:22:05 > 0:22:07than this historic spot?
0:22:07 > 0:22:10What we want from your pictures is to be hit in the face,
0:22:10 > 0:22:14as if it were hot vapours rising from a steaming bag of chips.
0:22:18 > 0:22:20Trying to capture the scope of a
0:22:20 > 0:22:23landscape like this can be overwhelming.
0:22:23 > 0:22:27Pascal has a technique to help simplify what you're looking at and
0:22:27 > 0:22:29he shows his group how to do it.
0:22:29 > 0:22:30We're moving up a notch now.
0:22:30 > 0:22:34The scale is going to change and the complexity's going to change.
0:22:34 > 0:22:36So before you get underway on your main challenge,
0:22:36 > 0:22:39I want to do an exercise with you which is about selection and
0:22:39 > 0:22:41simplification of what you're looking at.
0:22:41 > 0:22:44I want to simplify that view into five lines.
0:22:46 > 0:22:48The key is to draw just the outline
0:22:48 > 0:22:51shapes formed by the different elements -
0:22:51 > 0:22:55the shoreline, the seafront, the buildings and the land beyond.
0:22:55 > 0:22:57Right, off you go. Let's start.
0:23:01 > 0:23:05Camilla, you're not looking. You didn't look at anything when you
0:23:05 > 0:23:07- drew that line.- OK, oh, sorry, OK.
0:23:07 > 0:23:08Right, let's start again.
0:23:09 > 0:23:12When I was drawing it, I was looking at the view
0:23:12 > 0:23:15- and I was looking at the paper.- OK.
0:23:15 > 0:23:17Stop, don't draw yet.
0:23:17 > 0:23:20It's about looking and then drawing.
0:23:22 > 0:23:25David, it's really good. I think you've got absolutely the right kind
0:23:25 > 0:23:27of pacing with this because you're
0:23:27 > 0:23:28just going to finish that in the right time.
0:23:28 > 0:23:30So we're going to start the next line now.
0:23:30 > 0:23:32So five minutes starts now.
0:23:35 > 0:23:37I can't see any more lines.
0:23:37 > 0:23:39So let's just think about the greenery.
0:23:39 > 0:23:44Just think about drawing that greenery with one descriptive line -
0:23:44 > 0:23:45a soft line.
0:23:54 > 0:23:57Last line, make this one the best one.
0:23:57 > 0:24:00By breaking it down in this way,
0:24:00 > 0:24:01the complexity of the landscape
0:24:01 > 0:24:04becomes a less daunting challenge to take on.
0:24:04 > 0:24:06Time's up, everybody.
0:24:06 > 0:24:07Stop what you're doing.
0:24:10 > 0:24:11This part is the most successful
0:24:11 > 0:24:14because it looks like you've been really looking.
0:24:16 > 0:24:19I'm so pleased with how you tackled this and you did it all intuitively
0:24:19 > 0:24:21and you worked so well.
0:24:23 > 0:24:27Where you've taken the time here, I think it was more successful.
0:24:27 > 0:24:28OK.
0:24:30 > 0:24:33This is the only really bit that you finished, right?
0:24:33 > 0:24:34I'm sorry, Pascal.
0:24:34 > 0:24:37I don't understand what you're talking about half the time.
0:24:37 > 0:24:38I wanted to paint this bit here.
0:24:38 > 0:24:41Don't fall into the trap like you did earlier because the judges said
0:24:41 > 0:24:44that you were only painting what you wanted.
0:24:44 > 0:24:45- Yeah, that's true.- OK.
0:24:45 > 0:24:47- I know.- I want you to paint or draw
0:24:47 > 0:24:49for me four metres for this exercise.
0:24:50 > 0:24:52Do you honestly think every
0:24:52 > 0:24:54brilliant artist starts doing it like this?
0:24:54 > 0:24:57I can't... I can't see that this is the way I want to go.
0:24:57 > 0:24:59It's not the way you want to go at all.
0:24:59 > 0:25:03What I'm trying to get you to do is to simplify what you're looking at
0:25:03 > 0:25:07and how you represent that, and a single line is the way to do that.
0:25:07 > 0:25:09If you just paint what you want to paint,
0:25:09 > 0:25:11you're never going to grow as an artist.
0:25:13 > 0:25:14When painting a landscape,
0:25:14 > 0:25:16sometimes it's the very canvas
0:25:16 > 0:25:19you're working on that can provide the biggest obstacle.
0:25:19 > 0:25:22OK, look in front of you, what do you have?
0:25:24 > 0:25:26Beautiful seaside!
0:25:26 > 0:25:29OK, we're going to do a class based on distance,
0:25:29 > 0:25:31based on how much you can see.
0:25:31 > 0:25:35So what I really want you to do is look beyond your board.
0:25:35 > 0:25:37Look beyond your canvas.
0:25:38 > 0:25:40By stepping back from your canvas,
0:25:40 > 0:25:44you can actually see more of the view you're trying to capture.
0:25:44 > 0:25:48You're going to be using a bamboo stick and charcoal, OK?
0:25:48 > 0:25:52The rule is - you work at arm's distance.
0:25:52 > 0:25:56Now, if you're at this distance, your canvas is going to look small,
0:25:56 > 0:25:58which is good. You're going to be quite fluid.
0:25:58 > 0:26:00You're going to be out of control.
0:26:00 > 0:26:02So start off with the sea, remember, arm's distance,
0:26:02 > 0:26:05no bending of the arm.
0:26:05 > 0:26:08OK? And then we're going to go and look at the contours of the hill in
0:26:08 > 0:26:10the distance...
0:26:10 > 0:26:13OK, and then we've got the buildings all the way until you come to the
0:26:13 > 0:26:16edge of your paper. OK, everyone?
0:26:16 > 0:26:18Have you got your bamboo sticks?
