0:00:08 > 0:00:11There's something incredibly special about making
0:00:11 > 0:00:14things by hand, and more and more of us
0:00:14 > 0:00:18are discovering the immense pleasure that craft can bring.
0:00:21 > 0:00:24I'm really enjoying this. Is that coming out?
0:00:24 > 0:00:27Look at that.
0:00:27 > 0:00:32We'll be getting right inside the creative process in two workshops.
0:00:32 > 0:00:36In Yorkshire, embroiderer extraordinaire Marna Lunt
0:00:36 > 0:00:40will be revealing how to create a hand-stitched lampshade.
0:00:40 > 0:00:43Delve into the fabric. Just get things that you love.
0:00:43 > 0:00:48And, in London, scalpel whizz Christine Green will be making
0:00:48 > 0:00:50a very special greetings card.
0:00:50 > 0:00:55This one is actually a flat piece of paper cut out above the fold
0:00:55 > 0:00:58- and then cut out below the fold. - Wow.
0:00:58 > 0:01:03Both groups contain experienced crafters and complete beginners...
0:01:03 > 0:01:05All you're going to do is put it in to...
0:01:05 > 0:01:07See the hole where that stitch has come through?
0:01:07 > 0:01:09Right, I think I've got it now.
0:01:09 > 0:01:12..leaving the outside world behind and immersing themselves
0:01:12 > 0:01:15in their own creativity.
0:01:15 > 0:01:18I'm really in the zone, floating in my own little place.
0:01:20 > 0:01:24You get absorbed. It just takes you away to a different place, really.
0:01:24 > 0:01:25I have no idea what time it is now.
0:01:25 > 0:01:29They'll learn new skills, but also experience the profound
0:01:29 > 0:01:33sense of achievement and wellbeing that craft can bring.
0:01:33 > 0:01:36Well, I came in feeling bewildered.
0:01:36 > 0:01:41- I've created...- You came out bewildered.- I've created...this.
0:02:01 > 0:02:05Needle up. Just straight through.
0:02:05 > 0:02:08'One person who really understands the power of craft
0:02:08 > 0:02:11'is my mother, Kate.'
0:02:11 > 0:02:14Pull it down, and you might have to wiggle a bit.
0:02:14 > 0:02:16Keep it taut.
0:02:16 > 0:02:20'She's been making things all her life, and has convinced me,
0:02:20 > 0:02:22'all thumbs, to have a go.'
0:02:22 > 0:02:25Why do you think I didn't end up doing any of this then?
0:02:25 > 0:02:29You were such a busy little girl, and any time you weren't busy,
0:02:29 > 0:02:33- you were reading.- I do love doing things with my hands,
0:02:33 > 0:02:36but I haven't done it so much through making things,
0:02:36 > 0:02:38but it's funny, I think the older I've got,
0:02:38 > 0:02:39the more tempted I am to give it a go.
0:02:39 > 0:02:42Yes, oh, I think you'll really enjoy it.
0:02:42 > 0:02:45'One of my most treasured possessions is a beautiful
0:02:45 > 0:02:47'quilt she made for me.'
0:02:47 > 0:02:50I can't imagine how much work was involved in it.
0:02:50 > 0:02:55The fact that you'd made it for me made a huge difference, actually.
0:02:55 > 0:02:57Well, you're a very special daughter.
0:02:57 > 0:03:01This was something that I felt perhaps only I could give you.
0:03:01 > 0:03:04- It was a way of saying, "I love you."- Aw.- You know that.
0:03:04 > 0:03:07What is it you think you get out of it?
0:03:07 > 0:03:12There's a need, at the end of it all, to have something,
0:03:12 > 0:03:15if not beautiful, something you're pleased with,
0:03:15 > 0:03:17something that pleases the eye.
0:03:17 > 0:03:23And I think the need to create - it's a big word for what
0:03:23 > 0:03:28you're doing - but the need to do that is very strong in us all.
0:03:28 > 0:03:30It gives tremendous pleasure,
0:03:30 > 0:03:35and if you're making it for somebody else, that's even better.
0:03:35 > 0:03:37- Yes, that makes it special. - Yes, yes.
0:03:42 > 0:03:46This is Lealholm, the village deep in the North Yorkshire moors
0:03:46 > 0:03:49where we're holding our first workshop,
0:03:49 > 0:03:54led by one of Britain's best embroiderers, Marna Lunt.
0:03:54 > 0:03:57Creating something just... It makes you happy.
0:03:57 > 0:03:59You get lost in it, so you don't have time to think about
0:03:59 > 0:04:02all the other things that are going on in life.
0:04:03 > 0:04:05I grew up on these moors,
0:04:05 > 0:04:10and this is where everything about me has started.
0:04:11 > 0:04:16For some reason, I feel like these are MY moors, they belong to me.
0:04:16 > 0:04:21This landscape has defined how Marna approaches her work.
0:04:21 > 0:04:24All you can see is colour everywhere - lime greens,
0:04:24 > 0:04:27there's pinks, there's damsons, there's deep browns
0:04:27 > 0:04:32and such texture and layering, and all of those little things is
0:04:32 > 0:04:35what I'm creating in my work every single time.
0:04:36 > 0:04:39Her lampshades are built from several layers of cloth
0:04:39 > 0:04:45and intricate stitching, each one taking around 80 hours to create.
0:04:48 > 0:04:51Marna's workshop will be held in the local village hall.
0:04:51 > 0:04:55Seven makers of varying abilities are going to spend the next two days
0:04:55 > 0:04:58creating their own embroidered lampshades,
0:04:58 > 0:05:01using Marna's technique of building up detailed layers.
0:05:01 > 0:05:04But first, some basics.
0:05:04 > 0:05:07If you want to have a look at the back of your chairs,
0:05:07 > 0:05:10you have got a little goodie bag.
0:05:10 > 0:05:12Your needles are in this bag,
0:05:12 > 0:05:14and we've got your cotton, is in your bag as well.
0:05:14 > 0:05:18So everything that you need for the day is in your bags.
0:05:18 > 0:05:20The only thing I recognise is the pencil.
0:05:20 > 0:05:22LAUGHTER
0:05:22 > 0:05:27Marna's given everyone a pre-drawn template of a Yorkshire Rose
0:05:27 > 0:05:29stretched over an embroidery hoop,
0:05:29 > 0:05:31which can help make stitching easier.
0:05:31 > 0:05:33First of all, we're going to cut our
0:05:33 > 0:05:36little piece of yellow fabric in a little circle
0:05:36 > 0:05:38and use our glue to just stick it on in the middle.
0:05:41 > 0:05:46- I'm struggling with my spot. - It doesn't have to be perfect.
0:05:46 > 0:05:48Imperfections are good.
0:05:48 > 0:05:52Tony and Annette live in the village, and have been married for 37 years.
0:05:52 > 0:05:56- Look how neat that is. Yeah, that's it.- Stop interfering.
0:05:56 > 0:06:00Well, you know what you're like. You've got to, it's got to be...
0:06:00 > 0:06:03- Let's have a look. - There, that's...perfect.
0:06:03 > 0:06:05The first thing and the easiest thing is to think,
0:06:05 > 0:06:08"Right, I don't want to keep on threading my needle,
0:06:08 > 0:06:11"I'm going to make the longest piece of thread imaginable."
0:06:11 > 0:06:13Don't do that, cos it will get tangled and it'll drive you nuts.
0:06:13 > 0:06:16Just keep your thread nice and short,
0:06:16 > 0:06:19up to about your elbow at the most, and cut that thread.
0:06:19 > 0:06:22I normally put two little knots,
0:06:22 > 0:06:24one on top of the other, at the end of my thread.
0:06:26 > 0:06:27Oh, look at that.
0:06:27 > 0:06:32Pinch it in your fingers and bring your needle to your thread, OK?
0:06:32 > 0:06:35And that will be easier for you to do.
0:06:35 > 0:06:36Is it coming?
0:06:37 > 0:06:42Ah-ha! No. Now all my thread's gone.
