0:00:02 > 0:00:04Welcome to the semifinal of The Big Painting Challenge,
0:00:04 > 0:00:07the show that celebrates all those with a passion for painting.
0:00:08 > 0:00:11We found ten enthusiastic amateur artists
0:00:11 > 0:00:14to join our artistic Boot Camp.
0:00:14 > 0:00:16Are you looking forward to being painted by this lot?
0:00:16 > 0:00:18Very much, yes.
0:00:19 > 0:00:21They've honed their skills...
0:00:21 > 0:00:23OK, everyone, pick up your bamboo sticks.
0:00:23 > 0:00:27..in a series of increasingly difficult artistic challenges.
0:00:27 > 0:00:29Go and stand outside in the cold.
0:00:29 > 0:00:30ELEPHANT TRUMPETS
0:00:30 > 0:00:31THEY LAUGH
0:00:31 > 0:00:32Along the way,
0:00:32 > 0:00:36they've been supported and guided by their two mentors.
0:00:36 > 0:00:38Pascal Anson, an artist,
0:00:38 > 0:00:42designer and guest lecturer at the Royal College of Art.
0:00:42 > 0:00:44Look at the feet. Pete, they're massive.
0:00:44 > 0:00:48And Diana Ali, art educator, curator and artist.
0:00:52 > 0:00:54As always, our artists need to impress the judges
0:00:54 > 0:00:56to avoid being sent home.
0:00:56 > 0:00:58Last week,
0:00:58 > 0:01:00portraits were the undoing of two artists
0:01:00 > 0:01:02as the judges sent home Ruaridh and Angela.
0:01:03 > 0:01:05But Suman won the public vote,
0:01:05 > 0:01:08meaning she drew level with Jennifer,
0:01:08 > 0:01:09both having been chosen twice.
0:01:11 > 0:01:13With the final on the horizon,
0:01:13 > 0:01:16the pressure is on for all the artists if they want to win
0:01:16 > 0:01:17The Big Painting Challenge.
0:01:27 > 0:01:30This week, we're at the prestigious Painters' Hall in London,
0:01:30 > 0:01:34home to the Worshipful Company of Painter-Stainers
0:01:34 > 0:01:35who have been, well,
0:01:35 > 0:01:40painting and staining things since the 13th century.
0:01:40 > 0:01:43- HE SIGHS - This is the semifinal.
0:01:43 > 0:01:47I think it's probably going to be the hardest challenge so far,
0:01:47 > 0:01:51and it may in fact be the hardest challenge of the whole competition.
0:01:51 > 0:01:54The aim for me is to win, but it's completely out of my hands.
0:01:54 > 0:01:56The other contestants are really good.
0:01:56 > 0:01:59The competition is definitely hotting up.
0:01:59 > 0:02:00I think everybody's a rival at this stage,
0:02:00 > 0:02:02although they're all friends as well, so...
0:02:02 > 0:02:03I think anybody could win it,
0:02:03 > 0:02:06although you'd have to favour the girls at this point
0:02:06 > 0:02:07cos they've won all the golden tickets so far.
0:02:09 > 0:02:12I would love to win the public vote again, secretly.
0:02:12 > 0:02:15I'm kind of getting used to, like, my name being called out.
0:02:16 > 0:02:19It feels like a bit of a rivalry now between me and Suman cos we have
0:02:19 > 0:02:21two each, but...
0:02:21 > 0:02:23I want it.
0:02:24 > 0:02:28As ever, the mentors will be on hand and they're feeling confident about
0:02:28 > 0:02:31- their teams.- The qualities that Suman and David both have
0:02:31 > 0:02:34is good drawing, good observational skills.
0:02:34 > 0:02:36They're meticulous and hard-working,
0:02:36 > 0:02:39and that's really why they've got to this stage.
0:02:41 > 0:02:44It's amazing to see how far they've come with only five weeks.
0:02:44 > 0:02:46They've progressed massively.
0:02:46 > 0:02:47They're taking it seriously now,
0:02:47 > 0:02:49and I'm really proud and I'm really going
0:02:49 > 0:02:50to push them to go far.
0:02:51 > 0:02:55Congratulations on making it to the semifinal.
0:02:55 > 0:02:57We have a really tough challenge for you today
0:02:57 > 0:03:01because we're asking you to paint the body in motion.
0:03:01 > 0:03:02Pff!
0:03:02 > 0:03:05There'll be two challenges, as always,
0:03:05 > 0:03:09the first of which will be a solo dancer
0:03:09 > 0:03:14performing a series of repeated movements very slowly.
0:03:14 > 0:03:16You've only got a couple of hours before the judges come along,
0:03:16 > 0:03:17so let's get moving.
0:03:21 > 0:03:24Conveying a sense of movement on a flat surface
0:03:24 > 0:03:26is extremely difficult,
0:03:26 > 0:03:28but for centuries artists have been
0:03:28 > 0:03:30trying to capture it on canvas.
0:03:30 > 0:03:32Some of the best known works
0:03:32 > 0:03:34are by artists from late 19th-century France,
0:03:34 > 0:03:36including Degas,
0:03:36 > 0:03:38Renoir
0:03:38 > 0:03:40and Toulouse-Lautrec.
0:03:40 > 0:03:44They used a range of tricks including off-centre compositions,
0:03:44 > 0:03:46looser brushwork,
0:03:46 > 0:03:48and the effect of cropping figures at the edge of the
0:03:48 > 0:03:50canvas to make the viewer believe
0:03:50 > 0:03:53the action continues beyond the frame.
0:03:55 > 0:03:59Be gestural, be fluid, don't work too close to the canvas.
0:03:59 > 0:04:02Motion is always a challenge.
0:04:02 > 0:04:04I know for a start I will find it difficult.
0:04:06 > 0:04:09Both of you have to get really physical with this.
0:04:09 > 0:04:10How am I going to do this?
0:04:10 > 0:04:12This is really hard!
0:04:14 > 0:04:17The artists are able to paint or draw the ballerina
0:04:17 > 0:04:20in the medium of their choice.
0:04:20 > 0:04:22And if this challenge seems daunting,
0:04:22 > 0:04:26they can rest assured that this is merely the short warm up before the
0:04:26 > 0:04:28main event tomorrow.
0:04:28 > 0:04:30The challenge starts now.
0:04:30 > 0:04:32- Good luck. - Yeah, good luck, everybody.
0:04:32 > 0:04:34Thank you.
0:04:34 > 0:04:36Looking forward to this?
0:04:39 > 0:04:42How does she stand on her tippy toes?
0:04:42 > 0:04:45The dancer will repeat her choreographed sequence
0:04:45 > 0:04:47throughout the two-hour challenge,
0:04:47 > 0:04:49taking short breaks in between.
0:04:49 > 0:04:53I've never seen a ballerina this close.
0:04:53 > 0:04:55I'm absolutely going to pieces here
0:04:55 > 0:04:57cos I've got no idea what I'm doing.
0:05:00 > 0:05:01Well, this is hard.
0:05:01 > 0:05:04She's quite captivating. You kind of want to watch.
0:05:04 > 0:05:06You don't really want to do anything else.
0:05:06 > 0:05:11This week, both teams of artists will be working side-by-side,
0:05:11 > 0:05:14so they'll be unable to ignore their rivals' progress.
0:05:18 > 0:05:21Suman has chosen to work in her beloved charcoal,
0:05:21 > 0:05:23but she's stumbled into difficulty.
0:05:23 > 0:05:26I am failing here.
0:05:26 > 0:05:28This paper is not what I'm used to,
0:05:28 > 0:05:32so what I wanted to do is lay down the flat of charcoal
0:05:32 > 0:05:36and then you can usually brush away but it's not brushing away!
0:05:37 > 0:05:41So I'm trying to do the best I can to salvage it.
0:05:48 > 0:05:49Cheers.
0:05:52 > 0:05:55Diana's leading men are off to a slow start.
0:05:55 > 0:05:57THEY SIGH
0:05:57 > 0:05:58How are you finding it?
0:05:58 > 0:06:00It looks like a bit of a fashion sketch.
0:06:00 > 0:06:03It does a bit, yeah. A bit of an illustration.
0:06:03 > 0:06:05Yeah, which is troubling me.
0:06:05 > 0:06:08I think the actual...
0:06:08 > 0:06:10pose is a little bit rigid and a bit straight.
0:06:10 > 0:06:13So do some stuff around it to make it look like she's moving?
0:06:13 > 0:06:14Yeah, that's a good idea.
0:06:17 > 0:06:18Right. Paint.
0:06:21 > 0:06:23I'm just about to get my pose,
0:06:23 > 0:06:26and it's just about to come up now because she's repeating it,
0:06:26 > 0:06:30and once she gets back to the original pose I'm looking for,
0:06:30 > 0:06:33I'm going to try and keep adding more and more drawing.
0:06:33 > 0:06:36Jimmy's shifted the weight of his figure
0:06:36 > 0:06:38so it appears she's leaning forwards.
0:06:38 > 0:06:41Avoiding vertical positions can help to create the illusion
0:06:41 > 0:06:43of a dynamic moment in time.
0:06:45 > 0:06:48I have to have dynamism
0:06:48 > 0:06:49in the painting.
0:06:50 > 0:06:53- Pff!- You're spending too long
0:06:53 > 0:06:55waiting for that position again.
0:06:55 > 0:06:58- I am.- OK? And that's wasting time.
0:06:58 > 0:07:00Really think about your marks. They're quite solid.
0:07:00 > 0:07:03But the main thing is you have to get the proportions right
0:07:03 > 0:07:06- because it's all out at the minute. - Mm-hm.