0:26:18 > 0:26:19Stand back, arms out.
0:26:21 > 0:26:23Resembling nothing so much as a
0:26:23 > 0:26:25class of trainee wizards at Hogwarts,
0:26:25 > 0:26:27Diana's group try to make messy magic.
0:26:30 > 0:26:33Remember, with this exercise, it's about you loosening up.
0:26:33 > 0:26:36It's about you looking beyond your canvas.
0:26:36 > 0:26:39Yeah, I'm not really sure what it's about.
0:26:39 > 0:26:41Are you actually looking?
0:26:41 > 0:26:43No, I'm not, really. I'm looking at my paper.
0:26:43 > 0:26:45That's the whole point. Yeah, look at the scene
0:26:45 > 0:26:48because we need that sense of place. We need that composition.
0:26:48 > 0:26:51Otherwise you're making it up, so it's not going to be convincing.
0:26:51 > 0:26:52It's like a child's painting.
0:26:52 > 0:26:56You know, you've got no control, but you're trying to get control, so...
0:26:56 > 0:26:59By encouraging this rather extreme approach,
0:26:59 > 0:27:01Diana is showing her artists the
0:27:01 > 0:27:04advantage of stepping back and looking.
0:27:04 > 0:27:07Think about that looseness, think about all the mark-making,
0:27:07 > 0:27:08all the different qualities of line
0:27:08 > 0:27:11that you can take to your paintings, OK?
0:27:11 > 0:27:14OK, if you put your bamboo sticks down, put your charcoals down,
0:27:14 > 0:27:16we're going to move onto the next challenge.
0:27:17 > 0:27:21The artists will have six hours to produce a painting that impresses
0:27:21 > 0:27:25the judges and ensures their place in the competition.
0:27:25 > 0:27:28Standing on the pier facing the mainland,
0:27:28 > 0:27:31Pascal's group are looking to the east of Hastings,
0:27:31 > 0:27:35while Diana's group face west towards Beachy Head.
0:27:35 > 0:27:38OK, everyone, please stand back, take it all in.
0:27:38 > 0:27:40The challenge starts now.
0:27:40 > 0:27:43Please get your canvases.
0:27:43 > 0:27:46Composition, light, and sense of place.
0:27:46 > 0:27:47Time starts now.
0:27:52 > 0:27:54Each artist has chosen their canvas
0:27:54 > 0:27:56to suit the view they want to capture.
0:27:57 > 0:27:59This is an exciting challenge
0:27:59 > 0:28:02because there's such a variety of scenery to choose from.
0:28:02 > 0:28:04So you've got all the buildings,
0:28:04 > 0:28:07you've got the deep vista down to the headland,
0:28:07 > 0:28:09you've got the sea coming in and going out.
0:28:09 > 0:28:11Huge choice.
0:28:11 > 0:28:12They've got to make a strong
0:28:12 > 0:28:15decision as to what they want to say in their painting.
0:28:15 > 0:28:19I chose the portrait view because it takes more of the sand,
0:28:19 > 0:28:21sea and sky in.
0:28:22 > 0:28:26Suman is the only artist to select a round canvas.
0:28:26 > 0:28:28I've got nothing to lose
0:28:28 > 0:28:30and I really want to do a good piece of work,
0:28:30 > 0:28:32so I'm going with something different.
0:28:32 > 0:28:33If it all goes really badly,
0:28:33 > 0:28:36we could all have a game of Frisbee at the end!
0:28:44 > 0:28:47When you're looking from here, there's just so much to paint.
0:28:47 > 0:28:51I'm going to have to try and avoid doing too many details.
0:29:00 > 0:29:02I had a lot of issues with perspective,
0:29:02 > 0:29:05so I've really got to convince the judges this time around that I can
0:29:05 > 0:29:06master perspective. So, for me,
0:29:06 > 0:29:08there's a little added pressure there
0:29:08 > 0:29:11to make sure I get perspective right.
0:29:18 > 0:29:20I'm trying not to let that so-called
0:29:20 > 0:29:23evil monkey that's in my mind take over.
0:29:23 > 0:29:26I'm trying to put that to the side, stick that in a prison,
0:29:26 > 0:29:29get rid of that, it's all about positivity.
0:29:29 > 0:29:33David is once again starting by precisely plotting his composition
0:29:33 > 0:29:36with pencils and marker pens.
0:29:36 > 0:29:37In the masterclass,
0:29:37 > 0:29:41the thing that impressed me most was that you responded very intuitively
0:29:41 > 0:29:44to what you were looking at. What I'd like to do -
0:29:44 > 0:29:47I'd like to replace the canvas. Mix up some liquid oils for me.
0:29:47 > 0:29:48It's just going to take ten minutes.
0:29:48 > 0:29:51And then at the end of the ten minutes, we can see.
0:29:51 > 0:29:52The only thing... I don't know why
0:29:52 > 0:29:55you want me to mix a paint rather than use a marker as we did earlier.
0:29:55 > 0:29:56I just want you to take on a liquid
0:29:56 > 0:29:59paint so that you can apply it with a brush,
0:29:59 > 0:30:01and I think it will be a bit less controlled and you won't be
0:30:01 > 0:30:04worrying too much about accuracy.
0:30:04 > 0:30:07I want a balance, so I have my control.
0:30:07 > 0:30:09If I push the boundaries that way,
0:30:09 > 0:30:12somewhere in the middle lies the true path.
0:30:14 > 0:30:18With brush in hand, David tries out Pascal's suggestion.
0:30:20 > 0:30:23Their representation of light will be judged
0:30:23 > 0:30:26and, throughout this six-hour exercise,
0:30:26 > 0:30:30the weather and time of day will affect everything our artists see.
0:30:30 > 0:30:33In terms of the sky and the sense of light,
0:30:33 > 0:30:35I'd suggest two palettes.