0:06:42 > 0:06:45I'll start at t'other end now.
0:06:45 > 0:06:49Understanding how to thread a needle, how to finish off,
0:06:49 > 0:06:52all the things that we think might be obvious aren't obvious,
0:06:52 > 0:06:54and they're actually quite tricky.
0:06:54 > 0:06:57So, they're kind of learning that now.
0:06:57 > 0:07:02Masimba is a local playwright, but sewing runs in the family.
0:07:02 > 0:07:06My mum, in Zimbabwe, she was an embroiderer.
0:07:06 > 0:07:08Watching my mum work was a pleasure seeing, you know,
0:07:08 > 0:07:11like, from plain cloth, just like what I've been doing,
0:07:11 > 0:07:14and then being able to make something.
0:07:14 > 0:07:17I think my mum would be impressed with this.
0:07:17 > 0:07:20This task will also help everyone get to grips with embroidery's
0:07:20 > 0:07:23most important stitch.
0:07:23 > 0:07:25This is backstitch.
0:07:25 > 0:07:28This is the stitch that I use for all of my work,
0:07:28 > 0:07:31every single line here is using backstitch.
0:07:33 > 0:07:36Backstitch gives you a neat, continuous line.
0:07:36 > 0:07:40Tie a knot at the end of your thread and put your needle
0:07:40 > 0:07:43through the fabric from the back, and pull through.
0:07:43 > 0:07:46Then decide on the size of your stitch
0:07:46 > 0:07:49and put the needle back through to the other side.
0:07:49 > 0:07:52Next, bring your needle back up the same distance
0:07:52 > 0:07:55as the length of your first stitch.
0:07:55 > 0:07:58And, because it's called backstitch,
0:07:58 > 0:08:01you take your needle back into the previous hole.
0:08:01 > 0:08:03Before you know it,
0:08:03 > 0:08:06you'll have created a continuous line of stitching.
0:08:23 > 0:08:25I can see Tony is going to have a new hobby.
0:08:25 > 0:08:27People are going to be confused as to,
0:08:27 > 0:08:29have I really not done this before?
0:08:29 > 0:08:32Since retiring from his job as a policeman,
0:08:32 > 0:08:36Tony's been keen to expand his horizons.
0:08:36 > 0:08:39You know you've a motorbike to put together in t'garage?
0:08:39 > 0:08:41Two, as it turns... Two.
0:08:41 > 0:08:44I can see that I'll be coming out with a cup of coffee for you, and
0:08:44 > 0:08:48instead of doing your bike, you'll be sat in there embroidering.
0:08:48 > 0:08:52- I'll be sat on some old engine, stitching away. - SHE LAUGHS
0:08:53 > 0:08:55- Pull it through.- Mmm-hmm.
0:08:55 > 0:08:58And then all you're going to do is put it in to...
0:08:58 > 0:09:00- See the hole where that stitch has come through?- Mm-hmm.
0:09:00 > 0:09:02Put it into there. Yep.
0:09:02 > 0:09:06Catherine's currently studying for a degree in textile design.
0:09:06 > 0:09:09She's been making things since she was a little girl,
0:09:09 > 0:09:12when her grandparents first taught her to draw and sew.
0:09:12 > 0:09:14Right, I think I've got it now.
0:09:14 > 0:09:16That's it. Once you're away with it...
0:09:16 > 0:09:18Yeah, I get it now. Totally get it now.
0:09:18 > 0:09:20Well, mine's just a big pile in the middle.
0:09:20 > 0:09:22Yeah, so am I. Because that's what I wanted.
0:09:22 > 0:09:24- That's what I wanted.- Yeah.- Yes.
0:09:24 > 0:09:27Look at the back of that. It's like a bird's nest.
0:09:27 > 0:09:31Well, you're not going to see it t'back, are you? So don't panic.
0:09:33 > 0:09:37With their roses completed, and primed with some basic skills,
0:09:37 > 0:09:41our seven makers are ready to begin their main task -
0:09:41 > 0:09:44an embroidered lampshade.
0:09:45 > 0:09:48This is going to be your blank canvas that we're going to
0:09:48 > 0:09:51create your masterpieces on.
0:09:51 > 0:09:54Everyone starts with a flat piece of fine weave linen,
0:09:54 > 0:09:56cut to the size they want their lamp to be.
0:09:56 > 0:09:59There's your lovely piece of linen.
0:09:59 > 0:10:03The place to start is to make very, very simple shapes, with fabric!
0:10:03 > 0:10:07So this is a picture of the moors with standing stones.
0:10:07 > 0:10:10And all that is is just strips of fabric,
0:10:10 > 0:10:13there's no technical drawing. Just lay things on simply,
0:10:13 > 0:10:16and also play with textures as well.
0:10:16 > 0:10:19We've built it up with only blocks of colour.
0:10:19 > 0:10:21So, I just want you to delve into the fabric,
0:10:21 > 0:10:24find any bits that you like the colour of, the texture of.
0:10:24 > 0:10:27Just get things that you love.
0:10:27 > 0:10:28Our makers are going to
0:10:28 > 0:10:33base their lamps on landscapes that inspire them, and start by looking
0:10:33 > 0:10:37for fabrics that might represent the different background elements.
0:10:37 > 0:10:39At first I thought this was going to be the sea,
0:10:39 > 0:10:43but I think it'll look better as, like, mist or fog.
0:10:43 > 0:10:46Oh, I like that.
0:10:48 > 0:10:51I've got a picture in my head of what I want to make, so...
0:10:51 > 0:10:56So the... Yeah, greens, now, I need some quite vibrant purple ones.
0:10:56 > 0:11:00Trina has lived in Britain for more than 20 years, but is originally
0:11:00 > 0:11:06from Norway, so her work is going to be based on the Northern Lights.
0:11:06 > 0:11:09Catherine's inspiration is closer to home.
0:11:09 > 0:11:11My grandad grew up in a house in Whitby,
0:11:11 > 0:11:13and his bedroom window, I looked out of it,
0:11:13 > 0:11:15and it was literally, you saw the sea and then you saw
0:11:15 > 0:11:18the Whitby Abbey, and it was just the most beautiful sight.
0:11:18 > 0:11:21So, I've brought that picture, so I'm hoping to kind of recreate that.
0:11:21 > 0:11:25I've got this shade for the sea, the seascape
0:11:25 > 0:11:27and going in towards the sky.
0:11:27 > 0:11:30The graphite colours to go with the dusky Whitby Abbey
0:11:30 > 0:11:32on the tops of the hills.
0:11:32 > 0:11:35And then some of these lighter colours, just to add...
0:11:35 > 0:11:37There's some buildings in the foreground,
0:11:37 > 0:11:41so I'm wanting to add some kind of depth and shape with using those.
0:11:45 > 0:11:46Blues.
0:11:46 > 0:11:49Jane and best friend Terry are street performers who live
0:11:49 > 0:11:53nearby in the seaside town of Saltburn,
0:11:53 > 0:11:56so Terry's planning a design based on its famous pier.
0:11:56 > 0:11:58Darks, whites, greens.
0:11:58 > 0:12:01Jane has chosen the seashore for her design.
0:12:01 > 0:12:05But I'm wondering whether we can just have really outrageous cliffs.
0:12:05 > 0:12:08Sometimes it's actually bright orange, the cliffs.
0:12:08 > 0:12:10They're like, if you get the sun on them,
0:12:10 > 0:12:12you get sky and sea and the beach.
0:12:12 > 0:12:14It's like, I want it all. I want it all,
0:12:14 > 0:12:17but I'm not going to be able to use it all, I don't think,
0:12:17 > 0:12:19if I'm going to do something sensible.
0:12:19 > 0:12:21Am I going to do something sensible?
0:12:21 > 0:12:24That's the big question, isn't it, really?
0:12:26 > 0:12:29This first stage is to create blocks of shapes using
0:12:29 > 0:12:31a process called applique -
0:12:31 > 0:12:34putting layers of fabric on top of each other to create a design.