0:07:06 > 0:07:08As always, the artists' paintings will be assessed
0:07:08 > 0:07:12under the critical eye of our three judges.
0:07:12 > 0:07:15Award-winning artist Lachlan Goudie.
0:07:15 > 0:07:16In challenge one,
0:07:16 > 0:07:19we're really looking for the artists to give a sense of proportion to
0:07:19 > 0:07:22their drawings, to make it look as if the head, the arms, the legs,
0:07:22 > 0:07:25they all belong to the same body.
0:07:25 > 0:07:29World-renowned portrait painter Daphne Todd OBE.
0:07:29 > 0:07:31The sense of movement, it must be paramount.
0:07:32 > 0:07:35Obviously the painting is a flat, inert surface.
0:07:35 > 0:07:38They're going to have to give the illusion of movement
0:07:38 > 0:07:40on that flat surface.
0:07:41 > 0:07:46And art historian and senior academic Dr David Dibosa.
0:07:46 > 0:07:49Really observing the way that the body looks,
0:07:49 > 0:07:51not the way they think it ought to look.
0:07:51 > 0:07:54That's the only way they're going to make it convincing.
0:07:58 > 0:07:59PAPER RUSTLES
0:07:59 > 0:08:00(Sorry.)
0:08:03 > 0:08:05Favouring light,
0:08:05 > 0:08:09energetic marks over hard lines can help to suggest movement,
0:08:09 > 0:08:11but this is easier said than done.
0:08:13 > 0:08:17Jennifer currently has five paintings on the go.
0:08:17 > 0:08:19Try and pick out the really successful bits in each one
0:08:19 > 0:08:21which you can use,
0:08:21 > 0:08:23or which one's showing its movement through space,
0:08:23 > 0:08:25which one's showing a good posture.
0:08:25 > 0:08:27Like, I like the head in this one.
0:08:27 > 0:08:29- Yeah.- Cos it looks like it's looking up.
0:08:29 > 0:08:31She's just looking a little bit chunky in some of them,
0:08:31 > 0:08:33like that top one.
0:08:33 > 0:08:36- But again, that's proportion that you can work on.- Yeah.
0:08:36 > 0:08:39But that's her back, cos she was walking away.
0:08:39 > 0:08:41Ah, see, I didn't realise that.
0:08:41 > 0:08:44Yeah. She's walking away in that one.
0:08:44 > 0:08:48- Right.- I can see it, I just need to make sure everyone else can see it.
0:08:48 > 0:08:51I don't really draw precisely, as you know.
0:08:51 > 0:08:53- As I know, yeah!- As you know.
0:08:55 > 0:08:56Oh, man!
0:08:59 > 0:09:02While the dancer takes a break, the artists had to draw her from memory.
0:09:04 > 0:09:07I can't do anything whilst there's not a model there.
0:09:07 > 0:09:09HE SIGHS
0:09:11 > 0:09:14If I make one wrong move with a line, that means the proportions...
0:09:15 > 0:09:17- Hello.- Amazing sketch.
0:09:17 > 0:09:21What I'm trying to do is get the ballerina moving from there
0:09:21 > 0:09:23to across that way.
0:09:23 > 0:09:25So we have, like, a multiple image?
0:09:25 > 0:09:27- So that'll be... - How she's moved through?
0:09:27 > 0:09:28Yeah, exactly, yeah.
0:09:28 > 0:09:31I'm having a bit of trouble with this middle one
0:09:31 > 0:09:34cos I'm not sure what she would do to get from there to there.
0:09:34 > 0:09:36Has this experience made you think,
0:09:36 > 0:09:38"I'm never ever going to paint from life again?"
0:09:38 > 0:09:39I tell you what the problem is,
0:09:39 > 0:09:42I would love a muse,
0:09:42 > 0:09:44but I'd feel it would be a bit disrespecting to my girlfriend
0:09:44 > 0:09:46to paint a beautiful picture, you know what I mean?
0:09:46 > 0:09:48I shall be painting bowls of fruit
0:09:48 > 0:09:49for the rest of my life, then, won't I?
0:09:49 > 0:09:51SHE LAUGHS
0:09:54 > 0:09:57With David meticulously drawing in ink pen
0:09:57 > 0:09:59and Suman working in charcoal,
0:09:59 > 0:10:02it seems both of Pascal's artists
0:10:02 > 0:10:04are reluctant to pick up a paintbrush.
0:10:04 > 0:10:07- Are you using paint at all? - No, I'm not using paint today.
0:10:07 > 0:10:09I think I've had enough of paint.
0:10:09 > 0:10:10HE LAUGHS
0:10:10 > 0:10:13So if there's a chance to not paint, I'm there.
0:10:17 > 0:10:19It's looking good, but my worry here
0:10:19 > 0:10:21is that it's going to be an illustration.
0:10:21 > 0:10:23Don't be afraid of your response
0:10:23 > 0:10:25as an artist to what's here,
0:10:25 > 0:10:27and I think that's what's stopping you.
0:10:27 > 0:10:29Because an illustration is kind of for other people, you know,
0:10:29 > 0:10:32it's to show other people that you're very clever and you can draw,
0:10:32 > 0:10:34and you're doing that.
0:10:34 > 0:10:36But I want to see what your response is.
0:10:36 > 0:10:39How can I help you stop worrying about...?
0:10:39 > 0:10:41I'm just so used to doing stuff like this.
0:10:41 > 0:10:42I want you to make some progress.
0:10:42 > 0:10:44You want me to branch out a bit, yeah.
0:10:44 > 0:10:46And I think this is very good. It's beautiful.
0:10:46 > 0:10:49It's very accurate, and you're doing it very well,
0:10:49 > 0:10:52but it's for someone else to look at,
0:10:52 > 0:10:54and you've got to kind of, really,
0:10:54 > 0:10:56not worry about anyone else.
0:10:56 > 0:10:58And until you liberate yourself from all that,
0:10:58 > 0:11:00we're not going to see it.
0:11:03 > 0:11:04I'm so used to this sort of drawing.
0:11:04 > 0:11:07I'm so used to discipline with it.
0:11:07 > 0:11:09And I think one day I will find that.
0:11:09 > 0:11:12I just don't know whether I'll find it in this challenge.
0:11:13 > 0:11:16OK, everyone, we're halfway through.
0:11:16 > 0:11:18- Great.- You've got one hour to go.
0:11:20 > 0:11:22- Right.- Are you painting?- Yeah.
0:11:22 > 0:11:24I don't know how to convey a sense of movement.
0:11:24 > 0:11:26HE SIGHS
0:11:28 > 0:11:29That's pure lush.
0:11:29 > 0:11:32Despite the encouragement of his team-mate Jennifer,
0:11:32 > 0:11:35Jimmy has cold feet about his painting.
0:11:35 > 0:11:36I'm going to start again.
0:11:36 > 0:11:38How are you doing?
0:11:38 > 0:11:41- OK.- Good girl.- How are you?
0:11:55 > 0:11:59Having finally selected which of her five paintings to concentrate on,
0:11:59 > 0:12:02Jennifer is fearing the worst from the judges.
0:12:02 > 0:12:05In a way, this is a perfect challenge for you -
0:12:05 > 0:12:07you've got the movement, you've got the form.
0:12:07 > 0:12:10In many ways, it's made for a sort of abstract approach, isn't it?
0:12:10 > 0:12:11Or have you got the fear of Daphne?
0:12:11 > 0:12:13I have the fear of Daphne.
0:12:13 > 0:12:15I think sometimes when she's brutally honest,
0:12:15 > 0:12:19it's very cutting, so it would be nice if she sort of liked my work
0:12:19 > 0:12:23a little bit so that I'm not feeling the full wrath.
0:12:23 > 0:12:27I do appreciate the honesty and I appreciate what she's saying
0:12:27 > 0:12:29because, if anything, it's only made me a bit better.
0:12:36 > 0:12:39Jimmy's decided to paint in watercolour,
0:12:39 > 0:12:40but after starting again,
0:12:40 > 0:12:44he's still struggling to get his proportions on point.
0:12:44 > 0:12:46You're forgetting to look again.
0:12:46 > 0:12:48Look at the waist compared to her thigh.
0:12:51 > 0:12:53OK.
0:12:54 > 0:12:57How would you describe her position?
0:12:57 > 0:12:59There's an S shape there.
0:12:59 > 0:13:03OK, remember we're looking at... Yes, right. See how fluid your...
0:13:03 > 0:13:05And there's a lovely graceful movement there.
0:13:05 > 0:13:08Right, right, you just did that, but you did it without looking,
0:13:08 > 0:13:09you're just assuming again.
0:13:09 > 0:13:12You've got to be really careful of that.
0:13:12 > 0:13:13I'm finding it very hard.
0:13:13 > 0:13:15Of course, I think everybody probably is.
0:13:15 > 0:13:18Yes, but so much of it is about the looking.
0:13:22 > 0:13:25Hello, David. How are we getting on today?
0:13:26 > 0:13:28I don't know if I've captured a sense of movement
0:13:28 > 0:13:30or if I'm just being a cheating...
0:13:30 > 0:13:31A lot of movement in the background.
0:13:31 > 0:13:33Yeah, well, that's the problem,
0:13:33 > 0:13:35I'm not sure it conveys movement of the dancer.
0:13:35 > 0:13:38Almost like an exploding ballerina because it picks up the tutu
0:13:38 > 0:13:40and also the extension of her arms.
0:13:40 > 0:13:43She seems to push out, and the painting's pushing out, too.
0:13:43 > 0:13:46Well, that's kind of the idea, but I don't know that it works.
