0:00:08 > 0:00:11No, this isn't the bit between the programmes in the 1960s,
0:00:11 > 0:00:14this is The Great Pottery Throw Down.
0:00:16 > 0:00:19Pottery is all around us. Irreplaceable in our daily lives
0:00:19 > 0:00:22and none of us can live without stuff made from clay.
0:00:22 > 0:00:26And these are clay's masters - ceramic artist Kate Malone
0:00:26 > 0:00:28and master potter Keith Brymer Jones,
0:00:28 > 0:00:32have championed great British pottery for decades.
0:00:32 > 0:00:36Pottery is almost as good as sex! It's so physical and so fantastic,
0:00:36 > 0:00:38on a good moment, it's up there.
0:00:38 > 0:00:41Is pottery better than sex? Er, no.
0:00:41 > 0:00:44Keith has been at the wheel for over 30 years.
0:00:44 > 0:00:48His contemporary tableware sells all over the world and with Madonna
0:00:48 > 0:00:52and Brangelina as clients, he is now one of our most successful
0:00:52 > 0:00:53potters ever.
0:00:53 > 0:00:56I find, the simpler the design, the more impact it has.
0:00:56 > 0:01:00There's quite often times when I have looked at a certain shape
0:01:00 > 0:01:01and it will move me to tears.
0:01:01 > 0:01:04Kate's stunning work can be seen in museums
0:01:04 > 0:01:06and public spaces all over the world
0:01:06 > 0:01:09and in the homes of renowned art collectors and rock stars.
0:01:09 > 0:01:11I'm chasing that next glaze,
0:01:11 > 0:01:13that next colour that I haven't invented yet.
0:01:13 > 0:01:16I'm chasing that next interpretation of nature.
0:01:17 > 0:01:20Now, they are both chasing a new dream - to find
0:01:20 > 0:01:22the next champion of British pottery.
0:01:22 > 0:01:23Hooar!
0:01:23 > 0:01:27And it's going to take 1,600 kilograms of clay...
0:01:27 > 0:01:28Ohhh...
0:01:28 > 0:01:31..1,200 degrees centigrade...
0:01:31 > 0:01:34It's completely in the lap of the pottery gods now.
0:01:34 > 0:01:37..500 unique and beautiful items for the home...
0:01:37 > 0:01:38They'll be small ones.
0:01:38 > 0:01:40..35 gruelling days...
0:01:40 > 0:01:42Exhausting and moreish.
0:01:42 > 0:01:45..with ten passionate home potters.
0:01:45 > 0:01:47You look quite at home there, I must say.
0:01:47 > 0:01:49- LAUGHING:- That's good!
0:01:49 > 0:01:51But will a champion emerge...
0:01:51 > 0:01:52You ain't finished the task!
0:01:52 > 0:01:55..in the Great Pottery Throw Down?
0:01:55 > 0:01:57- Come on! - Has that one shrunk really quickly?
0:01:57 > 0:01:59This is where the panic kicks in.
0:01:59 > 0:02:02Don't try and touch it up. Just dip and pray.
0:02:02 > 0:02:04- SHE GASPS - That's not supposed to happen.
0:02:04 > 0:02:06SHE BLOWS RASPBERRY
0:02:06 > 0:02:09Oh, my God, this is going to be a disaster.
0:02:15 > 0:02:18- # Got a feeling inside - Can't explain
0:02:18 > 0:02:22- # It's a certain kind - Can't explain
0:02:22 > 0:02:25- # I feel hot and cold - Can't explain
0:02:25 > 0:02:29- # Yeah, down in my soul - Can't explain
0:02:29 > 0:02:32# I can't explain I think it's love
0:02:32 > 0:02:35# Trying to say to you, when I feel blue
0:02:35 > 0:02:37# But I can't explain. #
0:02:43 > 0:02:46It's day one of the first-ever search for Britain's best home potter
0:02:46 > 0:02:49and we are in the spiritual home of potting.
0:02:49 > 0:02:52This is where it all began, in Stoke-on-Trent.
0:02:52 > 0:02:56And what better place than the longest continuously-running pottery
0:02:56 > 0:02:58in the whole of Stoke-on-Trent?
0:02:58 > 0:03:03Who knows how many thousands of beautiful crocks that served
0:03:03 > 0:03:05the British dinner table passed over these cobbles?
0:03:05 > 0:03:07There's a bottle oven out the back there.
0:03:07 > 0:03:09Stoke was covered in bottle ovens in the old days.
0:03:09 > 0:03:13There was so much smoke from them, you could hardly see your hand
0:03:13 > 0:03:14in front of your face.
0:03:14 > 0:03:17Middleport is living now. It is still making and it's using
0:03:17 > 0:03:19all the great techniques, piled one upon the other.
0:03:19 > 0:03:23If this location doesn't inspire the potters, nothing will.
0:03:23 > 0:03:28Our home potters have all come disguised as ordinary people.
0:03:28 > 0:03:30Jim is a painter and decorator from Bognor Regis.
0:03:30 > 0:03:33I think there used to be stereotypes in pottery -
0:03:33 > 0:03:34older fellows, bearded...
0:03:34 > 0:03:37Sally-Jo is a interior designer from Hampshire.
0:03:37 > 0:03:40I'm probably not what people think is a typical potter.
0:03:40 > 0:03:42James is a vet from Bristol.
0:03:42 > 0:03:43It is quite primal.
0:03:43 > 0:03:46It's a very sexual feeling when you are working with clay.
0:03:47 > 0:03:50Retired major, Tom, feels exactly the same way.
0:03:50 > 0:03:53I can tell you, it takes me a lot longer to throw a pot.
0:03:53 > 0:03:55Mum of two, Jane, from North Wales
0:03:55 > 0:03:57is just as keen to get her hands dirty.
0:03:57 > 0:03:59I'm a farmer's daughter. Generally,
0:03:59 > 0:04:00quite a mucky kid.
0:04:00 > 0:04:03Sandra's a community project manager from Leeds.
0:04:03 > 0:04:07I sew, I knit, I got into pottery. It's normal, isn't it?
0:04:07 > 0:04:11Mum of one Joanna is a parish councillor from West Sussex.
0:04:11 > 0:04:14I make pots for myself. It's almost, kind of, spiritual.
0:04:14 > 0:04:17Matthew's a teacher from the Yorkshire Dales.
0:04:17 > 0:04:20Pottery, you definitely don't do it for money.
0:04:20 > 0:04:21You will never be a rich potter.
0:04:21 > 0:04:24Rekha is a former fine arts student from Chalfont St Peter.
0:04:24 > 0:04:29I just fell in love with something which is MESSY and so earthy!
0:04:29 > 0:04:30And Nigel is a builder from Bakewell.
0:04:30 > 0:04:36My work colleagues, most don't believe that I actually make pots.
0:04:36 > 0:04:38So that's our ten potters.
0:04:38 > 0:04:40But what will they be making first?
0:04:40 > 0:04:43Look at you all! You all look gorgeous. It's so exciting.
0:04:43 > 0:04:46Welcome, then, to Middleport Pottery.
0:04:46 > 0:04:50I can't wait to see what incredible creations are going to be birthed
0:04:50 > 0:04:53in this very room by your hands.
0:04:53 > 0:04:56Big moment now, we've got to meet the judges.
0:04:56 > 0:04:58Morning, people.
0:04:58 > 0:05:00- Hello, everybody!- Hiya!
0:05:00 > 0:05:03Potters of the world unite!
0:05:03 > 0:05:05I'm actually tingling with excitement.
0:05:05 > 0:05:09I'm so passionate about ceramics and I know you all are.
0:05:09 > 0:05:11- I'm feeling emotional actually, now. - SHE LAUGHS
0:05:11 > 0:05:13I've got hankies today.
0:05:14 > 0:05:16This is how it's going to work, OK?
0:05:16 > 0:05:19Each week, one of you will be named Top Potter.
0:05:19 > 0:05:22One of you, sadly, will be going home,
0:05:22 > 0:05:25so it's going to be pretty tough, OK?
0:05:25 > 0:05:29So, we'll begin with the first-ever main make. This is your mammoth task.
0:05:29 > 0:05:31It's going to take four days to create this.
0:05:31 > 0:05:33Keith and Kate, what have you got in store?
0:05:33 > 0:05:38Right, the first main task is to throw a set of five bowls.
0:05:38 > 0:05:42The finished bowls have got to fit inside each other and they need to
0:05:42 > 0:05:45be fired, decorated and presented to us at the end of the week.
0:05:47 > 0:05:48Woooar!
0:05:48 > 0:05:50- I'm excited.- Good luck! - Have good one.- You too.
0:05:50 > 0:05:54Creating five stackable kitchen bowls from scratch is
0:05:54 > 0:05:57an epic task that will take four long days.
0:05:57 > 0:06:00First, the potters need to throw the bowls on the wheel,
0:06:00 > 0:06:03then the bowls will have to harden in the studio's drying room
0:06:03 > 0:06:07and be put back on the wheel to be trimmed into shape.
0:06:07 > 0:06:10Then they will be fired in the kiln for 24 hours,
0:06:10 > 0:06:14decorated with glaze and fired again for another 24 hours.
0:06:14 > 0:06:18And then, they will have to present all five bowls to the judges.
0:06:18 > 0:06:20Look at these beautiful examples on the table.
0:06:20 > 0:06:24This one here, with the beautiful rhythm, the space between the bowls
0:06:24 > 0:06:26is almost as important as the bowls themselves.
0:06:26 > 0:06:28And these, the continuity of the size.
0:06:28 > 0:06:31It looks like one has been born out of the other one.
0:06:31 > 0:06:35Are the nest of bowls going to sit up, like an ordnance survey map?
0:06:35 > 0:06:37Are some of them going to apply a lip?
0:06:37 > 0:06:39Are some of them going to distort them in some way?
0:06:39 > 0:06:42It'll be very interesting to see if any of our potters
0:06:42 > 0:06:44just give us something that little bit more.
0:06:44 > 0:06:46But they've got to have that continuity.
0:06:46 > 0:06:48And then, of course, there's the glazing.
0:06:48 > 0:06:50Look at this one, really, really subtle on the inside.
0:06:50 > 0:06:52Lovely texture on the outside.
0:06:52 > 0:06:54Sometimes, less is more, in which case,
0:06:54 > 0:06:57they'll be showing us the fact that they're designing with clarity.
0:06:57 > 0:07:00But on the other hand, you can cover every surface, if you want.
0:07:00 > 0:07:03This is a great challenge. They can show us minimal design skills
0:07:03 > 0:07:06or they can show us everything they've got.
0:07:06 > 0:07:09In this first stage, the potters have just two-and-a-half hours
0:07:09 > 0:07:12to throw five kitchen bowls on the wheel
0:07:12 > 0:07:14and get them into the studio's drying room.
