0:00:02 > 0:00:04'Welcome to the show that celebrates
0:00:04 > 0:00:07'all those who have a passion for painting. We enrolled ten
0:00:07 > 0:00:10'of the country's most enthusiastic amateur artists,
0:00:10 > 0:00:13'all bursting with talent and potential.'
0:00:14 > 0:00:18'They are hoping to hone their skills in a series of increasingly
0:00:18 > 0:00:21'difficult artistic challenges.'
0:00:21 > 0:00:23Painting something that's alive. It is a bit daunting.
0:00:23 > 0:00:27This to me is a very, very challenging landscape.
0:00:27 > 0:00:31'Along the way, they'll be supported and guided by their two mentors.'
0:00:33 > 0:00:35'Pascal Anson, an artist,
0:00:35 > 0:00:39'designer and guest lecturer at the Royal College of Art.'
0:00:39 > 0:00:42Never, ever say it's only a painting.
0:00:42 > 0:00:46'And Diana Ali, an art educator, curator and artist.'
0:00:46 > 0:00:49OK, look beyond your canvas.
0:00:49 > 0:00:52'Last week, we said goodbye to Camilla,
0:00:52 > 0:00:54who was flummoxed by the flamingos
0:00:54 > 0:00:57'and congratulated Suman, who came top trumps
0:00:57 > 0:01:01'in the public vote with her tender rendition of a baby elephant.'
0:01:01 > 0:01:04I feel amazing! It's so great.
0:01:05 > 0:01:08'This week, we're at the National Portrait Gallery in London,
0:01:08 > 0:01:12'where our remaining seven artists will be taking on,
0:01:12 > 0:01:14'you've guessed it, portraiture.'
0:01:27 > 0:01:30'Steeped in centuries of British history,
0:01:30 > 0:01:33'the National Portrait Gallery is home to the most extensive
0:01:33 > 0:01:35'collection of portraits in the world.'
0:01:37 > 0:01:40'And it's here that our artists will be painting for a place
0:01:40 > 0:01:41'in the semifinal.'
0:01:41 > 0:01:44It's not at all intimidating, is it(?)
0:01:44 > 0:01:47I'm absolutely delighted to even be at the halfway point.
0:01:47 > 0:01:50Every week, I'm learning something new
0:01:50 > 0:01:52and that, for me, is very important.
0:01:52 > 0:01:54I'm really chuffed, because I really, really wanted to do
0:01:54 > 0:01:58portraits and here I am at the National Portrait Gallery!
0:01:58 > 0:02:00What a place! It's amazing.
0:02:00 > 0:02:03It's everything that you're inspired to be able to do as an artist.
0:02:03 > 0:02:05It is absolutely mind-blowing.
0:02:05 > 0:02:07I can't think of anywhere else
0:02:07 > 0:02:08you'd want to be.
0:02:12 > 0:02:16Well done for making it past the halfway mark.
0:02:16 > 0:02:18This week, we've brought you to the spectacular
0:02:18 > 0:02:19National Portrait Gallery
0:02:19 > 0:02:24to intimidate you in the face of so many portrait masters,
0:02:24 > 0:02:28and to demand that you, too, paint us a portrait.
0:02:28 > 0:02:33The judges will be forensically examining your paintings, as always,
0:02:33 > 0:02:35but they're also looking for potential,
0:02:35 > 0:02:39because only the artists with that je ne sais quoi are going to be
0:02:39 > 0:02:41making it through to the next stage of the competition.
0:02:41 > 0:02:45Your first challenge - you're going to be painting yourself.
0:02:45 > 0:02:48And, of course, in that subject matter, everyone's a critic.
0:02:48 > 0:02:50You've got a couple of hours
0:02:50 > 0:02:53so off you go and take a long, hard look at yourselves.
0:03:02 > 0:03:05'Portraiture is one of the oldest forms of art,
0:03:05 > 0:03:07'dating back at least 5,000 years.'
0:03:09 > 0:03:12'More than just a representation of someone,
0:03:12 > 0:03:15'portraits have been used throughout history to show status,
0:03:15 > 0:03:17'wealth and power.
0:03:17 > 0:03:22'They remain, to this day, a popular and unique way to record humanity.'
0:03:25 > 0:03:29I have never done a self-portrait in my life and I'm dreading this.
0:03:29 > 0:03:31And I'm wearing the brightest orange.
0:03:31 > 0:03:33I don't even know how to mix this, and I'm wearing lipstick,
0:03:33 > 0:03:36what's with that? Like, oh, God!
0:03:38 > 0:03:40I had a bit of a sigh of terror, I suppose.
0:03:40 > 0:03:43So I just need to pull something out the bag
0:03:43 > 0:03:47and produce a bit of Jimmy... Real Jimmy!
0:03:47 > 0:03:50It's difficult to be self-critical.
0:03:50 > 0:03:52And you've got to do that when you're doing a self-portrait,
0:03:52 > 0:03:55and maybe, I won't like what I see, I don't know.
0:03:55 > 0:03:58OK, artists, you've got two hours for this.
0:03:58 > 0:04:01That's quite a long time for a drawing.
0:04:01 > 0:04:03But for a painting, that's not very long at all.
0:04:03 > 0:04:05So work really, really quickly.
0:04:05 > 0:04:07All right, everyone, off you go.
0:04:10 > 0:04:12That's better.
0:04:12 > 0:04:15'Separated into their two teams, the artists will use a mirror
0:04:15 > 0:04:18to help them create their self portraits.'
0:04:18 > 0:04:21As far as character is concerned, which one do you want?
0:04:21 > 0:04:23This one? That one?
0:04:23 > 0:04:25That one?
0:04:25 > 0:04:27Which is your best side, Alan?
0:04:27 > 0:04:30Glasses on, glasses off.
0:04:30 > 0:04:33Don't know. I might do it without my glasses.
0:04:33 > 0:04:36But being an optometrist, I really should put them in, shouldn't I?
0:04:36 > 0:04:37Yes, I think I'll put them in later.
0:04:39 > 0:04:43'The judges will be looking for accurate proportions and a sense
0:04:43 > 0:04:46'of character. So, with the clock ticking,
0:04:46 > 0:04:49'the artists must work out what to focus on first.'
0:04:49 > 0:04:53Just trying to get that basic outline of most of the features,
0:04:53 > 0:04:55and then see if I've got all of the proportions right.
0:04:55 > 0:04:58Oh, God, crows' feet everywhere.
0:04:58 > 0:05:00HE CHUCKLES
0:05:00 > 0:05:03I'm just trying to think of the best way to start this portrait.
0:05:03 > 0:05:06The thing I'm worried about is my glasses.
0:05:08 > 0:05:11That's really something that I've made mistakes in, in the past.
0:05:11 > 0:05:13And it's easy to do so with glasses.
0:05:13 > 0:05:18The classic mistake is to start with the details like the eyes, the nose,
0:05:18 > 0:05:20the very figurative elements.
0:05:20 > 0:05:22With a quick painting like this, you need to start with the big,
0:05:22 > 0:05:25blocky elements, and then work towards the details,
0:05:25 > 0:05:27if you've got enough time.
0:05:27 > 0:05:29You're very quick at working, normally.
0:05:29 > 0:05:32So try and just block in those colours first of all.
0:05:32 > 0:05:34And that, I think, will give you a lot more confidence,
0:05:34 > 0:05:36rather than starting with this.
0:05:38 > 0:05:39'On the other side of the gallery,
0:05:39 > 0:05:43'Diana's making sure her artists think about proportions.'
0:05:44 > 0:05:47So, are you all right in terms of where the eyes sit?
0:05:47 > 0:05:50- Yes.- You've got your eyes halfway, then your nose is halfway.
0:05:52 > 0:05:55What about the scale? The size of the canvas?
0:05:55 > 0:05:58I've never done anything this big and I've got quite a small head!
0:05:59 > 0:06:02What can you do about the size of your head?
0:06:02 > 0:06:04Oh, my God! What I can do about my pea head!
0:06:04 > 0:06:05Think about your tactics.
0:06:05 > 0:06:08Basically, if you are far away, your head is going to look small in the
0:06:08 > 0:06:12- mirror. If you're close, it's going to look bigger.- OK.
0:06:12 > 0:06:15If you take the width of an eye, if you're looking straight on,
0:06:15 > 0:06:17your width of your face is about five eye widths,
0:06:17 > 0:06:20and the separation between the eyes is one eye width.
0:06:20 > 0:06:21I'm roughly using those guidelines.
0:06:21 > 0:06:25Whether it looks like me after I've done that, I don't know.
0:06:29 > 0:06:33'As always, the artists' paintings will be assessed by the critical eye
0:06:33 > 0:06:34'of our three judges.'
0:06:34 > 0:06:37'Award-winning artist and member of the Royal Institute of Oil Painters,
0:06:37 > 0:06:39'Lachlan Goudie.'
0:06:39 > 0:06:45We want them to express their character in the way that they might
0:06:45 > 0:06:47paint the light hitting their eyeball,
0:06:47 > 0:06:48or the mouth might be downturned.
0:06:48 > 0:06:51There are all these little habits that we have that project a
0:06:51 > 0:06:54great deal of information about who we are and what we're thinking.