0:13:46 > 0:13:47Are you feeling confident today?
0:13:47 > 0:13:49No.
0:13:49 > 0:13:50I never feel confident, so, no.
0:13:50 > 0:13:52Aw.
0:13:53 > 0:13:55Ten minutes, everybody.
0:14:03 > 0:14:06You've got to put a very light wash because it does look incomplete.
0:14:06 > 0:14:07- OK.- OK?- Yeah.
0:14:07 > 0:14:10Boom, here we go.
0:14:10 > 0:14:12We're just all absolutely under the cosh.
0:14:12 > 0:14:13Oh, man.
0:14:19 > 0:14:20OK, everyone, that's it.
0:14:20 > 0:14:22The judges are on their way.
0:14:22 > 0:14:23Lock them out, lock them out.
0:14:25 > 0:14:27Starburst.
0:14:27 > 0:14:29I know. That's cheating, though, I think.
0:14:29 > 0:14:30Yours is moving, though, I think.
0:14:30 > 0:14:33Yeah, yours is the most movement, I think, today, Jimmy.
0:14:33 > 0:14:34HE SIGHS
0:14:34 > 0:14:38That was probably the hardest thing I have ever tried to paint.
0:14:38 > 0:14:41She looks as if she's about to throw a discus.
0:14:41 > 0:14:42Discus. Well, it's still movement.
0:14:42 > 0:14:45- I love yours.- It's so delicate. - Yours is lovely.
0:14:45 > 0:14:46I'm ready to get shot down, though.
0:14:46 > 0:14:49I'm sure they'll pick something.
0:14:49 > 0:14:51Just like all my challenges!
0:14:51 > 0:14:53Cut to the bone.
0:14:53 > 0:14:55Daphne's work is on the walls.
0:14:55 > 0:14:57That's what makes me nervous, I think, when it comes down to it.
0:14:57 > 0:14:59Someone of that stature is looking at my work.
0:14:59 > 0:15:02You can feel the impending doom kind of...
0:15:02 > 0:15:04start to happen.
0:15:06 > 0:15:08Judges David, Daphne and Lachlan
0:15:08 > 0:15:10will now critique the artists' paintings.
0:15:10 > 0:15:14And Pascal's group is the first to step into the spotlight.
0:15:15 > 0:15:18Right, David, your radiating lines give a sense of,
0:15:18 > 0:15:20"Ta-dah, I'm here!"
0:15:20 > 0:15:26But the strange thing is that it's not creating any movement.
0:15:26 > 0:15:29It's creating this effect of light pouring out,
0:15:29 > 0:15:34but I don't see her ready to start twirling in front of me.
0:15:36 > 0:15:39So, David, I find this figure convincing.
0:15:39 > 0:15:42In the figure, the proportions were there. We asked you for proportion.
0:15:42 > 0:15:44It's in proportion.
0:15:44 > 0:15:45We asked you for movement.
0:15:45 > 0:15:50I think the movement's there in a very delicate, quiet way.
0:15:50 > 0:15:52If you just believed in that, or saw it for yourself,
0:15:52 > 0:15:56you wouldn't have felt that you needed to add this radiance
0:15:56 > 0:15:58to give it a sense of dynamism,
0:15:58 > 0:16:01which has actually worked against you and it's made
0:16:01 > 0:16:03the whole image much more static.
0:16:07 > 0:16:10Right, Suman. It all seems very well observed.
0:16:10 > 0:16:13It all seems relatively in proportion,
0:16:13 > 0:16:16although this leg possibly might seem a little bit long.
0:16:16 > 0:16:18You've given me so much detail in that head,
0:16:18 > 0:16:20I'm zooming into this area.
0:16:20 > 0:16:25It's become the focus of attention of the drawing for me.
0:16:25 > 0:16:27The line sometimes is a bit too hard and heavy...
0:16:27 > 0:16:30- Yeah.- ..in certain areas, and that might be what's making it feel
0:16:30 > 0:16:34a little more static than I think you could have done.
0:16:34 > 0:16:36Yeah.
0:16:36 > 0:16:37Well, thanks.
0:16:37 > 0:16:41That was unexpected. I don't want to get too freaked out about it because
0:16:41 > 0:16:43then I'll just fail.
0:16:43 > 0:16:46I know that my work needs to be less detailed in parts, but, oh, my God,
0:16:46 > 0:16:48what do I do with the paint?
0:16:48 > 0:16:50You can control charcoal, but you can't control paint
0:16:50 > 0:16:52the same way, I don't think.
0:16:53 > 0:16:56Next up, it's Diana's artists.
0:16:58 > 0:17:01Alan, I think your proportions are pretty good and I think you've got a
0:17:01 > 0:17:03good sense of movement.
0:17:03 > 0:17:08The sort of shorthand for forms moving in space is very little there
0:17:08 > 0:17:11but your eye then fills in the gaps,
0:17:11 > 0:17:14and I like the fact that you've got this progression.
0:17:14 > 0:17:15I think it's a good device.
0:17:15 > 0:17:17- Well done.- Thanks.
0:17:17 > 0:17:20Alan, I think you've given yourself a little bit too much work to do in
0:17:20 > 0:17:25terms of the central figure, which, of the three, really doesn't work.
0:17:27 > 0:17:28I completely agree.
0:17:28 > 0:17:31I really struggled with the central figure.
0:17:33 > 0:17:37Hello, Jennifer. I'm not really getting much of a sense of movement.
0:17:37 > 0:17:42It's quite static. There's lots of kind of scribbly movement, but the
0:17:42 > 0:17:45figure's not moving. I just think that you're going to have to be very
0:17:45 > 0:17:48careful that, when you think about movement, you don't think just about
0:17:48 > 0:17:52moving the pencil around the page in a sort of excited way.
0:17:55 > 0:17:56Now, the proportions.
0:17:58 > 0:18:00I'm not convinced with them.
0:18:00 > 0:18:03I can't tell where you are looking at that body.
0:18:03 > 0:18:05I would have thought that you were
0:18:05 > 0:18:08either looking down at the legs or...
0:18:08 > 0:18:11You can't be looking at them all from the same angle.
0:18:11 > 0:18:14In which case, you'd have been seeing this lower part
0:18:14 > 0:18:16slightly foreshortened.
0:18:18 > 0:18:22- I don't think this is one of your best.- OK.
0:18:22 > 0:18:25I think I'll just stop there and hope for the second challenge.
0:18:28 > 0:18:30Yeah, deep breaths.
0:18:30 > 0:18:33I'm paddling upstream again.
0:18:33 > 0:18:37Jimmy, right. Well, we've definitely got movement, but this is more of a
0:18:37 > 0:18:41rumba than the kind of graceful ballet dancer we were observing.
0:18:41 > 0:18:44I mean, was it Kim Kardashian that was in front of you?
0:18:44 > 0:18:47Because, I mean, this is a curvaceous woman.
0:18:47 > 0:18:51I mean, this lady is bosomy, bottomy, she's wearing high heels.
0:18:51 > 0:18:55You've got a huge sense of movement of one sort or another,
0:18:55 > 0:18:57but it certainly wasn't that girl.
0:18:57 > 0:19:01This is the first watercolour that we've seen from anyone,
0:19:01 > 0:19:02and I commend you for that.
0:19:02 > 0:19:05Watercolour was perhaps suited to this, just doing a sketch,
0:19:05 > 0:19:06a flurry of activity.
0:19:06 > 0:19:09For that, you made the right choice, I think.
0:19:09 > 0:19:11Kim Kardashian, who's that?
0:19:11 > 0:19:13I've never heard of her.
0:19:19 > 0:19:22Another day, another challenge.
0:19:22 > 0:19:26Well, that first challenge could be described as a moving one.
0:19:26 > 0:19:30The next one is definitely a testing one.
0:19:30 > 0:19:35You've been painting one dancer making slow movements.
0:19:35 > 0:19:41Next up, you're going to be painting a whole troupe dancing the classic
0:19:41 > 0:19:43and beautiful sequence from Swan Lake.
0:19:43 > 0:19:46The judges, of course, will be looking for proportion -
0:19:46 > 0:19:48how things relate to one another.
0:19:48 > 0:19:50They'll also want you to convey a sense of movement -
0:19:50 > 0:19:52how you use your brushwork within the space available.
0:19:52 > 0:19:54And, of course, composition -
0:19:54 > 0:19:57where the figures are in relation to each other and the picture frame.
0:19:57 > 0:20:00So, dance away, my pretties.
0:20:00 > 0:20:02LAUGHTER
0:20:04 > 0:20:06Before the groups get started,
0:20:06 > 0:20:09our mentors share some tips which are helpful for anyone
0:20:09 > 0:20:12wanting to paint moving subjects.
0:20:12 > 0:20:14Pascal is taking his team outside
0:20:14 > 0:20:17to have a go at painting the bustling streets.
0:20:17 > 0:20:19This masterclass is about movement.
0:20:19 > 0:20:21So we're not going to be painting the building.
0:20:21 > 0:20:23We're going to be looking at people.
0:20:23 > 0:20:26I want us to think about how figures move within a space.
0:20:26 > 0:20:28David, you'll notice there are no pencils here.
0:20:28 > 0:20:32- There's only paint and some brushes. - Uh-huh.
0:20:34 > 0:20:36In order to depict movement,
0:20:36 > 0:20:39it's crucial not to allow the lines you make to become heavy and
0:20:39 > 0:20:44overworked. Instead, concentrate on using loose, fast marks.
0:20:45 > 0:20:47So I want you to think about using the paint brush
0:20:47 > 0:20:51just as a vertical line to suggest a human figure.