0:07:14 > 0:07:16Oh, gosh!
0:07:16 > 0:07:19They're all working with the most common clay on the planet -
0:07:19 > 0:07:20earthenware.
0:07:20 > 0:07:22Either a common red, like you'll find beneath your garden,
0:07:22 > 0:07:25or a manufactured white earthenware...
0:07:26 > 0:07:30..depending on the final look they're hoping to achieve for their bowls.
0:07:30 > 0:07:34When this clay fires, it should end up as a classic creamware colour.
0:07:34 > 0:07:35It should be stunning.
0:07:35 > 0:07:37It's different in here.
0:07:37 > 0:07:40I'm hot. I normally pot in a garage and it's freezing.
0:07:40 > 0:07:42Potting is a complete escape.
0:07:42 > 0:07:45I love the feel in my hands, even in the winter,
0:07:45 > 0:07:47when it's bitterly cold in the pottery.
0:07:47 > 0:07:50I just love the idea that you're taking this piece of mud
0:07:50 > 0:07:53and you're creating something that could last thousands of years.
0:07:53 > 0:07:56Before I left home, my kids said, "Daddy, just one thing -
0:07:56 > 0:07:58"don't embarrass us."
0:07:58 > 0:08:01If any of Major Tom's kids are watching...
0:08:01 > 0:08:02Now, I need to wet some clay.
0:08:02 > 0:08:04..this next bit is a bit odd.
0:08:04 > 0:08:06He's wedging the clay,
0:08:06 > 0:08:09a potter's trick for getting rid of any air bubbles.
0:08:09 > 0:08:13Air often will be wet. There's a certain relative humidity,
0:08:13 > 0:08:15so a certain amount of moisture associated with it.
0:08:17 > 0:08:20And if you heat that ware and you have trapped some moisture in it,
0:08:20 > 0:08:22it will generate steam and you'll get massive expansion
0:08:22 > 0:08:25and the ware will simply explode in the kiln.
0:08:25 > 0:08:28Even if they think they've wedged enough,
0:08:28 > 0:08:30the clay still isn't ready to be thrown.
0:08:34 > 0:08:36All I can hear in this room is...
0:08:36 > 0:08:39- Yeah. - What's going on with the slapping?
0:08:39 > 0:08:41Well, they're preparing the clay, they're balling up the clay,
0:08:41 > 0:08:44ready to throw on the wheel. Slapping is quite necessary.
0:08:44 > 0:08:47- Is "slapping" the technical terminology for it, Jane?- It is.
0:08:47 > 0:08:51Yeah, it's a technical term, yes.
0:08:51 > 0:08:54It's actually wedging the clay and getting it even.
0:08:54 > 0:08:57You don't want hard lumps and soft lumps within the same piece of clay.
0:08:57 > 0:09:01It does get quite rhythmic. You can hear potters doing that, yeah.
0:09:01 > 0:09:03Ever see your neighbours' net curtains twitch?
0:09:03 > 0:09:05"What's happening at Jane's house?"
0:09:05 > 0:09:07I've got cows as my next-door neighbours,
0:09:07 > 0:09:10so they don't mind so much. They quite like that.
0:09:10 > 0:09:11COWS MOOING
0:09:11 > 0:09:14My dad and my brother work on the farm together
0:09:14 > 0:09:17and this empty little shed, my brother had had his eyes on it
0:09:17 > 0:09:19and I just got in there first, basically.
0:09:19 > 0:09:22Dad bought me my wheel for my 30th birthday.
0:09:22 > 0:09:24He hadn't got a clue what to buy me.
0:09:24 > 0:09:26He's a fan of online shopping.
0:09:26 > 0:09:29He's always been quietly supportive.
0:09:29 > 0:09:32I was just proud of her ploughing her own furrow, as they'd say.
0:09:32 > 0:09:37- How're you feeling about this task? - Um, a little bit nervous.- Right.
0:09:37 > 0:09:39- Yeah.- Right. - What are you most worried about?
0:09:39 > 0:09:42I think it's just that the quantity of clay, really, to centre that
0:09:42 > 0:09:45- first bit of clay.- It looks like your head is really busy.- Yeah.
0:09:45 > 0:09:48- We're going to leave you in peace. - Thank you.- Good luck.- Thanks.
0:09:48 > 0:09:49Nice to meet you both. Three!
0:09:52 > 0:09:54They've wedged, they've slapped,
0:09:54 > 0:09:58but now potting starts to get really mucky.
0:09:59 > 0:10:01I'm just trying to centre the clay,
0:10:01 > 0:10:04which can be the trickiest bit, under pressure.
0:10:04 > 0:10:07Clay that isn't properly centred will form lopsided bowls.
0:10:07 > 0:10:09Ohhh.
0:10:09 > 0:10:11So you bring the clay up, it's centring,
0:10:11 > 0:10:14and it helps the particles to be in the same direction.
0:10:14 > 0:10:16Agh!
0:10:16 > 0:10:19Once centred, the clay can be shaped into a bowl-like form
0:10:19 > 0:10:20in a process known as throwing.
0:10:20 > 0:10:22Why's it called throwing?
0:10:22 > 0:10:24I used to think it was about throwing down
0:10:24 > 0:10:28the clay on the wheel, cos often the thrower would have an assistant
0:10:28 > 0:10:29who would throw the clay down.
0:10:29 > 0:10:33It's actually derived from an Old English word, "throwen".
0:10:33 > 0:10:35And throwen meant to twist or turn.
0:10:35 > 0:10:37As the wheel turns, the potters can start
0:10:37 > 0:10:39pulling up the walls of their bowls.
0:10:40 > 0:10:43Thick walls will make heavy, unattractive bowls,
0:10:43 > 0:10:46but pull too thin and the walls will collapse.
0:10:47 > 0:10:50Start with the small ones first, and then work my way up,
0:10:50 > 0:10:53just to, kind of, settle myself in, really. I'm a little bit nervous,
0:10:53 > 0:10:56so I thought it was the wrong time to start with a big one.
0:10:56 > 0:10:59And I'm going to start that one again, too!
0:10:59 > 0:11:03I thought I need to do the big one first, because I do big pots,
0:11:03 > 0:11:07and then I can, sort of, train myself to do the smaller ones.
0:11:07 > 0:11:11I'm still undecided whether to go small to large or large to small.
0:11:11 > 0:11:15The theory behind that is I can work myself up to the big one.
0:11:15 > 0:11:18Nigel has brought a bit of the builder's yard to the studio.
0:11:18 > 0:11:21That has been cut to a shape.
0:11:21 > 0:11:23That shape will go round the bottom of the pot.
0:11:23 > 0:11:24He's made his own tool
0:11:24 > 0:11:27to cut a decorative foot in his bowl, as he throws it.
0:11:31 > 0:11:34It came off the wheel. I didn't get it secured well enough.
0:11:34 > 0:11:37- This is where the panic kicks in. - HE LAUGHS
0:11:37 > 0:11:39That's the easy one gone wrong!
0:11:41 > 0:11:45Good to get the first one under the belt. Lovely.
0:11:45 > 0:11:48My first pot is a bit bottom-heavy, but it's only going to get better.
0:11:50 > 0:11:5390 minutes left to throw five kitchen bowls
0:11:53 > 0:11:55and get them into the drying room.
0:11:55 > 0:11:56SHE WOLF WHISTLES
0:11:56 > 0:11:58I want to whistle those pots are so good, Tom.
0:11:58 > 0:12:02- 'With every bowl thrown...'- Needs to be bit wider.- '..size matters.'
0:12:02 > 0:12:0327-and-a-half.
0:12:03 > 0:12:06Unless the potters measure as they throw, the bowls won't be
0:12:06 > 0:12:08the right size to stack inside each other.
0:12:08 > 0:12:12It's working to exact measurements is the difficult bit.
0:12:12 > 0:12:1416-and-a-half by 8-and-a-half...
0:12:14 > 0:12:17But it's not just a case of getting the tape measure out.
0:12:17 > 0:12:20They're the same height. They're not meant to be the same height.
0:12:20 > 0:12:21Has that one shrunk really quickly?
0:12:21 > 0:12:24As clay dries, it shrinks.
0:12:24 > 0:12:27Obviously, you've got to take into account shrinkage.
0:12:27 > 0:12:28Normally, it's about 10%.
0:12:28 > 0:12:31With everything with pottery, there's always a theory,
0:12:31 > 0:12:33but reality's never quite the same.
0:12:33 > 0:12:36I need to throw to at least 17, to allow for all the shrinkage.
0:12:36 > 0:12:39This is nowhere near what I want it to be.
0:12:39 > 0:12:42But some potters have given themselves even more to worry about.
0:12:42 > 0:12:46I'm making a set of mixing bowls. So good sturdy rims and spouts.
0:12:46 > 0:12:49It gives the bowl a bit of character, but it's also functional.
0:12:49 > 0:12:51When the bowls are inside each other
0:12:51 > 0:12:53they should line up and they all smile. So, it's a nice part.
0:12:55 > 0:12:57Matthew is also making a few additions.
0:12:59 > 0:13:02I would say that's a lovely, wavy line. Has it got an official name?
0:13:02 > 0:13:06- It's called slip trailing. So, slip trailer.- Slip trailing?- Yep.
0:13:06 > 0:13:09It's not an underskirt, is it? That's a slip to me.
0:13:09 > 0:13:12Matthew isn't uncomfortable with his underskirt! What is slip?
0:13:12 > 0:13:15Slip is a liquid clay. It's watered down.
0:13:15 > 0:13:18It's so simple a technique and it's used all around the world.
0:13:18 > 0:13:20In country pottery, they've always used the fact
0:13:20 > 0:13:23- that you get red and white clay. - And you like doing this, Matthew?
0:13:23 > 0:13:25It is something that... It appeals to me.
0:13:25 > 0:13:28It's kind of like traditional Mediterranean style and, like,
0:13:28 > 0:13:31medieval English. I think it's good to source inspiration
0:13:31 > 0:13:34- from lots of different places. - I wish you luck with it, Matthew.
0:13:34 > 0:13:37- Wonderful, thank you. - Yeah, we wish you luck. Well done.
0:13:37 > 0:13:38At the throwing stage,
0:13:38 > 0:13:41Jim's inspiration is a little more straightforward.
0:13:41 > 0:13:43I haven't chosen anything that's going to be
0:13:43 > 0:13:45super complicated or testing.
0:13:45 > 0:13:49I've, kind of, let myself in gently. Potting is a quiet zone.
0:13:49 > 0:13:52I have a, kind of, mixed existence, if you like.
0:13:52 > 0:13:53There's times where I'm quite loud...
0:13:55 > 0:13:58I'm the lead singer in a band called Slim Jim And The Wild Cards.
