0:00:02 > 0:00:05No, this isn't the bit they used to show between old programmes.
0:00:05 > 0:00:08We're over halfway through and I'm getting there.
0:00:08 > 0:00:11This is the Great Pottery Throw Down.
0:00:13 > 0:00:17Previously in The Great Pottery Throw Down...
0:00:17 > 0:00:19OK, are we ready? Here we go.
0:00:19 > 0:00:21..the potters played with fire...
0:00:21 > 0:00:23- Oh! I meant to do that! - You're fine, you're fine.
0:00:23 > 0:00:26..and some got their fingers burnt.
0:00:26 > 0:00:28It's broken.
0:00:28 > 0:00:32Matthew rose like a phoenix to become Top Potter...
0:00:33 > 0:00:35..while James crashed and burned...
0:00:35 > 0:00:38Oh, no! Come on, something work!
0:00:38 > 0:00:41..and made his exit from the pottery.
0:00:41 > 0:00:44Now our judges, ceramic artist Kate Malone
0:00:44 > 0:00:46and master potter Keith Brymer Jones,
0:00:46 > 0:00:48have set another three challenges,
0:00:48 > 0:00:52including their largest build by far -
0:00:52 > 0:00:54a garden sculpture.
0:00:54 > 0:00:56I need to get 20 more inches.
0:00:56 > 0:00:58Why have I burst into a sweat? It's ridiculous.
0:00:58 > 0:01:00A fearsome Spot Test.
0:01:00 > 0:01:02It's alive! It's alive!
0:01:02 > 0:01:05- And in last place... - What happened? You were way ahead.
0:01:05 > 0:01:07..the Throw Down.
0:01:07 > 0:01:08Oh, come on.
0:01:08 > 0:01:11MUSIC: I Can't Explain by The Who
0:01:14 > 0:01:17- # Got a feeling inside - Can't explain
0:01:17 > 0:01:21- # It's a certain kind - Can't explain
0:01:21 > 0:01:24- # I feel hot and cold - Can't explain
0:01:24 > 0:01:28- # Yeah, down in my soul, yeah - Can't explain
0:01:28 > 0:01:31# Can't explain I think it's love
0:01:31 > 0:01:35# Try to say it to you When I feel blue
0:01:35 > 0:01:37# But I can't explain. #
0:01:44 > 0:01:45There's a lot of pressure mounting.
0:01:45 > 0:01:49There's a bit of competitive rivalry starting to emerge in the group.
0:01:51 > 0:01:53It feels so empty.
0:01:53 > 0:01:56I am competitive. I don't mind admitting that.
0:01:56 > 0:01:58So I'm going to give it my best shot.
0:01:58 > 0:02:00I can feel the tension in the room.
0:02:01 > 0:02:04I think we're all, sort of, feeling quite tense.
0:02:04 > 0:02:07It's good to come back being Top Potter,
0:02:07 > 0:02:09but there's only one way down from the top.
0:02:09 > 0:02:11Bring it on.
0:02:14 > 0:02:16- Well, hello, potters. ALL:- Hello.
0:02:16 > 0:02:18Huge congratulations.
0:02:18 > 0:02:21The big grand final is within all of your grasps
0:02:21 > 0:02:24and we thought, because you've been working so hard,
0:02:24 > 0:02:28we'd celebrate by making you work even harder.
0:02:28 > 0:02:31This week's Main Make is a mammoth task
0:02:31 > 0:02:34because this Main Make is super-sized.
0:02:34 > 0:02:36With more details, here's Kate.
0:02:36 > 0:02:40We want you to build a large-scale garden sculpture.
0:02:40 > 0:02:44Now, this garden sculpture wants to be self-supporting,
0:02:44 > 0:02:49made in several sections and should measure five feet in height.
0:02:49 > 0:02:52Quite frankly, it's a feat of engineering.
0:02:52 > 0:02:55Because it's such a big deal, you've got the whole day
0:02:55 > 0:02:59to complete these sections, OK? Seven and a half hours.
0:02:59 > 0:03:01So, potters, get sculpting.
0:03:02 > 0:03:04Scary, scary, scary.
0:03:04 > 0:03:07Sure they didn't say five inch?
0:03:08 > 0:03:11Building a five-foot garden sculpture
0:03:11 > 0:03:14is a monumental task that will take five long days.
0:03:16 > 0:03:20First, the potters must hand-build their sculptures in several sections
0:03:20 > 0:03:22using slabs of clay.
0:03:23 > 0:03:26After hardening in the drying room, they will be decorated
0:03:26 > 0:03:29and fired in the kiln for 24 hours.
0:03:30 > 0:03:33Finally, the garden sculptures will be assembled
0:03:33 > 0:03:36before being presented to the judges.
0:03:37 > 0:03:40So, Keith, look at this selection of beautiful garden sculptures.
0:03:40 > 0:03:43Look at this piece here, so beautifully considered
0:03:43 > 0:03:46in the round so it works from all sides.
0:03:46 > 0:03:47Really beautifully executed.
0:03:47 > 0:03:49What we're asking the potters to do
0:03:49 > 0:03:52is to make even bigger pieces than these.
0:03:52 > 0:03:55We're asking them to really scale up and to do it in sections.
0:03:55 > 0:03:59We're asking them to hand-build with slabs, essentially, aren't we?
0:03:59 > 0:04:02Yeah, and they've really got to think about how, practically,
0:04:02 > 0:04:04they're going to fit these together.
0:04:04 > 0:04:07This particular person here has done us a collar and a sleeve
0:04:07 > 0:04:09and it's very, very accurate.
0:04:09 > 0:04:11I mean, this fits perfectly together.
0:04:11 > 0:04:13This really is a feat of engineering.
0:04:13 > 0:04:16- It's like building a house. - In time constraints.
0:04:16 > 0:04:17It's a tall order.
0:04:21 > 0:04:24The potters will be constructing their garden sculptures
0:04:24 > 0:04:27using the slab building technique.
0:04:28 > 0:04:31This will allow them to make shapes
0:04:31 > 0:04:33that they couldn't otherwise on the wheel.
0:04:36 > 0:04:38I've never slab built on a big scale.
0:04:38 > 0:04:41No experience in slab building at all.
0:04:42 > 0:04:46You need to explain to me exactly what slab building is.
0:04:46 > 0:04:49It's rolling out slabs of clay, joining them together.
0:04:49 > 0:04:51- So it is what is says on the tin basically?- It is.
0:04:51 > 0:04:55But it's what you do with that slab. You can bend it, you can shape it.
0:04:55 > 0:04:56It's entirely up to you.
0:04:56 > 0:04:59What's interesting is that we've seen some of them
0:04:59 > 0:05:02really be comfortable with the throwing, haven't we?
0:05:02 > 0:05:04And now some of them are a bit out of their comfort zone.
0:05:04 > 0:05:08- I'm worried we're going to break the potters with this one.- This is tough.
0:05:08 > 0:05:11I'm going to try and do a Matt and be cool and calm about it.
0:05:11 > 0:05:15Matt's like a swan, cool but underneath he's going mad.
0:05:15 > 0:05:17- Pedalling like fury.- Yeah.
0:05:18 > 0:05:20I'm good at slab building, to be honest with you.
0:05:20 > 0:05:22I'm a good slab builder.
0:05:25 > 0:05:27The potters are using crank,
0:05:27 > 0:05:30a sturdy and tough clay ideal for building big.