0:20:51 > 0:20:54I want you to do 100 figures, so we've got to work really,
0:20:54 > 0:20:57really quickly on this. So that's one.
0:20:57 > 0:20:59There's somebody crossing the road, that's two.
0:20:59 > 0:21:01Somebody here, three.
0:21:01 > 0:21:04You don't know what this is going to end up like, and I really want you,
0:21:04 > 0:21:07both of you, to trust the process of painting,
0:21:07 > 0:21:08cos you don't trust that yet.
0:21:08 > 0:21:12Pascal wants them to describe each passer-by with one line.
0:21:12 > 0:21:15- That one went wrong. - This one is great, OK?
0:21:15 > 0:21:17- Really?- So, just a vertical line.
0:21:17 > 0:21:21Try and see somebody in a very economic way.
0:21:21 > 0:21:23They're still really worried about the conclusion,
0:21:23 > 0:21:25so this is about trusting the process,
0:21:25 > 0:21:27not knowing what the final outcome's going to be,
0:21:27 > 0:21:29and they both really struggle with that because they like to be
0:21:29 > 0:21:31in control of what they're doing.
0:21:31 > 0:21:32How many are you up to?
0:21:32 > 0:21:34- 60?- 98.- Are you?
0:21:34 > 0:21:37You've been counting, well done. I knew I could rely on you to count.
0:21:37 > 0:21:39How about you, Suman, how many?
0:21:39 > 0:21:41I don't know. They're all becoming a blur, literally.
0:21:41 > 0:21:44- I think that's part the idea, though.- Yeah.- OK, time's up.
0:21:44 > 0:21:47Stop, stop, stop. Very well done.
0:21:47 > 0:21:50Really, really good. Come and have a look at them.
0:21:50 > 0:21:53Think about how you can use this in the next challenge with a group of
0:21:53 > 0:21:57- ballet dancers.- It's just a really good way of being more relaxed about
0:21:57 > 0:21:59the marks that we're putting down.
0:21:59 > 0:22:00Extremely helpful.
0:22:02 > 0:22:04Meanwhile, back inside Painters' Hall,
0:22:04 > 0:22:08Diana has a suggestion for another way of applying paint fluidly.
0:22:08 > 0:22:12What we're going to do now is you're going to play with paint using bits
0:22:12 > 0:22:14of card, so un-traditional tools.
0:22:14 > 0:22:18It's about movements in different directions to show the figures
0:22:18 > 0:22:21moving through space. Come on, Alan.
0:22:21 > 0:22:23OK.
0:22:23 > 0:22:25Just moving your paint in a certain
0:22:25 > 0:22:29direction can be enough to suggest movement.
0:22:29 > 0:22:33I'm liking that I'm trying to figure out how to push the figure
0:22:33 > 0:22:35to move a certain way.
0:22:35 > 0:22:38But I want to try and find different ways of...
0:22:38 > 0:22:40making different marks.
0:22:40 > 0:22:42Even though doesn't look like anything half decent,
0:22:42 > 0:22:45I think I'm learning through it, if you know what I mean.
0:22:45 > 0:22:47If you stand back...
0:22:48 > 0:22:50..that looks like it's moving fast.
0:22:50 > 0:22:54- Yeah.- All right, then, so we've all got some sense of movement there.
0:22:58 > 0:23:00With the masterclass over...
0:23:02 > 0:23:04..it's showtime.
0:23:09 > 0:23:12And the artists are treated to their very own ballet performance.
0:23:14 > 0:23:18MUSIC PLAYS: Dance of the Swans by Tchaikovsky
0:23:22 > 0:23:26The only problem is they'll then have the paint it.
0:23:34 > 0:23:36HE SCOFFS
0:23:36 > 0:23:40We're now in the semifinal stage and the challenges are getting tough.
0:23:44 > 0:23:47They're going to have to paint a group of people moving
0:23:47 > 0:23:48around one another,
0:23:48 > 0:23:51so they're going to have to show us not only that they can get the human
0:23:51 > 0:23:54body in proportion, that they can give us a sense of movement,
0:23:54 > 0:23:58but that also they can compose a series of figures to suggest a whole
0:23:58 > 0:24:00narrative of dynamism across the page.
0:24:04 > 0:24:07All of these things are going to be crucial in terms of
0:24:07 > 0:24:11telling the viewer what's going on in this dance.
0:24:16 > 0:24:18That was amazing!
0:24:19 > 0:24:21The dancers swan off for a break,
0:24:21 > 0:24:24but they'll return a number of times throughout the challenge.
0:24:25 > 0:24:26That was intense!
0:24:31 > 0:24:33Right, bye!
0:24:34 > 0:24:36Absolutely overwhelmed.
0:24:36 > 0:24:39It's totally amazing, but I'm bricking it a bit, to be honest.
0:24:39 > 0:24:40I just want to do them justice.
0:24:40 > 0:24:43There was one point I was just like, "Close your mouth, Jen,
0:24:43 > 0:24:46- "just get that chin up." - I think we were all like that.
0:24:47 > 0:24:49How am I going to paint this?
0:24:50 > 0:24:52Oh, yes, who could compete?
0:24:52 > 0:24:54The elegance of a swan,
0:24:54 > 0:24:56or is that a swine I was thinking?
0:24:56 > 0:24:59So this is the last challenge of the semifinal,
0:24:59 > 0:25:01so let's get started.
0:25:04 > 0:25:07The artists now have five hours to complete the challenge.
0:25:07 > 0:25:11First, they attempt to sketch the dancers from memory.
0:25:17 > 0:25:19- How are you doing?- I'm going to...
0:25:19 > 0:25:22- Same as me?- Yeah, same as everyone!
0:25:22 > 0:25:24I tried to get the movement here,
0:25:24 > 0:25:27and as soon as I got my pencil on the paper,
0:25:27 > 0:25:28- it was there.- Yeah.
0:25:28 > 0:25:31As soon as I got my pencil on the paper, it was here.
0:25:31 > 0:25:34I'm going to have to use memory, which is difficult,
0:25:34 > 0:25:39but I'll not be able to put in much accuracy but I'm going to keep them
0:25:39 > 0:25:40slim and moving.
0:25:46 > 0:25:48We're getting there with the plan.
0:25:49 > 0:25:51Ish.
0:25:51 > 0:25:53Think about it like a problem.
0:25:53 > 0:25:56I have to solve this problem of how to represent all this.
0:25:56 > 0:25:58How do we get from A to B?
0:25:59 > 0:26:02Art is hard. Things are very visually complicated.
0:26:02 > 0:26:05You need to declutter all that, simplify it,
0:26:05 > 0:26:09and think about how to solve the problem of these dancers,
0:26:09 > 0:26:11and then your canvas.
0:26:11 > 0:26:13Can you give me an example?
0:26:13 > 0:26:15Sequence, so that's one.
0:26:15 > 0:26:16So I could draw a sequence.
0:26:16 > 0:26:19Two, I could do a time-lapse.
0:26:19 > 0:26:22Sequence is extracting individual poses.
0:26:22 > 0:26:26Time-lapse is representing all those parts together.
0:26:32 > 0:26:35The artists are free to choose from a range of different canvases.
0:26:37 > 0:26:39- We can do this.- Hm?
0:26:39 > 0:26:40- We can do this.- Yeah.
0:26:41 > 0:26:44Swan Lake's all about a love story, isn't it?
0:26:44 > 0:26:45It's that kind of...
0:26:46 > 0:26:50I think it is, anyway, so I'm going to try and do two figures here.
0:26:50 > 0:26:54When they're moving, you're kind of moving your eye with it to try and
0:26:54 > 0:26:57catch up what they're doing and remember it all at the same time.
0:26:57 > 0:26:59Got this.
0:26:59 > 0:27:01I don't, I really don't!
0:27:04 > 0:27:07I've gone for one main figure in the foreground and I want her to look
0:27:07 > 0:27:11like she's leaping off the page, going from left to right.
0:27:11 > 0:27:14I need to do something with the figures in the background so they'll
0:27:14 > 0:27:16probably work themselves out.
0:27:16 > 0:27:20David has decided to paint a trio of swans and Pascal wants him to stick
0:27:20 > 0:27:24his neck out and plunge straight in with paint.
0:27:24 > 0:27:26What I really want you to do is paint like you're drawing.
0:27:26 > 0:27:27I know.
0:27:29 > 0:27:34David will not just apply paint to a canvas without all this preparatory
0:27:34 > 0:27:37work of drawing and putting markers down.
0:27:37 > 0:27:42He's very, very able, but he just won't do that basic step.
0:27:42 > 0:27:44What is the thing about the marker pens?
0:27:44 > 0:27:47I find it easier to manipulate the pen than I do...
0:27:47 > 0:27:49What, to physically hold it?
0:27:49 > 0:27:52- Yes.- You have a block like that.
0:27:52 > 0:27:55- Yeah.- And with marker pens, that block can't really change,
0:27:55 > 0:27:58but with this, depending on the angle that you turn it,
0:27:58 > 0:28:00the pressure of this will change,
0:28:00 > 0:28:02cos it will fan out when you put more pressure on
0:28:02 > 0:28:05and it will become like a block when you put less pressure on.
0:28:05 > 0:28:10So this as a tool has more chance to make different marks.
0:28:10 > 0:28:11All right, I'll have a go.
0:28:13 > 0:28:15Hi, Jimmy. What's your plan?
0:28:15 > 0:28:18She's going to be kneeling, looking at these two dancing.
0:28:18 > 0:28:21Right, OK. I'm just worried that's going to look like it's been cut off
0:28:21 > 0:28:23because you've ran out of space.