0:13:58 > 0:14:00# Shake, rattle and roll... #
0:14:00 > 0:14:02It's the opposite of my potting.
0:14:02 > 0:14:04It's the noisy part of my personality.
0:14:04 > 0:14:07- Jim, give us a song. - I will do, at some point.
0:14:07 > 0:14:09It's nice and warm in here. Nice shapes.
0:14:09 > 0:14:11- Getting there!- That's nice.- Relax.
0:14:13 > 0:14:14Half an hour to go.
0:14:14 > 0:14:17Oh, that is really annoying.
0:14:17 > 0:14:19They are completely different shapes!
0:14:19 > 0:14:22One of Sally-Jo's bowls doesn't boast the curvy look
0:14:22 > 0:14:23she was hoping for.
0:14:23 > 0:14:25It's too straight-sided. Argh! OK.
0:14:27 > 0:14:30The two big ones to go. Oooh!
0:14:30 > 0:14:32Whilst Matthew tackles his smallest bowl...
0:14:32 > 0:14:36The larger the bowl, the more intimidated I'm getting.
0:14:36 > 0:14:40..most of the other potters have left their biggest until last.
0:14:40 > 0:14:42Ah, take a deep breath, see what happens.
0:14:42 > 0:14:45They involve wrestling 3-kilogram lumps of clay.
0:14:46 > 0:14:50Right now the clay's dominant. It does not want to get in line.
0:14:50 > 0:14:52Just like my kids!
0:14:52 > 0:14:54Even if they manage to centre the clay,
0:14:54 > 0:14:58pulling thin walls for a larger bowl is even harder.
0:14:58 > 0:15:00The difficulty with throwing big bowls
0:15:00 > 0:15:03is that, when you've got the force of the wheel spinning round,
0:15:03 > 0:15:06the further out you get, the centrifugal force gets even higher
0:15:06 > 0:15:08and your bowl just automatically wants to spin off the wheel.
0:15:08 > 0:15:10Come on.
0:15:10 > 0:15:12Ooh! Flip!
0:15:14 > 0:15:16It must have just got too dry.
0:15:16 > 0:15:18Ridiculous.
0:15:18 > 0:15:20So, the clay needs to stay nice
0:15:20 > 0:15:23and moist, as it moves around on the wheel.
0:15:23 > 0:15:26I let it get too dry and I pulled it too fast and...
0:15:26 > 0:15:28Try not to panic too much...
0:15:28 > 0:15:30and just do another one.
0:15:30 > 0:15:32Great view of Tom.
0:15:32 > 0:15:33SHE LAUGHS
0:15:33 > 0:15:35- Am I giving you a good view?- Thanks.
0:15:35 > 0:15:38Tom's not the only one struggling.
0:15:38 > 0:15:39It's not quite big enough
0:15:39 > 0:15:42so it's probably going to shrink to slightly undersize and,
0:15:42 > 0:15:45if it's not good enough, then there's no point handing it in.
0:15:45 > 0:15:47Oh, God! That breaks my heart.
0:15:47 > 0:15:51There's a bit of time left, so I'm going to try and do another one.
0:15:52 > 0:15:56You've got about ten minutes. You can do this bowl in ten minutes. OK?
0:15:56 > 0:15:58I can't. I have to give up.
0:15:58 > 0:16:00No, don't give up. Just keep going.
0:16:00 > 0:16:04The clay for Rekha's largest ball still isn't centred.
0:16:04 > 0:16:06I feel like I just want to rub your shoulders or do some
0:16:06 > 0:16:09- sort of reiki on Rekha.- I'm fine.
0:16:09 > 0:16:12I'm sending you my sisterly love and strength, OK?
0:16:12 > 0:16:15- Oh, that's so sweet. Thank you. - Keep going, keep going.
0:16:15 > 0:16:16I've done the five bowls.
0:16:16 > 0:16:20Put my feet up. Watch everybody else panicking.
0:16:20 > 0:16:21This is the last one.
0:16:30 > 0:16:33It is what it is now. It's done.
0:16:33 > 0:16:36It's going to be...
0:16:36 > 0:16:37it's going to be all right.
0:16:41 > 0:16:43That's it finished.
0:16:43 > 0:16:44Last one done.
0:16:47 > 0:16:49Come on!
0:16:49 > 0:16:52I'm leaving, going into the room.
0:16:52 > 0:16:55OK, everybody, you've got two minutes, two minutes left.
0:16:55 > 0:16:58- Not really everybody. Just Rekha.- You can do it!
0:17:00 > 0:17:02Got to shut that drying room door.
0:17:02 > 0:17:04Stop her now, actually. It could collapse, anyway.
0:17:04 > 0:17:06Rekha, get it off the wheel.
0:17:08 > 0:17:10Well done.
0:17:10 > 0:17:12APPLAUSE
0:17:14 > 0:17:20- Oh, bless her. I can't even hug you. - Please!- Well done, well done.- Sorry.
0:17:20 > 0:17:23I have seen some beautiful bowls go past me this morning.
0:17:23 > 0:17:27I think I might have to get out of here. It's too intimidating.
0:17:28 > 0:17:30Slightly worried about a couple, actually.
0:17:30 > 0:17:33I think, from here, you can be quite pleased with yourself.
0:17:37 > 0:17:39We're halfway through the first day.
0:17:39 > 0:17:43Middleport's been working around the clock for 150 years.
0:17:43 > 0:17:47And whilst their bowls dry, there's no rest for our potters.
0:17:47 > 0:17:49They're about to be tested on a traditional technique
0:17:49 > 0:17:51that's older than Stoke itself.
0:17:51 > 0:17:55So, then, potters, this is your first-ever spot test.
0:17:55 > 0:17:58Each week, as your work is drying, you're going to be tested on
0:17:58 > 0:18:01a particular potting technique
0:18:01 > 0:18:04and, this week, I've heard it's a really tricky one.
0:18:04 > 0:18:09It's handles. And it's a technique particularly specific, it's pulling.
0:18:09 > 0:18:13If you'd like to carefully pull off the hessian cloth.
0:18:13 > 0:18:16So, you have two different types of mug in front of you.
0:18:16 > 0:18:19One is a contemporary type and the other is a traditional type.
0:18:19 > 0:18:23We want to see two sets of ten identical handles.
0:18:23 > 0:18:26These guys aren't going to be in the room whilst you're doing this, OK?
0:18:26 > 0:18:27Afterwards, they'll come back
0:18:27 > 0:18:30and judge them, without knowing whose handles they're looking at. OK?
0:18:30 > 0:18:33- Judges, you can leave.- Thank you. - See you in a little while.
0:18:33 > 0:18:37Potters, we need 20 handles, two different styles
0:18:37 > 0:18:38and you've got 90 minutes.
0:18:40 > 0:18:42CLEARS THROAT
0:18:43 > 0:18:45This is tough. This is deep-end.
0:18:45 > 0:18:47The technique I'm going for is
0:18:47 > 0:18:50try and get 20 handles on 20 mugs. That's it.
0:18:50 > 0:18:53Handles are a really important element of pottery.
0:18:53 > 0:18:56They're aesthetic and functional. When you look at a handle...
0:18:56 > 0:18:59even if they've been made hundreds of years ago, you connect really
0:18:59 > 0:19:01with that potter's hand.
0:19:01 > 0:19:04You can see that maker's thumb mark, of somebody who lived
0:19:04 > 0:19:05maybe 300 years ago.
0:19:05 > 0:19:09It's quite a traditional technique, the pulling of a handle
0:19:09 > 0:19:12and it'll show real control and consistency with someone's hand.
0:19:14 > 0:19:17Pulling handles is the ultimate test of a potter's
0:19:17 > 0:19:19instinctive feel for clay.
0:19:21 > 0:19:24Now, I know what you're all thinking and you're not alone.
0:19:24 > 0:19:26There are similarities between pottery and sex.
0:19:26 > 0:19:29Oh, yes. You try pulling a handle!
0:19:29 > 0:19:31SHE LAUGHS
0:19:31 > 0:19:33It's very rude!
0:19:33 > 0:19:36I wouldn't describe it as a sensual feeling, necessarily.
0:19:36 > 0:19:41A very pleasurable feeling. I love the feel of cool clay in my hands.
0:19:41 > 0:19:45Sensual or not, pulling is the best way to encourage the clay
0:19:45 > 0:19:48to form a fluent, naturally curved handle.
0:19:48 > 0:19:49I'm holding the clay at the top
0:19:49 > 0:19:53and then I'm wetting the clay with my right hand and just gently,
0:19:53 > 0:19:56hardly any pressure, just pulling it in a very downward motion.
0:19:56 > 0:19:59The key with this is just confident draws.
0:19:59 > 0:20:03During pulling, potters can create ridges in the clay with their thumb.
0:20:03 > 0:20:06Just adding the traditional flattop.
0:20:06 > 0:20:11The ridges can add shape and texture to the surface of their handles.
0:20:11 > 0:20:14- Hard on the arm.- You're doing it too quickly, that's why.
0:20:14 > 0:20:17Oh, Nigel, you look quite at home there, I must say.
0:20:17 > 0:20:19HE LAUGHS
0:20:19 > 0:20:22- That's...- You do. You're, like, in your own world.
0:20:22 > 0:20:24- What a handle.- This is what I do on a regular basis.
0:20:24 > 0:20:26THEY LAUGH
0:20:26 > 0:20:29That's very good. Does your wife ever...?
0:20:29 > 0:20:32- Do pottery with you? - No, she doesn't.- Does she not?- No.
0:20:32 > 0:20:36Doesn't know what she's missing! Look, you're going great guns here.
0:20:36 > 0:20:38My wife enrolled me in a pottery course,
0:20:38 > 0:20:41just so I'd be home for one night a week on time.
0:20:41 > 0:20:44Now, I think pottery is taking over from work
0:20:44 > 0:20:48so I'm not sure whether she's actually got what she wanted.
0:20:48 > 0:20:50Is this preferable to the wheel work?
0:20:50 > 0:20:52It's as difficult, if not more difficult.
0:20:52 > 0:20:54Cos you need to keep them all the same.
0:20:54 > 0:20:56When you're throwing, you can alter.
0:20:56 > 0:20:58Once you've taken them off, they are what they are.
0:20:58 > 0:21:00There's a few that look similar-ish.
0:21:00 > 0:21:03There's a few that look like the BFG's ears.
0:21:04 > 0:21:08One hour to go and Jane's nerves are making her cautious.
0:21:08 > 0:21:10I just thought I'd try and dry them with a bit of a curve.
0:21:10 > 0:21:11Laid them over the rolling pin
0:21:11 > 0:21:14so it's a slightly more symmetrical handle.
0:21:14 > 0:21:16I leave them like that, just hanging over
0:21:16 > 0:21:18so the clay just finds its own natural curve.