0:06:54 > 0:06:59'Art historian and reader at Chelsea College of Art, Dr David Dibosa.'
0:06:59 > 0:07:03The difficulty is making the image look alive.
0:07:03 > 0:07:06Our faces are changing and moving all the time
0:07:06 > 0:07:08and a portrait is static.
0:07:08 > 0:07:12Somehow, the artists are going to have to capture that moment.
0:07:12 > 0:07:18'And former winner of the BP Portrait Award, Daphne Todd OBE.
0:07:18 > 0:07:21'Who, with two portraits hanging in the Gallery herself,
0:07:21 > 0:07:24'will be keeping a particularly close eye on this week's paintings.'
0:07:24 > 0:07:28I think getting the proportions right in a self-portrait is going to
0:07:28 > 0:07:31be difficult for them. They will only be right when they keep their
0:07:31 > 0:07:33head in exactly the same position.
0:07:33 > 0:07:36Do you know what the most difficult bit is?
0:07:36 > 0:07:38Of course, character is in the eyes, and every time you look at it,
0:07:38 > 0:07:41you look like you're being shifty, looking out the side of your eyes.
0:07:41 > 0:07:44I'm going to do a head-on
0:07:44 > 0:07:48and I'm going to try and make myself giggle, because that's what I do.
0:07:48 > 0:07:50I'm always smiling.
0:08:04 > 0:08:08'This week, Ruaridh has decided to paint in a bold colour palette.'
0:08:08 > 0:08:12We've got your blue period going on here, have we?
0:08:12 > 0:08:17Yes, the reason for the blue is just to kind of show my character
0:08:17 > 0:08:20and try and separate that from the image of my face.
0:08:20 > 0:08:22Trying not to use too much brown.
0:08:22 > 0:08:24This is only for the outline.
0:08:35 > 0:08:39You do look like you're painting a portrait of yourself painting
0:08:39 > 0:08:40a portrait of yourself.
0:08:40 > 0:08:44I mean, it's not neutral, it is actually you doing this thing now.
0:08:44 > 0:08:46Sometimes, you look consumed.
0:08:46 > 0:08:51Not anxious, exactly, but you're obviously really committed to this.
0:08:51 > 0:08:54Yes, I do feel like I need to step up this week
0:08:54 > 0:08:56and do a competent painting.
0:08:56 > 0:08:57Everyone here, we can all paint,
0:08:57 > 0:09:01but putting it together in this process is a bit of a problem.
0:09:05 > 0:09:08This is, kind of, up your street isn't it?
0:09:08 > 0:09:10Because you like to paint people.
0:09:10 > 0:09:13I'm fascinated with people and I'm fascinated with eyes, of course.
0:09:13 > 0:09:14I looked into eyes all my days
0:09:14 > 0:09:17and it's nice actually to paint them, rather than examine them.
0:09:17 > 0:09:20I'm not too sure about painting myself, though.
0:09:20 > 0:09:22The trouble is, the model's not very good looking!
0:09:22 > 0:09:24Not at all! Fine-looking fellow.
0:09:28 > 0:09:31Jennifer really needs to show that we have features on our face.
0:09:31 > 0:09:33At the minute, it's pure colour.
0:09:33 > 0:09:35We have no eyes yet.
0:09:38 > 0:09:40Artists, we're just over halfway.
0:09:40 > 0:09:42Shh! Shh!
0:09:45 > 0:09:48- What you're doing, you're moving the eyes too far apart.- OK.
0:09:48 > 0:09:50It's difficult, because it's a three-quarter view,
0:09:50 > 0:09:53but I think the eyes need to be closer together.
0:09:53 > 0:09:56I think you've overcompensated across the bridge of the nose there,
0:09:56 > 0:09:59- and just widened them too much. - OK, I'll work on that.
0:10:01 > 0:10:04'As their paintings develop, the mentors want to make sure
0:10:04 > 0:10:07'the artists don't forget to bring out their characters.'
0:10:07 > 0:10:10Ruaridh hasn't put his glasses in.
0:10:10 > 0:10:12And they are a key feature on his face,
0:10:12 > 0:10:15in terms of how we recognise him. And I think he sees them as
0:10:15 > 0:10:18something difficult, rather than something that can help him.
0:10:18 > 0:10:21Are you going to include the glasses?
0:10:23 > 0:10:26Yes, I think it is important to show my personality.
0:10:26 > 0:10:28Good, good, good.
0:10:34 > 0:10:36What about character?
0:10:36 > 0:10:38Giggly, a bit silly.
0:10:38 > 0:10:40I think it looks a bit silly.
0:10:40 > 0:10:43She looks very sensible. There could be sparks, there could be drips,
0:10:43 > 0:10:46there could be all sorts, you know, to get that really bubbly
0:10:46 > 0:10:50- personality out from you.- Yes, so just be a bit brave with it now?
0:10:50 > 0:10:53Be braver, be mischievous, be cheeky with the application of paint.
0:10:53 > 0:10:55OK.
0:10:59 > 0:11:01What are your plans for this now?
0:11:01 > 0:11:03To put some colour in.
0:11:03 > 0:11:05Like skin-type colours.
0:11:05 > 0:11:06SHE GROANS
0:11:06 > 0:11:09Because I'm worried it's like a sketch rather than a painting.
0:11:09 > 0:11:13You need to realise, some of these lovely marks have really good depth.
0:11:13 > 0:11:14Those eyes follow you around.
0:11:14 > 0:11:17Now, if you were to colour this, you might block that.
0:11:17 > 0:11:20You know, I'd love you to be really, really brave and just go, right,
0:11:20 > 0:11:23that's me. But I'm going to leave that decision to you.
0:11:25 > 0:11:26I'm going to pieces now!
0:11:26 > 0:11:28Oh, don't.
0:11:31 > 0:11:33We've got half an hour left.
0:11:38 > 0:11:39Half an hour, everybody.
0:11:42 > 0:11:44The glasses look fantastic.
0:11:44 > 0:11:50- Yes.- But, use the light to make the face more three-dimensional,
0:11:50 > 0:11:52more formed to the face.
0:11:52 > 0:11:54Because it's gone a bit flat.
0:11:54 > 0:11:55Yep.
0:11:57 > 0:11:59The eyes, they look too squinty.
0:12:05 > 0:12:06HE GROANS
0:12:08 > 0:12:10It's horrible.
0:12:15 > 0:12:18'With time running out, our optometrist
0:12:18 > 0:12:20'still hasn't put his glasses on.'
0:12:20 > 0:12:23I'm actually getting a bit worried that I am actually worried,
0:12:23 > 0:12:26so I've got a worried painter trying to get this thing finished
0:12:26 > 0:12:27in the next 20 minutes.
0:12:29 > 0:12:31There's no sparkle in my eyes yet.
0:12:31 > 0:12:33There's no sparkle in any of it yet.
0:12:33 > 0:12:35You need something daring.
0:12:35 > 0:12:38Maybe do something with the background, something that saves it.
0:12:44 > 0:12:47- How are you feeling? - Sick!- Sick?
0:12:48 > 0:12:50Yeah.
0:12:54 > 0:12:56OK, everybody, time's up.
0:12:56 > 0:12:59Stop painting. Stop.
0:12:59 > 0:13:02Right, guys, put your brushes down.
0:13:02 > 0:13:05It's not what I was planning, at all!
0:13:05 > 0:13:10I was going to put my glasses in at the very end, but I ran out of time.
0:13:10 > 0:13:12I'm reasonably happy with it, actually.
0:13:12 > 0:13:14For two hours, I'm very pleased.
0:13:16 > 0:13:18I think I need a shave!
0:13:18 > 0:13:22Oh, God, the judges are going to rip it to shreds!
0:13:25 > 0:13:27'It's now time for judges Daphne,
0:13:27 > 0:13:31'David and Lachlan to view the artists' work.
0:13:31 > 0:13:33'And first up is Pascal's team.'
0:13:36 > 0:13:38- Hello, David.- Hi.
0:13:38 > 0:13:40Wow!
0:13:40 > 0:13:42- It's recognisable.- Oh, good.
0:13:42 > 0:13:45I think, David, for two hours, it's a pretty good attempt.
0:13:45 > 0:13:49You've made it look like a believable human being.
0:13:49 > 0:13:52What's not so good is the fact that you didn't realise you just had to
0:13:52 > 0:13:55make a small adjustment to line the two eyeballs up.
0:13:55 > 0:13:59- Yep.- In terms of the proportions, it's only the hair, I think,
0:13:59 > 0:14:03and that bit between the hair on the top of the skull, where you
0:14:03 > 0:14:05- need to think again about your approach.- Yeah.
0:14:09 > 0:14:13I think, in terms of a painting of a rather moody young woman,
0:14:13 > 0:14:15it's successful.
0:14:17 > 0:14:18The likeness and the proportion,
0:14:18 > 0:14:22which are the two things you were meant to be really concentrating on,
0:14:22 > 0:14:24- this isn't your finest hour. - Yeah. Mm.
0:14:28 > 0:14:31Because of the way that you applied the paint,
0:14:31 > 0:14:33there's this textural approach.