0:05:32 > 0:05:35Crank clay is stoneware clay.
0:05:35 > 0:05:39It's a clay that has sand added to it and grogs,
0:05:39 > 0:05:42which is already fired clay that has been crushed up.
0:05:42 > 0:05:45And so that gives it a strength for building on a large scale.
0:05:46 > 0:05:48I've never really used crank before.
0:05:48 > 0:05:50I'm loving this. I love you.
0:05:51 > 0:05:55Sally-Jo's design is inspired by the flower Nigella,
0:05:55 > 0:05:58known for its distinctive seed pods.
0:05:59 > 0:06:01I've drawn out five foot...
0:06:01 > 0:06:05of what would be sculpture, but it's based on seed pods,
0:06:05 > 0:06:09and I want them to stack on top of each other.
0:06:09 > 0:06:13Daunted by the size of the task, she's already rethinking her design.
0:06:13 > 0:06:17I'm a bit concerned about the balance of them, so I'm thinking
0:06:17 > 0:06:20about, perhaps at the base, doing something much more sturdy.
0:06:20 > 0:06:23I've never made anything this big before.
0:06:23 > 0:06:24No.
0:06:24 > 0:06:26SHE LAUGHS
0:06:28 > 0:06:31I'm making a dream tree. It's a three-dimensional,
0:06:31 > 0:06:35triangular sort of structure with a circle breaking the line.
0:06:35 > 0:06:38So a circular slab, which is going to really test me out.
0:06:38 > 0:06:41What you'll end up with is something like this.
0:06:41 > 0:06:43I want the combination of a sturdy figure
0:06:43 > 0:06:45but with fragility built into it.
0:06:45 > 0:06:49I don't know. I've never used this. It just seems like a good idea.
0:06:49 > 0:06:51The potters are using slab rollers,
0:06:51 > 0:06:55ideal for rolling out large amounts of clay to a consistent thickness.
0:06:55 > 0:06:59- Just slowly feed it in.- And roll it through? Thank you. Brilliant.
0:06:59 > 0:07:03This will help the slabs to dry evenly, which can prevent cracking.
0:07:04 > 0:07:07That's better. That's what I wanted.
0:07:09 > 0:07:11I made a decision to hand-roll my slab.
0:07:11 > 0:07:15Although a hefty rolling pin can work just as well.
0:07:15 > 0:07:17Pretty heavy work. Apologise for the sweat, chaps.
0:07:22 > 0:07:25Not a good look, is it? Trying to stay cool.
0:07:25 > 0:07:28Is it because you're not fit that you're sweating so much?
0:07:29 > 0:07:32So far, with Keith's tears, now your sweat...
0:07:32 > 0:07:35Hopefully we won't get any blood, but there's a lot going into this.
0:07:35 > 0:07:37There is. There is.
0:07:37 > 0:07:39I'm just looking at Matthew, cool as a cucumber.
0:07:39 > 0:07:41That's what this is for.
0:07:44 > 0:07:48Of all the potters' designs, Sandra's has the most elements.
0:07:48 > 0:07:52There's squares and circles and geometrical shapes.
0:07:52 > 0:07:55- You've got quite a lot of slabs going on there, haven't you?- Yeah.
0:07:55 > 0:07:57- There's quite a lot of faces to it. - Yeah.
0:07:57 > 0:08:01She's building her sculpture using 50 slabs of clay.
0:08:01 > 0:08:04Two, four, six, eight, nine, ten.
0:08:05 > 0:08:09Ten big ones and loads and loads of small ones.
0:08:09 > 0:08:12- It's not a problem.- Some sharp intakes of breath from the judges.
0:08:12 > 0:08:14- I think we need to get on. - There's a lot to do.
0:08:14 > 0:08:17- You've got a lot of slabs there to make.- Yeah, a lot of slabs.
0:08:17 > 0:08:19OK, Sandra.
0:08:19 > 0:08:23I've started cutting out the bottom of the four pods.
0:08:26 > 0:08:29Once the slabs are rolled out, they are cut to shape.
0:08:34 > 0:08:37So, I'm now working on my disc parts.
0:08:45 > 0:08:48These guys are cutting out.
0:08:48 > 0:08:50I haven't done that yet so I'm a bit scared. Look.
0:08:51 > 0:08:55I'm building a large fish, in fact. Yes.
0:08:55 > 0:08:57It's going to be coming out of the water.
0:08:57 > 0:09:03Jim's fish will be covered in scales and textured in a rather unique way.
0:09:03 > 0:09:07So is this from the footwell of your Cortina here, Jim?
0:09:07 > 0:09:08Is that what's happened?
0:09:08 > 0:09:10My Cadillac! No.
0:09:10 > 0:09:14Yeah, it's a car mat. Obviously, it's got a lovely texture to it.
0:09:14 > 0:09:17So I've created a cut-out for the scales for the fish
0:09:17 > 0:09:20and, from these pieces, these will be applied, hopefully,
0:09:20 > 0:09:23if I can get the sculpture made, to the main body of the piece.
0:09:23 > 0:09:25It's gorgeous.
0:09:27 > 0:09:30I'm fairly happy with that. These ones in the drying room.
0:09:32 > 0:09:35The potters must decide whether to put their cut-out slabs
0:09:35 > 0:09:39into the drying room to stiffen up or to work with soft clay.
0:09:40 > 0:09:44- How are yours shaping up? - They're just there.
0:09:45 > 0:09:47What is the slab builder's nightmare?
0:09:47 > 0:09:50If you let a slab of clay dry too much and try and bend it,
0:09:50 > 0:09:52it'll snap and crumble like a biscuit.
0:09:52 > 0:09:55If you try and bend it when it's too soft, it will collapse.
0:09:55 > 0:09:58- The whole lot could come tumbling down?- It could do, yeah.
0:09:58 > 0:10:01I think I can get away with bending these around a little bit.
0:10:03 > 0:10:06Jane is the only potter who has decided to keep her slabs
0:10:06 > 0:10:08out of the drying room.
0:10:09 > 0:10:12I didn't really want it to dry too much, so I can manipulate it.
0:10:12 > 0:10:14I'm not really a slab builder
0:10:14 > 0:10:17so much as somebody that wings it a bit,
0:10:17 > 0:10:19so just keep my fingers crossed.
0:10:19 > 0:10:22Jane plans to bend her soft slabs of clay
0:10:22 > 0:10:25into a column of honeycombs.
0:10:25 > 0:10:28It's sort of based on the life cycle of a bee
0:10:28 > 0:10:31and the different functions that the honeycomb play,
0:10:31 > 0:10:34so I'm going to cut a circular section out of here
0:10:34 > 0:10:36and, sort of, put some texture in it.
0:10:36 > 0:10:39The base section - it's hugely important to get
0:10:39 > 0:10:42these two sections joining together because they will stabilise
0:10:42 > 0:10:44and anchor the rest that's going on up here.
0:10:44 > 0:10:48- You're confident this is going to be free-standing?- Yeah.- Good.
0:10:48 > 0:10:52I'm just a bit anxious. It's like they know something I don't know.
0:10:52 > 0:10:55Just got to keep your head down and remind yourself
0:10:55 > 0:10:58that you vaguely know what you're doing.
0:10:59 > 0:11:01- Did you not put them in the drying room at all?- No.
0:11:03 > 0:11:06This is the bottom of the four pods.