0:21:18 > 0:21:20I'm going to have a little dip in the middle
0:21:20 > 0:21:22because it's the easiest thing to do right now. Oh!
0:21:22 > 0:21:24That's not supposed to happen!
0:21:24 > 0:21:26You are halfway through.
0:21:26 > 0:21:28Oh! Gasps of horror!
0:21:28 > 0:21:29Just 45 minutes left.
0:21:29 > 0:21:32Sally Jo has just moved from pulling to joining.
0:21:32 > 0:21:34The handles are quite soft.
0:21:34 > 0:21:37In an ideal world, I would firm up the handles a little bit.
0:21:37 > 0:21:39Talking of firming up...
0:21:39 > 0:21:40I'm just drying my handles.
0:21:40 > 0:21:42Some people just put them straight on to the mug
0:21:42 > 0:21:45and leave it soft, but I always work with mine quite dry.
0:21:47 > 0:21:49Scratching the surface
0:21:49 > 0:21:52and adding slip gives the handle a sticky area to bond to.
0:21:52 > 0:21:54To be honest, I am struggling.
0:21:54 > 0:21:58And Tom and Joanna are trying to give themselves an advantage.
0:21:59 > 0:22:02Despite being attached, they're on the pull again.
0:22:02 > 0:22:05I'll add the ridges again, once I've attached them.
0:22:05 > 0:22:06It is a little bit of messing around.
0:22:06 > 0:22:08Quite a hard technique to get them attached.
0:22:08 > 0:22:09SHE GROANS
0:22:09 > 0:22:11Ten minutes.
0:22:11 > 0:22:14Ten minutes and then your mugs have to be at the front for judging.
0:22:14 > 0:22:16I think the key to winning this task is seeing
0:22:16 > 0:22:18whether you can replicate the same thing over and over again.
0:22:18 > 0:22:22Well, the thing is, I never do anything consistently.
0:22:22 > 0:22:23Everything I do is very unique.
0:22:23 > 0:22:26I've never done this shape before.
0:22:26 > 0:22:29Sure the small ones are really quick.
0:22:29 > 0:22:31Five minutes remaining.
0:22:31 > 0:22:32Steady, girl.
0:22:38 > 0:22:42Normally on these I'd put, like, a little pit for your thumb,
0:22:42 > 0:22:43just as a little decoration.
0:22:49 > 0:22:51Heads down on this one, not looking up.
0:22:53 > 0:22:55OK, guys, we need to start getting our boards to the front.
0:22:55 > 0:22:57You've got one minute.
0:22:57 > 0:22:59I'm doing the traditional ones now.
0:22:59 > 0:23:01- Can we help, can we help each other?- No.
0:23:01 > 0:23:02I was too slow in the beginning.
0:23:02 > 0:23:06I've got seven left to do and a minute. No problem.
0:23:09 > 0:23:10SHE GASPS
0:23:10 > 0:23:13- Do you want a hand? - No, I'm good, thank you.
0:23:14 > 0:23:17Oh, my God, this is going to be a disaster.
0:23:22 > 0:23:24It's not going to be finished.
0:23:24 > 0:23:26Come on, you've just got a few seconds. Get them up there.
0:23:26 > 0:23:28Chop, chop.
0:23:29 > 0:23:33- Well done. Have they all got handles on?- No!
0:23:33 > 0:23:36They're the worst handles I've ever done in my life.
0:23:36 > 0:23:38I tell you what, they're going to rip us to shreds here.
0:23:38 > 0:23:41They are. They're going to tell us...yeah, yeah.
0:23:41 > 0:23:42This is where it happens!
0:23:42 > 0:23:44# I'll take afternoon tea
0:23:44 > 0:23:46# Afternoon tea... #
0:23:46 > 0:23:49The potters will now have their work judged for the very first time
0:23:49 > 0:23:53and Kate and Keith will have no idea whose handles are whose.
0:23:53 > 0:23:56- Hope you enjoyed this challenge. Tight on time.- Yeah.
0:23:56 > 0:23:58It's about rhythm and consistency.
0:23:58 > 0:24:02And board number one, I can see a true sense of consistency there.
0:24:02 > 0:24:03And there's a clear difference
0:24:03 > 0:24:07- between the contemporary and the traditional.- I agree. Absolutely.
0:24:07 > 0:24:09They look pretty well-joined. Oh, no, the bottom.
0:24:09 > 0:24:11The bottom hasn't been scratched.
0:24:11 > 0:24:14- What do you think of number two? - I think that's quite high.
0:24:14 > 0:24:18Yeah, the proportion's a bit too big for the actual mug itself.
0:24:18 > 0:24:20And as far as the contemporary ones are,
0:24:20 > 0:24:22I wouldn't say they were that different.
0:24:22 > 0:24:26Well, these are looking pretty good. I love the fluidity of the handle.
0:24:26 > 0:24:29I'm loving the proportion of the handle to the mug. That's great.
0:24:29 > 0:24:32- Lovely ridges on the pulling. - Really lovely.- Lovely little curl.
0:24:32 > 0:24:35- And again, I'm loving this knot. - That's lovely, that little gesture.
0:24:35 > 0:24:38- Yeah, absolutely. - Number four. Lovely smudge.
0:24:38 > 0:24:41This tells a story, doesn't it, of the finger.
0:24:41 > 0:24:43And it describes the material. It was once soft.
0:24:43 > 0:24:45They're quite thick, quite heavy.
0:24:45 > 0:24:47Yeah, that would be my only comment, really.
0:24:47 > 0:24:51- They're a bit on the thick side. - So, on to the next one. A nice pull.
0:24:51 > 0:24:54The thickness of the handle very much in proportion with
0:24:54 > 0:24:56the mug itself. The contemporary shape...
0:24:56 > 0:24:59I would struggle with a handle that low on a mug.
0:24:59 > 0:25:01Number six.
0:25:01 > 0:25:03Proportion of what they've tried to do with the handle shape
0:25:03 > 0:25:06and the thickness of the handle is way off.
0:25:06 > 0:25:08And there it is again on the traditional.
0:25:08 > 0:25:12OK, next one. This actually has a sense of animation to it.
0:25:12 > 0:25:14It's quite a bold statement to do this
0:25:14 > 0:25:16and what about the traditional ones?
0:25:16 > 0:25:18Well, I think they've got a lovely lug at the top.
0:25:18 > 0:25:22- That's very generous.- The handle is slightly on the thick side.
0:25:22 > 0:25:25Someone's shown a real spark of imagination here.
0:25:25 > 0:25:28The thickness of the handle, in proportion to the mug body,
0:25:28 > 0:25:31- is fantastic.- We've talked about the ridges when you're pulling.
0:25:31 > 0:25:35The ridges are there, but as an extra thing, the ridges are twisted.
0:25:35 > 0:25:38Again, the traditional ones - nice proportion to the mug body.
0:25:38 > 0:25:40Lovely ridges, again.
0:25:40 > 0:25:43Number nine. The person that's done that is fairly confident.
0:25:43 > 0:25:46And a very lovely curved, fat ridge.
0:25:46 > 0:25:49I've got a slight problem with the contemporary shape.
0:25:49 > 0:25:51They have been brave with their proportions.
0:25:51 > 0:25:55That's really brave, Kate. That's really brave, that one.
0:25:55 > 0:25:57- Last but not least. - Well, what a shame.
0:25:57 > 0:26:00This is the only one of the ten boards where whoever it was
0:26:00 > 0:26:02hasn't managed to finish, although the work is good.
0:26:02 > 0:26:03The pulling is good.
0:26:03 > 0:26:06They've really wanted to try and get a sense of fluidity in the handle.
0:26:06 > 0:26:09- Yeah, lovely sprig.- And I'm liking the contemporary ones as well.
0:26:09 > 0:26:13I'm liking this heavy, thick trench down the middle of it
0:26:13 > 0:26:15but you ain't finished the task.
0:26:16 > 0:26:20Kate and Keith will now reveal who's mastered pulling
0:26:20 > 0:26:22and whose touch has let them down.
0:26:22 > 0:26:25- Number ten, I'm afraid is this one.- That's mine.
0:26:25 > 0:26:28- Obviously, you didn't finish the task.- I understand.
0:26:28 > 0:26:31Ninth place was this board here.
0:26:31 > 0:26:36The proportions of the handle to the mug shape was just a little out.
0:26:36 > 0:26:39Nigel is eighth, Jane is seventh, James sixth,
0:26:39 > 0:26:42Matthew fifth, and Joanna is fourth.
0:26:42 > 0:26:44Third place is these ones here.
0:26:44 > 0:26:47- Mine.- We love the boldness of the contemporary shape.
0:26:47 > 0:26:50So, is it going to be Tom or is it going to be Jim?
0:26:50 > 0:26:51Who is your winner?
0:26:53 > 0:26:55- Tom.- Ah, well done!
0:26:55 > 0:26:56THEY APPLAUD
0:26:58 > 0:27:01- Well done, Tom. - And how did Tom just edge it?
0:27:01 > 0:27:03It was the beautiful, clean pulling and the ridges.
0:27:03 > 0:27:06- It was the cheeky curl. It's just a winner.- Absolutely.
0:27:06 > 0:27:08You can actually go and have a breather now,
0:27:08 > 0:27:10a well-deserved rest for a few minutes.
0:27:10 > 0:27:13When you come back, you can get your bowls out of the drying room.
0:27:13 > 0:27:15See you in a little bit. Go and have a rest.
0:27:15 > 0:27:20- Well done! You too. Well done!- Tom, well done, mate.- Well-played, mate.
0:27:20 > 0:27:22You did good.
0:27:22 > 0:27:25# Making time... #
0:27:25 > 0:27:28It's 8pm and it's taken seven hours
0:27:28 > 0:27:30for the bowls to dry.
0:27:30 > 0:27:32They're now leather-hard and ready
0:27:32 > 0:27:35for what potters call turning and trimming.
0:27:35 > 0:27:38So, if some of the potters put their pots in the drying room
0:27:38 > 0:27:42and they were sad about them and worried, can you rescue
0:27:42 > 0:27:45a badly-thrown pot with a good bit of turning and trimming?
0:27:45 > 0:27:46- Yes.- Yeah, you can.
0:27:50 > 0:27:52The potters have an hour and a quarter to trim
0:27:52 > 0:27:54all five of their bowls.
0:27:54 > 0:27:56When the clay is slightly dry, it changes.
0:27:56 > 0:27:57The water's leaving it,
0:27:57 > 0:28:02it becomes stiffer, more like chocolate, and you turn and trim it.
0:28:02 > 0:28:05It's one of the favourite parts of the process, for me,
0:28:05 > 0:28:08because you really are getting to the crispness of the pot
0:28:08 > 0:28:10and showing it come alive.