0:12:34 > 0:12:37The detail will be put in later.
0:12:41 > 0:12:43Tony's found inspiration from
0:12:43 > 0:12:45his regular walks in the local countryside.
0:12:45 > 0:12:49This is a photograph of a local scene about half a mile
0:12:49 > 0:12:50from where we're stood.
0:12:50 > 0:12:55And the sign's no longer here, it's rotted away and...
0:12:55 > 0:12:57recycled itself.
0:12:57 > 0:13:01And I thought it's nice because it jars against the greenery
0:13:01 > 0:13:04and naturalness of the countryside.
0:13:06 > 0:13:10I always find it fascinating when you come across something that
0:13:10 > 0:13:12a previous generation has left.
0:13:12 > 0:13:15Might have been there hundreds of years.
0:13:15 > 0:13:17Why was that put there?
0:13:24 > 0:13:27Annette is planning a sheep theme but is nervous about her
0:13:27 > 0:13:29artistic ability,
0:13:29 > 0:13:33so Marna's giving her a helping hand with some printable cloth.
0:13:33 > 0:13:36It's fabric paper, basically, that can go through your printer.
0:13:36 > 0:13:40And I've taken some pictures of sheep.
0:13:40 > 0:13:47So, what you do is you peel off the back, like that.
0:13:47 > 0:13:51So, this has suddenly become a piece of fabric. Have a feel of that.
0:13:51 > 0:13:53- Oh, yeah.- That's not paper any more, that's a nice picture.
0:13:53 > 0:13:58- You can cut round that sheep and place it on.- Oh, this is good.- OK?
0:14:00 > 0:14:05You find out all sorts of things about sheep, living here.
0:14:05 > 0:14:06I think they're just lovely.
0:14:06 > 0:14:10They're stupid, but...they are nice.
0:14:10 > 0:14:13Don't ask me questions on the different breeds.
0:14:13 > 0:14:14I'm not up to that.
0:14:14 > 0:14:18I'm just thinking of getting excommunicated from the local...
0:14:18 > 0:14:19Why? Because I don't know...?
0:14:19 > 0:14:22Because you can't identify your sheep.
0:14:30 > 0:14:33Once our makers are happy with their blocked-out backgrounds,
0:14:33 > 0:14:38every single piece of fabric needs to be stitched down individually.
0:14:54 > 0:14:57It's becoming a more consolidated, single piece,
0:14:57 > 0:15:02rather than just a load of bits and bobs stuck on a background.
0:15:04 > 0:15:09Anything goes. That's the beauty of it, isn't it?
0:15:18 > 0:15:21So I'm using the tweed here to kind of get this grassy,
0:15:21 > 0:15:24kind of, cliffside, moorland effect.
0:15:24 > 0:15:27And then I've started building up with things like the white
0:15:27 > 0:15:32kind of linen on here to get the buildings.
0:15:32 > 0:15:34There's areas of it that I'm, like, "Oh, I really like that."
0:15:34 > 0:15:38And then there's areas that I'm a bit...unsure of.
0:15:43 > 0:15:46I think it's really important that I do this,
0:15:46 > 0:15:51because I think it is so relaxing and creative.
0:15:51 > 0:15:54So, being able to just sit and do embroidery like this,
0:15:54 > 0:15:58it's just...I think it's just good for the soul, really.
0:16:00 > 0:16:04Marna's approach is a far cry from traditional needlepoint, something
0:16:04 > 0:16:08she has in common with many of Britain's best embroiderers.
0:16:10 > 0:16:14Diana Springall has been creating works of art with a needle
0:16:14 > 0:16:18and thread since the late 1950s, and still works to commission.
0:16:27 > 0:16:30Over the past 50 years, Diana has amassed
0:16:30 > 0:16:34over 150 works of some of the country's best embroiderers.
0:16:34 > 0:16:39It's one of the biggest collections of British contemporary work.
0:16:42 > 0:16:44This is my work space, this is where I work.
0:16:44 > 0:16:47This is wonderful, isn't it? So light and airy.
0:16:47 > 0:16:48But it's also where I store the bigger
0:16:48 > 0:16:52pieces from the collection that can't be on the walls.
0:16:52 > 0:16:53Hand-stitching, layering
0:16:53 > 0:16:56and using sewing machines are all techniques used
0:16:56 > 0:16:57by modern embroiderers
0:16:57 > 0:17:02to achieve vastly different results from the same basic materials.
0:17:02 > 0:17:07This is a piece by Carol Naylor. She only uses the sewing machine.
0:17:07 > 0:17:11And she uses it in such a way that she actually creates undulation
0:17:11 > 0:17:16- of the surface quite naturally by the way she's pulling...- Yes, I see.
0:17:16 > 0:17:18..pulling the cloth as she goes,
0:17:18 > 0:17:21introducing all sorts of different threads...
0:17:21 > 0:17:26Things with shine, things with metal, things that are quite matte.
0:17:26 > 0:17:29When you get in close it's just amazing, the colours
0:17:29 > 0:17:31- and the delicacy of it.- Yes.
0:17:31 > 0:17:34This is very rural. What else do you have here?
0:17:34 > 0:17:40Well, this piece by Janet Brown is a townscape.
0:17:40 > 0:17:44- That's so sweet, "Market days in Skipton can get very busy."- Yes.
0:17:44 > 0:17:48So, you have here beautiful little pieces of applique, and then
0:17:48 > 0:17:52they're held down with these fine machine lines, a different...
0:17:52 > 0:17:55Again, a personal character.
0:17:55 > 0:17:58You see, if you draw, you're going
0:17:58 > 0:18:01to not make stuff that somebody else has made,
0:18:01 > 0:18:04because you're looking independently and originally.
0:18:04 > 0:18:07I mean, she's drawing with her needle.
0:18:07 > 0:18:09I'm aware that everything that you've shown me
0:18:09 > 0:18:12so far has been created by women.
0:18:12 > 0:18:15This is very much a kind of women's world, isn't it?
0:18:15 > 0:18:17Well, we do have some famous men.
0:18:17 > 0:18:20And there's a piece by Richard Box over there.
0:18:20 > 0:18:25So, this would be very typical of his style.
0:18:25 > 0:18:29Very... He uses his applique in a very gestural kind of way,
0:18:29 > 0:18:31- almost like brushstrokes, aren't they?- Mmmm.
0:18:31 > 0:18:34And big, wild machine stitches.
0:18:34 > 0:18:37And I know when he was at Goldsmith's, Constance Howard
0:18:37 > 0:18:40said to me, "He uses those machines like a traction engine,
0:18:40 > 0:18:43- "he's going to break them." - LAUGHTER
0:18:43 > 0:18:47- I love the energy in this. - It's tremendous energy.
0:18:47 > 0:18:52So, this looks very different from the idea that some people
0:18:52 > 0:18:56- might have of embroidery, I mean, this is clearly a work of art.- Yes.
0:18:56 > 0:19:01Embroidery became art in the mid-1950s in Britain.
0:19:01 > 0:19:04So, an embroiderer came out of college with the same
0:19:04 > 0:19:06status as a painter.
0:19:06 > 0:19:10Everybody was equal. We were all having the same basic training.
0:19:10 > 0:19:12We were all taught to draw.
0:19:12 > 0:19:14It was just a different set of tools.
0:19:14 > 0:19:16But all regarded as being the same, artistically?
0:19:16 > 0:19:18Absolutely, absolutely.
0:19:18 > 0:19:20How would you say that British embroidery is
0:19:20 > 0:19:24- regarded around the world? - Well, I think we are the top.
0:19:24 > 0:19:25And it's based on the fact that
0:19:25 > 0:19:27we had a formal education in embroidery,
0:19:27 > 0:19:29in our art schools.
0:19:29 > 0:19:33The fact that it is an art-form is pretty unique.
0:19:33 > 0:19:37Yes, I think we probably are still best at it.
0:19:39 > 0:19:43What a lovely person Diana is, and I can see why she's
0:19:43 > 0:19:46inspirational to so many people around the country.