0:11:06 > 0:11:08Sally-Jo did put her slabs into the drying room...
0:11:08 > 0:11:11Just going to... Whoa. It's not hardened up enough.
0:11:11 > 0:11:14..but they should have stayed in for longer.
0:11:14 > 0:11:16It could easily collapse at any moment.
0:11:16 > 0:11:18I'm a bit nervous about this bit.
0:11:18 > 0:11:21Would you mind passing me something? I can't let go of this.
0:11:21 > 0:11:23There's a bandage in that... That's it.
0:11:23 > 0:11:25Thank you.
0:11:26 > 0:11:29It's too late. It's too late. It's died a death.
0:11:33 > 0:11:37After the collapse of that, I really need it to firm up a bit more.
0:11:39 > 0:11:41That's still quite soft.
0:11:41 > 0:11:44Matthew's garden sculpture is a nod to Britain's pottery industry
0:11:44 > 0:11:46of yesteryear.
0:11:46 > 0:11:48That's one of my drawings.
0:11:48 > 0:11:51- I thought...- Wow. - Industrial, mechanical,
0:11:51 > 0:11:55kind of like chimney pots, like, nice tubular chimney pots,
0:11:55 > 0:11:59ceramic pipes, looking at the old industry of ceramics.
0:11:59 > 0:12:01I love the clay. I like how it rips.
0:12:01 > 0:12:05So I'm going to go for, like, sort of, half cut and then ripped.
0:12:05 > 0:12:09So you get the contrast between, like, a clean edge and then a rip.
0:12:10 > 0:12:13I just love the way Kate's face lit up then.
0:12:14 > 0:12:17You're showing the quality of the clay, aren't you?
0:12:19 > 0:12:21What stage are you at?
0:12:21 > 0:12:24Well, I'm just making the top one. The lower ones had to go back
0:12:24 > 0:12:27to the naughty step because they didn't behave.
0:12:27 > 0:12:30I tried to put it together too soon and it collapsed.
0:12:30 > 0:12:33- It's that timing, isn't it? - Yeah. It was too soon.
0:12:33 > 0:12:36So I'm just putting the lid
0:12:36 > 0:12:38on my base section.
0:12:38 > 0:12:41It's a little bit flimsy.
0:12:43 > 0:12:46I'm just making some little clay props to put on the inside
0:12:46 > 0:12:49so that it doesn't cave in.
0:12:51 > 0:12:54Jane - she's putting things together too softly.
0:12:54 > 0:12:57On the other hand, you couldn't hit it and have those marks unless
0:12:57 > 0:13:00it was soft, so it's illustrating the beautiful nature of the clay.
0:13:00 > 0:13:03Well, it'll look really effective when the thing collapses!
0:13:03 > 0:13:06- I don't think it's going to collapse.- I'm not so sure.
0:13:06 > 0:13:08She's going to go if I carry on.
0:13:08 > 0:13:10- Is it holding up? - It's slumping a bit.
0:13:10 > 0:13:13Do you want some sort of support? Push that in there.
0:13:13 > 0:13:15That's a good idea.
0:13:15 > 0:13:17Calm down, Jane.
0:13:17 > 0:13:18It's up!
0:13:19 > 0:13:23When building this big, the challenges keep on coming.
0:13:23 > 0:13:25Mustn't rush this bit.
0:13:26 > 0:13:29Tom is assembling the centrepiece of his dream tree.
0:13:29 > 0:13:32This is the bit I'm worried about.
0:13:32 > 0:13:34It's a delicate operation.
0:13:38 > 0:13:40When you're slab building,
0:13:40 > 0:13:43you have to be very careful how you handle the pieces.
0:13:43 > 0:13:46If they're not handled well, they'll warp and misshape
0:13:46 > 0:13:49and then it can often crack in the drying
0:13:49 > 0:13:52and certainly in the firing of the piece.
0:13:53 > 0:13:55I don't know if that's going to survive.
0:13:55 > 0:13:56Don't let Kate hear me say that.
0:13:58 > 0:14:00He's burst out into a sweat again.
0:14:00 > 0:14:02Why have I burst out into a sweat? It's ridiculous.
0:14:04 > 0:14:06- Look at the state of Tom. - Attractive bloke.
0:14:06 > 0:14:08He's dripping.
0:14:08 > 0:14:11- Are you feeling all right? - Yeah, I just don't what I'm doing.
0:14:11 > 0:14:13Like I've got time, I'm sitting here talking to you.
0:14:15 > 0:14:18Lovely shapes, lovely shapes.
0:14:18 > 0:14:21- Sandra, seriously, what are you doing?- I don't know.
0:14:21 > 0:14:22She's wandering.
0:14:22 > 0:14:27It'll get to, like, seven hours when I'm, like, "I haven't finished."
0:14:27 > 0:14:30Ladies and gentlemen, you are halfway through your time
0:14:30 > 0:14:34to complete the sections for your garden sculpture.
0:14:34 > 0:14:36- Halfway through. - Halfway through the time?
0:14:36 > 0:14:40- Yeah, halfway through.- I've done nothing apart from roll out slabs
0:14:40 > 0:14:41so it's a bit scary, that.
0:14:43 > 0:14:46The one I'm really worried about is Sandra.
0:14:47 > 0:14:49She's got a lot of slabs going on there.
0:14:49 > 0:14:51I can't do this.
0:14:51 > 0:14:54There's a fine line between ambitious and foolish.
0:14:55 > 0:14:56That's one.
0:14:57 > 0:15:00One slab down, 49 to go.
0:15:02 > 0:15:06Sally-Jo's collapsed seed pod is back out of the drying room.
0:15:06 > 0:15:10It's stiffened up but I just can't afford for that to collapse.
0:15:10 > 0:15:12Part potter, part...
0:15:12 > 0:15:15sort of reconstruction surgeon.
0:15:15 > 0:15:18God, my heart is in my mouth as I'm doing it.
0:15:18 > 0:15:21It's fine. It's just a little miracle.
0:15:24 > 0:15:27The potters have been at it for over six hours...
0:15:27 > 0:15:29I'm running out of time.
0:15:29 > 0:15:32Kind of...hope for the best. I can't do anything more about it.
0:15:32 > 0:15:34Just don't vote me off, that's all.
0:15:34 > 0:15:37..and their garden sculptures are taking shape.
0:15:38 > 0:15:39I put a little in edge here.
0:15:39 > 0:15:41It gives me a base to sit the next section on.
0:15:43 > 0:15:48They've had to design them so that their sections interlock perfectly.
0:15:48 > 0:15:51I have to add the neck so it can slot into the one below.
0:15:51 > 0:15:54Hope it will stack up.
0:15:54 > 0:15:57But because clay shrinks as it dries...
0:15:58 > 0:16:02..it's essential their measurements are exact.
0:16:04 > 0:16:06When you're making a piece of work,
0:16:06 > 0:16:08you need to think about the shrinkage.
0:16:08 > 0:16:10Size it up.
0:16:10 > 0:16:13Usually, for something made in crank, about 10%.
0:16:13 > 0:16:16That's something that you should really consider quite carefully
0:16:16 > 0:16:18in the designing of the work.
0:16:18 > 0:16:21And then you have to think of that
0:16:21 > 0:16:24in terms of the pieces fitting together.
0:16:24 > 0:16:27It's going to be interesting to see what happens
0:16:27 > 0:16:30because there's some thin areas and there's thicker areas
0:16:30 > 0:16:33and it's all going to contract and shrink at different rates.