0:28:10 > 0:28:14A bit like giving it a bit of an uplift before it goes into the kiln.
0:28:14 > 0:28:17Really good potters hardly have to turn anything off their pots.
0:28:17 > 0:28:20So, clearly I've got a lot to turn off these pots.
0:28:20 > 0:28:22You can see the line of the bowl there.
0:28:22 > 0:28:26I want that line to continue and I want to trim off the excess.
0:28:29 > 0:28:32In the making of ceramics, there's a certain continuity
0:28:32 > 0:28:34in the tools that are used.
0:28:34 > 0:28:37Very simple, basic forms are used
0:28:37 > 0:28:41time and time again from the earliest times to the present day.
0:28:41 > 0:28:44A small, simple tool out of wood
0:28:44 > 0:28:47or a piece of gourd, perhaps.
0:28:47 > 0:28:52The earliest ceramic objects, in fact, were made 27,000 years ago.
0:28:52 > 0:28:55The earliest wheel-thrown pottery appears to have been made
0:28:55 > 0:28:58in Mesopotamia, in the 4th millennium BC.
0:28:58 > 0:29:01To participate in the making of ceramic objects
0:29:01 > 0:29:04is really to participate in a tradition that's really been
0:29:04 > 0:29:08part and parcel of almost every civilisation on Earth.
0:29:08 > 0:29:12During throwing, James had to rush to finish his largest bowl.
0:29:12 > 0:29:15If you've got some wobbles on the outside, you can just wait
0:29:15 > 0:29:18until it's a little bit dry and then just trim it off.
0:29:18 > 0:29:21I enjoy the process of turning a lump of clay into a usable form.
0:29:21 > 0:29:26I feel completely taken away into a different headspace, basically.
0:29:26 > 0:29:29Day to day, I'm a veterinary surgeon.
0:29:29 > 0:29:32A typical day will be a mixture of consulting and operating.
0:29:32 > 0:29:33So, with a stressful job,
0:29:33 > 0:29:37going on the wheel and just letting it all flow out of you,
0:29:37 > 0:29:40it's a pure therapy. It's my version of meditation.
0:29:40 > 0:29:42I think the turning appeals to me
0:29:42 > 0:29:45because this is when it really comes together and you really see
0:29:45 > 0:29:47the shape that you're going to have at the end of it.
0:29:47 > 0:29:50When she threw it, one of Sally-Jo's bowls didn't match her set.
0:29:50 > 0:29:54It's slightly flat-sided, but I've managed to turn a curve in it,
0:29:54 > 0:29:57which will mirror the inside of this one.
0:29:57 > 0:29:59And this one does actually fit inside it.
0:29:59 > 0:30:02So, that's a nice surprise!
0:30:02 > 0:30:06- Matthew has also had a surprise. - You've got a bit of a problem here.
0:30:06 > 0:30:09This happened after it had gone into the drying room.
0:30:09 > 0:30:13Because Matthew applied too much slip to wet clay,
0:30:13 > 0:30:15it weakened the rim of his largest bowl.
0:30:15 > 0:30:16There is moisture there.
0:30:16 > 0:30:18The shape is trying to sort of split itself open
0:30:18 > 0:30:21- and it had a slight weakness. Work with it.- Yeah.
0:30:21 > 0:30:25- It's a rather beautiful crack, actually.- Mm.- Congratulations!
0:30:25 > 0:30:27Yeah, you're going to have to do something with that.
0:30:27 > 0:30:28Just go bold with it.
0:30:28 > 0:30:31Matthew doesn't normally have an issue with large pots.
0:30:31 > 0:30:34If I was a pot, I think I would be
0:30:34 > 0:30:37a very large Ali Baba jar.
0:30:37 > 0:30:41They are the pots I find most challenging to make.
0:30:41 > 0:30:44I got into pottery from a very young age.
0:30:44 > 0:30:45Both my parents were potters,
0:30:45 > 0:30:47so, I never really touched Play-Doh, in fact,
0:30:47 > 0:30:49because there was always clay.
0:30:49 > 0:30:52I'm just going to think about it, stay calm and see what happens.
0:30:53 > 0:30:56Just take a little out of it...
0:30:56 > 0:30:59Most of the potters have waited until their bowls have dried
0:30:59 > 0:31:03and been trimmed, before they added slip.
0:31:03 > 0:31:04Adding to my time.
0:31:04 > 0:31:07And Sandra needs to impress more than most.
0:31:07 > 0:31:12Coming last in the Spot Test... Yeah, that was a bit of a bummer.
0:31:12 > 0:31:16# Didn't turn away when the sky was grey. #
0:31:16 > 0:31:18I sing at the wheel!
0:31:18 > 0:31:22Yeah, some call it singing, some call it, "Don't sing."
0:31:22 > 0:31:25My friends are very supportive, actually. They think I'm great.
0:31:25 > 0:31:28My work, I mean! Not so much me, but they love my work.
0:31:28 > 0:31:31If you go to my friends' houses, you'll see my work everywhere.
0:31:31 > 0:31:33I make them buy it!
0:31:33 > 0:31:36Confidence is a little bit gone, so I'm trying to make up for that.
0:31:36 > 0:31:38What time is it?
0:31:38 > 0:31:4215 minutes left, guys, of turnin' and a-trimmin'!
0:31:42 > 0:31:45Trying to, kind of, give it all a soft, rocky bottom,
0:31:45 > 0:31:47so they all are together.
0:31:47 > 0:31:49Turning off large amounts of clay,
0:31:49 > 0:31:52which I need to do on the two biggest bowls.
0:31:52 > 0:31:56The clay in the largest bowls will be softer, making trimming risky.
0:31:56 > 0:31:59Having to be really controlled and taking your time with it
0:31:59 > 0:32:02isn't something that comes naturally to me.
0:32:02 > 0:32:04I've got to be careful. If I press too hard, it will dip,
0:32:04 > 0:32:06slightly, cos it's very soft.
0:32:06 > 0:32:07The other thing that could happen is
0:32:07 > 0:32:10I am too zealous going down inside, to get that foot ring,
0:32:10 > 0:32:13and if I do that and go too far, the bowl's finished.
0:32:13 > 0:32:15Too soft, you won't touch it with a turning tool.
0:32:15 > 0:32:17Too hard, you'll push it down and in.
0:32:17 > 0:32:20That's how it is. It is a balancing act.
0:32:20 > 0:32:23He's managed to trim it, but Matthew's biggest bowl
0:32:23 > 0:32:24still has a crack problem.
0:32:24 > 0:32:26Maybe I should disguise it with a handle.
0:32:26 > 0:32:29In the kiln, the crack might open up a bit more.
0:32:29 > 0:32:33But in theory, the handle might just hold it together.
0:32:33 > 0:32:36What I'm doing here is just trying to create some texture,
0:32:36 > 0:32:38to give myself an interesting slip line.
0:32:46 > 0:32:49- Jim!- I'm repairing a crack. - You know what? You're not alone.
0:32:49 > 0:32:51Join the crack club, yeah. Dry clay and slip,
0:32:51 > 0:32:54- that's the trouble. - It's only a little crack.- It is.
0:32:54 > 0:32:57- I'm filling that baby up, as quick as we can.- OK. Get cracking.
0:32:57 > 0:33:00A couple of minutes and they've got to be in there.
0:33:00 > 0:33:02You don't want them getting locked out.
0:33:05 > 0:33:07- Joanna, doing a bit of juggling. - Doing a bit of juggling.
0:33:07 > 0:33:08SHE HUMS CIRCUS MUSIC
0:33:08 > 0:33:12There you go. Get them in there, girl. They look gorgeous.
0:33:14 > 0:33:1830 seconds, guys. 30 seconds. Get them in there, please.
0:33:18 > 0:33:22- Can I give you a hand?- You can do, my darling, that would be great.
0:33:22 > 0:33:26- They feel beautiful.- Get those in the drying room, please. Chop, chop!
0:33:26 > 0:33:27Get in there!
0:33:27 > 0:33:30Five, four, three...
0:33:30 > 0:33:35You need to get your pot in there quickly, please, Jim!
0:33:35 > 0:33:36Two...
0:33:37 > 0:33:39One...
0:33:39 > 0:33:41I was nice, cos it's the first day!
0:33:44 > 0:33:46Well done!
0:33:46 > 0:33:47APPLAUSE
0:33:49 > 0:33:52Wow! A full-on day, guys. But you've been amazing.
0:33:52 > 0:33:54The next time you clap eyes on your babies,
0:33:54 > 0:33:56they will have had their first firing.
0:33:56 > 0:34:00So, we will see you in a couple of days.
0:34:00 > 0:34:03Day one of the competition lasted 13 hours.
0:34:03 > 0:34:05What a day! I am truly fatigued.
0:34:05 > 0:34:07It's the longest I've ever spent at the wheel.
0:34:07 > 0:34:09The longest I've ever spent using clay.
0:34:09 > 0:34:11I somehow survived it.
0:34:11 > 0:34:13You know, I've got no cracks.
0:34:13 > 0:34:15You're going to have ups and downs, aren't you?
0:34:15 > 0:34:19Exhausting, exhilarating and, erm, moreish!
0:34:26 > 0:34:29Day two is a frustrating down day for the potters.
0:34:29 > 0:34:30There is nothing they can do,
0:34:30 > 0:34:33as their bowls are dried completely and go into the kiln.
0:34:34 > 0:34:37Middleport had a whole army to get this job done
0:34:37 > 0:34:39and they are known as kiln men.
0:34:42 > 0:34:44And here's ours. His name's Rich.
0:34:44 > 0:34:46This process is slightly nerve-racking.
0:34:46 > 0:34:48Because it's somebody else's work.
0:34:48 > 0:34:52It's Rich's job to take the dried kitchen bowls to our kiln room
0:34:52 > 0:34:53and fire them.
0:34:53 > 0:34:57We make sure that it makes it to the kiln safely as possible,
0:34:57 > 0:34:59for that biscuit firing.
0:34:59 > 0:35:02A pot's first trip to the kiln is known as a biscuit firing
0:35:02 > 0:35:05and it permanently transforms the clay.
0:35:05 > 0:35:08That process of going from the clay to the final ceramic
0:35:08 > 0:35:12involves a whole host of rather complicated and different steps.
0:35:12 > 0:35:15Initially, you just boil off the water that's not held in the clay.
0:35:15 > 0:35:17And then as you increase temperature, you start
0:35:17 > 0:35:22to lose the water that is held in the crystal structure of the clay.
0:35:22 > 0:35:24As you increase temperature up to about 800 degrees C,
0:35:24 > 0:35:29you start to get vitrification or melting or fuse of the pot
0:35:29 > 0:35:34and the body and you form that solid ceramic body that is permanent.