0:19:46 > 0:19:49And what she's done, actually, is to make me
0:19:49 > 0:19:52think about embroidery in such a different way,
0:19:52 > 0:19:56because you have the combination of artistic imagination
0:19:56 > 0:20:02and technical skills, I mean real skills, that come together to
0:20:02 > 0:20:05create this piece of poetry, as she described it.
0:20:05 > 0:20:08"Drawing with a needle."
0:20:11 > 0:20:14All over the UK, people are combining their imaginations
0:20:14 > 0:20:18with extraordinary skills to create wonderful things by hand.
0:20:18 > 0:20:21You've been sending us some amazing examples of your craft,
0:20:21 > 0:20:24all of them made with love.
0:20:26 > 0:20:30This life-size lion is made out of wool.
0:20:30 > 0:20:33Shauna Richardson from Leicestershire has invented
0:20:33 > 0:20:36her very own craft she calls "crochetdermy"
0:20:36 > 0:20:39to sculpt her woolly creatures.
0:20:42 > 0:20:46Sarah Keenan from Southport created this surreal
0:20:46 > 0:20:49lobster dog by printing her painting on to fabric
0:20:49 > 0:20:52and then quilting it and embellishing it with crystals.
0:20:54 > 0:20:58These beautiful fish used to be old wooden floorboards
0:20:58 > 0:21:02salvaged by Ipswich-based John Woodcock.
0:21:04 > 0:21:05And, believe it or not,
0:21:05 > 0:21:09this bull is created from hundreds of old labels.
0:21:09 > 0:21:13For the past 15 years, Derbyshire maker Joy Pitts has been
0:21:13 > 0:21:19buying old clothes in charity shops and cutting out the labels.
0:21:19 > 0:21:22This cow has 5,000 of them.
0:21:24 > 0:21:26Paper cutting is one of the easiest crafts to do,
0:21:26 > 0:21:29but gives stunning results.
0:21:29 > 0:21:31This intricate cut was inspired by the animals
0:21:31 > 0:21:33and woods of the Cotswolds.
0:21:33 > 0:21:38Louise Firchau took ten hours to make it.
0:21:45 > 0:21:47Paper cutting has become an incredibly popular craft,
0:21:47 > 0:21:49thanks to its accessibility.
0:21:49 > 0:21:52Our next stop is rural Oxfordshire
0:21:52 > 0:21:57and the home of our paper cutting teacher, Christine Green.
0:22:07 > 0:22:11I really enjoy making things, and it takes you into a lovely
0:22:11 > 0:22:15zone that is separate from everything else in your life.
0:22:19 > 0:22:22Whether it's a gift or a card,
0:22:22 > 0:22:25or something which will have that personal stamp on it,
0:22:25 > 0:22:29and in this day and age where so much stuff is bought and shop-made,
0:22:29 > 0:22:33and I just think it's great to have something personal.
0:22:33 > 0:22:37It doesn't actually require huge amounts of special equipment.
0:22:37 > 0:22:43You just need a scalpel and a cutting mat and a piece of paper.
0:22:43 > 0:22:47One of Christine's favourite pieces of cut work isn't made from paper.
0:22:47 > 0:22:51It comes from Haiti, and it's the top of an oil drum.
0:22:51 > 0:22:56It shows beautifully one of the principles of paper cutting design,
0:22:56 > 0:23:00and that's that every single little piece of this design
0:23:00 > 0:23:03is attached in some way to the rest of the design.
0:23:03 > 0:23:06So, whether it's one little leaf, like this,
0:23:06 > 0:23:10or whether it's a bird like this, and it's attached at the hand
0:23:10 > 0:23:14and this leaf and here at this flower.
0:23:14 > 0:23:15There's not actually sort of an algorithm
0:23:15 > 0:23:17you can say with paper cutting,
0:23:17 > 0:23:19you know, if it's X amount of size,
0:23:19 > 0:23:22it's got to have X amount of attachments to it.
0:23:22 > 0:23:24As long as it's attached in some way, otherwise, at the end
0:23:24 > 0:23:27of the day, you pick it up and it's just a pile of confetti.
0:23:27 > 0:23:29And if you get up really close to it, you can
0:23:29 > 0:23:32see the way the edges have been nibbled with a chisel.
0:23:32 > 0:23:36I love this. Phenomenal piece of work. Love it.
0:23:46 > 0:23:50Christine's workshop is going to be held in one of London's most
0:23:50 > 0:23:52prestigious paper shops.
0:23:54 > 0:23:58I think the sorts of people who really warm to it,
0:23:58 > 0:24:02they kind of get what they've got to think about quite early on.
0:24:02 > 0:24:04But I'm always amazed, actually, at the end of the day,
0:24:04 > 0:24:06what people produce.
0:24:06 > 0:24:09And people who've never done anything like it before,
0:24:09 > 0:24:11and they always say, "Oh, I can't draw, I can't design.
0:24:11 > 0:24:12"Am I OK if I copy something?"
0:24:12 > 0:24:15And then they produce something really amazing.
0:24:24 > 0:24:29So, today we are going to be doing sort of a very basic intro to
0:24:29 > 0:24:31some paper cutting techniques, and then by the end of the day,
0:24:31 > 0:24:33hopefully, you'll have produced
0:24:33 > 0:24:35something a little bit more spectacular
0:24:35 > 0:24:36that you'll be quite chuffed with.
0:24:36 > 0:24:38Our six makers include an ex-doctor,
0:24:38 > 0:24:43an illustration student and a designer.
0:24:43 > 0:24:46None of the group has ever done paper cutting before.
0:24:46 > 0:24:48So, one piece of paper,
0:24:48 > 0:24:51and this is nothing more exotic or special than photocopy paper.
0:24:51 > 0:24:5480g, if you want to know.
0:24:54 > 0:24:56So, how are we going to hold this?
0:24:56 > 0:24:59The rounded bit goes into the palm of your hand.
0:24:59 > 0:25:04You're going to rest this finger on the end of the handle.
0:25:04 > 0:25:10So, you're just going to do a series of four or five cuts,
0:25:10 > 0:25:13just running parallel, roughly.
0:25:13 > 0:25:16Let it run across the top of the paper.
0:25:20 > 0:25:24What we're looking for is really nice, clean cuts. OK?
0:25:24 > 0:25:27- I've stabbed myself already. - LAUGHTER
0:25:28 > 0:25:31Yeah, yeah. I've drawn a little blood. It's not bad.
0:25:33 > 0:25:34Sorry.
0:25:34 > 0:25:38- Seriously?- Yeah. Just a tiny little bit of blood.
0:25:38 > 0:25:39Tiny little bit, don't worry.
0:25:39 > 0:25:42- Don't panic. - SHRIEK
0:25:42 > 0:25:46Oh, no, no, no. It's fine. It's just... It's not deep.
0:25:46 > 0:25:49Accident-prone Jimmy and his wife Eri have just
0:25:49 > 0:25:53celebrated their one-year paper wedding anniversary.
0:25:53 > 0:25:54Despite the blood-spilling,
0:25:54 > 0:25:58Eri is keen to lure Jimmy into her own long-held love of craft.
0:25:58 > 0:26:00There.
0:26:00 > 0:26:02Here, honey. No blood on the paper.
0:26:02 > 0:26:05- No blood on the paper, and look at those.- That's nice.
0:26:05 > 0:26:07I mean, I got that far, so...
0:26:07 > 0:26:09All right. So, where were we?
0:26:09 > 0:26:12What you're going to do is something using your initials.
0:26:12 > 0:26:13Dead straightforward.
0:26:13 > 0:26:16You're going to design yourself something a bit like a monogram,
0:26:16 > 0:26:18and these are some which I prepared earlier.
0:26:18 > 0:26:21So, we've got an E and a J.
0:26:21 > 0:26:26And...an R and an S.
0:26:26 > 0:26:29An M and an A.
0:26:29 > 0:26:32Playing with letters is really good fun.