0:28:23 > 0:28:26- What are you doing? - Taking the one that's lucky.
0:28:26 > 0:28:28Oh, what, like magazines in shops where you take one that's behind?
0:28:28 > 0:28:30Yeah!
0:28:33 > 0:28:36I'm going for a big canvas because this is the only chance
0:28:36 > 0:28:38that I'm going to get to push out of my comfort zone.
0:28:38 > 0:28:42One of the things I have to learn as an artist is how to be fluid...
0:28:43 > 0:28:46..how to let things move and try not to control too much.
0:28:46 > 0:28:50And I think that if I don't do this now, then when I going to do it?
0:28:50 > 0:28:53Go down in style or go down in flames,
0:28:53 > 0:28:55whichever way you want to go.
0:28:55 > 0:28:59I think Suman is very good at working in a tight, controlled way,
0:28:59 > 0:29:02but I think she realises that she needs to evolve as an artist
0:29:02 > 0:29:05and work slightly differently.
0:29:05 > 0:29:08Suman's not the only one winging it with her new style.
0:29:08 > 0:29:11David is taking Pascal's advice on board
0:29:11 > 0:29:13and going straight in with the paintbrush.
0:29:31 > 0:29:35Alan's in a flap about the size of his dancers.
0:29:35 > 0:29:38Oh, the two figures in the background are terrible.
0:29:38 > 0:29:40All right, get rid of them.
0:29:43 > 0:29:47Alan's really indecisive about his composition.
0:29:47 > 0:29:49Could you have that figure in the foreground a little bit smaller
0:29:49 > 0:29:53so they're actually tiptoeing on the edge of the canvas?
0:29:53 > 0:29:55Do you think that would work?
0:29:55 > 0:29:58He's chosen a medium-sized canvas, but the figures are really big.
0:29:58 > 0:30:00It could be a bit more convincing.
0:30:00 > 0:30:03It does look like you've just cut it off without giving a reason.
0:30:03 > 0:30:05I'm going to rework the composition.
0:30:05 > 0:30:08- I don't like it.- OK, if you don't like it at this stage,
0:30:08 > 0:30:11you're not going to be happy for the rest of the challenge.
0:30:18 > 0:30:20Deep in thought?
0:30:20 > 0:30:23Yeah. We're just sitting here, mulling over how to fix everything
0:30:23 > 0:30:25- that I've done so far. - What's gone wrong?
0:30:25 > 0:30:27I'm trying to make it move too early on.
0:30:27 > 0:30:30I think if I just got the basics right, but even at that,
0:30:30 > 0:30:32because I want it moving,
0:30:32 > 0:30:36it's kind of like I'm battling in my head at the minute how to not just
0:30:36 > 0:30:39scrap it, and work with it.
0:30:39 > 0:30:42How are you going to solve it? Is it about drawing, is it about colour,
0:30:42 > 0:30:44is it about doing things in a new way?
0:30:44 > 0:30:47I have no clue.
0:30:47 > 0:30:50I feel like the last challenge knocked the wind out of my sails,
0:30:50 > 0:30:51- so...- Why?
0:30:51 > 0:30:54I don't know. It's maybe just too much.
0:30:55 > 0:30:59You can do this. We all know you can do this.
0:30:59 > 0:31:00Got to find that.
0:31:04 > 0:31:06Jennifer and Alan aren't the only ones in a
0:31:06 > 0:31:09spin over their compositions.
0:31:09 > 0:31:13So I'm trying to just get the gesture of the drawing in.
0:31:13 > 0:31:15The problem that I have at the moment is that
0:31:15 > 0:31:18I've been thinking too much about this drawing here,
0:31:18 > 0:31:21not paying attention to the size of this canvas,
0:31:21 > 0:31:23and consequently this is too high,
0:31:23 > 0:31:25the heads are going to get chopped off,
0:31:25 > 0:31:27so I have to shift everything down now,
0:31:27 > 0:31:30which means I have to get rid of everything I've done.
0:31:33 > 0:31:37MUSIC PLAYS: Dance of the Swans by Tchaikovsky
0:31:37 > 0:31:42But the show must go on, and the dancers flutter back to the stage.
0:31:54 > 0:31:58I've decided to pick another canvas to be playing about with,
0:31:58 > 0:32:00while this one's drying.
0:32:00 > 0:32:03I'm going to maybe try and incorporate our exercise,
0:32:03 > 0:32:05and do a bit of card work.
0:32:05 > 0:32:09I'll work on these simultaneously and hopefully be able to produce
0:32:09 > 0:32:12something that actually has the movement in it.
0:32:20 > 0:32:23I'm trying to put myself in their shoes,
0:32:23 > 0:32:25and think how difficult this task is.
0:32:25 > 0:32:26It's not only movement,
0:32:26 > 0:32:29because sometimes movement can be continuous,
0:32:29 > 0:32:32but the movement here, they move, and then they leave,
0:32:32 > 0:32:35and so we're kind of left with this empty space.
0:32:37 > 0:32:40- Thank you.- Alan, I'm struggling.
0:32:40 > 0:32:41I need someone to be painting.
0:32:41 > 0:32:43I'm doing it from my imagination and nothing's happening.
0:32:43 > 0:32:45I need a person.
0:32:45 > 0:32:48Do you not find that every time you looked and did a drawing,
0:32:48 > 0:32:51and then looked back up again, the drawing's gone?
0:32:51 > 0:32:55Did you not find that when you looked at the figures, and drew,
0:32:55 > 0:32:57and then looked a second time they were gone,
0:32:57 > 0:32:59it was a different position, a different position?
0:32:59 > 0:33:01How did you handle that?
0:33:05 > 0:33:09Is it going to be red, the brown and the green?
0:33:09 > 0:33:11Don't know.
0:33:11 > 0:33:12Did I make it too dark?
0:33:13 > 0:33:15Because your figures are small.
0:33:17 > 0:33:20Just be careful it's not too dominating,
0:33:20 > 0:33:23because the dancers will get lost in there.
0:33:23 > 0:33:27I think start filling out the figures, not filling out as in fat,
0:33:27 > 0:33:28please don't do that.
0:33:34 > 0:33:37Pascal has suggested that David works on two canvasses
0:33:37 > 0:33:40simultaneously to help him experiment
0:33:40 > 0:33:41with the more fluid style.
0:33:42 > 0:33:45Which is it going to be, the experimental one?
0:33:45 > 0:33:46I don't know. I'm going to carry on with...
0:33:46 > 0:33:49I haven't quite finished mapping out the red that I wanted to do,
0:33:49 > 0:33:52and then I'll probably just carry on with this one and see where it goes.
0:33:52 > 0:33:55Hopefully he's going to do one which is very experimental
0:33:55 > 0:33:57and one which is safer.
0:33:57 > 0:33:59I think it's kind of important for him to have that safety net.
0:33:59 > 0:34:02You work on one for a little bit, then just swap over,
0:34:02 > 0:34:05and that might be five minutes or it might be half an hour, but,
0:34:05 > 0:34:07as a strategy, I think that's good. That's really, really good.
0:34:07 > 0:34:11It sort of gives you the option of taking risks, without, you know,
0:34:11 > 0:34:13throwing the baby out with the bath water.
0:34:13 > 0:34:15It makes me...
0:34:16 > 0:34:19..happy that I can experiment without it all going wrong.
0:34:19 > 0:34:22I guess the problem is that I may not get as much done
0:34:22 > 0:34:23as I would otherwise.
0:34:28 > 0:34:34Suman is also getting to grips with a looser technique.
0:34:34 > 0:34:37- I want to cry.- No, it's lovely. No, you've got lovely sweeps.
0:34:37 > 0:34:40- (I'm going to cry.) - No, you're not going to cry.
0:34:40 > 0:34:44You're not going to cry. That's lovely, that's perfect, look.
0:34:44 > 0:34:46- Well done.- Thank you.- Brave girl.
0:34:46 > 0:34:49This is just so out of what I usually work like.
0:34:49 > 0:34:51A bit of a meltdown.
0:34:54 > 0:34:56- This is ambitious.- I know!
0:34:56 > 0:34:57You've really gone for it.
0:34:57 > 0:35:00- Ambitious is good. We like it. - Yeah.- (No, it's not!)
0:35:00 > 0:35:02It's not a dirty word, it's a good word.
0:35:02 > 0:35:04It's scary.
0:35:04 > 0:35:06I'm trying to have more fun with it.
0:35:06 > 0:35:08At the moment, I'm still simmering from my...
0:35:08 > 0:35:11- Little mini meltdown?- Yes! - What did you have a meltdown about?
0:35:11 > 0:35:13For some reason, I just lost the train of thought
0:35:13 > 0:35:15and a mark went wrong.
0:35:15 > 0:35:17I lost it and then had to start again.
0:35:17 > 0:35:20Are you interested in being a wilder, looser painter?
0:35:20 > 0:35:22Yes! Yes!
0:35:23 > 0:35:24I'd like to be able to...
0:35:24 > 0:35:29I'd still like to be accurate, but then be quite impressionistic.
0:35:29 > 0:35:32I love Degas' work because of that.
0:35:32 > 0:35:34It's a performance as well. I mean, you saw a performance.
0:35:34 > 0:35:36You get a sense of performance on your canvas too.
0:35:38 > 0:35:41It's not surprising Suman has found inspiration in the Impressionist
0:35:41 > 0:35:45artist Edgar Degas' paintings of ballet dancers.
0:35:45 > 0:35:50Degas dedicated decades of his life to capturing dancers in action.