0:16:33 > 0:16:35If any of these distort,
0:16:35 > 0:16:37well, it's not going to fit.
0:16:37 > 0:16:40Talking of connecting things together,
0:16:40 > 0:16:43one of the best concepts for me - Matthew's.
0:16:43 > 0:16:46- He can just put things on top of each other.- Like a wedding cake.
0:16:46 > 0:16:48It's going up like a skyscraper.
0:16:48 > 0:16:51You'll be able to interchange the sections.
0:16:51 > 0:16:53Show-off.
0:16:53 > 0:16:55I'm going to have to start putting details on.
0:16:55 > 0:16:58Keep going for the moment until we get a scary sound check.
0:16:59 > 0:17:0230 minutes, guys. You got 30 minutes,
0:17:02 > 0:17:05then these sections need to be in the drying room, please.
0:17:05 > 0:17:07Naughty, naughty.
0:17:08 > 0:17:10I've got loads to do.
0:17:10 > 0:17:12If it looks like I'm panicking, it's because I am.
0:17:15 > 0:17:17I think it may be intermittent,
0:17:17 > 0:17:18rather than trying to do the whole lot.
0:17:18 > 0:17:19I just haven't got the time.
0:17:19 > 0:17:22It's a very organic process. That's what they say.
0:17:23 > 0:17:25- You've got ten minutes.- Ooh!
0:17:26 > 0:17:29That's great, that's great. I think I'm going to cry.
0:17:31 > 0:17:34- You're still quite hot, aren't you? - You noticed?
0:17:34 > 0:17:36You should have brought a mankini.
0:17:36 > 0:17:40- I couldn't have worked under those conditions.- All right. Easy.
0:17:40 > 0:17:43- The clock is ticking... - Oh, my God.
0:17:43 > 0:17:46..and Sandra's sculpture is still short of the mark.
0:17:46 > 0:17:50I need to get 20 more inches. How am I going to do that?
0:17:50 > 0:17:54Start thinking about getting these sections in the drying room, please.
0:17:54 > 0:17:56- OK. - Well done, Matthew.
0:17:56 > 0:17:58If I just think quickly...
0:17:58 > 0:17:5930 seconds, guys.
0:17:59 > 0:18:01'With time running out...'
0:18:01 > 0:18:04Real big... I know what I'll do.
0:18:04 > 0:18:06'..has Sandra reached new heights?'
0:18:09 > 0:18:11- Time is up.- I've finished.
0:18:12 > 0:18:15Give yourselves a round of applause, please.
0:18:15 > 0:18:17An exhausted round of applause.
0:18:17 > 0:18:20Your sections are going to be dry for the next three days
0:18:20 > 0:18:23and then we'll see you back here. Thank you very much. Well done.
0:18:23 > 0:18:25Off they stumble, exhausted.
0:18:25 > 0:18:26Well done. My God.
0:18:27 > 0:18:31The potters have wrestled 300 kilograms of clay
0:18:31 > 0:18:33into six garden sculptures.
0:18:34 > 0:18:36That was a bit of a killer, I have to say.
0:18:36 > 0:18:39I feel thoroughly spent.
0:18:40 > 0:18:43Calm has transcended after the madness of the afternoon.
0:18:43 > 0:18:45That was full on. Absolutely full on.
0:18:45 > 0:18:50And now the nervous wait begins, as any errors made during the build
0:18:50 > 0:18:52could spell disaster.
0:18:53 > 0:18:58I've now got three nights of no sleep as the material dries.
0:19:08 > 0:19:10The potters return to Middleport.
0:19:13 > 0:19:18And the judges have a challenging Spot Test waiting for them.
0:19:18 > 0:19:22If you'd like to remove your cloths, Keith will give you more details.
0:19:22 > 0:19:24Oh, that's nice and soft.
0:19:24 > 0:19:27We want you to transform those into these -
0:19:27 > 0:19:31strawberry pots for growing strawberry plants.
0:19:31 > 0:19:32Oh, lovely.
0:19:32 > 0:19:36You're going to throw appendages to stick on to your main pot
0:19:36 > 0:19:37that you've got there.
0:19:37 > 0:19:41Is there a stipulation to how many appendages that we have to have?
0:19:41 > 0:19:45- You can have a thousand if you want, Jane.- That's what I was aiming for.
0:19:45 > 0:19:47What you have to do is join them well
0:19:47 > 0:19:51and what you must not do is replicate what's here on the desk.
0:19:51 > 0:19:54You can adjust it in any way you want. Originality is the key.
0:19:54 > 0:19:57OK, judges, if you'd like to leave the premises, please.
0:19:57 > 0:20:00You have two hours
0:20:00 > 0:20:03so, potters, get transforming.
0:20:07 > 0:20:11I'm going to try and create a, sort of, little dragon.
0:20:11 > 0:20:14I was thinking about turning them either into ladybirds
0:20:14 > 0:20:18or perhaps strawberries themselves, so maybe strawberry leaves.
0:20:19 > 0:20:22This is a lovely Spot Test because it shows us
0:20:22 > 0:20:24that a thrown piece isn't the finish of a design.
0:20:24 > 0:20:26It can be the starting point.
0:20:29 > 0:20:32The potters must visualise how their thrown pieces
0:20:32 > 0:20:35will sit on the side of their pots.
0:20:36 > 0:20:38I've made some cone shape which I'm going to turn up,
0:20:38 > 0:20:41so the bottom of the cone I can do some decoration to.
0:20:41 > 0:20:45Yeah, I'm thinking, like, tea-pot spouts, big spouts.
0:20:45 > 0:20:47They've really got to think on their feet
0:20:47 > 0:20:49and design something within minutes.
0:20:49 > 0:20:52We really want to see them push the boundaries.
0:20:52 > 0:20:55I was thinking 1950s UFOs.
0:20:57 > 0:21:01So I'm doing squares and then I'll think about it afterwards
0:21:01 > 0:21:04what I'm going to do, cos I don't know what I'm doing, to be honest.
0:21:04 > 0:21:06I can't get this off the wheel.
0:21:10 > 0:21:11Oh, shoot.
0:21:12 > 0:21:15I actually trained making flower pots.
0:21:15 > 0:21:17I imagine you've got a nice outdoor area.
0:21:17 > 0:21:19THEY LAUGH
0:21:22 > 0:21:26Hiya, James. Oh, no, a crucial bit of surgery going on there.
0:21:26 > 0:21:29I think I'll just cut that cup in half.
0:21:29 > 0:21:32Of course, you've got to cut them in half to put them on there.
0:21:34 > 0:21:37As well as technical ability,
0:21:37 > 0:21:41the judges will be expecting to see real creativity from the potters.
0:21:41 > 0:21:44The pot itself is so nice, it just feels so wrong to be cutting it up.
0:21:48 > 0:21:50It's going on.
0:21:52 > 0:21:54I want to make sure they're well joined
0:21:54 > 0:21:57because that's something that Kate mentioned.
0:22:00 > 0:22:03It's difficult to get a neat join because it's very soft.
0:22:03 > 0:22:05But I shall try my best.
0:22:05 > 0:22:07I'm a bit heavy-handed
0:22:07 > 0:22:10so it's not as smooth a join as I'd like it to be.
0:22:10 > 0:22:13For me, the joining doesn't have to be seamless.