0:26:32 > 0:26:35Paper cutting is as much about the pencil as the blade.
0:26:35 > 0:26:38Our makers need to come up with a design that makes
0:26:38 > 0:26:42the most of their initials.
0:26:42 > 0:26:45Like, this could be an E, and then the T through that.
0:26:45 > 0:26:48- I think you could pull off the T to make it look like it.- Think so?
0:26:48 > 0:26:50- Yeah.- Maybe, like, have... - No, that's more like "Elf".
0:26:50 > 0:26:52- SHE LAUGHS - OK.
0:27:02 > 0:27:05Tried a squiggle. Not into the squiggle.
0:27:05 > 0:27:08So, I think just a straight line and...yeah.
0:27:08 > 0:27:11I like that, honey. It's very manly.
0:27:11 > 0:27:15The group is drawing designs onto a thin layout paper which will
0:27:15 > 0:27:18act as a template, and means there won't be any unsightly
0:27:18 > 0:27:21pencil marks on the final work.
0:27:24 > 0:27:29That looks like it's kind of a bit funky, going on there.
0:27:29 > 0:27:31Oh. That's wrong.
0:27:31 > 0:27:35I've got another sheet here. That's looking good, though.
0:27:35 > 0:27:38No, it's these bits, look. Too fat. The R's easy.
0:27:38 > 0:27:40Oops.
0:27:41 > 0:27:44Richard and Mark have been together for 22 years.
0:27:44 > 0:27:48Richard lectures in art and design, and is used to drawing.
0:27:48 > 0:27:51But for Mark, who works in occupational therapy,
0:27:51 > 0:27:53this is all new.
0:27:57 > 0:27:59I've never done anything like this before, so...
0:27:59 > 0:28:03Probably at school, but school was quite a long time ago.
0:28:03 > 0:28:07So I'm finding it quite difficult to try and get the pencil
0:28:07 > 0:28:10to do exactly what I've got in my mind's eye.
0:28:10 > 0:28:11But once you get going, it's quite nice.
0:28:11 > 0:28:13You can start tweaking it, and...
0:28:13 > 0:28:15I suppose it's getting into the flow of it,
0:28:15 > 0:28:16you kind of relax a bit into it.
0:28:20 > 0:28:24- Richard's doing really badly. - LAUGHTER
0:28:24 > 0:28:27- Thanks. - Yeah, that's all right.
0:28:27 > 0:28:30- Yours is very gothic, that's nice. - Mine is a bit gothicky.
0:28:30 > 0:28:32- That's really good.- I like yours. Yours is...- Mine is spiky.
0:28:32 > 0:28:35And pointy. Hold your pencil further away. There you go.
0:28:35 > 0:28:38- Not so far, but you do that.- Like that?- Really tight, aren't you?
0:28:38 > 0:28:40- Oh, OK.- That's what makes you tight, your circle's really small.
0:28:40 > 0:28:42Do that a bit more and you can get bigger curves.
0:28:42 > 0:28:45But then, yeah, it'll be more difficult to get that...
0:28:45 > 0:28:47- Use your wrist.- Oh.
0:28:50 > 0:28:53There you go.
0:28:53 > 0:28:56- Oh, look, but now it's... Oh, it did work a bit.- Yeah, yeah.
0:28:56 > 0:29:00- Try it, play around. - Yeah.
0:29:00 > 0:29:02Struggling with this bottom bit here.
0:29:02 > 0:29:05Turning this around and that's how you get contours.
0:29:05 > 0:29:06Oh! That's a good idea.
0:29:06 > 0:29:10- Oh, I see, so you get more of a swoop over.- Use your wrist.- Aaaah.
0:29:10 > 0:29:11- OK.- Wrist action.
0:29:15 > 0:29:18Once you've finished your design, you're ready to start cutting.
0:29:18 > 0:29:23You'll need a cutting mat and a scalpel with a fresh blade.
0:29:23 > 0:29:25Choose the colour you want your finished work to be
0:29:25 > 0:29:28and place your design on top.
0:29:28 > 0:29:31To hold the template in place, use masking tape.
0:29:31 > 0:29:34But to stop it damaging the final piece,
0:29:34 > 0:29:37remove some of the stickiness with your hand.
0:29:41 > 0:29:44Two pieces on top are enough.
0:29:44 > 0:29:47It's handy to look at your work in progress.
0:29:48 > 0:29:51To stop your paper getting flimsy,
0:29:51 > 0:29:53always start with the smallest bits first.
0:29:58 > 0:30:01Then you can build up to the larger cuts.
0:30:08 > 0:30:11Once you've finished, you can get rid of your template
0:30:11 > 0:30:13and you'll have a perfect final cut.
0:30:14 > 0:30:17- I'm going to put Xs on the bits you're going to cut out.- OK.
0:30:17 > 0:30:22- So this bit, that bit, that bit. - Yeah.- Right, OK.
0:30:37 > 0:30:39Ooh! First cut.
0:30:41 > 0:30:43Wurgh! Ha-ha!
0:30:46 > 0:30:47Hell's bells. Oh, no!
0:30:51 > 0:30:54That's a bit square. Damn. Is that nearly out?
0:31:03 > 0:31:06It's quite therapeutic, isn't it?
0:31:06 > 0:31:10Yeah, I want to do things quite quickly and roughly.
0:31:10 > 0:31:14And it doesn't really lend itself to that,
0:31:14 > 0:31:16so I'm having to slow myself down.
0:31:16 > 0:31:20I just like crafting together for a whole afternoon.
0:31:20 > 0:31:23We wouldn't really ever do this and I also get really proud of him
0:31:23 > 0:31:26and I like to see what comes out of his brain.
0:31:26 > 0:31:29- I do! I think you're really creative.- Thanks, honey.
0:31:31 > 0:31:35- Yeah, sometime strange things come out.- I have a craft box, you know?
0:31:35 > 0:31:38But no, I mean, we would never just sit down and do this.
0:31:38 > 0:31:40- It's really nice.- Mm.
0:31:40 > 0:31:44I think you're craftier than you give yourself credit for.
0:31:44 > 0:31:47Elbows at dawn. I'm really enjoying this.
0:31:47 > 0:31:48Ooh, is that coming out?
0:31:48 > 0:31:50Yay!
0:33:04 > 0:33:07- Wow!- Nice.
0:33:07 > 0:33:09That's amazing!
0:33:09 > 0:33:12It's a quick learning curve, actually, which is great.
0:33:12 > 0:33:16But the next project is significantly trickier.
0:33:16 > 0:33:18They're going to have to take on board all the things that
0:33:18 > 0:33:20they've learned so far
0:33:20 > 0:33:23and then they're going to have to build on it quite rapidly.
0:33:29 > 0:33:31Many of Britain's makers find endless
0:33:31 > 0:33:33inspiration in the natural world.
0:33:33 > 0:33:36You've sent us craft evoking wild landscapes
0:33:36 > 0:33:38and all kinds of flora and fauna.
0:33:40 > 0:33:42All made with love.
0:33:45 > 0:33:49These sweet little birds are made by a process called needle felting.
0:33:49 > 0:33:51Their Somerset maker, Lucy Pendrick,
0:33:51 > 0:33:55is obsessed with getting in as much detail as possible.
0:33:55 > 0:33:59This incredible kingfisher took more than 32 hours to create.
0:34:00 > 0:34:03The detail on these mushrooms is extraordinary.
0:34:03 > 0:34:07Using a mixture of embroidery and papier mache, maker
0:34:07 > 0:34:12Amanda Cobbett is inspired by her love of nature, texture and colour.
0:34:13 > 0:34:17When weaver Kate Luder moved to the south Wales coast,
0:34:17 > 0:34:21she found herself inspired by the constantly changing landscape.
0:34:21 > 0:34:25The result? Beautiful tapestries woven from hand-dyed wool
0:34:25 > 0:34:28and taking around two months each to make.
0:34:37 > 0:34:40In Yorkshire, our makers are embarking on their second
0:34:40 > 0:34:42day of their workshop.