0:35:34 > 0:35:37That is going to be there for thousands of years.
0:35:37 > 0:35:39Well, that's what kiln men hope.
0:35:39 > 0:35:43But at temperatures over 1,000 degrees C, moisture, poor throwing,
0:35:43 > 0:35:46careless trimming, can all spell disaster.
0:35:46 > 0:35:48They're in one piece now.
0:35:48 > 0:35:50Will they be in one piece at the end of the firing?
0:35:50 > 0:35:54It might be nerve-racking, but Rich actually has it pretty easy.
0:35:54 > 0:35:57The old bottle kilns, of years ago,
0:35:57 > 0:36:00being in coal, being in wood,
0:36:00 > 0:36:02it must have been terrible.
0:36:04 > 0:36:08The poor guys working in that gap between the bottle that you see
0:36:08 > 0:36:10as the outside of the kiln
0:36:10 > 0:36:13and the chamber of the kiln within would have been stoking coal
0:36:13 > 0:36:16for hour after hour after hour, in unbearable temperatures.
0:36:16 > 0:36:19And in fact, a lot of the workers would be paid on what came out
0:36:19 > 0:36:22of the kiln, so if it didn't come out of the kiln,
0:36:22 > 0:36:23they didn't get paid for it.
0:36:23 > 0:36:27You'd put a piece of rag, soaked in water, run in with a hook,
0:36:27 > 0:36:29and you'd pull it out,
0:36:29 > 0:36:32while the kiln was going because you'd start losing money.
0:36:38 > 0:36:40Day three and the potters are back
0:36:40 > 0:36:43to discover how their bowls fared during the first firing.
0:36:43 > 0:36:45Who, for you, is really shining?
0:36:45 > 0:36:48So far, Tom is technically confident
0:36:48 > 0:36:52but maybe he lacks a bit of imagination. Rockabilly Jim.
0:36:52 > 0:36:55He said when he was making, "Well, I haven't stretched myself too far,"
0:36:55 > 0:36:57but he actually has.
0:36:57 > 0:36:59Sally-Jo is really a bit of a dark horse in this.
0:36:59 > 0:37:02Kate, who do you think is struggling a bit?
0:37:02 > 0:37:04It's Matthew. His shape was really top-heavy.
0:37:04 > 0:37:08- He's just not showing us what he can do.- And then we've got Jane.
0:37:08 > 0:37:10I noticed her right at the start. She was panicked.
0:37:10 > 0:37:13Another worry for me is probably Sandra.
0:37:13 > 0:37:16Rekha's hand skills don't seem up to the mark.
0:37:16 > 0:37:19We've actually been shuffling our opinions through different stages.
0:37:19 > 0:37:23Absolutely, and you never know what comes out of that kiln.
0:37:23 > 0:37:26Our kiln man Rich has brought the biscuit-fired bowls
0:37:26 > 0:37:27back to the studio.
0:37:27 > 0:37:29Deep breath.
0:37:29 > 0:37:32Everything now rests on what lies believe the hessian.
0:37:32 > 0:37:35SHE EXHALES LOUDLY
0:37:35 > 0:37:37It's not bad.
0:37:37 > 0:37:39OK. This looks good.
0:37:39 > 0:37:43Oh, I've got a crack in my base on the large one.
0:37:43 > 0:37:47- I'm quite glad it hasn't split in half really.- Not cracked.
0:37:47 > 0:37:50- All five present and correct. A bit heavy but...- Not cracked.
0:37:50 > 0:37:51Really pleased.
0:37:51 > 0:37:55- Not cracked. - That's a good start. Phew.
0:37:55 > 0:37:57Oh, my gosh.
0:37:57 > 0:37:58Oh, that's a relief.
0:37:58 > 0:38:01Oh! Cool.
0:38:02 > 0:38:03Ooh, ooh.
0:38:05 > 0:38:09I've got some rather lovely additions to my pieces here.
0:38:09 > 0:38:11It's a fact of pottery. You can't get too upset.
0:38:15 > 0:38:19The potters now have two and a half hours to decorate their bowls.
0:38:19 > 0:38:24Earthenware glazes are commonly a mixture of clay, silica and lead.
0:38:24 > 0:38:28Once fired, the blend melts, to form a glass-like decoration.
0:38:28 > 0:38:30But the potters can't be sure of how it will look
0:38:30 > 0:38:32until after the final firing.
0:38:32 > 0:38:35I'm planning to do some pretty simple decoration.
0:38:35 > 0:38:37Decorating, it's not really my thing.
0:38:37 > 0:38:39I'm not proficient at it, frankly.
0:38:39 > 0:38:42Normally, I'd decorate with slip before it goes in the kiln,
0:38:42 > 0:38:44but I've got two hours.
0:38:44 > 0:38:47It's difficult to glaze it, because your heart's not in it really.
0:38:47 > 0:38:50I have a plan. It's formulating in my head.
0:38:50 > 0:38:54Sally-Jo has set her heart on an abstract design with layered colours.
0:38:54 > 0:38:57I'm just putting on a base layer of a slip, which you don't
0:38:57 > 0:39:01conventionally put on at this stage, but I find if I put it on now,
0:39:01 > 0:39:03then the colour on top flows much better.
0:39:03 > 0:39:05Colour is such an emotive thing.
0:39:05 > 0:39:08I work as an interior designer and the colours you surround
0:39:08 > 0:39:11yourself with can make such a difference to how you feel.
0:39:11 > 0:39:14I don't go around creating bright pink houses or anything
0:39:14 > 0:39:16but I like to take colour combinations for my pottery.
0:39:16 > 0:39:19It's a really careful choice and it's got to come from within.
0:39:19 > 0:39:22For me, it's really important that it feels quite fresh
0:39:22 > 0:39:24and I want it to feel quite painterly.
0:39:24 > 0:39:26At the end, I want the paint strokes to be seen.
0:39:26 > 0:39:29I am not being literal, but I just want to try and get the sand
0:39:29 > 0:39:32and what we actually see on the horizon.
0:39:32 > 0:39:35Rekha's very simple design is meant to reflect the colours of her
0:39:35 > 0:39:37favourite beach in Dorset.
0:39:37 > 0:39:39Clay can be anything you want it to be.
0:39:39 > 0:39:41I'm a conceptual artist, you know,
0:39:41 > 0:39:45so I build a lot of natural organic forms
0:39:45 > 0:39:48and I feel the need to, kind of, make it not just a pot,
0:39:48 > 0:39:50but something else about it.
0:39:52 > 0:39:54I just made some stamps from make-up sponges.
0:39:54 > 0:39:57I made some geometrical shapes.
0:39:57 > 0:39:59Quite simple, quite basic.
0:39:59 > 0:40:02The green, the cream ends up as classic creamware colours,
0:40:02 > 0:40:04but with a contemporary shape.
0:40:04 > 0:40:06The indentations in the base, when you scrape away,
0:40:06 > 0:40:08the upper pieces will go cream.
0:40:08 > 0:40:11I was up in Whitby when the inspiration came through.
0:40:11 > 0:40:13Being by the sea, it came to me straight away.
0:40:13 > 0:40:17There has to be a sea theme, so blues, whites, terracottas.
0:40:17 > 0:40:19I thought that would be a nice combination.
0:40:19 > 0:40:22Jane's inspiration comes from a little closer to home.
0:40:22 > 0:40:25These pots are an ode to my grannies.
0:40:25 > 0:40:30So the design is from my grandmother's dress from the '60s
0:40:30 > 0:40:32and my other granny lived in Portugal.
0:40:32 > 0:40:33As regards the crack,
0:40:33 > 0:40:36I can't see it, so I'm just going to focus on the decoration.
0:40:36 > 0:40:38It's nice to get this far, really.
0:40:38 > 0:40:40I'm glad the throwing is out of the way.
0:40:40 > 0:40:42I'm certainly not going to try
0:40:42 > 0:40:45and disguise the cracks by painting over them.
0:40:45 > 0:40:48That would just look dreadful, so I'm going to ignore them
0:40:48 > 0:40:50and, maybe, they'll go away.
0:40:50 > 0:40:53Jim's hoping to bring what is left of his set of bowls together
0:40:53 > 0:40:55with a vintage woodland theme.
0:40:55 > 0:40:59I'm roughly painting a background colour and I will refine it with
0:40:59 > 0:41:03a fine brush and a darker colour, to make a more finished leaf design.
0:41:04 > 0:41:07One hour to go before the potters' bowls need to be ready
0:41:07 > 0:41:08for their final firing.
0:41:08 > 0:41:11I'm going to try and use bold colours, one colour per bowl,
0:41:11 > 0:41:14and I'm thinking about a way of introducing the colours
0:41:14 > 0:41:17I use on each of the bowls into every bowl.
0:41:17 > 0:41:20Matthew's finally found some enthusiasm for decorating.
0:41:20 > 0:41:23This is an iron oxide, so I'm trying to reflect what
0:41:23 > 0:41:26I did originally on the outside of my bowls.
0:41:26 > 0:41:28Oxides change colour in the heat of the kiln.
0:41:28 > 0:41:31I'm surface decorating with cobalt oxide.
0:41:31 > 0:41:34The thinnest of layers has the potential to produce richer,
0:41:34 > 0:41:37more organic-looking hues than a premixed glaze.
0:41:37 > 0:41:40Although it doesn't look like anything at the moment,
0:41:40 > 0:41:44this comes out the most brilliant, beautiful blue on white.
0:41:45 > 0:41:49I did have a plan, but we have also got some oxides, so thinking
0:41:49 > 0:41:50on my feet a little bit more.
0:41:50 > 0:41:53I think I might change the plan a little bit,
0:41:53 > 0:41:55do something different.
0:41:56 > 0:41:5930 minutes, guys. You've got half an hour to go.
0:41:59 > 0:42:01I've got to finish on time.
0:42:01 > 0:42:05I don't want to decorate too much, in case it just looks like a mess.
0:42:06 > 0:42:09Rekha's decoration has become even more conceptual.
0:42:09 > 0:42:14Because this one has a wobbly base, I've written "wobbly base" on it.
0:42:14 > 0:42:17I think this is perfect, so I did "perfect" on this.
0:42:29 > 0:42:31I keep adding more to it.
0:42:31 > 0:42:34I think I've overdone it now and I've really got to stop.
0:42:34 > 0:42:38Five minutes, guys, then we are going to get these babies down to the kiln.
0:42:38 > 0:42:40Fliberldy-deedledy, biddledy-bee.
0:42:42 > 0:42:45For their final preparation for the kiln...
0:42:46 > 0:42:48..the potters' decorated bowls
0:42:48 > 0:42:50should be coated in transparent glaze.
0:42:50 > 0:42:54The secret is, don't play with it. Don't try and touch it up.