0:30:35 > 0:30:38- Yeah.- So you're maintaining a palette purely for the sky
0:30:38 > 0:30:39because it is going to change, OK?
0:30:39 > 0:30:42So you can always go back to those tones.
0:30:42 > 0:30:45- OK?- You've got a super versatility of colour from oil paints
0:30:45 > 0:30:47and that's why I'm using them today.
0:30:47 > 0:30:50If you're not happy, you can move it over a wee bit, you can lighten it,
0:30:50 > 0:30:53you can darken it, you can remove it, you can scrape it off.
0:30:53 > 0:30:55Once the acrylics are on, they're on.
0:30:55 > 0:30:59Pascal has come back to see David's second attempt.
0:31:00 > 0:31:03I'd encourage you to do more of that,
0:31:03 > 0:31:06rather than the safety net of pencil and eraser and rubbing out
0:31:06 > 0:31:08because I think you can do it.
0:31:08 > 0:31:11I agree that there is... Surprisingly, that is more accurate,
0:31:11 > 0:31:15the right-hand one, but it's just the degree of confidence and lack of
0:31:15 > 0:31:17- experience.- Children, when they paint, have a lot of confidence
0:31:17 > 0:31:21because there's no consequence of something going wrong
0:31:21 > 0:31:23and I'd like you to think a bit more like that,
0:31:23 > 0:31:25and you'll find that you'll respond
0:31:25 > 0:31:28in a much more fluid and intuitive way.
0:31:28 > 0:31:31Keep going with it, just put that one back and continue in that way.
0:31:31 > 0:31:33It's really good.
0:31:36 > 0:31:39In all the challenges so far,
0:31:39 > 0:31:42Camilla has struggled with linear perspective.
0:31:42 > 0:31:44This line here,
0:31:44 > 0:31:48and this line here, describes the area in-between.
0:31:48 > 0:31:51The progression from the masterclass to this is spot on.
0:31:51 > 0:31:53Yay!
0:31:53 > 0:31:56I can't believe they're right, though. That beach is not right.
0:31:56 > 0:31:59If it doesn't go your way, don't worry about it
0:31:59 > 0:32:00because that's where you can
0:32:00 > 0:32:03experiment and that's where you can learn.
0:32:03 > 0:32:05I'm just trying to do that as a block.
0:32:05 > 0:32:08- What as a block? - Above the sand level,
0:32:08 > 0:32:11above the sand level to the horizon of the land, that, to me, right now,
0:32:11 > 0:32:13I'm just trying to treat as a block.
0:32:13 > 0:32:16But it's not, is it? There's two separate parts.
0:32:16 > 0:32:20There's the facade on the seafront and then there's behind,
0:32:20 > 0:32:24- so don't treat it as one block. Try and separate it as two.- OK.
0:32:25 > 0:32:29Over in Diana's group, Jennifer follows her own rules
0:32:29 > 0:32:32and has taken up her characteristic position on the floor,
0:32:32 > 0:32:35using her trademark hair extensions as a tool.
0:32:37 > 0:32:41I'm so used to using hair within my process at home
0:32:41 > 0:32:46that it's kind of like a safety blanket now, or like a comforter,
0:32:46 > 0:32:49if you know what I mean. But...
0:32:49 > 0:32:51I've tried to use less of it to show
0:32:51 > 0:32:54that I actually have painting ability outside of that,
0:32:54 > 0:32:57so once it dries then I can really start building in some oils.
0:32:57 > 0:32:59Hopefully, you know,
0:32:59 > 0:33:01picking up on some of the weaker
0:33:01 > 0:33:03aspects that the judges said that I have.
0:33:11 > 0:33:13- Hi, Ange.- Hello.
0:33:13 > 0:33:15- Hiya.- At the minute,
0:33:15 > 0:33:18I'm tipping this up because I'm trying to work with my dribbles.
0:33:18 > 0:33:21Have you worked like this before with your paint?
0:33:21 > 0:33:23No, dribbles are a new thing to me,
0:33:23 > 0:33:26and one minute I'm loving dribbles and the next minute I'm really not.
0:33:26 > 0:33:29It's taking advantage of an accident, really, isn't it?
0:33:29 > 0:33:31- It is.- Didn't your painting start
0:33:31 > 0:33:34directly as the result of an accident
0:33:34 > 0:33:37far more serious than the dripping paint?
0:33:37 > 0:33:38Yeah, it really did, yeah.
0:33:38 > 0:33:44I had a horrific accident in which I was fairly close on losing my life,
0:33:44 > 0:33:47and spent a long, long period of time in hospital.
0:33:47 > 0:33:48What happened?
0:33:48 > 0:33:52I was sitting in my bath one evening, in the downstairs bathroom,
0:33:52 > 0:33:55and a car crashed straight through my house, straight into me,
0:33:55 > 0:33:59and it actually shot me straight through the wall.
0:33:59 > 0:34:03And I ended up outside, and the wall came down on top of me.
0:34:03 > 0:34:06And painting has been, in a way, about your recovery.
0:34:06 > 0:34:08- Yes.- So, there's quite a lot invested in it, actually.
0:34:08 > 0:34:10Yeah, it's massive, really, for me.
0:34:12 > 0:34:15I needed something purposeful to do again.
0:34:15 > 0:34:17I've worked all my life and it just
0:34:17 > 0:34:20came to a stop just absolutely one day.
0:34:20 > 0:34:23It gave you a real boost of thinking that there was something
0:34:23 > 0:34:26worthwhile left in your life because, at that point,
0:34:26 > 0:34:29I didn't really think I'd got much left, to be honest.
0:34:29 > 0:34:31Just a year later, you're mistress of the drips.
0:34:31 > 0:34:33I am, certainly, mistress of the drips.
0:34:33 > 0:34:35- All right, Ange.- OK, thank you.