0:35:50 > 0:35:52Lachlan is at The Courtauld Gallery
0:35:52 > 0:35:54to discover some of the tricks he used.
0:35:54 > 0:35:58Edgar Degas was one of the leading figures in the French Impressionist
0:35:58 > 0:36:01movement, and one of the guiding principles for those artists
0:36:01 > 0:36:05was that a modern painting should really act like a snapshot
0:36:05 > 0:36:06of contemporary life,
0:36:06 > 0:36:08that it should authentically capture
0:36:08 > 0:36:11the sense of spontaneity and movement in the real world.
0:36:15 > 0:36:16"Two Dancers on a Stage"
0:36:16 > 0:36:19is part of a legacy of the extraordinary work that
0:36:19 > 0:36:22Degas produced, examining the behind-the-scenes world
0:36:22 > 0:36:25of the ballet - the classes, the rehearsals,
0:36:25 > 0:36:27the preparations for performances
0:36:27 > 0:36:32that structured the daily lives of the dancers at the Paris Opera.
0:36:33 > 0:36:37What you've got here is really a masterclass in movement performed by
0:36:37 > 0:36:41Degas. The composition creates a sense of expectancy.
0:36:41 > 0:36:44All that empty space makes us wonder what's about to happen,
0:36:44 > 0:36:47who's about to move into that empty space.
0:36:47 > 0:36:49And the two diagonal lines that are moving down
0:36:49 > 0:36:52from the top right to the bottom left of the image
0:36:52 > 0:36:54intensify this sense of direction,
0:36:54 > 0:36:58like an arrow pointing across to the bottom left-hand corner.
0:37:01 > 0:37:05His treatment of the figures is very feathery and light.
0:37:05 > 0:37:08They look as if they are shimmering in the light of the stage,
0:37:08 > 0:37:11and the fact that he's positioned these two figures
0:37:11 > 0:37:13so that they overlap with one another
0:37:13 > 0:37:15creates a nice relationship between the two.
0:37:15 > 0:37:18You're expecting them perhaps to move around each other
0:37:18 > 0:37:20in a swirl across the stage.
0:37:23 > 0:37:26Figures that continue moving through space and time,
0:37:26 > 0:37:28pirouetting on into eternity.
0:37:34 > 0:37:37The artists are now midway through the challenge,
0:37:37 > 0:37:40and have two and a half hours to complete their paintings.
0:37:40 > 0:37:43We're halfway through. I've started,
0:37:43 > 0:37:45so I'm going to have to continue along these lines.
0:37:45 > 0:37:47Pff!
0:37:47 > 0:37:48Let's hope it works.
0:37:50 > 0:37:53After her earlier struggle, Jennifer has found her feet.
0:37:53 > 0:37:58So I think I might have found what I'm meant to be doing.
0:37:58 > 0:38:01I've kind of taken a wee minute away, and now I'm back on it.
0:38:01 > 0:38:06I just need to be working as fast as I can now.
0:38:06 > 0:38:09But David is unsure which of his two canvasses to focus on,
0:38:09 > 0:38:14the so-called experimental one or the so-called safe one.
0:38:14 > 0:38:16At the moment, there isn't, you know,
0:38:16 > 0:38:19a primary one and a secondary one. This was going to be secondary,
0:38:19 > 0:38:22but I can see some aspects that I prefer over that one.
0:38:22 > 0:38:23Which one's that one, David?
0:38:23 > 0:38:25Is that the experimental one or the safe one?
0:38:25 > 0:38:26- Safe one.- Well, they're...
0:38:26 > 0:38:28Safe one, safe one.
0:38:28 > 0:38:30- Is it?- Yeah, definitely.
0:38:32 > 0:38:34Shall I swap over again, then?
0:38:36 > 0:38:39Despite her earlier crisis in confidence,
0:38:39 > 0:38:41Suman is coming on leaps and bounds.
0:38:43 > 0:38:46I'm trying to make the marks really simple like we did in the
0:38:46 > 0:38:50masterclass. I don't spend more than a couple of seconds on one figure,
0:38:50 > 0:38:52then I move onto the next one.
0:38:52 > 0:38:53On the other side of the dance floor,
0:38:53 > 0:38:56Diana's artists are feeling less confident.
0:38:56 > 0:39:00Alan has cold feet about the position of the dancer's leg.
0:39:01 > 0:39:04I thought her leg was like that, it was cocked back a bit,
0:39:04 > 0:39:05but she had the chap behind him...
0:39:06 > 0:39:10..lifting it, and her head was facing the other way.
0:39:10 > 0:39:12- What did you see?- Straight leg.
0:39:12 > 0:39:13You think absolutely straight?
0:39:13 > 0:39:16- Mmm.- What, from there? - For the nature of ballet dancers.
0:39:18 > 0:39:19What shall I do with the background?
0:39:19 > 0:39:22Be careful the red isn't too dominating.
0:39:22 > 0:39:25I'm feeling pretty nervous, to be honest.
0:39:25 > 0:39:27My biggest issue at the minute is this leg
0:39:27 > 0:39:29which is sweeping right across.
0:39:29 > 0:39:31Diana has said she's not happy.
0:39:31 > 0:39:32She's never been wrong.
0:39:32 > 0:39:34I just want to get it right.
0:39:38 > 0:39:40While Alan fixes his airborne leg,
0:39:40 > 0:39:45Diana is worried about Jimmy's dancers planted firmly on the floor.
0:39:45 > 0:39:48It's interesting Jimmy's chosen three figures
0:39:48 > 0:39:50with their feet touching on the floor. They're sat down,
0:39:50 > 0:39:53so they're not in positions where they're moving.
0:39:53 > 0:39:54I'll try and get some swirls.
0:39:54 > 0:39:58I'll try and get all the movement coming from the joints,
0:39:58 > 0:40:02all of the arms moving here from this way, that way.
0:40:03 > 0:40:08Think about how small these mark-making...
0:40:08 > 0:40:11will be with the paint, because she was vibrating because of tiredness,
0:40:11 > 0:40:12but that's still movement.
0:40:12 > 0:40:15So you can have very, very subtle marks, shaking.
0:40:15 > 0:40:18- Right, OK.- OK? I'm just worried, because this is the biggest figure,
0:40:18 > 0:40:20it's dominating, she's sat down, she's not moving.
0:40:20 > 0:40:23I'm worried it's going to be too static.
0:40:24 > 0:40:28Jennifer has ditched her brushes and is using the technique Diana taught
0:40:28 > 0:40:29her earlier.
0:40:31 > 0:40:33This is something very new for me.
0:40:33 > 0:40:35I think this is really pushing the boundaries
0:40:35 > 0:40:37of what I can do and what I can achieve.
0:40:39 > 0:40:42You've come a long way since the last time we talked.
0:40:42 > 0:40:46Yeah, I think I was just able to stop looking at it for a wee while,
0:40:46 > 0:40:49and... Cos you kind of get so absorbed in what you're doing,
0:40:49 > 0:40:51you kind of forget how to see,
0:40:51 > 0:40:53and it's really hard when you've got something
0:40:53 > 0:40:55that's a moving target to look at.
0:40:57 > 0:41:02With an hour to go, David is still working on both canvasses.
0:41:03 > 0:41:04Arr!
0:41:08 > 0:41:11Once I get to a point where either I think it's going backwards,
0:41:11 > 0:41:15or I can't see what to do next, then I'll return to that one.
0:41:15 > 0:41:17It's just a safety net, in a way, of having two canvasses.
0:41:21 > 0:41:23You have to make a decision at some point, don't you?
0:41:23 > 0:41:25I do, yes.
0:41:34 > 0:41:35Pff!
0:41:35 > 0:41:39Let's just not to look at other people's for a while!
0:41:39 > 0:41:42Seeing you do that arm there, that's starting to work really well.
0:41:42 > 0:41:46If you think about just glancing, it's only there for a second,
0:41:46 > 0:41:48so I don't think it needs to be solid, because that,
0:41:48 > 0:41:51just what you've done there, implies movement.
0:41:51 > 0:41:54Think about, if an arm is moving round like that,
0:41:54 > 0:41:59this distance the hand is travelling is more than the shoulder is
0:41:59 > 0:42:01travelling. The shoulder's only travelling that far,
0:42:01 > 0:42:05the hand is travelling that far, so to have more paintwork here,
0:42:05 > 0:42:08and less as it goes here is exactly what would happen.
0:42:08 > 0:42:12So just leave that alone,
0:42:12 > 0:42:14it's working so well.
0:42:14 > 0:42:15OK.
0:42:20 > 0:42:22Jimmy's having problems with proportion again,
0:42:22 > 0:42:25so I do need to get in there and work with him
0:42:25 > 0:42:26to rectify those mistakes.
0:42:26 > 0:42:28It looks a bit like a chicken drumstick. I'm sorry,
0:42:28 > 0:42:30but it's a bit chunky again!
0:42:30 > 0:42:33It goes down, and in, there's a calf muscle there.
0:42:33 > 0:42:35- OK...- No?
0:42:35 > 0:42:37Mmm.
0:42:38 > 0:42:39Make it a wee bit slimmer, then?
0:42:39 > 0:42:40Slimmer.
0:42:42 > 0:42:45The leg is disjointed from the body.
0:42:45 > 0:42:48Also, on one of the figures, they've got three arms.
0:42:48 > 0:42:50- It's a moving arm.- Oh, it doesn't look moving,
0:42:50 > 0:42:52it looks like she's got another one,
0:42:52 > 0:42:54because it's not as faded as it could be.
0:42:54 > 0:42:56- Right, OK.- It's looking quite solid.