0:14:33 > 0:14:38The downside of your technique does mean that the surface of the flesh
0:14:38 > 0:14:39looks a bit like spam.
0:14:39 > 0:14:42One of the most important failings is the nose.
0:14:42 > 0:14:44It's this projection out of the canvas.
0:14:44 > 0:14:46And here, you've really struggled.
0:14:46 > 0:14:50Earlier on, I was quite worried about the inclusion of my glasses.
0:14:50 > 0:14:52And I left that until last, actually.
0:14:52 > 0:14:55Do start another self-portrait, and start with the spectacles,
0:14:55 > 0:14:58because you could have got the proportion of the glasses,
0:14:58 > 0:15:01and you could have seen the other shapes
0:15:01 > 0:15:04- around those fixed shapes of the glasses.- Yeah.
0:15:04 > 0:15:08I've learned from this mistake, that's for sure.
0:15:08 > 0:15:11Pleased all round, really. That's a first!
0:15:11 > 0:15:15I was sort of surprised that they've pulled anything positive out of it.
0:15:16 > 0:15:18Well, it wasn't good, was it?
0:15:18 > 0:15:20For the next challenge, hopefully,
0:15:20 > 0:15:23we're painting someone who doesn't wear glasses.
0:15:23 > 0:15:27'Next up for the experts' critique is Diana's team.'
0:15:30 > 0:15:33Alan, I think this is a lovely painting.
0:15:33 > 0:15:36In terms of proportion, it's just about there.
0:15:36 > 0:15:40In terms of character, it's all there.
0:15:40 > 0:15:42There isn't much of a painting,
0:15:42 > 0:15:45so either you've played safe or you've played clever.
0:15:45 > 0:15:49It's working. This has stayed a portrait, not a caricature.
0:15:55 > 0:15:58- Who's this? - This is Jimmy, without glasses.
0:15:58 > 0:16:02You're a man with glasses. You know, that first hurdle
0:16:02 > 0:16:05of it being a recognisable likeness has failed.
0:16:05 > 0:16:07This is Jimmy with Botox.
0:16:07 > 0:16:10Look at this! Look at the puffy cheeks.
0:16:10 > 0:16:13It's a slab of flesh you've got across the side of this painted face
0:16:13 > 0:16:15that doesn't exist.
0:16:19 > 0:16:22The thing that struck me was the bright red cheeks.
0:16:22 > 0:16:25Red is a dark-toned colour.
0:16:25 > 0:16:30- Yeah.- And you have to be very careful in using it in a face
0:16:30 > 0:16:33because, at the moment, it's jumping off the surface.
0:16:33 > 0:16:37The thing which I can't help but notice is the moustache.
0:16:37 > 0:16:40You look like you've got a tash. Is that not striking?
0:16:40 > 0:16:43Did you not notice that? Get it out.
0:16:43 > 0:16:45The last little thing I put on, that was, as well.
0:16:48 > 0:16:52It looks like somehow there's been some kind of nuclear meltdown
0:16:52 > 0:16:58going on. The hair, I'm afraid, is not convincing.
0:16:58 > 0:17:01The angles are just not here.
0:17:01 > 0:17:05Amazingly, for such an ugly image, I have to say,
0:17:05 > 0:17:08the colours are really beautiful in themselves.
0:17:08 > 0:17:14But in terms of us knowing this was you, it's failed really abysmally,
0:17:14 > 0:17:17and the proportions are just dire.
0:17:17 > 0:17:21You've got big strengths but your ability to sort of draw...
0:17:21 > 0:17:22Yeah. I need to work on that.
0:17:24 > 0:17:26Thank you. Thank you.
0:17:26 > 0:17:29I always feel like I'm in the danger zone.
0:17:29 > 0:17:33I'll see how the next challenge goes and hopefully I can reel it back in.
0:17:33 > 0:17:37David said it was my best work yet, so I'm absolutely amazed.
0:17:37 > 0:17:40They gave me a bit of a hammering there, didn't they?
0:17:40 > 0:17:44It's disappointing to be criticised on something that you are really
0:17:44 > 0:17:46quite good at.
0:17:46 > 0:17:48Jennifer had a lot of criticism.
0:17:48 > 0:17:52Every week she's been told you need to balance out the technicality and
0:17:52 > 0:17:54her self expression.
0:17:54 > 0:17:57She's still not listening to that and she's in danger.
0:17:57 > 0:17:59Ruaridh did struggle with this challenge
0:17:59 > 0:18:00but he pushed himself a little bit.
0:18:00 > 0:18:02He used some new colours and there
0:18:02 > 0:18:04was a kind of freshness to the painting.
0:18:21 > 0:18:23Well, the first one was a pretty revealing challenge.
0:18:23 > 0:18:27The next is going to be sprinkled with stardust because you are going
0:18:27 > 0:18:30to be painting a portrait of a national treasure.
0:18:30 > 0:18:33In fact, not one, but two national treasures,
0:18:33 > 0:18:35because we have one for each group.
0:18:35 > 0:18:38The judges are going to be looking for resemblance.
0:18:38 > 0:18:41We want the figure you paint to actually look like the person in
0:18:41 > 0:18:44front of you. We're looking for facial expression as an indication
0:18:44 > 0:18:47of character and don't forget, a good portrait always gives us a
0:18:47 > 0:18:50sense of who the person really is.
0:18:50 > 0:18:53Daphne, David and Lachlan will be delivering their verdicts,
0:18:53 > 0:18:56as usual, as will our public viewing panel.
0:18:56 > 0:19:00You have your mentors on hand to help and support you.
0:19:00 > 0:19:02So don't lose faith.
0:19:02 > 0:19:06- I'm really sorry. - Vegas calls.- And get painting.
0:19:06 > 0:19:07THEY LAUGH
0:19:10 > 0:19:12'Before the artists begin their next challenge,
0:19:12 > 0:19:16'their mentors want to give a few tips to help them prepare.'
0:19:16 > 0:19:20I wanted an exercise which tries to get the artists to think much more
0:19:20 > 0:19:23three-dimensionally about a head, rather than a face.
0:19:23 > 0:19:27When you're thinking about the eyes, the nose, and the mouth,
0:19:27 > 0:19:30I want you to think about it like a baked bean can.
0:19:30 > 0:19:33The eyes sit on a curved surface.
0:19:33 > 0:19:38There's also the tip of the nose here and then there's a mouth.
0:19:38 > 0:19:40'If you're a budding amateur artist,
0:19:40 > 0:19:44'a simple exercise like creating a 3D model of a face out of card will
0:19:44 > 0:19:48'really help you understand how facial features are positioned.'
0:19:48 > 0:19:51Look at each other to try and think about where
0:19:51 > 0:19:54bits of the face are going to go.
0:19:54 > 0:19:56It's too tall.
0:19:56 > 0:19:59I'm not sure my ears aren't too far forward, actually.
0:19:59 > 0:20:00That's what I want you to get right.
0:20:00 > 0:20:02The relationship between where the
0:20:02 > 0:20:05eyebrow finishes and ear is really crucial.
0:20:05 > 0:20:08Where do David's ears come in relation to the back of his head
0:20:08 > 0:20:11- and the front of his head? - About halfway.- About halfway. OK.
0:20:11 > 0:20:14I hadn't necessarily thought about the position of the
0:20:14 > 0:20:16ears, so that was interesting.
0:20:16 > 0:20:18'Once you've cut out your face,
0:20:18 > 0:20:21'move your model around to help you see how the size and shape of the
0:20:21 > 0:20:25'features change when viewed from different angles.'
0:20:25 > 0:20:29When I tilt the head back like that, the ears appear to be lower
0:20:29 > 0:20:31and then, when it goes forward,
0:20:31 > 0:20:34the ears appear to be higher than the nose.
0:20:34 > 0:20:38I learned where to position things, keep them in a 3D shape,
0:20:38 > 0:20:41and how the 3D aspect of things work.
0:20:41 > 0:20:45I've done exercises before where you sort of plot the features,
0:20:45 > 0:20:48but it's good to see it because then you can use it as a tool.
0:20:48 > 0:20:49I think it will be really useful.
0:20:49 > 0:20:51Can I put the moustache on now?
0:20:51 > 0:20:53LAUGHTER
0:20:56 > 0:20:58'Diana is teaching her team to be more daring
0:20:58 > 0:21:01'when they apply paint to the canvas.'
0:21:01 > 0:21:04This is supposed to be quite quick, it's supposed to be
0:21:04 > 0:21:05fluid, and making a bit of a mess.
0:21:05 > 0:21:08'If you find yourself struggling to create convincing
0:21:08 > 0:21:12'facial expressions, try a speed exercise like this one,
0:21:12 > 0:21:16'where you don't think too much about how you're making marks.'
0:21:16 > 0:21:18OK, quite loose, very quick.
0:21:18 > 0:21:21We're only going to spend about ten minutes doing this.
0:21:26 > 0:21:28'Use ink and water as your medium
0:21:28 > 0:21:30'and quickly create an image of a face.
0:21:30 > 0:21:34'The ink's unpredictability will force you to relinquish control.'
0:21:34 > 0:21:36The more water you add in, the more
0:21:36 > 0:21:38varied tones you'll get with the ink.