0:34:35 > 0:34:36Take care.
0:34:42 > 0:34:45Our artists are not even halfway through their landscapes but,
0:34:45 > 0:34:48true to form, the south coast weather is changing yet again.
0:34:51 > 0:34:54It's going. That was less than two minutes, it's gone.
0:34:54 > 0:34:57The picture's gone. It's all grey.
0:34:57 > 0:35:00- Just cover it in white. - It's all grey!
0:35:02 > 0:35:05Yes, it's... The view is sliding off the edge of the world.
0:35:06 > 0:35:08It's really peculiar weather.
0:35:08 > 0:35:11One minute you're needing suntan cream,
0:35:11 > 0:35:12the next minute you can't see
0:35:12 > 0:35:15because the mist has rolled right in across the thing.
0:35:15 > 0:35:17It's a really ever-changing picture.
0:35:18 > 0:35:21Blind panic is an understatement.
0:35:21 > 0:35:22It's changed so quickly.
0:35:22 > 0:35:24I've never faced such extreme
0:35:24 > 0:35:26changes in weather. Never.
0:35:28 > 0:35:31But Camilla is, typically, contrary.
0:35:31 > 0:35:33Suddenly this absolutely wonderful,
0:35:33 > 0:35:38welcoming mist came over and obliterated all the lines.
0:35:38 > 0:35:40You're not always great with rules.
0:35:40 > 0:35:43Having read your CV and having looked at the work you do, you do...
0:35:43 > 0:35:46- Have you read my CV?- Of course I've read your CV.- How disastrous!
0:35:46 > 0:35:49No, not at all, it was fascinating but what it does tell me is the kind
0:35:49 > 0:35:51of personality, the you-ness of you,
0:35:51 > 0:35:53which does love all that dynamism and colour and movement stuff,
0:35:53 > 0:35:55is also something which kind of resists a bit -
0:35:55 > 0:35:57feeling trammelled or constrained.
0:35:57 > 0:35:59- I can't do that. - You're not going to be trammelled.
0:35:59 > 0:36:01I will just break out and let rip even worse.
0:36:01 > 0:36:04This, to me, is a very, very challenging landscape.
0:36:04 > 0:36:08- Why?- It's the buildings, it's the...
0:36:08 > 0:36:10- Lines.- It's... It's the lines.
0:36:12 > 0:36:14We're halfway through
0:36:14 > 0:36:16and the Hastings landscape is
0:36:16 > 0:36:20re-emerging through the mist and taking shape on the canvasses.
0:36:49 > 0:36:52People have been painting landscapes for centuries and the reason they've
0:36:52 > 0:36:55been doing that is because it's simply one of the most exciting,
0:36:55 > 0:36:57engaging and enticing subjects to engage with,
0:36:57 > 0:37:01but it's also a real test of your painterly abilities.
0:37:01 > 0:37:02Have they progressed,
0:37:02 > 0:37:05can they move on from simply painting a couple of bottles and a
0:37:05 > 0:37:07teddy bear and give me some real drama?
0:37:08 > 0:37:11Someone who could was William Turner,
0:37:11 > 0:37:13our most famous seascape painter,
0:37:13 > 0:37:17so Lachlan's at the British Museum to find out what it was
0:37:17 > 0:37:20about JMW Turner and the sea.
0:37:21 > 0:37:24Turner was absolutely fascinated with the sea.
0:37:24 > 0:37:28He was enchanted by the effects of light on water and the constantly
0:37:28 > 0:37:32changing atmospheric conditions that you only get down by the shoreline.
0:37:32 > 0:37:36So Hastings, with its beautiful, picturesque coastline,
0:37:36 > 0:37:38its dramatic cliffs,
0:37:38 > 0:37:40the strong sunlight and the choppy
0:37:40 > 0:37:42Channel was the perfect spot for him.
0:37:45 > 0:37:50This painting was created in 1818, by which point Turner was already
0:37:50 > 0:37:52stratospherically successful.
0:37:52 > 0:37:56It has a really strong composition and dramatic lighting,
0:37:56 > 0:37:59but when you contemplate the image as a whole,
0:37:59 > 0:38:02you begin to realise there's a sort of rolling sense of movement
0:38:02 > 0:38:06throughout the whole painting, that these curling clouds up here,
0:38:06 > 0:38:09they mirror the agitation of the sea
0:38:09 > 0:38:13and even the landscape seems to swell up and down like a tidal wave.
0:38:15 > 0:38:20I mean, it's broiling with a sense of the sublime force of nature.
0:38:20 > 0:38:24At any moment, one of these waves could capsize this boat and consume
0:38:24 > 0:38:27everybody here in a storm.
0:38:27 > 0:38:30It's a story that's balanced on a knife edge.
0:38:42 > 0:38:47950 years after the battle between the Normans and the Anglo-Saxons in
0:38:47 > 0:38:51Hastings, our artists are fighting with the ever-changing light.
0:38:51 > 0:38:54The weather has changed again! It's all bright sunshine.
0:38:55 > 0:38:58My sea has gone from dark blue to turquoise to...
0:38:58 > 0:39:00It's changing every minute.
0:39:01 > 0:39:04With the fog gone as quickly as it came,
0:39:04 > 0:39:07they now have the full glory of the Hastings seascape.
0:39:08 > 0:39:11It's just a shame Jim is missing a deckchair.
0:39:11 > 0:39:13Oh, and a crab paste sandwich.
0:39:18 > 0:39:22With just two hours to go, Suman is focusing on the minutiae,
0:39:22 > 0:39:25despite Pascal's class on simplification.
0:39:26 > 0:39:28At the moment, that's... That's not
0:39:28 > 0:39:30working because it's over detailed, actually.
0:39:30 > 0:39:33You're trying to paint every single window and I think you're
0:39:33 > 0:39:35going to go mad.