0:34:42 > 0:34:45But before they continue, Marna has sent them outside to
0:34:45 > 0:34:49remind them of the natural detail she hopes to see in their work.
0:34:55 > 0:34:59When you go onto the landscape, you have an emotional response to that.
0:34:59 > 0:35:02Like the wind and the noises of the birds
0:35:02 > 0:35:06and the crunching of your feet on top of heather and bracken.
0:35:06 > 0:35:09BIRD CALL
0:35:09 > 0:35:14And it will influence the colours and the textures that you use.
0:35:17 > 0:35:19I find it amazing how you've kind of got one landscape here
0:35:19 > 0:35:22and then it kind of layers to a second, then to a third, then you've
0:35:22 > 0:35:26got the hills and there's just so many built up, like our pictures.
0:35:26 > 0:35:28- Yeah.- Yes, I like the gorse myself.
0:35:28 > 0:35:32- Do you?- Yeah. I like the yellow flecks of the gorse.- Mm.
0:35:32 > 0:35:37And you know, things like the lines of trees are... They're lines.
0:35:37 > 0:35:41They're like shredded fabric.
0:35:41 > 0:35:44We can see how she puts it together, can't you?
0:35:46 > 0:35:50Back in the hall, it's time for the next part of the process.
0:35:50 > 0:35:54Today is going to be all about the details and the stitching bit,
0:35:54 > 0:35:56the embroidery bit. The exciting bit.
0:35:56 > 0:35:59This is where everything starts to come alive.
0:35:59 > 0:36:03We're going to learn to do all sorts of fun things to really lift it
0:36:03 > 0:36:05and make everything become one.
0:36:05 > 0:36:08Marna's technique is to draw guidelines for the stitching,
0:36:08 > 0:36:12which will create the top level of detail.
0:36:12 > 0:36:16So this is what you've got now, and the next stage is to draw
0:36:16 > 0:36:19and make it look like this.
0:36:19 > 0:36:23The key thing that I use for all of my work is a water soluble pen,
0:36:23 > 0:36:25and because it's water soluble,
0:36:25 > 0:36:28that's why you've got your little water spritzers, to get rid
0:36:28 > 0:36:32of all of your lines after you've finished all of your work, OK?
0:36:38 > 0:36:41The more that you draw on that piece of work, the more you're going
0:36:41 > 0:36:43to have to sticth because if you're doing a cityscape
0:36:43 > 0:36:45and there's tonnes of windows
0:36:45 > 0:36:48and tonnes of architectural detail, you're going to be
0:36:48 > 0:36:51stitching all over that, so there's going to be an awful lot of work.
0:36:53 > 0:36:56Our makers can create different effects with different stitches,
0:36:56 > 0:36:59but there are hundreds to choose from.
0:36:59 > 0:37:02You don't need every single stitch all over the place.
0:37:02 > 0:37:05This is back stitch, so that's what you did on your Yorkshire rose.
0:37:05 > 0:37:06Right.
0:37:06 > 0:37:10This dotted one that looks like a dash, that's called running stitch,
0:37:10 > 0:37:14- and it's a quick stitch. - That sounds perfect.- That's perfect.
0:37:14 > 0:37:17These little stitches in the middle of the flowers
0:37:17 > 0:37:18are called French knots.
0:37:18 > 0:37:22I know from my own experience that French knots can seem
0:37:22 > 0:37:25complicated at first, so here are the rules.
0:37:25 > 0:37:27Hold a thread nice and taut,
0:37:27 > 0:37:30about 5cm from where it comes out of your fabric.
0:37:30 > 0:37:34Wind the thread around the needle, again keeping it taut.
0:37:34 > 0:37:38The more winds and the thicker the thread, the bigger the knot.
0:37:38 > 0:37:40Do keep that thread taut.
0:37:40 > 0:37:44Slip the wound thread down towards the point, while at the same
0:37:44 > 0:37:47time, putting the needle back into the hole it came from.
0:37:47 > 0:37:49Don't let go.
0:37:49 > 0:37:50Keep holding the thread,
0:37:50 > 0:37:54while you pull the needle and remaining thread right through.
0:37:56 > 0:37:59And, voila, you have a French knot.
0:37:59 > 0:38:02So, remember, keep holding the thread
0:38:02 > 0:38:06until the very last moment and your French knots will be perfect.
0:38:17 > 0:38:21Annette's planning to use them to create clumps of heather.
0:38:21 > 0:38:25I'm going to experiment. This is going to go horribly wrong.
0:38:25 > 0:38:26Da-da-duh!
0:38:28 > 0:38:30It's meant to go like that, of course(!)
0:38:34 > 0:38:37I maybe should have gone through there till I pulled it out,
0:38:37 > 0:38:39but oh, look at that.
0:38:41 > 0:38:42Wonderful.
0:38:42 > 0:38:44It's worked.
0:38:51 > 0:38:53Done a few birds. This is...
0:38:53 > 0:38:58Cos I'm originally from a landlocked country,
0:38:58 > 0:39:01so seeing the sea for the first time was...
0:39:01 > 0:39:03I haven't gotten over that yet.
0:39:03 > 0:39:08This was actually the composite of many seaside places that I've
0:39:08 > 0:39:11been to, that I've seen.
0:39:11 > 0:39:14And, of course, lighthouse - I've always liked lighthouses.
0:39:14 > 0:39:18I'm glad I came here, cos this is the best part of England.
0:39:18 > 0:39:20That's my view.
0:39:24 > 0:39:27I'm really trying just to get a kind of a wiggle on with it,
0:39:27 > 0:39:31because I am working on my little Whitby Abbey.
0:39:31 > 0:39:34I'm just putting some satin stitch, just in the windows,
0:39:34 > 0:39:37just to give it a bit mnore life to it.
0:39:37 > 0:39:41So it's just a continuous next to each other stitch,
0:39:41 > 0:39:45which is just giving a real kind of block effect of colour,
0:39:45 > 0:39:47so you can see it really visibly.
0:40:06 > 0:40:09I had a horrible night last night, not sleeping very well,
0:40:09 > 0:40:13cos I kept dreaming of splashes of colour
0:40:13 > 0:40:15and buckets of fabric everywhere,
0:40:15 > 0:40:19and it kept coming down to this middle like that.
0:40:19 > 0:40:25And then, at three o'clock this morning, I suddenly went, "Ammonite!"
0:40:25 > 0:40:28And I woke my partner up.
0:40:28 > 0:40:32And I realised that I wanted something in the middle
0:40:32 > 0:40:35and I couldn't think what it was, so I've gone for a really,
0:40:35 > 0:40:39really big ammonite, plonked in the middle.
0:40:39 > 0:40:41For no particular reason at all.
0:40:41 > 0:40:43Stab stitch.
0:40:47 > 0:40:49Which is basically, "stick it in anywhere
0:40:49 > 0:40:52"and pull it out anywhere else."
0:40:52 > 0:40:55It's been very feel-your-way, completely.
0:40:55 > 0:40:58I really am in the zone, I am.
0:40:59 > 0:41:01Floating in my own little place.
0:41:09 > 0:41:12- Oh, look. I've run out of...- Oh!
0:41:12 > 0:41:15- Bugger!- Oh, look, me... Oh, it's all gone wrong now.
0:41:15 > 0:41:16Me sequins have fell off.
0:41:16 > 0:41:21- I've done some French stitches on mine.- Have you?
0:41:21 > 0:41:24- French knots.- French knots, that's it.- I think that's wonderful.
0:41:24 > 0:41:29- Well, I'm glad you think so.- I do. I do think so.- And I think yours is...
0:41:30 > 0:41:33Yours is wonderful, Terry.
0:41:33 > 0:41:35In its own different kind of way.
0:41:35 > 0:41:37Yes!
0:41:37 > 0:41:42- What is it?!- It's the pier at Saltburn, for goodness' sake!
0:41:42 > 0:41:43Tony!
0:41:43 > 0:41:46- Get your moors goggles off! - It's the wrong way up.