0:21:38 > 0:21:43Got us started with spontaneity and with loose strokes and a long arm,
0:21:43 > 0:21:46rather than this tiny, minute detail stuff.
0:21:47 > 0:21:50Angela, you're being a little bit careful.
0:21:50 > 0:21:52'By simply loosening your approach,
0:21:52 > 0:21:55'you can create powerful and instant emotion to your images.'
0:21:55 > 0:21:57Think about what sort of marks
0:21:57 > 0:21:59you've used to convey that character.
0:21:59 > 0:22:01- If you look at yours, Jen... - It looks kind of dead.
0:22:01 > 0:22:03SHE LAUGHS
0:22:03 > 0:22:06If you look at yours, Jimmy, what sort of character is that?
0:22:06 > 0:22:09- Worried.- Worried? So look at the expressiveness.
0:22:09 > 0:22:12OK. So, you could use some of those marks to convey that character.
0:22:14 > 0:22:17'As the artists get set for their next challenge,
0:22:17 > 0:22:20'it's time for the celebrity sitters to make their entrance.'
0:22:21 > 0:22:24I'm sure you're dying to know who it is you're going to be staring at all
0:22:24 > 0:22:28day and I can now tell you that your subject has been a household name
0:22:28 > 0:22:33for 50 years, honoured by the Queen, immortalised by Morecambe and Wise,
0:22:33 > 0:22:36the first female journalist ever to regularly present the news.
0:22:36 > 0:22:40Would you please welcome Angela Rippon CBE.
0:22:40 > 0:22:41- Morning.- Morning.
0:22:41 > 0:22:44Are you looking forward to being painted by this lot?
0:22:44 > 0:22:45Very much, yes.
0:22:45 > 0:22:49I've done this on at least four occasions and it's always been a
0:22:49 > 0:22:50very enjoyable experience, which
0:22:50 > 0:22:52I'm sure it will be today with all of you.
0:22:52 > 0:22:55Angela, would you please make yourself comfortable?
0:22:55 > 0:22:57I will indeed. Thank you.
0:22:57 > 0:23:02The sitter for your masterpiece made a mark in children's television
0:23:02 > 0:23:07first and she's still a passionate advocate for children's charities.
0:23:07 > 0:23:10She's an actress, singer, and an author.
0:23:10 > 0:23:14And, in 2010, she was made a peer.
0:23:14 > 0:23:18Please welcome Baroness Floella Benjamin.
0:23:18 > 0:23:20Ah!
0:23:20 > 0:23:21I expected applause actually.
0:23:21 > 0:23:25OK, well, we need you to get into
0:23:25 > 0:23:29your beautiful throne over here and get ready to be portrayed.
0:23:29 > 0:23:31I thought I'd wear this kind of dress,
0:23:31 > 0:23:33- so you can do what you like with me. - Beautiful.
0:23:33 > 0:23:35THEY LAUGH
0:23:35 > 0:23:37- How would you like me to sit? - As long as you're comfortable.
0:23:37 > 0:23:40- You've got to be comfortable. - I think this, don't you?
0:23:40 > 0:23:43- That's lovely.- OK, artists.
0:23:43 > 0:23:44Start painting.
0:23:44 > 0:23:46Please, start painting.
0:23:50 > 0:23:55I've had several portraits done of myself and very few of them capture
0:23:55 > 0:23:56what I believe is me.
0:23:56 > 0:23:59So it'll be interesting to see if they can capture
0:23:59 > 0:24:01what I see in the mirror.
0:24:01 > 0:24:04I'm so excited.
0:24:04 > 0:24:05She's lovely.
0:24:07 > 0:24:09She's been with me since my childhood.
0:24:09 > 0:24:11Yeah. I'm absolutely made up.
0:24:11 > 0:24:14I don't have any preconceptions about what I'm going to prefer
0:24:14 > 0:24:16or what I'm going to like.
0:24:16 > 0:24:19I'm going to enjoy seeing what each of them does and their
0:24:19 > 0:24:23own take on the person sat in front of them, who is me.
0:24:23 > 0:24:25It is intimidating to have that
0:24:25 > 0:24:27person you remember from your childhood
0:24:27 > 0:24:30sitting in front of you, and you've got to try and paint her.
0:24:30 > 0:24:32You feel her personality and her character.
0:24:32 > 0:24:35You can see that within her. I'm still trying to work out what that
0:24:35 > 0:24:37character is exactly,
0:24:37 > 0:24:40but there's a lot of rich colours that I'm feeling.
0:24:40 > 0:24:44'The artists have just five hours and can choose how much of their
0:24:44 > 0:24:47'celebrity to include in their painting.'
0:24:49 > 0:24:52Now I'm just trying to decide whether to go as a large full
0:24:52 > 0:24:55portrait or concentrate on the face.
0:24:55 > 0:24:58The trouble is, I think I'm getting diverted by the idea of the chair
0:24:58 > 0:25:01- and things.- So you're painting a portrait of the chair now, are you?
0:25:01 > 0:25:04Well, that's the problem. I quite like the whole set-up.
0:25:04 > 0:25:08One of the criteria is resemblance.
0:25:08 > 0:25:11So a lot of that is going to be contained in the face.
0:25:11 > 0:25:14If this is the space that her face occupies,
0:25:14 > 0:25:19it's about 1/100 of the whole canvas with this composition,
0:25:19 > 0:25:21so that's one thing I want you to think about.
0:25:26 > 0:25:28I'm not too concerned about the set-up.
0:25:28 > 0:25:31So I'm just really going to concentrate on her.
0:25:33 > 0:25:36Because I'm including the chair and the whole body,
0:25:36 > 0:25:38my head is quite small.
0:25:38 > 0:25:44So I'm not quite sure how you do such a small, detailed face.
0:25:44 > 0:25:48I'm hoping that I'll put the first challenge behind me and excel at
0:25:48 > 0:25:51this one because this is what I should be good at.
0:25:51 > 0:25:56My focus is getting the composition right and getting the proportions
0:25:56 > 0:26:00right. Once I have that then I can deal with the colour.
0:26:03 > 0:26:05'As with the self portraits,
0:26:05 > 0:26:08'the judges will be casting their critical eye over every element
0:26:08 > 0:26:11'of the artists' paintings.'
0:26:11 > 0:26:17Being able to recognise a portrait depends entirely on how accurate
0:26:17 > 0:26:21the artist has been in getting the shapes
0:26:21 > 0:26:24and the relationship of the shapes right.
0:26:24 > 0:26:29Focus on colours, on composition, on outlines,
0:26:29 > 0:26:31these are the things that they need
0:26:31 > 0:26:34to bring to bear in this particular challenge.
0:26:34 > 0:26:37Can they create a sense of elegance in their sitter,
0:26:37 > 0:26:40a sense of presence and proportion and scale?
0:26:40 > 0:26:42All the things, all the tick box things they've got to get right.
0:26:42 > 0:26:45And then can they move forward by creating images
0:26:45 > 0:26:47that are exciting as paintings.
0:26:47 > 0:26:50'After several sketches,
0:26:50 > 0:26:53'Ruaridh has chosen to paint a three-quarter length image.'
0:26:53 > 0:26:56You've noticed the hands. It's really good.
0:26:56 > 0:26:59She has very beautiful, very elegant hands, with the jewellery on.
0:26:59 > 0:27:02I think it's a really good thing to include at the bottom.
0:27:02 > 0:27:05'But David is still struggling to make a decision.'
0:27:05 > 0:27:08This is make your mind up time, David.
0:27:08 > 0:27:10Must be soon. It's going to be lunch soon, isn't it?
0:27:10 > 0:27:12You're not supposed to be thinking about food.
0:27:12 > 0:27:15You're supposed to be thinking about composition.
0:27:15 > 0:27:17THEY LAUGH
0:27:22 > 0:27:24'Back in Diana's studio,
0:27:24 > 0:27:27'Jennifer's determined to show she's listening to the judges,
0:27:27 > 0:27:31so is tackling the issue of likeness right from the start.
0:27:31 > 0:27:33Does it look like her? Tell me, honestly.
0:27:33 > 0:27:36- What do I need? - I actually think it is, yeah.
0:27:36 > 0:27:38I think so. Well done.
0:27:40 > 0:27:44I don't know if I've just missed this part in the proceedings before
0:27:44 > 0:27:47but I don't think I've ever seen you do such a detailed sketch.
0:27:47 > 0:27:51The judges have asked me to be more detailed and precise,
0:27:51 > 0:27:53so I'm trying to do that within my own style.
0:27:53 > 0:27:56So you're really responding to the judges there?
0:27:56 > 0:28:00Yeah. Hopefully I can do the same thing with the paint when it
0:28:00 > 0:28:02comes to that point.
0:28:04 > 0:28:08'The artists are allowed to bring in their own accessories and I'm not
0:28:08 > 0:28:10'talking handbags and scarves.'
0:28:10 > 0:28:13This is a mahl stick. It's because I paint the background,
0:28:13 > 0:28:16you can't really mess with the background.
0:28:16 > 0:28:18So, if you put it on top of your painting,
0:28:18 > 0:28:20you can use it to steady your hand.
0:28:25 > 0:28:27Is the head too small?