0:39:35 > 0:39:38OK, I understand what Pascal's saying.
0:39:38 > 0:39:41I think trying to do every single bit is just going to drive me crazy,
0:39:41 > 0:39:44so he's sort of saving me some time by simplifying it.
0:39:45 > 0:39:47Diana, on the other hand,
0:39:47 > 0:39:51wanted her students to get distance from the canvas.
0:39:51 > 0:39:53You've not stood back for ages.
0:39:53 > 0:39:55- Have I not? - Stand all the way over there.
0:39:55 > 0:39:58- OK.- Don't go off the end the of the pier.
0:39:58 > 0:39:59Keep going.
0:39:59 > 0:40:02Stop. Have you got light?
0:40:02 > 0:40:04Yeah, I think I've got light, yeah.
0:40:04 > 0:40:07- Good.- This is a good distance, actually.
0:40:10 > 0:40:13Diana's class is absolutely coming to help me at the minute because I'm
0:40:13 > 0:40:15finding myself doing this and I
0:40:15 > 0:40:18don't know if it's, like, the size of the canvas or what have you,
0:40:18 > 0:40:23but I don't paint holding a brush like this and it wasn't a conscious
0:40:23 > 0:40:25thing, I just found myself doing it.
0:40:25 > 0:40:27So, yeah, it's absolutely helping me.
0:40:36 > 0:40:39I still feel that the sand is a bit of a banana.
0:40:39 > 0:40:41I kind of want to get your canvas and stretch it.
0:40:41 > 0:40:44- Oh, do you?- Yeah, because you're compressing everything.
0:40:44 > 0:40:47All the time, think in your head, the form that's undulating.
0:40:54 > 0:40:56Now the sun is out
0:40:56 > 0:40:58and I actually had a hat on here
0:40:58 > 0:41:01a wee while ago to try and keep the sun off me, it's so strong.
0:41:01 > 0:41:02Cool, cool.
0:41:04 > 0:41:06Having faced four seasons in one day,
0:41:06 > 0:41:10the artists are now basking in the scorching weather.
0:41:13 > 0:41:14Oh, man, that looks good.
0:41:17 > 0:41:21But every silver lining has a cloud.
0:41:21 > 0:41:23I'm not convinced at the moment.
0:41:23 > 0:41:25So...the
0:41:25 > 0:41:26trouble is it's changed, hasn't it?
0:41:26 > 0:41:29I mean, it was a sense of this is a seaside that was in mist and things
0:41:29 > 0:41:32this morning and now it's a seaside that's in bright sunshine,
0:41:32 > 0:41:35completely the opposite, and it's trying to...
0:41:36 > 0:41:38..get that consistent view.
0:41:41 > 0:41:44I feel I'm struggling with the whole thing, to be honest.
0:41:44 > 0:41:45Yeah.
0:41:45 > 0:41:47I've got to be brutally honest -
0:41:47 > 0:41:49we haven't got the energy.
0:41:49 > 0:41:50No, there's nothing, is there?
0:41:50 > 0:41:53- It's flat.- Right, Angela, we're going to use a sponge.
0:41:53 > 0:41:55We're going to abandon the paintbrush.
0:41:55 > 0:41:57- Yeah.- Because, with the paintbrush, you're blending in too much.
0:41:57 > 0:41:59OK, so what we need is that lovely
0:41:59 > 0:42:01glistening light on the sea under here,
0:42:01 > 0:42:04just to bring it up more, make it a bit more lively.
0:42:04 > 0:42:07What you don't want to do is move it across,
0:42:07 > 0:42:09otherwise you might as well use a brush.
0:42:09 > 0:42:10And as you're moving it along,
0:42:10 > 0:42:14- you want to see where the colour starts changing.- Yeah, I'm with you.
0:42:14 > 0:42:16I'm quite looking forward to this bit.
0:42:16 > 0:42:18Thank you. Thank you very much indeed.
0:42:19 > 0:42:22This sponge technique might just save the day,
0:42:22 > 0:42:25so I think really I need to just go back to the kitchen and just keep
0:42:25 > 0:42:29getting things out the kitchen to paint with rather than paintbrushes.
0:42:33 > 0:42:35Do you ever wonder why you put
0:42:35 > 0:42:37yourself through this sort of torture?
0:42:37 > 0:42:40You're there with your salt and your hair and your paint
0:42:40 > 0:42:42and the thing and you're getting stressed and,
0:42:42 > 0:42:44you know, what is it? What's the compulsion?
0:42:44 > 0:42:47It's probably a really selfish thing because it's the only time that you
0:42:47 > 0:42:51get to actually just be yourself and no-one, well...
0:42:51 > 0:42:53Here's different because people are judging you,
0:42:53 > 0:42:57but at home no one's really judging you or critiquing you or
0:42:57 > 0:42:59letting you know that there's issues with it.
0:42:59 > 0:43:01Can't wait to see what emerges.
0:43:01 > 0:43:03Looking forward to it.
0:43:03 > 0:43:05- See you in a bit.- OK, thank you.
0:43:05 > 0:43:09We're all looking forward to see what emerges, but as Jennifer puts
0:43:09 > 0:43:12her canvas bag on the easel, there's a sudden gust of wind.
0:43:12 > 0:43:13CLATTER
0:43:15 > 0:43:17SHE LAUGHS
0:43:22 > 0:43:24Totally looks better the other way.
0:43:27 > 0:43:30I'm so going to just look at that for a wee minute.
0:43:30 > 0:43:31I think you should.
0:43:35 > 0:43:38Man, I like it so much better upside down.
0:43:38 > 0:43:41Let's just leave Jennifer to ponder that one.
0:43:45 > 0:43:47Over on the other side of the pier,
0:43:47 > 0:43:51at least they're still working on their paintings the right way up.