0:22:13 > 0:22:15A join can be shown.
0:22:15 > 0:22:18Put them on very naturally and use your application marks
0:22:18 > 0:22:21as part of the design. That's how I'm going about it.
0:22:21 > 0:22:23But I don't want to see any halfway houses
0:22:23 > 0:22:26of something being half hidden and half shown.
0:22:26 > 0:22:29I want to see a clear decision made and carried out.
0:22:29 > 0:22:31They'll either like it or really dislike it.
0:22:32 > 0:22:34You have one hour left, guys.
0:22:34 > 0:22:37One hour left. You're halfway through your time.
0:22:37 > 0:22:39I've left myself plenty of thickness at the base
0:22:39 > 0:22:41so now I'm trying to...
0:22:41 > 0:22:43play the rim.
0:22:51 > 0:22:53It's like the Wombles, isn't it, actually?
0:22:54 > 0:22:56Wombles of Wimbledon Common.
0:22:56 > 0:23:00I'm adding my quirky touch to it as ever.
0:23:00 > 0:23:03I quite like the idea of these sort of chameleon-like creatures...
0:23:05 > 0:23:07..peering out from the pot.
0:23:07 > 0:23:10- Sally, that looks great. - Oh, I'm not sure.
0:23:10 > 0:23:13It's like a kangaroo pouch. You can get quite a lot in there.
0:23:13 > 0:23:17I was hoping they would look like strawberries but they don't, really.
0:23:17 > 0:23:22Potters, you've got ten minutes left. This is your ten-minute call.
0:23:22 > 0:23:24I've probably got time for one more.
0:23:24 > 0:23:27I'm actually going to try and get one more piece on after this.
0:23:27 > 0:23:29It might matter that I've only got three.
0:23:29 > 0:23:31You've got beautiful shapes and haven't put them on.
0:23:31 > 0:23:33I just don't care any more.
0:23:33 > 0:23:35Time to develop the eyes, maybe.
0:23:40 > 0:23:43- It's got teeth. - It's alive, it's alive!
0:23:43 > 0:23:46I'm just trying to get as many things on as possible.
0:23:46 > 0:23:49I know what they want now. This is so not it.
0:23:49 > 0:23:52You've got four minutes left, guys. Four minutes left.
0:23:52 > 0:23:55Maybe they'll appreciate a bit of technical skill.
0:23:55 > 0:23:58I look over there at the master potter and just think, "God, no."
0:24:01 > 0:24:03OK, potters, ten,
0:24:03 > 0:24:05nine, eight,
0:24:05 > 0:24:09seven, six, five,
0:24:09 > 0:24:11four, three,
0:24:11 > 0:24:14two, one.
0:24:14 > 0:24:15Potters, time is up.
0:24:15 > 0:24:19They are looking great, Jim. I would buy that and have that in my garden.
0:24:19 > 0:24:21Let's see what the judges like.
0:24:22 > 0:24:25"I wonder whose this is."
0:24:25 > 0:24:28In two hours, the potters have transformed these chimney pots
0:24:28 > 0:24:30into strawberry pots
0:24:30 > 0:24:34and they will now have their work judged.
0:24:35 > 0:24:37Come in, please, judges. Voila.
0:24:37 > 0:24:41Incredible, guys. So original, every single one of them.
0:24:42 > 0:24:46Kate and Keith have no idea whose pot is whose.
0:24:46 > 0:24:47This one here, obviously,
0:24:47 > 0:24:51they've taken the obvious message of it being a strawberry pot.
0:24:51 > 0:24:54- I take it these are supposed to be strawberries.- I think so!
0:24:54 > 0:24:57It's really sweet. It's giving a message of what it is.
0:24:57 > 0:25:00Could have been a bit tidier but a really nice idea.
0:25:00 > 0:25:01Yeah, lovely, lovely.
0:25:01 > 0:25:04So, number two. I'm loving this detail up here.
0:25:04 > 0:25:07You know, this idea that this is like some kind of animal
0:25:07 > 0:25:10from the garden that's peeping over the top.
0:25:10 > 0:25:13The honesty with which the cups have been attached - somebody might say
0:25:13 > 0:25:15that's messy, but it's very clear and consistent design.
0:25:15 > 0:25:18There's a sense of the old-fashioned finger marks
0:25:18 > 0:25:20that a pot-maker would use to join handles.
0:25:20 > 0:25:23- Great in its originality. - So, on to the next one.
0:25:23 > 0:25:26It's almost lost the sense that it was a chimney
0:25:26 > 0:25:30and become another shape. It does that the best out of all of them.
0:25:30 > 0:25:33Aesthetically, it's a really well constructed pot.
0:25:33 > 0:25:35This lovely apple-pie edge.
0:25:35 > 0:25:38I think it's been really tidily attached, whoever did it.
0:25:38 > 0:25:41- Number four. It's like a drainpipe, isn't it?- It is.
0:25:41 > 0:25:43Really nicely thrown rims.
0:25:43 > 0:25:46I would actually have that one in my garden
0:25:46 > 0:25:48if only it had more holes in it.
0:25:48 > 0:25:51You've got to have as many holes in it as possible
0:25:51 > 0:25:53to get as many strawberries growing out of it.
0:25:53 > 0:25:56This one, lovely clean marks. Those dots at the end.
0:25:56 > 0:25:59But the design is a bit on the conservative side.
0:25:59 > 0:26:01Yeah, I'd agree with you there, actually, Keith.
0:26:01 > 0:26:04- Could have been more original. - OK, last one.
0:26:04 > 0:26:07It's just not very well conceived spatially, I think.
0:26:07 > 0:26:11- I just keep on thinking of two ears sticking out.- I don't mind that.
0:26:11 > 0:26:14I think it's quite animated but it's just not well executed.
0:26:15 > 0:26:17The Spot Test is ranked.
0:26:19 > 0:26:23Very hard to decide but sixth place is this one here.
0:26:23 > 0:26:25Sandra.
0:26:25 > 0:26:27The whole thing was too thin.
0:26:27 > 0:26:30The frilly edge is there in some places but not in others.
0:26:30 > 0:26:33And the clarity of the message was missing.
0:26:33 > 0:26:36Jane is fifth and Matthew is fourth.
0:26:36 > 0:26:38Third place, then, judges.
0:26:38 > 0:26:40- This one.- It's mine.
0:26:40 > 0:26:43Sally-Jo. We loved the leaf detail on it. Lovely.
0:26:43 > 0:26:48That leaves us with two strawberry pots vying for the top spot.
0:26:48 > 0:26:52I'm dying to know, is it Jim or is it Tom? Who has got top spot, please?
0:26:52 > 0:26:54It's this one.
0:26:54 > 0:26:56Ah, well done, Jim.
0:26:59 > 0:27:02Simply because it had this great clarity of design.
0:27:02 > 0:27:05Tongues and the whole animation of it is just reflected.
0:27:05 > 0:27:10- It's very strong.- You know, one could argue that it's quite messy
0:27:10 > 0:27:13but it's very, very obvious and you've made that message very clear.
0:27:13 > 0:27:16You've completely transformed the pot.
0:27:19 > 0:27:21I'm really pleased.
0:27:21 > 0:27:25I didn't know how those strange faces would be taken, actually.
0:27:25 > 0:27:29A bit of a chuckle here and there does everybody some good.