0:28:27 > 0:28:29Yeah, I'm only just this second starting on it.
0:28:29 > 0:28:32Just look at that distance between the point of the nose...
0:28:32 > 0:28:35- Yeah.- ..to the end of the cheek.
0:28:36 > 0:28:38'In Pascal's studio,
0:28:38 > 0:28:42'David has finally decided to focus only on Angela's head.'
0:28:42 > 0:28:46It doesn't quite sit together yet.
0:28:46 > 0:28:48What are you struggling with here?
0:28:48 > 0:28:51I think it's the eyes at the moment that are causing me the problem.
0:28:51 > 0:28:55That's an interesting word. You're dealing with a face which is already
0:28:55 > 0:28:57very, very familiar. Does that make a difference, do you think, Dave?
0:28:57 > 0:29:01I guess so because you might have some preconceived ideas about what
0:29:01 > 0:29:04you're drawing. Maybe that's the problem, I don't know.
0:29:11 > 0:29:14When I've done portrait sittings before,
0:29:14 > 0:29:17they've taken more than a couple of days.
0:29:17 > 0:29:19Can you bear that in mind when you see the end result?
0:29:22 > 0:29:24'As per usual, Jennifer's decided to paint
0:29:24 > 0:29:26'with a mixture of inks and oils.'
0:29:26 > 0:29:31I am trying to put down my ink as carefully
0:29:31 > 0:29:34as I have ever done in my life.
0:29:34 > 0:29:38To not destroy what I've been working on with my drawing is quite
0:29:38 > 0:29:41difficult because I'm on the floor.
0:29:41 > 0:29:45But if I was standing upright, the inks would just run straight off.
0:29:52 > 0:29:56'Nearly halfway into the challenge and Angela's having second thoughts
0:29:56 > 0:29:58'about her composition.'
0:29:58 > 0:30:01I would have preferred to have done just her face
0:30:01 > 0:30:03but because I've got no idea how to do a face,
0:30:03 > 0:30:05I've gone and done the whole thing
0:30:05 > 0:30:07but it's made it worse, really, because,
0:30:07 > 0:30:11when you get it so small, if you go wrong a tiny bit, it's massive.
0:30:11 > 0:30:14- Right.- Mm.
0:30:14 > 0:30:16In the time you've got left,
0:30:16 > 0:30:20are you going to be able to do that or do you want to start again?
0:30:21 > 0:30:25I don't know. I sort of think I maybe ought to start again.
0:30:25 > 0:30:28Yeah. Let's take it down. Have another go.
0:30:28 > 0:30:31'So with just over two and a half hours left,
0:30:31 > 0:30:35'Angela is back to a blank canvas and the pressure is on.'
0:30:35 > 0:30:37I'm not that difficult, am I?
0:30:37 > 0:30:41Not at all. I just have got no idea what I'm doing.
0:30:46 > 0:30:48- How are you all doing?- Yeah, good.
0:30:48 > 0:30:50Happy with it so far.
0:30:53 > 0:30:54SUMAN SIGHS
0:30:54 > 0:30:57- That was a very deep sigh. - Yes. I do that a lot.
0:30:57 > 0:30:59THEY LAUGH
0:30:59 > 0:31:02I'm trying to get the colours right.
0:31:03 > 0:31:05'David used acrylics for his self portrait,
0:31:05 > 0:31:09'a medium he's comfortable with. But for the celebrity portrait,
0:31:09 > 0:31:12'he's decided to try painting with something else.'
0:31:12 > 0:31:15This is the first time I've used oils in this competition.
0:31:15 > 0:31:17There's nothing like being prepared, is there?
0:31:17 > 0:31:20There's a certain lustre which works well with oils, I think.
0:31:20 > 0:31:25I was having issues with getting a bit blotchy on the acrylics.
0:31:25 > 0:31:28'He's also trying out a piece of equipment
0:31:28 > 0:31:29'that he's never used before.'
0:31:29 > 0:31:31How's that going with the palette knife?
0:31:31 > 0:31:34- I don't know yet.- It's an interesting tool to use because you
0:31:34 > 0:31:36kind of push and scrape the paint.
0:31:36 > 0:31:40- Yeah.- But just be very aware of the direction you push in.
0:31:40 > 0:31:43Think about pushing it over, in your case, the chin right there.
0:31:43 > 0:31:48So, think about the direction that the skin is moving over the surface
0:31:48 > 0:31:49the whole time.
0:31:53 > 0:31:58Ruaridh, it's a good idea to block in all this colour but
0:31:58 > 0:31:59if it's too colourful,
0:31:59 > 0:32:04you're going to lose Angela's kind of radiance that's coming from her
0:32:04 > 0:32:06face, because, if everything's too bright,
0:32:06 > 0:32:09- there's not going to be any contrast.- Yeah. OK.
0:32:14 > 0:32:17Jimmy...
0:32:17 > 0:32:19You've made her fat.
0:32:19 > 0:32:21The whole body is too big.
0:32:21 > 0:32:24- OK.- She needs to go on a diet, basically,
0:32:24 > 0:32:27- if that head is going to stay the same.- I'm not changing the head now.
0:32:27 > 0:32:29- Christ!- OK.
0:32:29 > 0:32:34'As our artists paint two strong female figures from modern society,
0:32:34 > 0:32:37'Lachlan discovers it wasn't always so easy to portray women
0:32:37 > 0:32:39'in such a powerful light.'
0:32:46 > 0:32:48What do you see in this painting?
0:32:48 > 0:32:52I mean, is it just a young, Victorian woman in subdued clothes -
0:32:52 > 0:32:54a schoolmistress, perhaps?
0:32:54 > 0:32:58What if I was to tell you that this is the self-portrait of arguably the
0:32:58 > 0:33:02greatest female portrait painter in British art history?
0:33:02 > 0:33:05And her name was Gwen John.
0:33:08 > 0:33:12This painting was shown in London in 1900 at a time and a place when
0:33:12 > 0:33:17young women were expected to be demure, to speak only when spoken
0:33:17 > 0:33:21to, and certainly not to be carousing around on the art scene.
0:33:21 > 0:33:24But this painting reveals a 24-year-old Welsh girl
0:33:24 > 0:33:27who was refusing to be bullied by convention.
0:33:27 > 0:33:32It's there in the narrowness of the eyes, and the way the chin juts out.
0:33:32 > 0:33:35She strikes a confident, almost defiant, pose.
0:33:35 > 0:33:37And that hand, that is an artist's hand.
0:33:37 > 0:33:41It's kind of calloused and grimy, manicured only with oil paint.
0:33:43 > 0:33:48This image really does stand on a tipping point between the Victorian
0:33:48 > 0:33:50and the Edwardian era.
0:33:50 > 0:33:52This is the moment when art schools for the first time
0:33:52 > 0:33:55were opening their doors to female students.
0:33:55 > 0:33:58Gwen John was accustomed to having to make her voice heard.
0:33:58 > 0:34:00Her younger brother Augustus
0:34:00 > 0:34:04had emerged as a kind of superstar in the art scene.
0:34:04 > 0:34:07Unlike Gwen, his paintings were staggering and flamboyant.
0:34:07 > 0:34:14But Gwen John left a legacy of intensely beautiful paintings and
0:34:14 > 0:34:19quietly, but firmly, her portraits insist, "We will not be ignored!"
0:34:24 > 0:34:27What's the hardest bit of me to capture?
0:34:27 > 0:34:29Some people say my eyes.
0:34:29 > 0:34:32- JIMMY:- Your eyes are perfect.- Aw!
0:34:32 > 0:34:34He's a sweet talker, that one, isn't he?
0:34:34 > 0:34:37You've got to watch him. Got to watch him.
0:34:37 > 0:34:38But they are! The eyes are great.
0:34:38 > 0:34:40SHE LAUGHS
0:34:43 > 0:34:44Losing the likeness.
0:34:44 > 0:34:48Yes, you are. How you're going to get that back is looking at
0:34:48 > 0:34:50the light that's shining on her face.
0:34:50 > 0:34:54It's the tiniest details now to get that likeness.
0:34:54 > 0:34:58'With a couple of hours left to work on her brand-new canvas,
0:34:58 > 0:35:02'Angela has switched from the full body to the head only.'
0:35:02 > 0:35:04It's great, you've got the proportions right now.
0:35:04 > 0:35:06- You're a bit more comfortable.- OK.
0:35:06 > 0:35:08But is the nose accurate?
0:35:08 > 0:35:10No, I don't think it is actually, at all.
0:35:10 > 0:35:12Really look at the lines of the nose.
0:35:12 > 0:35:14I don't think it's going brilliantly,
0:35:14 > 0:35:15but it's going hell of a lot better
0:35:15 > 0:35:17than what it was doing before so
0:35:17 > 0:35:20I think it was a good choice to just scrap what I'd done before.
0:35:27 > 0:35:28'In Pascal's team,
0:35:28 > 0:35:30'Suman has spent most of
0:35:30 > 0:35:33'her time working on the foundations of her painting.'
0:35:33 > 0:35:35I can't say anything about likeness yet
0:35:35 > 0:35:39but I think the final details will help do that.
0:35:39 > 0:35:43At this stage, I'm just working on getting this 3D form going on.