0:43:51 > 0:43:55Suman, well done. It's looking so much better round here
0:43:55 > 0:43:59and the progression from here to here is starting to really work.
0:43:59 > 0:44:02I'm going to leave you to it because I think it's heading in exactly the
0:44:02 > 0:44:04right direction. Keep, keep going. Brilliant.
0:44:04 > 0:44:07Pascal's advice is paying off for Suman,
0:44:07 > 0:44:11but David's ignored him and reverted back to his dabbing technique.
0:44:11 > 0:44:14Well, this is risky. I know it's not what I intended.
0:44:14 > 0:44:17It's not what Pascal intended, but I can't...
0:44:17 > 0:44:21I don't think I can do realistic that I'm happy in the time that I've
0:44:21 > 0:44:25got available, so I'd rather do something impressionistic.
0:44:25 > 0:44:27Panic, panic.
0:44:28 > 0:44:31But whatever David does, he'd better do it quickly.
0:44:31 > 0:44:33There's just 40 minutes to go.
0:44:50 > 0:44:52Jennifer's reached crisis point.
0:44:52 > 0:44:54I just really don't like it.
0:44:54 > 0:44:57So it's going to be all or nothing.
0:44:59 > 0:45:01If it doesn't look good, it doesn't look good,
0:45:01 > 0:45:05but least I've done something that might solve the issues.
0:45:14 > 0:45:17It's dramatic. It's brilliant.
0:45:17 > 0:45:21- It's getting there.- Think about your perspective, why you're doing this.
0:45:21 > 0:45:24Time and tide wait for no man...or woman.
0:45:34 > 0:45:36I keep sitting back here, though,
0:45:36 > 0:45:39and I keep seeing little bits what I think I really ought to just put a
0:45:39 > 0:45:43little tiny bit of light onto that, just to try and bring it alive.
0:45:43 > 0:45:46It's really difficult to know when to stop.
0:45:46 > 0:45:48Really difficult to know when to stop.
0:45:50 > 0:45:54It seems like I can never just have a smooth go of painting.
0:45:54 > 0:45:56I always seem to be having some sort of fight.
0:46:00 > 0:46:03Some of the artists are determined to be the last man standing,
0:46:03 > 0:46:06but it looks as though David's already conceded.
0:46:12 > 0:46:14- Have you finished?- Yeah.
0:46:14 > 0:46:17I couldn't get it to a point that I liked, realistically,
0:46:17 > 0:46:20if you know what I mean, semi-realistically.
0:46:20 > 0:46:22- Figuratively, I mean. - Interesting, OK.
0:46:22 > 0:46:25- I didn't like it at all.- OK.
0:46:27 > 0:46:29That's it, I'm afraid.
0:46:29 > 0:46:31Time to put your brushes down.
0:46:31 > 0:46:33Step back from the canvasses.
0:46:33 > 0:46:35Time's up.
0:46:35 > 0:46:37I'm absolutely jiggered.
0:46:39 > 0:46:42I'm not as pleased as the earlier challenge, in the rain,
0:46:42 > 0:46:46because I was quite happy to hang that one on my wall.
0:46:46 > 0:46:49This one I might hang on the wall in a dark room.
0:46:49 > 0:46:52I feel I could have done a lot more but, you know, it is what it is.
0:46:52 > 0:46:55- It is a battle, isn't it? - That was...
0:46:55 > 0:46:57It is the Battle of Hastings.
0:46:57 > 0:46:58- That was rough.- Proper.
0:47:01 > 0:47:03The artists can now take a
0:47:03 > 0:47:05well-deserved break before the judges pass
0:47:05 > 0:47:07comment on their landscapes.
0:47:11 > 0:47:15But will their paintings appeal to a wider audience?
0:47:15 > 0:47:18We've invited members of the public to a private view.
0:47:18 > 0:47:20And who better to have their say
0:47:20 > 0:47:23than people who actually live and work in Hastings?
0:47:27 > 0:47:30Well, that's very recognisable as Hastings.
0:47:30 > 0:47:32- That isn't so there. - That isn't so recognisable.
0:47:32 > 0:47:34If you put that up somewhere and they said, "What is it?"
0:47:34 > 0:47:36You'd just go, "It's a seaside town."
0:47:36 > 0:47:40That one, you'd go, "That's Hastings."
0:47:40 > 0:47:42The little details look really sweet, don't they?
0:47:42 > 0:47:45Yeah, and I love the kayaks.
0:47:45 > 0:47:47They're really, really pretty.
0:47:47 > 0:47:49You can almost hear them slapping on the paint.
0:47:49 > 0:47:52I quite like that energy in it.
0:47:52 > 0:47:56And as I just had that sense of ominous, impending storm coming -
0:47:56 > 0:47:59it's really got that.
0:47:59 > 0:48:02- I like that. That's nice. - I would love that on my wall.
0:48:02 > 0:48:04Before they leave, they'll cast
0:48:04 > 0:48:06their vote for their favourite painting.
0:48:06 > 0:48:09Whoever wins the most votes is safe
0:48:09 > 0:48:12from being sent home by the judges today.
0:48:12 > 0:48:15We'll find out which painting the public preferred later,
0:48:15 > 0:48:18but now it's time for the artists to hear the experts' opinions.
0:48:19 > 0:48:23The judges want to see how the artists have dealt with composition,
0:48:23 > 0:48:25light and a sense of place.
0:48:26 > 0:48:30Now it's time for the judges to assess your painting,
0:48:30 > 0:48:32so let's see what they have to say.
0:48:32 > 0:48:36Please welcome back Daphne, David and Lachlan.
0:48:39 > 0:48:41And Camilla's first in the firing line.
0:48:43 > 0:48:46You've got this sense of everything changing,
0:48:46 > 0:48:49the weather changing, and you've got the mist coming down and the sea
0:48:49 > 0:48:52moving in and it looks choppy.