0:27:29 > 0:27:33Yeah, really frustrating. Jim's far too good a potter
0:27:33 > 0:27:36so we're going to have to find some way to hobble him.
0:27:36 > 0:27:39I asked if I could buy his pot off him, damn him.
0:27:39 > 0:27:43I'll buy his pot first, then I'll drown him second. Yeah.
0:27:43 > 0:27:45Jim and Tom on the top spots. Hard to knock them off.
0:27:45 > 0:27:50Just so annoying that I'm just one place below Tom again.
0:27:50 > 0:27:53- Who do you think is in the strongest position?- Jim.
0:27:53 > 0:27:56He has that life to his work that's animated.
0:27:56 > 0:27:58Really adds the sense of life to what he's doing.
0:27:58 > 0:28:02- With Matthew, he's so comfortable with the clay.- He's won me over.
0:28:02 > 0:28:06- So, we've got Sandra, we've got Jane...- I know.
0:28:06 > 0:28:08..in the bottom and I just don't want that.
0:28:08 > 0:28:10Sandra - she just seemed to struggle with time.
0:28:10 > 0:28:14This week, I've been concerned about Jane. She's off the boil.
0:28:14 > 0:28:18Her Spot Test - beautifully made but just a bit boring.
0:28:22 > 0:28:25The long wait is now over for the potters.
0:28:26 > 0:28:29The sections of your garden sculptures have been drying
0:28:29 > 0:28:32beautifully over the past three days, so go and get them.
0:28:32 > 0:28:35How they've fared will have a huge impact
0:28:35 > 0:28:38on who will leave and who will remain in the pottery.
0:28:40 > 0:28:43Wow! It looks great, Jim.
0:28:44 > 0:28:46There's a big crack.
0:28:46 > 0:28:48It's cracked down here
0:28:48 > 0:28:51and I think it's because I'm using these blinking wet slabs.
0:28:51 > 0:28:55It'll be all right. I'll just hide it with decoration.
0:28:55 > 0:28:57It's disappointing. A big old crack there.
0:28:57 > 0:29:00I turned it over a couple of times as it was drying and I probably
0:29:00 > 0:29:03just applied some stresses to it. This is pretty bad news.
0:29:03 > 0:29:07I wanted to achieve an element of fragility, which I think I've done!
0:29:07 > 0:29:11It's not just Tom's crack that's causing some concern.
0:29:11 > 0:29:14So this is to make it up to the five foot?
0:29:14 > 0:29:16Yeah, cos when it was short I thought,
0:29:16 > 0:29:17"I'll put a bit on the top."
0:29:17 > 0:29:21- I'm channelling Dipsy of Teletubbies.- Teletubbies, yeah.
0:29:21 > 0:29:23It's really quite short.
0:29:27 > 0:29:30The potters have now reached the final stage of their Main Make.
0:29:30 > 0:29:34They have 90 minutes to decorate their sculptures.
0:29:35 > 0:29:37They'll be raw glazing -
0:29:37 > 0:29:39applying glazes and slips onto clay
0:29:39 > 0:29:40that has yet to be fired.
0:29:40 > 0:29:44So we've got the potters decorating on raw clay.
0:29:44 > 0:29:46We're doing this for the first time.
0:29:46 > 0:29:48Is the raw clay really porous in this state?
0:29:48 > 0:29:51Yeah. Raw clay as opposed to fired clay will soak
0:29:51 > 0:29:54and absorb anything you put on it.
0:29:54 > 0:29:56If you put too much water on it,
0:29:56 > 0:29:58it will just turn back to wet clay again,
0:29:58 > 0:30:02which obviously would not be good. Cos then it would just collapse.
0:30:02 > 0:30:05What would be a nightmare scenario, then? What can go wrong?
0:30:05 > 0:30:08If you have too much water in whatever you're putting on,
0:30:08 > 0:30:10you can destroy the surface,
0:30:10 > 0:30:13because it's raw clay that can go back to mush again.
0:30:13 > 0:30:16Obviously the structure could weaken quite considerably,
0:30:16 > 0:30:17so they have to watch that.
0:30:17 > 0:30:19Yeah, we don't want to take any sparrows out
0:30:19 > 0:30:21with these garden sculptures collapsed down!
0:30:21 > 0:30:24Red...
0:30:24 > 0:30:26yellow and green.
0:30:26 > 0:30:28I'm not a Rasta woman, but in the Rasta religion,
0:30:28 > 0:30:30red is for the blood that has been spilt.
0:30:30 > 0:30:35Green is for the colour of the land, and yellow is for the sunshine.
0:30:35 > 0:30:38I am a bit worried about Sandra's.
0:30:38 > 0:30:40- There's a lot of water going into the raw clay.- Yeah.
0:30:40 > 0:30:42It's like a muddy puddle. It could crack.
0:30:43 > 0:30:47The potters have been given oxides, a powerful metal-based colorant,
0:30:47 > 0:30:49to decorate their pieces.
0:30:50 > 0:30:52What's this in here?
0:30:52 > 0:30:55So what I've got is a copper oxide and cobalt mixture.
0:30:55 > 0:30:57It's going on quite thick.
0:30:57 > 0:30:58To get the finish they're after,
0:30:58 > 0:31:03they must correctly judge the concentration level of their oxides.
0:31:03 > 0:31:04Oxide can be a beast.
0:31:04 > 0:31:07It just depends if you get your mix dead on, isn't it?
0:31:07 > 0:31:08It does, really, yeah.
0:31:10 > 0:31:15Knowing the thickness of the oxide application is really important,
0:31:15 > 0:31:17because they are very temperamental to use.
0:31:17 > 0:31:19You can over-apply it,
0:31:19 > 0:31:23where you're expecting a green to come out of the kiln, or a blue.
0:31:23 > 0:31:25It turns back into being a metallic.
0:31:25 > 0:31:28You can think you've applied enough, and then in the firing,
0:31:28 > 0:31:30it will completely disappear.
0:31:30 > 0:31:35It's a balancing act, and Sally-Jo is erring on the side of caution.
0:31:35 > 0:31:37I'm putting this oxide on quite thin,
0:31:37 > 0:31:41so hopefully this will go green rather than going black.
0:31:41 > 0:31:42Hopefully.
0:31:42 > 0:31:46It should be all right. So...
0:31:46 > 0:31:49I've got to decide whether or not I'm going to put a glaze
0:31:49 > 0:31:51on these scales to pick out the scales.
0:31:51 > 0:31:54It kind of makes sense, cos scales are kind of bright and iridescent
0:31:54 > 0:31:58and shiny. But at the same time, it could be too much of a contrast
0:31:58 > 0:32:01between that and the oxide, and it could just look terrible.
0:32:01 > 0:32:04It's just that decision. Do I put that on or not?
0:32:04 > 0:32:05- Glaze or no glaze?- Glaze it!
0:32:05 > 0:32:08- No iridescent colours... - Do it, it'll be amazing!
0:32:08 > 0:32:10Yeah, let's go for it.
0:32:10 > 0:32:12- You decided for me! - THEY LAUGH
0:32:12 > 0:32:15Thanks. I can blame you!
0:32:15 > 0:32:17Yeah, you can blame me when it's all gone wrong!
0:32:17 > 0:32:19This is either going to work or it really won't work.
0:32:19 > 0:32:22I don't think there's any middle ground with this, actually.
0:32:23 > 0:32:27Jane is applying her glaze with something she made earlier.