0:35:49 > 0:35:51This bit here is fantastic.
0:35:51 > 0:35:55This outline of her hair against the backdrop.
0:35:55 > 0:35:57It's this, though, that's bothering me.
0:35:57 > 0:36:01The colour here, you need to push right back, so that it's much,
0:36:01 > 0:36:02- much darker.- Darker?
0:36:02 > 0:36:08Darker. Her top and the chair, when you do that,
0:36:08 > 0:36:11the glow from her face will be enhanced.
0:36:11 > 0:36:12I've got it, I've got it.
0:36:15 > 0:36:16'On the other side of the room,
0:36:16 > 0:36:18'David is realising he may have been
0:36:18 > 0:36:21'a little hasty in trying out a palette knife.'
0:36:21 > 0:36:26I think it's a motor skill that you need to learn, so I'm learning.
0:36:28 > 0:36:31'And with just an hour and a half left to go,
0:36:31 > 0:36:34'there's still a lot to do.'
0:36:38 > 0:36:41If I keep with this tiny little brush, working, working, working,
0:36:41 > 0:36:45I might overwork it, so I'm going back and forth and back and forth.
0:36:45 > 0:36:47Yeah, right. Let's do this.
0:36:51 > 0:36:55Have you got any idea how much time we've got left? Because I'm feeling
0:36:55 > 0:36:59a little undercooked, it has to be said.
0:36:59 > 0:37:02'An hour and 20 minutes, Angela, so you'd better get a move on.'
0:37:05 > 0:37:09There's a lot to do in the time but I think I have managed to achieve
0:37:09 > 0:37:11more or less a reasonable likeness.
0:37:11 > 0:37:14I think I've got reasonably comfortable hands,
0:37:14 > 0:37:15maybe a bit regal here and there.
0:37:15 > 0:37:18Yeah, I know. There's definitely the baroness here, isn't she?
0:37:18 > 0:37:21Thank you very much. The baroness. Yes, of course!
0:37:23 > 0:37:26Oh! Things have changed quite dramatically, Angela.
0:37:26 > 0:37:28We've had one canvas and now we've got the second.
0:37:28 > 0:37:30There won't be a third?
0:37:30 > 0:37:32I don't think there's time for a third, is there?
0:37:32 > 0:37:35You've given yourself quite a hard time.
0:37:35 > 0:37:36This is what... How many portraits
0:37:36 > 0:37:38have you painted in your life to date?
0:37:38 > 0:37:39This is the first one.
0:37:39 > 0:37:44I've done my two girls but a picture right next to me that I've got lines
0:37:44 > 0:37:46and things on, so it's almost like a dot to dot,
0:37:46 > 0:37:48so you can't really go wrong.
0:37:48 > 0:37:50Whereas this is just completely free hand.
0:38:00 > 0:38:05This hand, we need to think about hands not sausages.
0:38:05 > 0:38:09I can see three fingers here.
0:38:09 > 0:38:11Here, I can only see one.
0:38:11 > 0:38:14Just indicate - one, two, three.
0:38:14 > 0:38:17Because otherwise it looks like a kind of feeler.
0:38:19 > 0:38:21Artists, you've got one hour left.
0:38:26 > 0:38:29No, no, no. What have I done?
0:38:29 > 0:38:33- Have you done much portrait painting, David?- No, hardly any.
0:38:33 > 0:38:36So you've never done a portrait painting before.
0:38:36 > 0:38:38It's interesting that you've decided to use the knife rather than the
0:38:38 > 0:38:40- brush so much.- I know.
0:38:40 > 0:38:43Quite bold. No, it's a bold decision.
0:38:46 > 0:38:48'With 40 minutes to go,
0:38:48 > 0:38:50'Pascal decides David needs to attempt
0:38:50 > 0:38:53'some major reconstructive surgery.'
0:38:53 > 0:38:55You do need to take some of the paint off.
0:38:55 > 0:38:58This triangle is problematic. I think the nose needs to be...
0:38:58 > 0:39:01- Left a bit.- No, higher.
0:39:01 > 0:39:04If you pull the mouth up, and the chin up, there's still going to be
0:39:04 > 0:39:08enough neck there for it not to look strange. So I'd remove that
0:39:11 > 0:39:15and push the base of the nose up, trowel it up, exactly,
0:39:15 > 0:39:17and I think maybe the mouth,
0:39:17 > 0:39:18push that right up,
0:39:20 > 0:39:23and then try and push the neck up a bit.
0:39:25 > 0:39:27That's better already.
0:39:27 > 0:39:30I don't think I'll be using a palette knife for a while.
0:39:30 > 0:39:3230 minutes, everybody.
0:39:36 > 0:39:37Urgh!
0:39:37 > 0:39:41I've got to do an eye yet. That's going to take me about four hours.
0:39:41 > 0:39:44OK, guys. We've got 30 minutes left.
0:39:47 > 0:39:48Jimmy, stand back.
0:39:50 > 0:39:52Look at the chin.
0:39:52 > 0:39:54- It's quite manly.- OK, right.
0:39:54 > 0:39:56It's not a square.
0:39:56 > 0:39:57Look at the feet!
0:39:57 > 0:40:00- They're massive.- Absolutely. Mm hm.
0:40:02 > 0:40:03I'm in conflict at the
0:40:03 > 0:40:06minute because I should concentrate on the dress.
0:40:06 > 0:40:09But I just worry about the fact it doesn't really look like her.
0:40:09 > 0:40:12I'm really exhausted, actually.
0:40:12 > 0:40:15I haven't concentrated this long in quite a long time.
0:40:18 > 0:40:20David... No, no, no, no.
0:40:20 > 0:40:24You've got to be very, very careful with dark shadow on a woman's face
0:40:24 > 0:40:26because it looks like stubble.
0:40:26 > 0:40:27HE LAUGHS
0:40:30 > 0:40:31Suman, that's looking so good.
0:40:31 > 0:40:34The more time you spend on it, the better it's looking,
0:40:34 > 0:40:35so use every single minute.
0:40:35 > 0:40:40OK. Trying to get just a little bit of a smile, but it's very difficult.
0:40:40 > 0:40:42Just a hint.
0:40:42 > 0:40:44I can't seem to get it.
0:40:45 > 0:40:48Painters, please stop.
0:40:54 > 0:40:56Put down the brushes.
0:40:56 > 0:40:57Your time is up.
0:41:00 > 0:41:02I don't know whether I like it. I don't know whether it's good.
0:41:02 > 0:41:06I just feel so confused about everything I do now.
0:41:06 > 0:41:08I haven't done her justice.
0:41:08 > 0:41:11No. I've made her look angry. That's not right.
0:41:11 > 0:41:12SHE SIGHS
0:41:12 > 0:41:19I'm not scared of criticism at all but I hope they can see that I have
0:41:19 > 0:41:23put so much into it, that I am so willing to learn.
0:41:23 > 0:41:25May I now prise you from that seat?
0:41:25 > 0:41:27All the limbs still functioning?
0:41:27 > 0:41:30- Would you like to come and have a look?- Yep.
0:41:30 > 0:41:33Let's see what Jimmy's done.
0:41:33 > 0:41:38I love the way you've got the heart shape and I love that look,
0:41:38 > 0:41:40that knowing look.
0:41:40 > 0:41:43You know? I know something that you don't.
0:41:43 > 0:41:46Angela, come and have a look at David's.
0:41:48 > 0:41:52That's fascinating because, of course, all I could hear was the
0:41:52 > 0:41:55scrape, scrape. You've made me look a bit fierce and cross.
0:41:55 > 0:41:57I'm sorry about that. That's probably a reflection of my mood!
0:41:57 > 0:41:59THEY LAUGH
0:41:59 > 0:42:03Crikey, for the first time you've done that, that's fantastic.
0:42:03 > 0:42:05Wow! I love the way you've got my neck.
0:42:05 > 0:42:09I love that feeling of determination.
0:42:09 > 0:42:11That's really interesting.
0:42:11 > 0:42:14Gosh! You've got the hair and the shape of my head right, though,
0:42:14 > 0:42:16haven't you? Wow!
0:42:16 > 0:42:18It looks like my Auntie Olive.
0:42:18 > 0:42:20Oh, no! Looks like someone else.
0:42:20 > 0:42:22It's a relation.
0:42:22 > 0:42:26I can see somebody who feels very determined and strong
0:42:26 > 0:42:28and tries to get her point over.
0:42:28 > 0:42:31When I am trying to do that, that's how I look.
0:42:31 > 0:42:35That's different. You've done like the whole body.
0:42:35 > 0:42:38You've got the shape of my hair.
0:42:39 > 0:42:41It's a bold use of colour.
0:42:42 > 0:42:44I was listening to Pascal.
0:42:44 > 0:42:47He was talking to you about my hands. Yes?
0:42:47 > 0:42:50- Yeah. That's right.- My sausages.
0:42:52 > 0:42:55Well, I hope they don't look like sausages now.
0:42:55 > 0:42:57I felt for Angela.
0:42:57 > 0:43:00All the way through, I could see she was tormenting herself because she
0:43:00 > 0:43:04was trying to get something and she couldn't quite capture it.
0:43:04 > 0:43:08What you've captured here is that wonderful...