0:41:46 > 0:41:47No, it...
0:41:47 > 0:41:49LAUGHTER
0:41:49 > 0:41:52- It's marvellous.- Yeah. I like it.
0:41:52 > 0:41:57But, you know, there are some men who would deem it to be a bit sissy.
0:41:57 > 0:41:59If men want to do embroidery
0:41:59 > 0:42:01then men should feel free to do embroidery.
0:42:01 > 0:42:04- You might not brag about it in the pub...- Well, exactly.
0:42:04 > 0:42:06If I can do something that somebody else can't do,
0:42:06 > 0:42:08I'm quite happy with that.
0:42:08 > 0:42:12If they want to call me a girly boy for doing it...
0:42:12 > 0:42:14But you're clearly not!
0:42:14 > 0:42:16..I'll smack them round the head.
0:42:16 > 0:42:19LAUGHTER
0:42:53 > 0:42:58So now we're going through a period of calm contemplation of where
0:42:58 > 0:43:00we're going to put the next stitches in, thinking
0:43:00 > 0:43:04about the texture that they're going to use with their threads.
0:43:04 > 0:43:07It does take quite a lot of concentration, on what
0:43:07 > 0:43:12colours you want to use, and they're kind of almost lost in that now.
0:43:14 > 0:43:17I've put two different coloured threads through
0:43:17 > 0:43:21the eye of the needle to try and replicate,
0:43:21 > 0:43:26if I twist them, the sort of climbing vine
0:43:26 > 0:43:30on another plant or tree.
0:43:31 > 0:43:35See what that looks like in the final picture.
0:43:35 > 0:43:39Being a totally untrained and non-artistic,
0:43:39 > 0:43:41as far as I'm concerned,
0:43:41 > 0:43:45there are no rules that I've got to stick to, so I'm developing...
0:43:47 > 0:43:52..techniques and trying ideas and just seeing what turns out.
0:44:07 > 0:44:10After a morning of learning the basics,
0:44:10 > 0:44:13our paper cutters are ready to step up to three dimensions.
0:44:15 > 0:44:20OK, so here's a selection of three dimensional cards, and they are not
0:44:20 > 0:44:24as complex as they might appear when you just look at them like this.
0:44:24 > 0:44:30So, this one is actually a flat piece of paper, with one fold in.
0:44:30 > 0:44:34You've got a mixture of cut out above the fold
0:44:34 > 0:44:37and then cut out below the fold here.
0:44:37 > 0:44:41And it just works really well, very simple.
0:44:41 > 0:44:46This has actually got three folds in it, OK?
0:44:46 > 0:44:51And this is based on a window at Kew Gardens.
0:44:51 > 0:44:55Now, this is quite complex, but if you imagine just doing,
0:44:55 > 0:44:59you know, two of those panels, that would be a really cool cut.
0:45:02 > 0:45:05The first challenge of a three dimensional paper cut is to
0:45:05 > 0:45:10work out how the different folds and layers relate to one another.
0:45:10 > 0:45:12Maybe that's your horizon line or something.
0:45:12 > 0:45:16Things come up from that side, don't they? Can I borrow that?
0:45:16 > 0:45:20Let's say we've got... Right?
0:45:20 > 0:45:22That then pops up above there, doesn't it?
0:45:22 > 0:45:24Our makers have all brought ideas for a design
0:45:24 > 0:45:27- based around their favourite places. - Tell me about this.
0:45:27 > 0:45:30That's the old subway at Crystal Palace.
0:45:30 > 0:45:32That's been closed off to the public.
0:45:32 > 0:45:35This is amazing. I love the brickwork. Just gorgeous, isn't it?
0:45:35 > 0:45:37Really, really beautiful.
0:45:37 > 0:45:41I was starting to think about your upright concertina piece.
0:45:41 > 0:45:44It's all lending itself really well for paper cutting.
0:45:44 > 0:45:45Absolutely stunning.
0:45:52 > 0:45:54I'm just trying to simplify my bricks here.
0:45:56 > 0:46:00This is not what I expected it was going to be at all,
0:46:00 > 0:46:04in the sense that it was so intricate, the preparation,
0:46:04 > 0:46:06I think, in that respect. And the planning of it.
0:46:06 > 0:46:10And this three-dimensional side of it has totally blown out what
0:46:10 > 0:46:12I was thinking.
0:46:12 > 0:46:15Cos you've got to think of it, not in a three-dimensional way, but
0:46:15 > 0:46:19you've got to think about the layers and the connections of things.
0:46:19 > 0:46:22I'm doing three, rather than four, panels, I've realised.
0:46:22 > 0:46:24And trying to fill in some packs.
0:46:24 > 0:46:28If anyone can tell me how I make bricks in a circle,
0:46:28 > 0:46:31that would be really nice. I'm struggling with that one.
0:46:31 > 0:46:33- Can you help me out?- Pass. - Yeah, thank you(!)
0:46:35 > 0:46:39Mark is also basing his design on his home, Crystal Palace.
0:46:39 > 0:46:42I used to be quite good at drawing when I was a kid.
0:46:43 > 0:46:45Then it all went wrong.
0:46:45 > 0:46:49He's planning to incorporate its famous Victorian dinosaur park,
0:46:49 > 0:46:51built in 1854.
0:46:51 > 0:46:53Struggling with ferns.
0:46:53 > 0:46:55Going to be less literal.
0:46:58 > 0:47:01- Hi.- Hello. - So, what are we thinking about?
0:47:01 > 0:47:05I liked the idea we talked about doing three folds
0:47:05 > 0:47:09and doing a pop-up fountain, which I thought would be nice and simple.
0:47:09 > 0:47:12I think you have to really graphicise it,
0:47:12 > 0:47:16really make it graphicy and not go for super-duper realistic detail.
0:47:16 > 0:47:19Imagine you're making a symbol of a fountain.
0:47:23 > 0:47:28I love our home. It's our first, like, marital home together.
0:47:28 > 0:47:33I was inspired by the kind of Kew Gardens multi-fold piece.
0:47:33 > 0:47:37I'm going for the slightly less ambitious two-fold,
0:47:37 > 0:47:39but I'm going to do the doors opening
0:47:39 > 0:47:42and then there's a little saying that we sometimes say
0:47:42 > 0:47:45to each other, so I'm going to do that, "To the moon",
0:47:45 > 0:47:48with some plants in front of it.
0:47:48 > 0:47:50You're going big for this one?
0:47:52 > 0:47:56Jimmy is basing his design on a pagoda in his local park.
0:47:56 > 0:47:58I love running round the park.
0:47:58 > 0:48:03It's like where I get my me time, I find it quite meditative, running.
0:48:03 > 0:48:07So I always kind of, you know, see the pagoda in the middle
0:48:07 > 0:48:09and see it through the trees,
0:48:09 > 0:48:12and I think will look quite nice in the design, so I'm trying
0:48:12 > 0:48:16to have a layer of trees and then the pagoda, and then trees.
0:48:22 > 0:48:26Designing such complicated paper cuts takes a few hours,
0:48:26 > 0:48:29but by mid-afternoon, all the group has started cutting.
0:48:36 > 0:48:39Because their designs need to stand up,
0:48:39 > 0:48:42our makers are working with a heavier cartridge paper.
0:48:44 > 0:48:47I really enjoy affecting a piece of material.
0:48:50 > 0:48:56To actually get crafty and artistic is very rewarding, very satisfying.
0:49:03 > 0:49:05I just like that state of innocence
0:49:05 > 0:49:08and just completely turning off and zoning out.
0:49:08 > 0:49:11It's like a warm bubble bath for your mind.
0:50:09 > 0:50:11I was completely gone then. Completely gone.
0:50:11 > 0:50:13Once you start, it's actually...
0:50:13 > 0:50:16The time just flies and I have no idea what time it is now.
0:50:16 > 0:50:19You get absorbed. It just takes you away to a different place really.
0:50:19 > 0:50:20It's quite nice.