0:32:29 > 0:32:34Kitchen cloth on top of pizza board, attached to a peanut butter jar.
0:32:34 > 0:32:36- That's my family in a nutshell. - That's my breakfast!
0:32:36 > 0:32:40- Are you going to use anything to rub in to the texture...- Well...
0:32:40 > 0:32:41..or are you leaving it naked?
0:32:41 > 0:32:45I've got some of the black obsidian glaze,
0:32:45 > 0:32:48which I thought I might just put into some of the centre,
0:32:48 > 0:32:50just so that there's a little bit of contrast.
0:32:50 > 0:32:52I want it to be quite, sort of...
0:32:52 > 0:32:56natural, really, and I don't want too much sort of...
0:32:56 > 0:32:58squabbling between surface decoration.
0:32:59 > 0:33:02Matthew has a more liberal approach.
0:33:02 > 0:33:04He's glazing all over.
0:33:04 > 0:33:07I just need to get lots of slips, oxides, glazes,
0:33:07 > 0:33:09just sort of keep layering it up.
0:33:11 > 0:33:13It does have to be exact to a certain extent,
0:33:13 > 0:33:16however, it can be freely exact.
0:33:16 > 0:33:17It's pretty fun.
0:33:17 > 0:33:20Let's hope Matthew's actually got a bit more skill
0:33:20 > 0:33:23than just slapping it on and hoping for the best.
0:33:23 > 0:33:26Because it's that fine line between it looking really effective,
0:33:26 > 0:33:29or someone saying, "Oh, he didn't know what to do
0:33:29 > 0:33:31"so he's just slapped a load of underglazes on it."
0:33:31 > 0:33:32Jane there,
0:33:32 > 0:33:36- I think she's being a bit too subtle with her decoration.- Yes.
0:33:36 > 0:33:38I think she could be a bit bolder with it, really.
0:33:38 > 0:33:39Oh!
0:33:42 > 0:33:43Oop!
0:33:43 > 0:33:45Construction-wise, does this fit with that?
0:33:45 > 0:33:48If it doesn't, I'll bring a big angle grinder!
0:33:49 > 0:33:52As I go up, each pod is going to get slightly lighter and brighter.
0:33:52 > 0:33:55So I'm going to start with a really dark green on this one,
0:33:55 > 0:33:58and ending up with white with small green detail on it.
0:33:58 > 0:34:01OK, guys, you've got three minutes left.
0:34:01 > 0:34:02- Three?!- Three?!
0:34:02 > 0:34:03Three minutes?!
0:34:03 > 0:34:05It's not good. It's not good.
0:34:05 > 0:34:06Oh, my gosh.
0:34:08 > 0:34:11Yeah, I might seem quite relaxed, but inside I'm going, "Argh!"
0:34:13 > 0:34:15The most stressful thing is still to come, though,
0:34:15 > 0:34:17is when we put it all together.
0:34:17 > 0:34:20I'm still not sure it's all going to stand up in one.
0:34:22 > 0:34:23OK, potters.
0:34:23 > 0:34:30In five, four, three, two, one...
0:34:30 > 0:34:33Your time is up. Step back from your sculptures, please.
0:34:33 > 0:34:35OK, guys, because your sculptures are such whoppers,
0:34:35 > 0:34:39we are firing them in the huge outdoor gas kiln today,
0:34:39 > 0:34:41so make your way downstairs. Thank you.
0:34:44 > 0:34:48Gas-fired kilns are the most popular type of kiln used today.
0:34:49 > 0:34:52They're a far cry from the old bottle ovens
0:34:52 > 0:34:55that burned up to 15 tonnes of coal per firing,
0:34:55 > 0:34:57filling the air with black smoke.
0:34:59 > 0:35:04The 1956 Clean Air Act signalled the end of the era of bottle kilns,
0:35:04 > 0:35:07as the industry turned to cleaner and more efficient fuels,
0:35:07 > 0:35:11like electricity and gas, to fire their ceramics.
0:35:13 > 0:35:16And kiln man Rich is loading ours up.
0:35:17 > 0:35:19Welcome to the gas kiln.
0:35:19 > 0:35:23You're standing very proud by that nice, lovely kiln. Look at that!
0:35:25 > 0:35:28Because the sculptures have been raw glazed,
0:35:28 > 0:35:31they're full of moisture, and very fragile.
0:35:31 > 0:35:32You're going to have to take
0:35:32 > 0:35:35the early stage of the firing really slow,
0:35:35 > 0:35:39otherwise it could just blow the sculpture to pieces.
0:35:39 > 0:35:42Rich will be firing them for 24 hours
0:35:42 > 0:35:45up to a temperature of 1,200 degrees C.
0:35:45 > 0:35:46This has to be done gradually,
0:35:46 > 0:35:51or the steam gushing out of them could cause the sculptures to erupt.
0:35:52 > 0:35:53Anything can happen.
0:35:53 > 0:35:56If there's not a pile of rubble in the morning, then, you know,
0:35:56 > 0:35:58it's a bonus.
0:35:58 > 0:36:00- We all may end up with more pieces than we thought.- Yeah!
0:36:00 > 0:36:03The sculptures are in the kiln right now.
0:36:03 > 0:36:06I just hope that they're not warping, cracking,
0:36:06 > 0:36:09glaze sticking to the shelves - all sorts of things could happen.
0:36:09 > 0:36:10Um...
0:36:11 > 0:36:15There's not much I can do about it now, so you just have to wait.
0:36:20 > 0:36:21Judgment day.
0:36:21 > 0:36:25Later, the potters will find out who will have to leave Middleport.
0:36:26 > 0:36:30But first, there's one last chance to impress the judges.
0:36:32 > 0:36:34Kate and Keith are asking them
0:36:34 > 0:36:38to throw an object that's been testing potters for centuries.
0:36:38 > 0:36:42And they won't stand for anything less than perfection.
0:36:42 > 0:36:44POTTERY SMASHES
0:36:47 > 0:36:48Hello, potters!
0:36:48 > 0:36:50Gather round.
0:36:52 > 0:36:54Now, your garden sculptures - they're in the kiln.
0:36:54 > 0:36:56Rich is looking after them,
0:36:56 > 0:37:00so we thought in the meantime we could keep you occupied.
0:37:00 > 0:37:02You'll see Keith has got his overalls on,
0:37:02 > 0:37:05I'm armed with a tape measure, Kate is looking stern...
0:37:05 > 0:37:07CONTESTANTS LAUGH
0:37:07 > 0:37:09It can only mean it's time for a Throw Down.
0:37:09 > 0:37:11This is where you go up against each other,
0:37:11 > 0:37:14up against the clock, and up against this man.
0:37:14 > 0:37:15So what's in store today, Keith?
0:37:15 > 0:37:18Well, we've seen you make bowls.
0:37:18 > 0:37:20We've seen you make long-necked vases.
0:37:20 > 0:37:23Now it's time to make a plate.
0:37:23 > 0:37:27Now, a plate, for me, is one of the hardest things to make.
0:37:27 > 0:37:29It shows up every single imperfection.
0:37:29 > 0:37:33We want you to throw the widest plate that you can,
0:37:33 > 0:37:37in the same style and specification that Keith's about to show you.
0:37:37 > 0:37:38So, here we go.
0:37:40 > 0:37:41You know, when you're throwing,
0:37:41 > 0:37:45obviously the centring is really, really important.