0:43:08 > 0:43:10"It's all right. It's going to be all right."
0:43:10 > 0:43:13And I love it. And I love the simple heart.
0:43:13 > 0:43:15That you can get that feeling out of how I felt through it.
0:43:15 > 0:43:19- Thank you so much.- No, no. It's wonderful. Thank you.
0:43:20 > 0:43:22'The celebrity sitters will get to
0:43:22 > 0:43:24'cast a vote for their favourite painting.'
0:43:28 > 0:43:32'Their vote will be added to those from the public viewing panel who,
0:43:32 > 0:43:35'this week, are portrait photographers.'
0:43:37 > 0:43:40I think it really captures who she is.
0:43:40 > 0:43:42If you cropped that at the knees,
0:43:42 > 0:43:45then that would be quite delightful because the hands and the jewellery
0:43:45 > 0:43:47and that look nice as well.
0:43:47 > 0:43:50I don't like the way the lips are done.
0:43:50 > 0:43:53It's almost like a moustache there.
0:43:53 > 0:43:55There does seem to be some problem with her ear.
0:43:55 > 0:43:57Yes, just noticed that.
0:43:59 > 0:44:01It's my favourite, composition-wise.
0:44:01 > 0:44:04I like... The technique is very unusual as well.
0:44:07 > 0:44:10Looking at this painting, compared to the others,
0:44:10 > 0:44:14- I probably like this one the most. - I'd agree with you there.
0:44:14 > 0:44:16No matter where you look, your eyes
0:44:16 > 0:44:18keep going directly to Angela's face.
0:44:18 > 0:44:20This is beautifully executed.
0:44:22 > 0:44:24It isn't my favourite but I think this one
0:44:24 > 0:44:27is the most likeness that I remember Floella.
0:44:29 > 0:44:34The hands are so large that they make her head look small.
0:44:34 > 0:44:38If it was cropped to get rid of the hands,
0:44:38 > 0:44:41- I think this picture would look beautiful.- Improve.
0:44:44 > 0:44:48'The artist with the most votes will automatically go through to next
0:44:48 > 0:44:50'week's semifinal.
0:44:50 > 0:44:53'But before they find out who that will be,
0:44:53 > 0:44:57'it's time for the judges to give their expert opinion.'
0:45:00 > 0:45:02So how did you find that?
0:45:02 > 0:45:04It was awful. A struggle.
0:45:04 > 0:45:06Biggest challenge yet, I think.
0:45:06 > 0:45:07Hard going.
0:45:07 > 0:45:10'First up is Diana's team.'
0:45:11 > 0:45:13Alan, I think you have got a likeness,
0:45:13 > 0:45:15I think it is a good likeness.
0:45:15 > 0:45:16Although I think you've made her
0:45:16 > 0:45:19look a little older than she does in real life.
0:45:19 > 0:45:21Here on the arm I think you've done
0:45:21 > 0:45:23some lovely work to get those tones
0:45:23 > 0:45:25there and you brought this bracelet out.
0:45:25 > 0:45:27I mean, it's dazzling, isn't it?
0:45:31 > 0:45:35In terms of you having used the shapes over the whole surface to
0:45:35 > 0:45:39make a nice composition, and the fact you've caught her head on one
0:45:39 > 0:45:43side, it's quite a nice painting of a lady.
0:45:43 > 0:45:47But unfortunately it hasn't caught the likeness and I think
0:45:47 > 0:45:49the accuracy is poor. I'm sorry.
0:45:49 > 0:45:52Baroness Benjamin is unwell.
0:45:52 > 0:45:54I mean, she really looks gaunt,
0:45:54 > 0:45:58as if she's got a dose of gastroenteritis or something.
0:45:58 > 0:46:02The limp treatment of the paint is letting it down.
0:46:10 > 0:46:13Well, Jennifer, you redeemed yourself.
0:46:13 > 0:46:15You've demonstrated that you can draw.
0:46:15 > 0:46:17There are areas of this that are really drawn rather well,
0:46:17 > 0:46:19particularly the bosom.
0:46:19 > 0:46:21There is now some structure in the painting
0:46:21 > 0:46:23and I think it's pretty good.
0:46:23 > 0:46:25It feels quite powerful.
0:46:25 > 0:46:26I mean, the idea of this person
0:46:26 > 0:46:28sitting her elbow on the bottom of
0:46:28 > 0:46:32the canvas and, sort of, pouring out at us is original, it's different.
0:46:32 > 0:46:36I mean, I'm so surprised that you have been able to, you know,
0:46:36 > 0:46:40master concepts of proportion and line that you've shown absolutely no
0:46:40 > 0:46:42evidence for up to now, so this is great!
0:46:49 > 0:46:53I tried to get several heart shapes including the heart-shaped necklace
0:46:53 > 0:46:57into the bodice area here and the back of the chair.
0:46:57 > 0:46:58I've read it as Angel wings.
0:46:58 > 0:47:01Angel wings are fine. I'm happy with that, too.
0:47:01 > 0:47:02You've been original,
0:47:02 > 0:47:05you brought another element to portraiture which is often there,
0:47:05 > 0:47:09- the symbolism.- I enjoy looking at this painting so much.
0:47:09 > 0:47:11You're using your colours to get
0:47:11 > 0:47:13skin tone and brightness and the highlights
0:47:13 > 0:47:18and you've really enjoyed painting and bringing to the fore
0:47:18 > 0:47:20the presence of this figure.
0:47:20 > 0:47:22Thank you.
0:47:22 > 0:47:24'It's now time for Pascal's team.'
0:47:26 > 0:47:29I think you have got a likeness of Angela Rippon.
0:47:29 > 0:47:34It's not quite right in several ways, and particularly the near eye.
0:47:34 > 0:47:37It's too small to be the nearest eye.
0:47:37 > 0:47:41And it's too smudgy given that the other eye is so distinct.
0:47:41 > 0:47:45I'm afraid I wouldn't know that this was Angela Rippon unless I had been
0:47:45 > 0:47:47sat watching.
0:47:47 > 0:47:48- Really?- I couldn't identify her.
0:47:48 > 0:47:50I mean, this is a bruiser.
0:47:50 > 0:47:52You know, there's none of that kind
0:47:52 > 0:47:54of sharp delineation of the cheekbones
0:47:54 > 0:47:57and this just, it won't cut it.
0:47:57 > 0:47:58You know, this is a frantic...
0:47:58 > 0:48:01You know, it's like the crazy artist in the loft.
0:48:01 > 0:48:03You're chucking paint at this,
0:48:03 > 0:48:06you're slapping the palette knife on.
0:48:06 > 0:48:09Would you say that the best way to approach drawing a face would be to
0:48:09 > 0:48:12get that triangle of eyes and nose point first and then work the face
0:48:12 > 0:48:16- around that?- First off get the overall outline.
0:48:16 > 0:48:18- What is this...?- NO!
0:48:18 > 0:48:21- LAUGHTER - That... That would be my tip.
0:48:21 > 0:48:24There is no one way of doing a portrait.
0:48:24 > 0:48:27If it's the colour that grabs you or the texture of something,
0:48:27 > 0:48:32you want to go for the thing that moves you and tells us something
0:48:32 > 0:48:34that's very particular about them.
0:48:39 > 0:48:41For me, this is Angela Rippon.
0:48:41 > 0:48:44I think it is a successful painting.
0:48:44 > 0:48:48Leaps and bounds from the work that you did in the first challenge here.
0:48:48 > 0:48:53You've used colour sensitively and you've really brought some lyricism
0:48:53 > 0:48:55to your approach.
0:48:55 > 0:48:58As a portrait of Angela Rippon, there's kind of a hint of other
0:48:58 > 0:49:01people here, a bit of Anthea Turner or someone else,
0:49:01 > 0:49:04but I do think that in the mouth we've got a really nice balance.
0:49:04 > 0:49:06This is someone who could speak. And I think that's a real
0:49:06 > 0:49:09achievement for you to have caught that.
0:49:13 > 0:49:17Ruaridh, well, at least you've caught something of the glow that
0:49:17 > 0:49:20Angela Rippon's skin had.
0:49:20 > 0:49:23But it's not Angela Rippon, is it?
0:49:23 > 0:49:27If I came to do this without any prior knowledge I would have thought
0:49:27 > 0:49:31middle-aged lady, slightly dumpy, a bit thick in the neck.
0:49:31 > 0:49:34Being rather harsh with it, because unfortunately, you know,
0:49:34 > 0:49:39it's a human being we're talking about and it is the most difficult
0:49:39 > 0:49:41subject, to paint another human being.
0:49:41 > 0:49:45This person has girth and weight and those hands, I mean,
0:49:45 > 0:49:47they're Farmer McGregor's hands.
0:49:47 > 0:49:50You'd crush a watermelon with those hands, they're so vast.
0:49:50 > 0:49:54I applaud you for choosing to include the half-length or almost
0:49:54 > 0:49:57three quarters length of the body and the hands,
0:49:57 > 0:49:59but it's almost as if, had you just stuck to the head,
0:49:59 > 0:50:01it would have been a more successful painting.