0:42:56 > 0:42:59Get that sorted, and then get rid of one of the arms.
0:43:03 > 0:43:06Oh, I'm worried about everything just about at the moment, yeah.
0:43:06 > 0:43:08I'm going to have to try and get a bit more grace,
0:43:08 > 0:43:10a bit more movement,
0:43:10 > 0:43:12and try and get the proportions correct.
0:43:15 > 0:43:19With time running out, David has to make a decision.
0:43:22 > 0:43:25This is the first one I started. That's the second one.
0:43:25 > 0:43:27I will be going with this original canvas almost certainly.
0:43:27 > 0:43:29I don't know what the judges
0:43:29 > 0:43:30are going to make of it, but I'm sort of happy.
0:43:39 > 0:43:42Right, stop now. I feel you've done enough in this.
0:43:42 > 0:43:45I'm really looking forward to seeing what the judges say,
0:43:45 > 0:43:47cos I think it is your best piece yet.
0:43:47 > 0:43:49Suman, how are you getting on?
0:43:49 > 0:43:52- Are you done?- I think I'm going to stop now.- Oh, man, it's beautiful!
0:43:52 > 0:43:53Do you like it?
0:43:53 > 0:43:54I...
0:43:56 > 0:43:58You've got ten minutes left, Jimmy.
0:43:58 > 0:43:59OK.
0:44:01 > 0:44:02We could make the edges fuzzy.
0:44:02 > 0:44:05I'd take advantage of the dancers now, especially with the skirt.
0:44:08 > 0:44:10Do you think more movement lines on here?
0:44:10 > 0:44:12Yeah, yeah, that's better.
0:44:13 > 0:44:15Can you see that, Jimmy, with the leg?
0:44:15 > 0:44:17I'm hoping I get away with it.
0:44:18 > 0:44:21I am getting more movement from her than him.
0:44:21 > 0:44:24I'm going to just put a bit of white in.
0:44:33 > 0:44:36OK, that's it, brushes down, step away from the canvases.
0:44:36 > 0:44:39Time is up, I'm afraid, for this challenge.
0:44:39 > 0:44:43And everything you have done to get you into the final, you have done.
0:44:44 > 0:44:46Are you happy with yours?
0:44:46 > 0:44:49- No.- Why not?- It's terrible.
0:44:49 > 0:44:50Hello, my friend.
0:44:51 > 0:44:53I'm exhausted.
0:44:55 > 0:44:57It's like a map of thinking, I think.
0:44:57 > 0:45:02Just started in one spot, didn't plan it at all.
0:45:02 > 0:45:03You all right?
0:45:04 > 0:45:06Why does this never get easier?
0:45:06 > 0:45:08I genuinely feel like I'm gone.
0:45:11 > 0:45:13I certainly do not want to go home.
0:45:13 > 0:45:15I want to be here next week.
0:45:15 > 0:45:16I want to be in the final.
0:45:16 > 0:45:18It's as simple as that.
0:45:21 > 0:45:24The artists can now retreat to the wings before coming back to the
0:45:24 > 0:45:26spotlight to impress the judges.
0:45:27 > 0:45:29But before the judges give us their thoughts,
0:45:29 > 0:45:32we've invited a group of professional dancers
0:45:32 > 0:45:35to choose their favourite painting.
0:45:35 > 0:45:39I'm not too keen on the actual background of that.
0:45:39 > 0:45:41- No.- Cos this is quite soft in the front and they've got
0:45:41 > 0:45:44these red panels just... I think it's quite distracting.
0:45:44 > 0:45:46This lady stands out...
0:45:46 > 0:45:50- Maybe in the wrong way.- ..but is very technically inaccurate.
0:45:52 > 0:45:56The postures of the dancers aren't quite realistic.
0:45:56 > 0:46:00Like, she's bending her toes rather than pointing them, so...
0:46:00 > 0:46:03- Which... It ruins her line. - Yeah, it looks wrong.
0:46:04 > 0:46:09They kind of give us an idea of sensuality of the ballerinas.
0:46:09 > 0:46:10I do like the colours as well.
0:46:10 > 0:46:13It has warmth, I think, to the portrait.
0:46:13 > 0:46:14Yes, that's very true.
0:46:16 > 0:46:18There's lots of movement in this piece, I think,
0:46:18 > 0:46:20lots of dynamics come cross.
0:46:20 > 0:46:22I like the idea behind...
0:46:22 > 0:46:24Yeah, it's the same couple and it's the progression.
0:46:24 > 0:46:26And it looks a bit like the panic of a rehearsal.
0:46:26 > 0:46:27Yeah!
0:46:27 > 0:46:29It's definitely my favourite one.
0:46:29 > 0:46:33There's something that gives you a different story.
0:46:33 > 0:46:35You can be so many different things.
0:46:35 > 0:46:38I don't know if I prefer this one compared to this one
0:46:38 > 0:46:42because of being able to feel something from the painting.
0:46:43 > 0:46:45Before the dancers leave,
0:46:45 > 0:46:48they cast their vote for their favourite painting.
0:46:48 > 0:46:50And the artist with the most votes
0:46:50 > 0:46:53will be guaranteed a place in the final.
0:46:54 > 0:46:59But before we find out who is safe, our art experts - Daphne,
0:46:59 > 0:47:01David and Lachlan - will deliver their verdicts
0:47:01 > 0:47:03on the finished paintings.
0:47:03 > 0:47:05- Hi.- Hello.- That was straightforward, wasn't it?
0:47:13 > 0:47:16A nervous silence descends on the room.
0:47:16 > 0:47:18The artists are being judged on composition,
0:47:18 > 0:47:22accurate proportions, and a sense of movement.
0:47:22 > 0:47:25I think this was by far the very hardest challenge
0:47:25 > 0:47:28that you've faced, and I can imagine you're all sitting there going,
0:47:28 > 0:47:30"I'd just like to see you try,"
0:47:30 > 0:47:33because it was enormously hard.
0:47:33 > 0:47:35I mean, it was a test of your ability to freeze frame
0:47:35 > 0:47:38what's happening in front of you and choose that moment
0:47:38 > 0:47:41and then sustain that over several hours.
0:47:41 > 0:47:42Very difficult.
0:47:44 > 0:47:47First up, Diana's artists.
0:47:47 > 0:47:52Hello, Jennifer. The figure on the left-hand side is very successful.
0:47:52 > 0:47:56What is successful in your image for me is actually the rather
0:47:56 > 0:47:59sophisticated way that you have described this leg.
0:47:59 > 0:48:04There is a vital impression of this leg moving away from us and spinning
0:48:04 > 0:48:06behind the dancer.
0:48:06 > 0:48:07Thank you.
0:48:09 > 0:48:10Jennifer.
0:48:14 > 0:48:15Well done.
0:48:17 > 0:48:21The proportions are good. I think the sense of movement is good,
0:48:21 > 0:48:23but it's the romance of the whole thing,
0:48:23 > 0:48:27the way you've used the colours and you've used the composition
0:48:27 > 0:48:31to suggest a story and our imaginations are set alight.
0:48:31 > 0:48:34Yes! So did not expect that.
0:48:34 > 0:48:36Daphne really liked it!
0:48:37 > 0:48:39That's just made my day.
0:48:45 > 0:48:48Alan, the image is being let down by a few important factors,
0:48:48 > 0:48:51and the most striking of all is these curtains.
0:48:51 > 0:48:54They're so heavy in contrast with the lightness of touch you've
0:48:54 > 0:48:57demonstrated everywhere that there is this disjoin.
0:48:57 > 0:49:01That leg's going forward and this leg's further back
0:49:01 > 0:49:02and going that way.
0:49:02 > 0:49:05It's completely disjointed.
0:49:05 > 0:49:08Alan, I think this is a daring piece of work.
0:49:08 > 0:49:12There are some problems with it, but I think it was a daring choice and
0:49:12 > 0:49:15it gives us a strong sense of movement and action.
0:49:17 > 0:49:19Absolutely worried about the final result.
0:49:19 > 0:49:22I don't think I'll make it through.
0:49:26 > 0:49:30Jimmy, I don't really think there's much movement in this painting.
0:49:30 > 0:49:32They really look as though you've caught them
0:49:32 > 0:49:36when they were resting or just holding a static pose.
0:49:38 > 0:49:42It's not really a successful composition
0:49:42 > 0:49:45with having just one side of the painting come on off the edge.
0:49:45 > 0:49:48It looks as though it was a mistake.
0:49:48 > 0:49:52The legs just don't look like they're the legs of that figure,
0:49:52 > 0:49:54and once the eye starts to see those kinds of errors,
0:49:54 > 0:49:58the whole of this side of the painting starts to weaken.
0:49:58 > 0:50:00I love the spaghetti arm.
0:50:00 > 0:50:04I mean, look at that, it's bendy and winding and it's very long and
0:50:04 > 0:50:08stretched out. That is kind of hinting at a sense of movement,
0:50:08 > 0:50:11but it's not really touching on accuracy at all.
0:50:12 > 0:50:16This might be curtains, literally curtains, but we'll wait and see.
0:50:20 > 0:50:23Next up, it's Pascal's artists.
0:50:23 > 0:50:27Suman, I think you've risen to the challenge in this painting.
0:50:27 > 0:50:29It's action-packed.
0:50:29 > 0:50:33You've even used this device of having this figure repeated
0:50:33 > 0:50:34several times,
0:50:34 > 0:50:39which echoes that sense of movement and energy across the work.
0:50:39 > 0:50:41- Thanks.- Well, Suman,
0:50:41 > 0:50:44your proportions are all wrong, aren't they?