0:48:52 > 0:48:55I do think that there are problems with perspective in the work,
0:48:55 > 0:48:59in relation to the way that you've handled the buildings.
0:48:59 > 0:49:01It doesn't look like some of them are actually safe,
0:49:01 > 0:49:05which I'm sure would be a great surprise to their owners.
0:49:05 > 0:49:07The beach feels like a croissant.
0:49:07 > 0:49:10You know, there's a big smear of brown.
0:49:10 > 0:49:13You've really evoked the sense of atmosphere and light,
0:49:13 > 0:49:17but your handling of the buildings, the architecture, is lacking.
0:49:21 > 0:49:23I think you've gone a bit too far.
0:49:23 > 0:49:25It's a bit saccharine.
0:49:25 > 0:49:28It's a bit like hundreds and thousands on an ice cream
0:49:28 > 0:49:30descending down your painting.
0:49:30 > 0:49:32It's just some buildings that could be anywhere in the
0:49:32 > 0:49:37Western world on a sunny day, but possibly Mediterranean.
0:49:37 > 0:49:41And you seemed to have just played safe with this scale
0:49:41 > 0:49:43and the format and the style.
0:49:43 > 0:49:46I think you've got more in you than that and
0:49:46 > 0:49:49I think you need to take risks.
0:49:49 > 0:49:52It was a harsh, harsh criticism but...
0:49:53 > 0:49:56..yeah, harsher than I was expecting, but, I mean,
0:49:56 > 0:49:58I think most of the comments were fair.
0:50:02 > 0:50:05Well, Ruaridh, I like the ambition of this work.
0:50:05 > 0:50:10I like the fact we get this sense of this sweeping panorama.
0:50:10 > 0:50:12Great sensitivity,
0:50:12 > 0:50:16a very conscious decision about how you're going to compose the image on
0:50:16 > 0:50:18this particular canvas.
0:50:19 > 0:50:22I'm not feeling the sense of place and I'm not really particularly
0:50:22 > 0:50:24excited by this painting, I'm afraid.
0:50:28 > 0:50:30This kind of porthole effect,
0:50:30 > 0:50:33as if we are looking through a water vessel,
0:50:33 > 0:50:38kind of looking out at the town, that's very effective.
0:50:38 > 0:50:43I really get the sense of fitful light, everything changing.
0:50:43 > 0:50:47The fact that you've drawn into the paint with the handle of your brush
0:50:47 > 0:50:50as well, so you've brought out highlights,
0:50:50 > 0:50:52you've suggested buildings.
0:50:52 > 0:50:54I think you've done a great job.
0:50:54 > 0:50:58The little bird that is really full of movement, not a soggy parrot.
0:50:58 > 0:51:00We're travelling with it into the painting.
0:51:00 > 0:51:02Well done.
0:51:05 > 0:51:09Well, Jimmy, you've taken on a large canvas,
0:51:09 > 0:51:14which is brave, but are we getting a sense of scale...
0:51:15 > 0:51:17..in the painting?
0:51:17 > 0:51:20It's not really telling me that the town is overwhelmed
0:51:20 > 0:51:23by the sky and the sea.
0:51:23 > 0:51:25I think this is wonderful nostalgia, Jimmy,
0:51:25 > 0:51:27in this painting that you've produced.
0:51:27 > 0:51:29The colour is worked to great effect.
0:51:29 > 0:51:31I think, really, it's the beach.
0:51:31 > 0:51:34I mean, the beach is like a drifting Sahara.
0:51:34 > 0:51:39There's a great deal of work in here that I really admire, but it is let
0:51:39 > 0:51:43down by the struggle you've had in the centre of the painting.
0:51:43 > 0:51:44I thought they were fair-ish.
0:51:44 > 0:51:46I was actually quite pleased with my painting,
0:51:46 > 0:51:48especially when I walked in.
0:51:48 > 0:51:50I said, "Oh, that's actually not bad. Who did that one?"
0:51:50 > 0:51:53Then I realised it was mine, so I was quite pleased.
0:51:54 > 0:51:57I thought this might have been Alan's painting
0:51:57 > 0:51:59because it's moody and I think
0:51:59 > 0:52:02that that sense of impending storminess
0:52:02 > 0:52:05that's just about to break is excellent.
0:52:05 > 0:52:07It's really grim.
0:52:07 > 0:52:11There's something Dickensian about this sordid Hastings. I love it.
0:52:11 > 0:52:14And I think that the colour of your water, too... I mean, brilliant.
0:52:14 > 0:52:16It's dirty ditchwater, but it's luminous.
0:52:18 > 0:52:20Maude, hello. Well, I think you've
0:52:20 > 0:52:22coped with this a lot better than the first challenge,
0:52:22 > 0:52:24where you struggled quite a lot.
0:52:24 > 0:52:28Where I think you lack confidence in the architecture and the town in
0:52:28 > 0:52:32general is that it all peters out down here.
0:52:32 > 0:52:35Great deal of energy in the sky and the sea.
0:52:35 > 0:52:38I think you need to look again at things like your perspective and
0:52:38 > 0:52:41particularly how you handle the shoreline.
0:52:41 > 0:52:44I was really trying to be delicate, but it didn't work...
0:52:44 > 0:52:45It didn't work!
0:52:48 > 0:52:52Angela, this has got a lovely sense of light.
0:52:52 > 0:52:55I'm getting the sense of an English seaside,
0:52:55 > 0:52:57so it's got the sense of place as well.
0:52:57 > 0:53:00You've got a sense of movement. You've got a sense of air.
0:53:00 > 0:53:03The fact that you've included little birds flying around.