0:50:03 > 0:50:05Well, that was the judges' view,
0:50:05 > 0:50:08but I'm sure you're dying to know what the public thought too,
0:50:08 > 0:50:11and remember we've added to that public panel your sitters.
0:50:11 > 0:50:16I can tell you first that Angela's favourite painting was...
0:50:16 > 0:50:18Suman's.
0:50:18 > 0:50:19APPLAUSE
0:50:19 > 0:50:21Are you pleased to hear that, Suman?
0:50:21 > 0:50:22Yeah, I am, yes. The most
0:50:22 > 0:50:25important opinion is the sitter's, I think, so...
0:50:25 > 0:50:27Don't say that in front of the judges.
0:50:27 > 0:50:30And I can tell you that Floella's favourite painting was by...
0:50:30 > 0:50:32Alan.
0:50:32 > 0:50:34Did you see that coming, Alan?
0:50:34 > 0:50:37Not really, no. I'm made up, it's brilliant.
0:50:37 > 0:50:40Congratulations. You pleased your sitter.
0:50:40 > 0:50:43Alan captures something that I saw in the mirror.
0:50:43 > 0:50:47My jawline gets very determined and he captured that.
0:50:47 > 0:50:52I felt I was looking at something that was painted by
0:50:52 > 0:50:54someone of real potential.
0:50:54 > 0:50:59I felt like Suman had tried very hard to capture me.
0:50:59 > 0:51:06Their votes have been tallied with the public vote and I now have the
0:51:06 > 0:51:08result of that combined vote,
0:51:08 > 0:51:12and that is of course for the artist who will automatically go through.
0:51:12 > 0:51:17Their favourite painter this week is...
0:51:17 > 0:51:18Suman.
0:51:18 > 0:51:20APPLAUSE
0:51:22 > 0:51:28Now, you looked absolutely petrified as I was getting prepared to read
0:51:28 > 0:51:31that out. Why? Were you expecting it at all?
0:51:31 > 0:51:34I wasn't expecting it, but I love doing portraits,
0:51:34 > 0:51:37so I'm really pleased and I really appreciate it.
0:51:39 > 0:51:43So we know that Suman's definitely going through to next week,
0:51:43 > 0:51:45but who will be joining her?
0:51:45 > 0:51:48Judges, if you would please make your way to the chamber of decision.
0:51:51 > 0:51:54I wish we had a trumpet, don't you? Can you play the trumpet?
0:51:54 > 0:51:56I can, as a matter of fact.
0:51:56 > 0:51:58I'm in a happy place.
0:51:58 > 0:52:01I want to be really good at portraiture,
0:52:01 > 0:52:03so it's really nice to have won the public vote.
0:52:03 > 0:52:05They did pick me up on the points
0:52:05 > 0:52:07that I knew I was going to get picked up on.
0:52:07 > 0:52:10Ouch. That was harsh.
0:52:11 > 0:52:14I wasn't expecting it to be as harsh.
0:52:15 > 0:52:19I just hope and hope I've done enough to stay in.
0:52:22 > 0:52:26Portraiture, it's a real challenge for our artists.
0:52:26 > 0:52:29It is one of the most difficult genres, isn't it?
0:52:29 > 0:52:35It's the one that tests everybody's ability to draw and their ability to
0:52:35 > 0:52:39respond to another human being in great detail.
0:52:39 > 0:52:41The public vote for Suman was there.
0:52:41 > 0:52:45Well, Suman's painting had zest, it had a little spark of life in there.
0:52:45 > 0:52:46What about Jennifer?
0:52:46 > 0:52:48She astounds me actually,
0:52:48 > 0:52:50because some of her
0:52:50 > 0:52:53first challenges have been so bad and yet she can then
0:52:53 > 0:52:57pull something out of the hat when it comes to the second challenge.
0:52:57 > 0:53:00I think Jimmy, I thought it was a very enticing piece of work.
0:53:00 > 0:53:01Great colourists can be
0:53:01 > 0:53:04quite convincing and get away with certain things.
0:53:04 > 0:53:06Well, for Jimmy that actually was a good strategy, wasn't it,
0:53:06 > 0:53:10because he'd made such a mess of getting a likeness of himself.
0:53:10 > 0:53:12Baroness Benjamin did like Alan's work.
0:53:12 > 0:53:14And I understand why, because I
0:53:14 > 0:53:17think that his portrait was the most accurate.
0:53:17 > 0:53:20So there are three people who have really struggled.
0:53:20 > 0:53:24Ruaridh, Angela, David. Are we agreed on that?
0:53:24 > 0:53:27- I think so.- Yes.- David didn't really feel like he knew quite what he was
0:53:27 > 0:53:29doing here, did he?
0:53:29 > 0:53:31Those awful mistakes with the eye.
0:53:31 > 0:53:33David I think, in his defence,
0:53:33 > 0:53:38is an artist who has shown an ability to test himself.
0:53:38 > 0:53:42Angela, on the other hand, lacks confidence in the portrait of
0:53:42 > 0:53:44Floella Benjamin. She quite clearly had a crisis.
0:53:44 > 0:53:47I have a lot of sympathy with Angela.
0:53:47 > 0:53:50I probably like her paintings better overall.
0:53:50 > 0:53:53Ruaridh was not up to the technical challenge, I don't think.
0:53:53 > 0:53:55I did like his self-portrait.
0:53:55 > 0:53:57I think it had a bit of character.
0:53:57 > 0:53:59It's a difficult decision.
0:54:00 > 0:54:04In future challenges, they're going to be tested even more with their
0:54:04 > 0:54:06ability in terms of figures and proportions.
0:54:06 > 0:54:09We've got to think about who can move forward.
0:54:20 > 0:54:22The judges have made the decision
0:54:22 > 0:54:24about who will be leaving the competition.
0:54:24 > 0:54:27So, Lachlan, will you please reveal who's going home?
0:54:27 > 0:54:31Well, artists, you have battled your way through four phenomenally
0:54:31 > 0:54:34difficult weeks, but I think that this was the toughest challenge,
0:54:34 > 0:54:39which is why, this week, two of you are going to be going home.
0:54:39 > 0:54:47The first artist has brought great courage and energy to their work.
0:54:47 > 0:54:49Unfortunately, though,
0:54:49 > 0:54:52they haven't been able to surmount
0:54:52 > 0:54:56the particular challenges posed by portraiture.
0:54:58 > 0:55:01So, the first artist to go this week is...
0:55:04 > 0:55:06..Ruaridh.
0:55:10 > 0:55:13- Bad luck, Ruaridh.- You have developed your colour sense,
0:55:13 > 0:55:17you have moved away from that dark palette and branched out,
0:55:17 > 0:55:20and I think your colour is actually joyous.
0:55:20 > 0:55:23Ruaridh, we're so sorry to see you go.
0:55:25 > 0:55:29I'll never forget this experience and I would also like to thank the
0:55:29 > 0:55:32interpreters and also Pascal for his great advice.
0:55:32 > 0:55:34Well done.
0:55:35 > 0:55:37Ruaridh...
0:55:53 > 0:55:56Well, Daphne, will you please put us
0:55:56 > 0:55:59out of our misery and tell us who the second artist
0:55:59 > 0:56:01to be leaving us this week will be?
0:56:01 > 0:56:05The second artist that will be leaving us has made some wonderful
0:56:05 > 0:56:07work in some of the other challenges.
0:56:07 > 0:56:09They've got a lyrical quality,
0:56:09 > 0:56:15but I'm sorry on this occasion that the artist leaving us today is...
0:56:18 > 0:56:20- ..Angela.- Yeah.
0:56:20 > 0:56:22Thank you.
0:56:22 > 0:56:24Oh, God.
0:56:24 > 0:56:27Don't lose that lyrical approach,
0:56:27 > 0:56:29and I know that you're going to grow and grow as an artist.
0:56:29 > 0:56:32- Thank you.- It's been a delight to have you with us.
0:56:32 > 0:56:34- We're sorry to see you go. - Thank you.
0:56:34 > 0:56:37Give him a big hug, give him a big hug.
0:56:37 > 0:56:40So keep going with the determination and motivation,
0:56:40 > 0:56:43because you're unpredictable, you're surprising, you've such lovely work.
0:56:45 > 0:56:50The most important thing for me is what I did in the space of four
0:56:50 > 0:56:54weeks. I've learned so much. I've learnt my own character as well.
0:56:54 > 0:56:57It's something that I will never forget for the rest of my life.
0:56:58 > 0:57:00I am so proud of myself.
0:57:00 > 0:57:03I really am. I just feel so grateful to have been given the chance
0:57:03 > 0:57:07to do it. It's been great, yeah, really good.
0:57:07 > 0:57:11'Next week on The Big Painting Challenge...'
0:57:11 > 0:57:13Movement.
0:57:13 > 0:57:15I'll have to ask my daughter how to do that.
0:57:16 > 0:57:18That was intense!
0:57:18 > 0:57:20Finding it very hard.
0:57:20 > 0:57:22- Exhausted!- Aw!
0:57:22 > 0:57:24It's maybe just too much.
0:57:24 > 0:57:25We all know you can do this.
0:57:25 > 0:57:27Absolutely failed under pressure.
0:57:27 > 0:57:30Go down in style. Or go down in flames.