0:50:20 > 0:50:25I feel quite relaxed, even though I'm wielding a very scary scalpel.
0:50:25 > 0:50:28It doesn't feel uncomfortable.
0:50:29 > 0:50:31Nice cutting.
0:50:31 > 0:50:33Thank you.
0:50:35 > 0:50:38I think it's time to have a bit of a group fold-up
0:50:38 > 0:50:42and see how these things actually look and how they work, OK?
0:50:42 > 0:50:44OK.
0:50:44 > 0:50:46- ALL:- Whoa!
0:50:46 > 0:50:48Look at that!
0:50:53 > 0:50:55I'm so proud of what I achieved.
0:50:55 > 0:51:00To sit with what was a blank piece of paper and now have this,
0:51:00 > 0:51:05and to be able to leave and put it in our home is...is awesome.
0:51:12 > 0:51:16To have something at the end of it that, like, actually is tangible
0:51:16 > 0:51:19and you can touch, you can actually see it in a physical space,
0:51:19 > 0:51:23is, like, an achievement. It really is an achievement. Yeah.
0:51:27 > 0:51:31It was quite frustrating to do, so it feels quite special now.
0:51:37 > 0:51:40I quite like the 3D quality of it, giving shadows
0:51:40 > 0:51:43and using the scalpel almost like a pen.
0:51:49 > 0:51:51I'm definitely proud of it.
0:51:51 > 0:51:55The initial design part was maybe the most challenging part of it.
0:51:55 > 0:51:58But once you get that together it works really well.
0:52:05 > 0:52:08I'm just really, really happy and proud.
0:52:08 > 0:52:11Something I had to create, something I had to put my heart
0:52:11 > 0:52:13and soul into, and I'm standing here with it now.
0:52:13 > 0:52:15Brilliant.
0:52:15 > 0:52:16Ooh!
0:52:16 > 0:52:19- CHEERING - Success!- Well done!
0:52:19 > 0:52:20Brilliant!
0:52:20 > 0:52:22Woo!
0:52:22 > 0:52:24- There you go.- Thank you.
0:52:24 > 0:52:27To toast to your creativity and your brilliance.
0:52:27 > 0:52:28It's been a fantastic workshop
0:52:28 > 0:52:31and I am thrilled with what you've achieved
0:52:31 > 0:52:34and I hope you go away and cut lots of things, but not yourselves.
0:52:34 > 0:52:36LAUGHTER
0:52:38 > 0:52:39- ALL:- Cheers!
0:52:42 > 0:52:43I can't quite reach.
0:52:52 > 0:52:55Righty-ho. We've got about an hour left.
0:52:55 > 0:52:57How is everyone doing? Are we all happy?
0:52:57 > 0:53:01After two days of intensive creativity,
0:53:01 > 0:53:04Marna's workshop is in its final stages
0:53:04 > 0:53:07and our seven makers are preparing to transform their finished
0:53:07 > 0:53:09pieces of embroidery into lampshades.
0:53:12 > 0:53:15Everyone gets an off-the-shelf kit, which contains top
0:53:15 > 0:53:18and bottom rings, a stiff backing panel, and tape.
0:53:20 > 0:53:24Once the stitching lines are cleaned off with water, the fabric
0:53:24 > 0:53:30can be stuck to the panel and taped together to form a cylinder.
0:53:30 > 0:53:34Finally, the fiddly job of securing it to the rings with
0:53:34 > 0:53:36double-sided tape.
0:53:47 > 0:53:51All that remains is to see what the shades look like when lit.
0:53:51 > 0:53:54Come and see what you've made, your amazing makes.
0:53:55 > 0:53:59So you spent two days working really, really hard,
0:53:59 > 0:54:00and look what you've made.
0:54:00 > 0:54:02Ta-da!
0:54:02 > 0:54:04- Ooh!- Oh!
0:54:06 > 0:54:07- Wow!- We did it!
0:54:07 > 0:54:08Fantastic!
0:54:10 > 0:54:11That's worked very well.
0:54:11 > 0:54:13Oh, it's beautiful.
0:54:13 > 0:54:15- Yours is lovely! Look at this!- I know.
0:54:15 > 0:54:17The light's shining through so well.
0:54:17 > 0:54:19Oh, yes!
0:54:19 > 0:54:21- Look at that!- Oh, yeah!
0:54:21 > 0:54:24Oh, look at it! You've just blown me away.
0:54:24 > 0:54:28Absolutely exceeded, I think, all your own expectations as well.
0:54:28 > 0:54:31- Thank you, Marna. - Yes, yes.- Thank you.
0:54:31 > 0:54:33THEY APPLAUD
0:54:40 > 0:54:43I'm surprised at how much they managed to achieve in such
0:54:43 > 0:54:46a short period of time. Really surprised.
0:54:46 > 0:54:48Cos embroidery takes hours.
0:54:48 > 0:54:51It takes me sometimes weeks and months to produce something,
0:54:51 > 0:54:54and they've totally risen to the challenges.
0:54:54 > 0:54:56It's inspiring to me.
0:55:03 > 0:55:06A lot goes into this, into making it.
0:55:06 > 0:55:08A lot of thinking, a lot of feeling.
0:55:10 > 0:55:12Embroidery is an art form.
0:55:24 > 0:55:27These gaps here, where you've just got the basic
0:55:27 > 0:55:32linen of the shade itself, the light actually shines through brilliantly.
0:55:39 > 0:55:42I'm so chuffed. At one point I thought, "Oh, my God.
0:55:42 > 0:55:44"I'm not going to get this done!"
0:55:44 > 0:55:47But it's here, it's a physical item and I'm just over the moon.
0:56:00 > 0:56:03You never know the kind of - is it going to shine through
0:56:03 > 0:56:06and what it's going to look like.
0:56:06 > 0:56:10And I am absolutely delighted. Really am.
0:56:23 > 0:56:25I've loved it. I've really loved it.
0:56:25 > 0:56:28And it's been really nice cos I've got completely absorbed
0:56:28 > 0:56:31and I've forgotten about the rest of the world. That's been really nice.
0:56:31 > 0:56:34It's playing, isn't it? It's playing with colour.
0:56:41 > 0:56:43Well, I came in feeling bewildered.
0:56:45 > 0:56:49I've created...this.
0:56:50 > 0:56:51I really don't know how.
0:56:51 > 0:56:54I started with a photograph that I thought
0:56:54 > 0:56:57I was going to replicate, and I just put that to one side,
0:56:57 > 0:57:01having taken some inspiration, and here we are.
0:57:01 > 0:57:03I think it's fantastic.
0:57:03 > 0:57:08I mean, I think he is artistic, really.
0:57:08 > 0:57:10More so than I am.
0:57:10 > 0:57:15So, I'm really, really impressed with what you've done.
0:57:15 > 0:57:20I think I may have created a unique piece of art.
0:57:27 > 0:57:30I think it's brilliant. It's really playful and fun.
0:57:30 > 0:57:34- It's colourful.- It brings together some lovely colours
0:57:34 > 0:57:36and some lovely images,
0:57:36 > 0:57:38and I think it will look wonderful.
0:57:38 > 0:57:42- We'll find a lovely place for it at home.- Do you think?
0:57:42 > 0:57:44I'm sure we will.
0:57:44 > 0:57:47- Yeah.- Could be a redecoration job.- No.
0:57:47 > 0:57:49Absolutely not.
0:57:57 > 0:58:02It's so obvious, isn't it, how much everybody has enjoyed those
0:58:02 > 0:58:06workshops, and I think what's really shone through is the sense
0:58:06 > 0:58:08that it's almost good for the soul.
0:58:08 > 0:58:10And, actually, it doesn't matter
0:58:10 > 0:58:14whether you're artistic or even what you end up with.
0:58:14 > 0:58:17It's the making itself that counts.
0:58:19 > 0:58:22If you've been inspired
0:58:22 > 0:58:25and want to know how to make a lampshade or a 3D card,
0:58:25 > 0:58:26then go to...
0:58:28 > 0:58:30..to find out how.