0:53:03 > 0:53:05As the sun begins to intensify in
0:53:05 > 0:53:08the later afternoon and it beats down on that water,
0:53:08 > 0:53:10it's like a mirror and it sparkles
0:53:10 > 0:53:11and it has brought the life into
0:53:11 > 0:53:13your painting and you've edged the waves
0:53:13 > 0:53:15so I can see that twinkling effect.
0:53:15 > 0:53:16The water is alive.
0:53:21 > 0:53:24Ah, Jennifer, yes, you've certainly coped with the foreground.
0:53:24 > 0:53:26On the other hand, though,
0:53:26 > 0:53:28you have made it look as though
0:53:28 > 0:53:31we're all on a speedboat whooshing off into the distance.
0:53:31 > 0:53:33But to me that's not Hastings.
0:53:33 > 0:53:37Jennifer, I call this painting Up Close and Personal
0:53:37 > 0:53:40because, when you get up close to it,
0:53:40 > 0:53:42you can see the work that you've done.
0:53:42 > 0:53:44It's colour,
0:53:44 > 0:53:46it's light and these were things
0:53:46 > 0:53:47that we were asking you to think about.
0:53:47 > 0:53:49I love it. Is it here?
0:53:49 > 0:53:51No, but its light, luminescence and
0:53:51 > 0:53:54the compositional decision to emphasise that water,
0:53:54 > 0:53:57I think is working successfully.
0:53:57 > 0:53:59I was massively nervous, like,
0:53:59 > 0:54:01I was fully shaking,
0:54:01 > 0:54:04but Lachlan again brings it back so that I can
0:54:04 > 0:54:07actually be a wee bit more confident in myself and in my style.
0:54:10 > 0:54:12The judges have had their say.
0:54:12 > 0:54:16It's now time to find out which artist's work the public voted for.
0:54:17 > 0:54:22So the artist whose painting has been chosen by the public is...
0:54:24 > 0:54:26Jennifer.
0:54:26 > 0:54:27- Jennifer again!- Again!
0:54:29 > 0:54:30Well done, you.
0:54:30 > 0:54:32APPLAUSE
0:54:35 > 0:54:38Jennifer, that's two weeks in a row.
0:54:38 > 0:54:40You look quite surprised.
0:54:40 > 0:54:43- Are you surprised?- Yeah.
0:54:43 > 0:54:45I don't know why I'm laughing.
0:54:45 > 0:54:47I do!
0:54:47 > 0:54:50Because you're through. Phew!
0:54:50 > 0:54:55'So Jennifer is safe, but one of the other artists will have to leave.
0:54:55 > 0:54:57'The judges will now go off to
0:54:57 > 0:54:59'decide who they will be sending home today.'
0:55:03 > 0:55:06Some weaknesses across the board, I think.
0:55:06 > 0:55:08It made my heart sink, David's painting.
0:55:08 > 0:55:11The colours he'd chosen were nothing to do, really,
0:55:11 > 0:55:13with what he was seeing.
0:55:14 > 0:55:16Maude is a strong personality,
0:55:16 > 0:55:18but the treatment of the
0:55:18 > 0:55:20architecture and the beach was clunky.
0:55:20 > 0:55:24The one, for my money, that hasn't made this week is Jimmy's.
0:55:24 > 0:55:26There's a coherency, I think.
0:55:26 > 0:55:29- No, there isn't. - Camilla's struggling.
0:55:29 > 0:55:33I can't get quite out of my head Lachlan's croissant.
0:55:33 > 0:55:35Ever since you mentioned that,
0:55:35 > 0:55:38I see that way in which she failed to handle
0:55:38 > 0:55:40the compositional elements very well.
0:55:40 > 0:55:43This is a very difficult decision, isn't it?
0:55:47 > 0:55:49The judges have made their decision.
0:55:49 > 0:55:52One of you is about to leave for good.
0:55:52 > 0:55:55So, Daphne, will you let us know who's going home?
0:55:55 > 0:55:58Well, this was an immensely difficult decision.
0:55:58 > 0:56:00Each of us thought something different,
0:56:00 > 0:56:02so there was a lot of discussion.
0:56:03 > 0:56:07We know that this artist will go on painting, but on this occasion they
0:56:07 > 0:56:09perhaps made too many mistakes.
0:56:09 > 0:56:12So the artist leaving us today
0:56:12 > 0:56:13is...
0:56:18 > 0:56:19Maud.
0:56:23 > 0:56:26I think, you know, I think I did my best under the circumstances.
0:56:26 > 0:56:29It's been, you know, with the weather changing and that,
0:56:29 > 0:56:31I didn't adapt quickly enough.
0:56:32 > 0:56:34She's definitely going to go on being a painter.
0:56:34 > 0:56:36It was just that she was stumped
0:56:36 > 0:56:39by this particular challenge under the conditions she found.
0:56:41 > 0:56:45With Maud, she's got so much potential. She's a determined woman.
0:56:45 > 0:56:49She's defiant and there's no way she's going to stop painting.
0:56:49 > 0:56:54I'm not sure about outdoors, though, but I'll definitely keep painting.
0:56:54 > 0:56:59I'm sad to see Maud leaving us at this stage because she's brought so
0:56:59 > 0:57:02much energy to the challenges.
0:57:03 > 0:57:05- MAUD:- I think you've just got to, you know,
0:57:05 > 0:57:07keep doing it and you get better.
0:57:10 > 0:57:13Next week on The Big Painting Challenge...
0:57:13 > 0:57:15Animals.
0:57:15 > 0:57:17I think I might find this a bit of a challenge.
0:57:17 > 0:57:19Shall we just do bums?
0:57:19 > 0:57:21A bit stressed.
0:57:21 > 0:57:23I don't know what I'm doing.
0:57:24 > 0:57:26Oh, God, what have I done?
0:57:26 > 0:57:28Remember, you're not painting a pond.
0:57:28 > 0:57:29What is it?
0:57:29 > 0:57:31It's a flamingo.