0:42:54 > 0:42:55Just dip and pray.
0:42:55 > 0:42:59It contains silica, which, when fired, will turn into a thin,
0:42:59 > 0:43:00clear layer of glass.
0:43:00 > 0:43:02Deep breath.
0:43:02 > 0:43:05I run a serious risk of losing this part of the pot in the glaze.
0:43:05 > 0:43:10I don't want the judges peering through the hole.
0:43:10 > 0:43:11Drumroll, please.
0:43:14 > 0:43:15Easy as we go.
0:43:17 > 0:43:19Oh, look at that. It stayed in.
0:43:22 > 0:43:23After 72 hours,
0:43:23 > 0:43:28the potters' kitchen bowls are, at last, ready for their final firing.
0:43:28 > 0:43:29Bring all your pots over.
0:43:29 > 0:43:31As I handed the bowls over to Rich,
0:43:31 > 0:43:35I felt like these are my babies, you know, and I will see you tomorrow.
0:43:35 > 0:43:39Once you've done as much as you have control over, it is quite nice.
0:43:39 > 0:43:42You can feel relieved. How I'm going to be feeling
0:43:42 > 0:43:45when the kiln is opened is a different matter altogether.
0:43:45 > 0:43:48And it is completely in the lap of the pottery gods now.
0:43:48 > 0:43:51- If you were Richie, how would you be feeling now?- Nervous.
0:43:51 > 0:43:53- Yeah, frightened.- 50 bowls to fire.
0:43:53 > 0:43:55Slightly glad it's out of our hands now.
0:43:55 > 0:43:59We can just leave it to Richie and just wait. I can't wait though.
0:43:59 > 0:44:00I can't wait that long!
0:44:05 > 0:44:07The potters' day isn't over
0:44:07 > 0:44:08and, during the glaze firing,
0:44:08 > 0:44:11Kate and Keith have set one final challenge.
0:44:11 > 0:44:13Each week, we're going to test your skills at the wheel.
0:44:13 > 0:44:17You're going to be up against each other. You're going to be up against
0:44:17 > 0:44:20the clock. This, ladies and gentlemen, is the Throw Down.
0:44:20 > 0:44:23This week, you're making egg cups and it's about numbers.
0:44:23 > 0:44:25You're going to throw off the hump
0:44:25 > 0:44:27and you're going to throw for 20 minutes.
0:44:27 > 0:44:29If you've not thrown off the hump before,
0:44:29 > 0:44:32watch Keith very closely, cos he is the master.
0:44:32 > 0:44:35Throwing off the hump has been with us for centuries and it's
0:44:35 > 0:44:38the first-ever pottery technique that enabled mass production.
0:44:38 > 0:44:41It's done all around the world by people who want to
0:44:41 > 0:44:42throw small pieces.
0:44:42 > 0:44:44Instead of centring each little tiny little ball of clay,
0:44:44 > 0:44:48there's one big hump from which the tip is taken.
0:44:48 > 0:44:51Now, I have a rule. I never stop the wheel when I throw off the hump.
0:44:51 > 0:44:53You just want to get into a rhythm.
0:44:53 > 0:44:55If I make a little groove at the bottom, that will
0:44:55 > 0:44:58determine where I cut the base.
0:44:58 > 0:45:00The biggest danger - you slice off the base
0:45:00 > 0:45:03and you make a hole in the egg cup, which is not what we're after.
0:45:03 > 0:45:07You've got five kilos of clay and you've got 20 minutes.
0:45:07 > 0:45:11So, which potter can throw the most egg cups?
0:45:11 > 0:45:12Three, two, one, go.
0:45:16 > 0:45:18SHE GASPS
0:45:18 > 0:45:21Just one little mistake and the whole thing goes.
0:45:21 > 0:45:23Don't cut through the bottom.
0:45:23 > 0:45:25Oh! Doesn't count. Holes in the bottom.
0:45:25 > 0:45:26Focus, focus.
0:45:26 > 0:45:29I lost another one with holes at the bottom.
0:45:29 > 0:45:31I've got a special tool here, it's called a throwing spear.
0:45:31 > 0:45:33Take a groove out the base...
0:45:34 > 0:45:38..keep the wheel going, clean the wire, spin it round.
0:45:38 > 0:45:42Rekha, she's chosen a different style and I kind of like it.
0:45:42 > 0:45:43Rekha's first one, well done.
0:45:43 > 0:45:47- Well done, Rekha.- Tom's on three. - Matthew's got three over here.
0:45:47 > 0:45:49You want to slow down there, Matt.
0:45:49 > 0:45:52Jim's got four. Come on, Jim!
0:45:52 > 0:45:54Jim is overtaking Tom.
0:45:54 > 0:45:57Keep going, make everything economical with movement.
0:45:57 > 0:46:00One, two, three, four, five, six, seven.
0:46:00 > 0:46:02Tom, come on, he's on seven, you're on six.
0:46:02 > 0:46:05Seven?! Oh, my God. I've got one.
0:46:06 > 0:46:1015 minutes left. Seventh one from Sandra and it's a beauty.
0:46:12 > 0:46:15I can't do it, I've cut my fingers about 15 times.
0:46:15 > 0:46:18We're into double figures over here, people. We've got ten from Tom.
0:46:18 > 0:46:21- Jim's on his 12th. - Yeah, we're rock and rolling.
0:46:21 > 0:46:23- I've lost my clay. - Come on, get it in.
0:46:23 > 0:46:27- You've got big shoulders, get it in. - Do it for your family.
0:46:27 > 0:46:30Look at their faces. Don't let them down.
0:46:30 > 0:46:33- Ten minutes. - Who's winning?- 17 over here.
0:46:33 > 0:46:3520 over here, guys, with Jim.
0:46:35 > 0:46:3620?!
0:46:36 > 0:46:38Show off.
0:46:40 > 0:46:43Five minutes left of this Throw Down.
0:46:43 > 0:46:47- Some quick ones at the end. - Tom's on 28.
0:46:47 > 0:46:49- What? 28?- Jim's done 29.
0:46:49 > 0:46:53- Brilliant. - Come on, potters, one minute left.
0:46:53 > 0:46:54Come on.
0:46:54 > 0:46:56Lost that one.
0:46:56 > 0:46:59- 85 from James(!)- Yes, thank you, everybody, thank you.
0:47:00 > 0:47:02Come on, Nigel.
0:47:08 > 0:47:11Final finale egg cup.
0:47:11 > 0:47:13- Three...- Come on, last one.
0:47:13 > 0:47:16..two...one.
0:47:16 > 0:47:19BELL RINGS That's it.
0:47:20 > 0:47:22How'd you do, my darling?
0:47:22 > 0:47:24Disaster.
0:47:24 > 0:47:25Our kiln man, Rich,
0:47:25 > 0:47:29will now count how many egg cups each potter has thrown from their hump.
0:47:30 > 0:47:3418 altogether. 19 good.
0:47:34 > 0:47:3620. 23.
0:47:36 > 0:47:3923. 28. 28.
0:47:40 > 0:47:44Either Tom, Sally-Jo or Jim will be the first Throw Down winner.
0:47:46 > 0:47:4831.
0:47:52 > 0:47:5436.
0:48:01 > 0:48:05- 32.- And the winner of our first-ever Throw Down is Tom. Well done.
0:48:05 > 0:48:07APPLAUSE
0:48:11 > 0:48:14Time for you to go home, guys. OK, tomorrow's a big day.
0:48:14 > 0:48:19Your bowls will be judged and, sadly, one of you will be going home.
0:48:19 > 0:48:21Escape while you can.
0:48:22 > 0:48:25I mean, it's great to win, but... creeps in every time.
0:48:25 > 0:48:29Two thirds now, you know...Jim. It could go anywhere.
0:48:30 > 0:48:33I've thrown off the hump before, so I thought I could do it.
0:48:33 > 0:48:35It was a real shock.
0:48:35 > 0:48:41Somebody pipped me to the last post, so I'm like... Oh, so I'm happy.
0:48:46 > 0:48:50It's taken four days, but after 24 hours in the kiln,
0:48:50 > 0:48:52the potters' bowls are finished.
0:48:52 > 0:48:58- That's us.- Oh, I can't bear it. - Goose bumps again. Let's see.
0:48:58 > 0:49:01You never really know what you're going to get. Which is the beauty...
0:49:01 > 0:49:0430 years I've been doing it and I'm still so excited.
0:49:04 > 0:49:06This is all about what they visualised,
0:49:06 > 0:49:09what they've executed and what they're getting out of the kiln.
0:49:09 > 0:49:12And is what they visualised and what they're getting
0:49:12 > 0:49:15out of the kiln roughly the same as what they planned?
0:49:17 > 0:49:20All potteries in Stoke would have a display room
0:49:20 > 0:49:23where they'd show off their work to their customers.
0:49:25 > 0:49:27Now, Middleport's old display room
0:49:27 > 0:49:29is where the potters' first completed work
0:49:29 > 0:49:32will be presented to Kate and Keith.
0:49:36 > 0:49:39Joanna, bring your bowls up to the front, please.
0:49:52 > 0:49:54The weight of the bowls is good,
0:49:54 > 0:49:56there's a bit too much meat in the bottom here
0:49:56 > 0:49:59and it's interesting, because this one's got lots of stress cracks.
0:49:59 > 0:50:03- They don't go all the way through. Your bases.- These little nicks.
0:50:03 > 0:50:08Come on, get them cleaner. The base is just as important as the rim.
0:50:08 > 0:50:10Don't do it again.
0:50:10 > 0:50:14So, I was really concerned that the cobalt was going to be overloaded.
0:50:14 > 0:50:17Cobalt oxide, it's really difficult to control.
0:50:17 > 0:50:19There's a little bit of texture here.
0:50:19 > 0:50:23You can just feel it and so, your cobalt, it was too thick.
0:50:37 > 0:50:39Really nice, Tom.
0:50:39 > 0:50:42You pick it up, you're expecting a certain weight in your hand
0:50:42 > 0:50:43and that's what you're getting.
0:50:43 > 0:50:47I was a little concerned that it was a little minimalist on the outside,
0:50:47 > 0:50:49but look at the inside.
0:50:49 > 0:50:52Look at that. Absolutely beautiful.
0:50:52 > 0:50:54I think the way the slip relates to the lines that you made
0:50:54 > 0:50:57while you were carving works very well.
0:50:57 > 0:50:59The bright colours work with the dark clay.
0:50:59 > 0:51:02- That really is my kind of look. - Thank you.
0:51:08 > 0:51:11- Is that on purpose? Leans this way. - If you like it, it's on purpose.
0:51:11 > 0:51:13KATE CHUCKLES
0:51:13 > 0:51:16You need to make sure that the strength of the colour
0:51:16 > 0:51:18is sufficient on the sponge.