0:50:46 > 0:50:48I mean, we've got this tiny little dancer who looks
0:50:48 > 0:50:50as if she's about to be rugby kicked
0:50:50 > 0:50:52right out of the painting,
0:50:52 > 0:50:54but this is an image that's got guts.
0:50:54 > 0:50:56It's an image that's bold and brave
0:50:56 > 0:51:00and is whirling and dancing with movement.
0:51:01 > 0:51:05I had a long discussion with Pascal
0:51:05 > 0:51:08and I can't thank him enough for how
0:51:08 > 0:51:11he helped me look at this challenge.
0:51:13 > 0:51:17David, this is a carefully considered work which gives you good
0:51:17 > 0:51:22composition and the proportion's OK, but where it falls down is in the
0:51:22 > 0:51:24sense of movement.
0:51:24 > 0:51:27David, I think this is one of your most successful second...
0:51:27 > 0:51:29Phew!
0:51:29 > 0:51:33..challenges. You've made use of the curtains in the background,
0:51:33 > 0:51:36so you've got light and dark and light and dark,
0:51:36 > 0:51:41and you've also used the tutus to make a horizontal.
0:51:41 > 0:51:44So it's a very simple division of the surface,
0:51:44 > 0:51:47which binds the whole composition together.
0:51:49 > 0:51:51I love the lightness of touch.
0:51:51 > 0:51:55I think that's a big jump for you, and a fruitful one.
0:51:55 > 0:51:57I think it's a very successful painting.
0:51:57 > 0:51:58Thank you.
0:52:01 > 0:52:03If they want a reflection of accurate poising,
0:52:03 > 0:52:06I think I might be in with a chance.
0:52:06 > 0:52:08Somebody's got to knock the girls off the top spot, haven't they?
0:52:08 > 0:52:10But I think it's a tough call.
0:52:10 > 0:52:12Well, that's what the judges think,
0:52:12 > 0:52:14but of course the public have been in too,
0:52:14 > 0:52:16and they've picked their favourite,
0:52:16 > 0:52:20and whoever painted that has booked themselves a place in the final.
0:52:20 > 0:52:23It was neck and neck, yet again,
0:52:23 > 0:52:28but in the end they did go for one particular artist.
0:52:31 > 0:52:32Suman!
0:52:33 > 0:52:36APPLAUSE
0:52:36 > 0:52:38- Well done.- Thank you. So much.
0:52:38 > 0:52:40Suman, you've got your place in the final.
0:52:40 > 0:52:42- How does that feel?- Amazing.
0:52:42 > 0:52:43You took some real risks with this picture.
0:52:43 > 0:52:45It must feel like those risks have been rewarded.
0:52:45 > 0:52:47It was a huge step, yeah.
0:52:47 > 0:52:50Really, really glad that I took the chance.
0:52:50 > 0:52:54Well, we know that Suman is going through to the final.
0:52:54 > 0:52:56Who will be joining her?
0:52:56 > 0:52:58It's time for you judges to go and judge
0:52:58 > 0:53:01and return with a verdict. SHE IMITATES DRUM ROLL
0:53:01 > 0:53:03Oh, you scared the living daylights out of me!
0:53:10 > 0:53:12So, this has been an incredibly difficult challenge
0:53:12 > 0:53:14for them, hasn't it?
0:53:14 > 0:53:16The movement question, I think, has been such a thing
0:53:16 > 0:53:18that they've struggled with.
0:53:18 > 0:53:20I think having several figures at the same time,
0:53:20 > 0:53:22that's really something that threw them.
0:53:22 > 0:53:24I did think that Suman's stood out
0:53:24 > 0:53:27in terms of someone who's really found her voice.
0:53:27 > 0:53:30She took the risk and it has that joie de vivre in the entire thing.
0:53:30 > 0:53:32I thought that there were at least three of them
0:53:32 > 0:53:35that could have got the public vote. David, for example.
0:53:35 > 0:53:38What impressed me about his painting was that he took on a big scale,
0:53:38 > 0:53:40he had these three dominant figures.
0:53:40 > 0:53:43- Yes.- And there was a great deal of luminosity in the paint.
0:53:43 > 0:53:48What frustrated me was I didn't feel he'd really moved on a huge amount
0:53:48 > 0:53:49from the first challenge.
0:53:49 > 0:53:51But he hadn't got those strong,
0:53:51 > 0:53:55hard shadows that were ruining the first challenge.
0:53:55 > 0:53:57He got rid of the special effects, that's right.
0:53:57 > 0:54:00Jennifer - there was a painting that confused me also.
0:54:00 > 0:54:03It's always the question about Jennifer's approach -
0:54:03 > 0:54:05is she creating something that's inspired
0:54:05 > 0:54:07or is she getting away with murder?
0:54:07 > 0:54:10She does get away with murder,
0:54:10 > 0:54:14but she works to her strengths and whatever her drawbacks are,
0:54:14 > 0:54:18she has her own style. That's quite important.
0:54:18 > 0:54:20Sometimes when I look at Jimmy's images,
0:54:20 > 0:54:22I'm not sure to what extent he's really conscious
0:54:22 > 0:54:24of what he's trying to do.
0:54:24 > 0:54:27In that composition, there were many accidents.
0:54:27 > 0:54:30- For my money, he's the one really struggling.- True.
0:54:30 > 0:54:33I didn't think what he represented was what he actually saw.
0:54:33 > 0:54:34No, no, no, that's absolutely...
0:54:34 > 0:54:37He was just inventing something, he could have invented that anywhere.
0:54:37 > 0:54:41Well, for me, although I think Alan's got a lot of potential,
0:54:41 > 0:54:44I do think his was the worst painting
0:54:44 > 0:54:46because it looked so awkward.
0:54:46 > 0:54:48There were so many schoolboy mistakes.
0:54:48 > 0:54:52The large figure was really, to my mind, unbelievable,
0:54:52 > 0:54:55and to offset the figures against those very strong stripes
0:54:55 > 0:54:57in the background,
0:54:57 > 0:54:59again, another killer.
0:54:59 > 0:55:01I would have probably hung Jimmy's
0:55:01 > 0:55:03painting on my wall in preference to Alan's.
0:55:03 > 0:55:06So, are we agreed that it's going to
0:55:06 > 0:55:08be between Jimmy and Alan as to who we
0:55:08 > 0:55:11have to let go on this occasion?
0:55:11 > 0:55:13- I think so, absolutely. - Unfortunately, yes.
0:55:21 > 0:55:25The judges have decided who next week's finalists will be.
0:55:25 > 0:55:27So, Lachlan, will you reveal
0:55:27 > 0:55:29which of our artists is going home this week?
0:55:29 > 0:55:32Well, I'm afraid it's always awful to have to lose artists
0:55:32 > 0:55:34at this stage of the competition.
0:55:34 > 0:55:36Nobody wants to leave with the final in sight,
0:55:36 > 0:55:41but I'm afraid the name of the person who we're losing is...
0:55:47 > 0:55:48..Jimmy.
0:55:50 > 0:55:52Had to happen sometime, didn't it?
0:55:53 > 0:55:55- OK, chief.- Oh, dear. Who's going to make us laugh now?
0:55:55 > 0:55:58Oh, you'll laugh, don't you worry. What a mentor, what a mentor.
0:55:58 > 0:56:00- Thank you. Well done.- It's been great fun. Thank you, everybody.
0:56:00 > 0:56:04We've enjoyed looking at your paintings so much and, honestly,
0:56:04 > 0:56:06from a painter to a painter,
0:56:06 > 0:56:09I sense your enjoyment, your enthusiasm, your zest.
0:56:09 > 0:56:12It's not easy moving colour around the way you do and
0:56:12 > 0:56:14communicating your pleasure to the viewer,
0:56:14 > 0:56:18so stick at it and I look forward to seeing what you produce next.
0:56:18 > 0:56:21Thank you. It's been a wonderful experience for me to get this far.
0:56:21 > 0:56:24I never dreamt for a minute that I would even qualify as one of
0:56:24 > 0:56:27the ten artists, and to reach the stage of getting to the semifinal,
0:56:27 > 0:56:31it's been a thrill of my life and I'll never, ever forget any of you.
0:56:31 > 0:56:33Presenters, you're stars of the telly
0:56:33 > 0:56:35and you'll be stars in my heart forever.
0:56:35 > 0:56:39Aw! That was beautiful.
0:56:39 > 0:56:42- You're a wee darling.- Well done.
0:56:43 > 0:56:47Well, I'm dumped, I'm out.
0:56:47 > 0:56:49You do understand, of course, that I've got to go back to Glasgow
0:56:49 > 0:56:52and face the music from all these real artists that I know.
0:56:52 > 0:56:54They'll be giving me pelters
0:56:54 > 0:56:56for daring to come onto a show like this.
0:56:56 > 0:56:58But I'll be able to say to them,
0:56:58 > 0:57:01"I was on the show and you weren't."
0:57:01 > 0:57:02Squeeze.
0:57:02 > 0:57:06O-M-G, absolutely cannot believe that I'm in the final.
0:57:06 > 0:57:08Yes, it's great. I don't know how to approach it yet.
0:57:08 > 0:57:11I don't know what I'll be doing next week.
0:57:12 > 0:57:15Watercolour on roller-skates?
0:57:15 > 0:57:18Next week on The Big Painting Challenge,
0:57:18 > 0:57:19it's the grand final.
0:57:27 > 0:57:29You find the exact thing that I hate painting.
0:57:29 > 0:57:31I hate it already.
0:57:31 > 0:57:34I think this is a crowning achievement.