0:51:20 > 0:51:23I like the blue and white. I think that's a really good idea.
0:51:23 > 0:51:25Yes, it's nice, in that, you've done the painting
0:51:25 > 0:51:28and you've also scratched back through to the white slip.
0:51:31 > 0:51:33I really like the fact that you've decorated the base.
0:51:33 > 0:51:36- It's quite a simple design.- Yeah.
0:51:36 > 0:51:38Would one class that as a bowl?
0:51:38 > 0:51:40I would, yes.
0:51:42 > 0:51:45Jim, would you like to bring your bowls to the front, please?
0:51:45 > 0:51:46Deep breath.
0:51:52 > 0:51:54How are you feeling about them, Jim?
0:51:54 > 0:51:57I'm happy with the bowls that were left to decorate.
0:51:57 > 0:52:00The first two, obviously, were a bit of a catastrophe.
0:52:00 > 0:52:03Very slightly-nostalgic feel to the way some wallpapers
0:52:03 > 0:52:05and textiles have that...off-colour.
0:52:05 > 0:52:08Very nice different leaf shapes and different use of colour.
0:52:08 > 0:52:11I think you've got a real talent for this brush decoration.
0:52:11 > 0:52:16- It's good.- Really, this crack, it's down to preparation of clay.
0:52:16 > 0:52:20- It wasn't wedged properly. - This was stupid.- Schoolboy error.
0:52:20 > 0:52:22- Don't do it again.- Schoolboy error.
0:52:27 > 0:52:28"Perfect," "Wobbly base,"
0:52:28 > 0:52:31- "Off centre," "Bottom-heavy," "Top-heavy."- Yeah.
0:52:31 > 0:52:33You said it all for us, Rekha.
0:52:33 > 0:52:35You've got your black, green, blue, yellow, yellow.
0:52:35 > 0:52:38- You've got your pebbles... - What's going on there?
0:52:38 > 0:52:42I do want them to be good, cos I like your fine-art attitude.
0:52:43 > 0:52:47How are you feeling about the way the decoration's worked?
0:52:47 > 0:52:49Erm, I prefer a simple decoration.
0:52:49 > 0:52:52But we've given you two hours to do your decoration and I don't
0:52:52 > 0:52:56really feel that you are showing us as much as you might have done.
0:52:56 > 0:52:58I feel as though you need to know when to stop.
0:52:58 > 0:53:00We feel that you stopped too early.
0:53:02 > 0:53:04Sally-Jo, will you bring your bowls forward, please?
0:53:13 > 0:53:17You've put this lip in them, which follows through the whole thing,
0:53:17 > 0:53:19which just accentuates the whole set.
0:53:19 > 0:53:22- Look at the lovely patterns inside. - Used a bit of copper, have you?
0:53:22 > 0:53:24Yes, bit of cobalt, as well.
0:53:24 > 0:53:26Sometimes ceramics can be like paintings and have
0:53:26 > 0:53:29the sensitivity of someone who has the skill of doing a painting
0:53:29 > 0:53:32and I really feel the sensitivity
0:53:32 > 0:53:34and the depth of colour is really successful.
0:53:52 > 0:53:55- Did you plan a flat line across the top?- I did plan a flat line.
0:53:55 > 0:53:56I hoped for a flat line.
0:53:56 > 0:53:59Well, congratulations, because that's not a simple thing to do.
0:53:59 > 0:54:02- It's really, really good.- Thank you. - The crack is a tough one, isn't it?
0:54:02 > 0:54:04Yes, my base is undulating a little bit.
0:54:04 > 0:54:07There's an area of thickness and thinness.
0:54:07 > 0:54:09I made the mistake because I was so nervous.
0:54:09 > 0:54:12- I'm actually really impressed, Jane.- Thank you very much.
0:54:12 > 0:54:14- They're really good. - KEITH CHUCKLES
0:54:14 > 0:54:15Can you tell us about the pattern?
0:54:17 > 0:54:20- Don't start. - Why does it make you cry?
0:54:20 > 0:54:23I think because... because out of the ten of you...
0:54:23 > 0:54:25HE LAUGHS
0:54:25 > 0:54:26Go on.
0:54:27 > 0:54:30..out of the ten of you, you could see...
0:54:30 > 0:54:32HIS VOICE BREAKS
0:54:32 > 0:54:35Out of the ten of you, I could see that you were so nervous,
0:54:35 > 0:54:37- you were so nervous.- Yes.
0:54:37 > 0:54:39And you've just excelled yourself.
0:54:43 > 0:54:46We've had everything from tough love to tears, but now we need
0:54:46 > 0:54:49the judges to have a little pow-wow, so, in the meantime, if you
0:54:49 > 0:54:53wouldn't mind leaving us and we'll see you back here in a little bit.
0:54:54 > 0:54:56I really enjoyed making those bowls.
0:54:56 > 0:54:59I really like the way that they acknowledged the use of colour
0:54:59 > 0:55:02and it was meant to be quite free in the brushstrokes...
0:55:02 > 0:55:05I hadn't wedged the clay enough. I'll take that onboard.
0:55:05 > 0:55:07Is it a bowl if it's cracked?
0:55:07 > 0:55:12Then, I have done enough to stay, because my bowls were solid, sturdy.
0:55:12 > 0:55:14Do I think I'll leave? I think there's every chance.
0:55:14 > 0:55:18Like they say, I didn't spend enough time on decoration.
0:55:18 > 0:55:20That's definitely a fault.
0:55:20 > 0:55:21It would be nice not to.
0:55:21 > 0:55:26We've got two decisions to make. Shall we start with the happy one?
0:55:26 > 0:55:29We're looking for our first-ever Top Potter, please.
0:55:29 > 0:55:32Tom fills all the points for you, doesn't he?
0:55:32 > 0:55:33He does, yeah, yeah.
0:55:33 > 0:55:36And, really, Sally-Jo is really filling them for me.
0:55:36 > 0:55:39I like the, sort of, move into fine art, because each one looks like
0:55:39 > 0:55:40a painting in the bottom of a bowl
0:55:40 > 0:55:42and she used the colour so sensitively.
0:55:42 > 0:55:46- But in the mix there, we've got Jane.- You going to cry again?
0:55:46 > 0:55:48I'm going to try and hold it together.
0:55:48 > 0:55:51It's a tough call between the three of them, isn't it?
0:55:51 > 0:55:54Now onto the really sad business cos it feels so soon.
0:55:54 > 0:55:56Who is going to be leaving the pottery today?
0:55:56 > 0:56:00It's a toss up between Matthew and Rekha.
0:56:00 > 0:56:02Rekha doesn't have the skill but she's just got this attitude.
0:56:02 > 0:56:07She's bringing in a bigger picture, really. Matthew was slightly lazy.
0:56:07 > 0:56:10I'm completely divided because I'm annoyed with him,
0:56:10 > 0:56:13he was born to clay. He was sort of probably eating it.
0:56:13 > 0:56:16We have got to tell them, somebody's got to leave the pottery, OK?
0:56:16 > 0:56:18We're going to bring the potters back in.
0:56:31 > 0:56:34Each week the judges are going to choose who is Top Potter.
0:56:34 > 0:56:38So, judges, what did this person do to earn this glorious accolade?
0:56:38 > 0:56:42They showed a great connection between the concept of their design
0:56:42 > 0:56:46through to fruition and, throughout all the tasks,
0:56:46 > 0:56:50they showed great discipline and great finish.
0:56:50 > 0:56:52The Top Potter for this week goes to...
0:56:54 > 0:56:56..Tom.
0:56:56 > 0:56:59- APPLAUSE - Well done, Tom.
0:57:02 > 0:57:04- Congratulations, Tom, well done.- Thank you.
0:57:04 > 0:57:08Now to the less happy task, because one of you has to go.
0:57:08 > 0:57:11And the judges have made their decision.
0:57:11 > 0:57:15The person leaving the pottery today is...
0:57:21 > 0:57:22..Rekha.
0:57:22 > 0:57:24That's fine.
0:57:25 > 0:57:27No, it's fine.
0:57:28 > 0:57:31- You did so great. - We're very sad for you to go.
0:57:31 > 0:57:33It's really sad.
0:57:33 > 0:57:37Her craft skills just weren't there and it was so upsetting,
0:57:37 > 0:57:40because Rekha has this great spirit, this great sense of endeavour
0:57:40 > 0:57:42and this bravery.
0:57:42 > 0:57:46- If it was down to attitude, Rekha wins hands down.- Yes!
0:57:46 > 0:57:50I do feel disappointed, but I think it was the right decision.
0:57:50 > 0:57:52I could only push the conceptual bit to some extent but,
0:57:52 > 0:57:55ultimately, it's a skills test.
0:57:55 > 0:57:57It's fine.
0:57:57 > 0:57:59Matthew's card is definitely marked. You know what?
0:57:59 > 0:58:02I really don't think he realises it.
0:58:02 > 0:58:05It's going be really interesting to see how he reacts to future tasks.
0:58:05 > 0:58:09As soon as there is that elimination process,
0:58:09 > 0:58:12it makes the whole thing a bit more real.
0:58:12 > 0:58:14Great to win Best Potter. I mean, that's brilliant.
0:58:14 > 0:58:17But, I'll be honest with you, when everything came out of the kiln,
0:58:17 > 0:58:19I just recognised... there's so many styles
0:58:19 > 0:58:20and these people are amazing
0:58:20 > 0:58:23and you're really critical of your own work and I thought,
0:58:23 > 0:58:25"Actually, they're pretty ordinary."
0:58:25 > 0:58:28If all I take from this competition is that I made Keith Brymer Jones
0:58:28 > 0:58:34cry with happiness for me, on my behalf, that's good enough for me.
0:58:35 > 0:58:38This is sustained physical exercise.
0:58:38 > 0:58:39'An epic Main Make...'
0:58:39 > 0:58:41Bath one of me kids in that.
0:58:41 > 0:58:43'..for the smallest room...'
0:58:43 > 0:58:44Doesn't work.
0:58:44 > 0:58:45'..a Spot Test...'
0:58:45 > 0:58:46That tile has been disqualified.
0:58:46 > 0:58:48'..that's nine times as hard...'
0:58:48 > 0:58:49Who wants to be normal?
0:58:49 > 0:58:52'..and a Throw Down that has to be seen...
0:58:52 > 0:58:53This looks so bizarre.
0:58:53 > 0:58:54- '..to be believed.'- Argh!'
0:58:54 > 0:58:56'But who will be the next Top Potter?'
0:58:56 > 0:58:57Too upset now.
0:58:57 > 0:59:00'And whose competition will come to an end?'
0:59:00 > 0:59:02I feel like a six-year-old in an art lesson.
0:59:02 > 0:59:03It'll be playtime soon.