0:37:45 > 0:37:47Even the king of throwing here has a slight hand wobble
0:37:47 > 0:37:52on this. This is a really centring-important task.
0:37:52 > 0:37:56Obviously with a plate, you want it nice and smooth,
0:37:56 > 0:37:57and a nice flat base.
0:37:59 > 0:38:03Now, this is when I really start finishing off the plate.
0:38:03 > 0:38:04I'm sponging out all the slurry,
0:38:04 > 0:38:07making it really, really nice and dry.
0:38:10 > 0:38:13So I'm using the rubber kidney now to really give me
0:38:13 > 0:38:17that flat surface across the face of the plate.
0:38:19 > 0:38:23It's essential to gently move the kidney from the centre out.
0:38:23 > 0:38:28This will flatten the sides, so you end up with a plate and not a dish.
0:38:28 > 0:38:30And the all-important wiring.
0:38:30 > 0:38:33- That's the hardest part, actually. - It is, yeah, you're right.
0:38:33 > 0:38:36- You've got to keep the wire tight. - You have.- Keep it stretched to its optimum.
0:38:36 > 0:38:38There's a nice, clean plate.
0:38:38 > 0:38:41A nice, clean rim all the way round the side of it.
0:38:41 > 0:38:45As well as width, we're going to be judging flatness of surface,
0:38:45 > 0:38:46thickness of base,
0:38:46 > 0:38:49and we want a stout and healthy rim.
0:38:49 > 0:38:53We don't want to see any sagging or flopping rims.
0:38:53 > 0:38:55And we have, like, half an hour to do that?
0:38:55 > 0:38:57You have ten minutes.
0:38:57 > 0:38:59So then, time to throw down, potters.
0:38:59 > 0:39:01Get to your work stations. Best of luck to you.
0:39:03 > 0:39:04You have ten minutes.
0:39:04 > 0:39:05Time starts now.
0:39:11 > 0:39:13- Frenetic start, that, wasn't it? - Yeah.
0:39:13 > 0:39:15Come on, Sandra, get that centred.
0:39:15 > 0:39:17Wow, Sandra, it's a monster!
0:39:17 > 0:39:18What's going on back there?
0:39:19 > 0:39:21Look, Jim's very comfortable.
0:39:21 > 0:39:25Nice, he's getting it out wide already here.
0:39:25 > 0:39:27I think, Sally-Jo, you're looking more and more comfortable
0:39:27 > 0:39:29at that wheel.
0:39:29 > 0:39:32She's actually using anything that she can that's solid.
0:39:32 > 0:39:36So you use the wheel tray to support yourself while you're making it.
0:39:36 > 0:39:38Jane's got a rim up.
0:39:38 > 0:39:42Nice exterior ridge on your rim there, Jane.
0:39:42 > 0:39:44I'm not sure Sandra's is centred there.
0:39:44 > 0:39:46Well, no, but she's doing remarkably well.
0:39:48 > 0:39:51Halfway through your time, guys, you've got five minutes left.
0:39:53 > 0:39:54Ooh, Sandra, what's happened?
0:39:54 > 0:39:55Sandra...
0:39:55 > 0:39:59Oh, she's... Sandra, you've taken a chunk out of your side.
0:39:59 > 0:40:01I'll cut it off, it'll be right.
0:40:01 > 0:40:03There you go, gone.
0:40:03 > 0:40:05How's Jane doing over there?
0:40:05 > 0:40:06The rim's far too thick.
0:40:06 > 0:40:09- A lot of clay up there. - Yeah, a lot of clay up in the rims.
0:40:09 > 0:40:10Matthew's doing all right.
0:40:10 > 0:40:12Looking good, Matthew.
0:40:13 > 0:40:16Sally-Jo introduced a wobble into her rim there.
0:40:16 > 0:40:18I know, I just took my hands off too quickly.
0:40:18 > 0:40:20One minute left, guys. One minute left.
0:40:21 > 0:40:24Go on, Jane, wire that through well.
0:40:24 > 0:40:26Some of them are looking good.
0:40:26 > 0:40:31SARA AND JUDGES: Ten, nine, eight, seven, six,
0:40:31 > 0:40:33five, four,
0:40:33 > 0:40:37three, two, one.
0:40:37 > 0:40:39- No!- Jim!
0:40:39 > 0:40:41He caught it with his knuckle at the end. What happened?
0:40:41 > 0:40:42You were way ahead!
0:40:42 > 0:40:44KEITH LAUGHS
0:40:44 > 0:40:46Well, I was trying to get the shape just right.
0:40:46 > 0:40:49The wiring-off of the plate is just as important as the plate!
0:40:49 > 0:40:53Right, let's come and have a look, then. Jim, you're up first.
0:40:53 > 0:40:55Jim's rim has a nick in it.
0:40:55 > 0:40:5836 centimetres.
0:40:58 > 0:41:00And is his bottom heavy?
0:41:00 > 0:41:02It's a bit too thin in the base.
0:41:02 > 0:41:06It's more of a dish than a plate. It's a bit too deep for a plate.
0:41:06 > 0:41:09- Yeah, fair enough. - To me, there isn't a corner
0:41:09 > 0:41:10and a change of angle that's sharp.
0:41:10 > 0:41:13It's a bit like that, instead of like that.
0:41:13 > 0:41:14- Yeah, I know what you mean, yeah. - OK?
0:41:14 > 0:41:17- Right, then, thank you very much, Jim.- Great job.
0:41:17 > 0:41:18Here we go, Tom.
0:41:18 > 0:41:20Ooh! 35 centimetres there.
0:41:20 > 0:41:22- That's not bad. - Nice tidy rim.
0:41:22 > 0:41:26What Tom's got there, he's got enough meat in the bottom there.
0:41:26 > 0:41:28That looks really good. It's a nice flat face,
0:41:28 > 0:41:33but the angle here of the outside rim is a bit too steep.
0:41:33 > 0:41:35Is this a dish or is it a plate?
0:41:35 > 0:41:37It's a...
0:41:37 > 0:41:38- plate.- Thank you.
0:41:38 > 0:41:41Hey, Matthew. Hello, hello.
0:41:41 > 0:41:43Ooh! 36½!
0:41:43 > 0:41:45OK. It's pretty good, actually.
0:41:45 > 0:41:49The face of the plate is really nice, and it's definitely a plate.
0:41:49 > 0:41:52- Ooh!- Yeah. Definitely a plate.- Good.
0:41:52 > 0:41:55- Excellent stuff, well done. - Well done, Matthew.- Thank you.
0:41:55 > 0:41:5634 there.
0:41:56 > 0:41:59- I like the face of the plate there, Sandra.- Lovely.
0:41:59 > 0:42:00Really nice and flat.
0:42:00 > 0:42:04- It's the most platey plate we've seen, I think.- I think it is, yeah.
0:42:04 > 0:42:06The rim could have been finished off better.
0:42:06 > 0:42:09There's a lot going on on the rim there, isn't there?
0:42:09 > 0:42:11- Hello, Jane.- Hi.
0:42:11 > 0:42:14Who's going to mention it? Cos this is the elephant in the room,
0:42:14 > 0:42:16or rather the dish in the room.
0:42:16 > 0:42:17It's very dishy.
0:42:17 > 0:42:1933 centimetres.
0:42:19 > 0:42:21- And the rim... - It's more like a cat bowl!
0:42:21 > 0:42:22SHE SIGHS
0:42:22 > 0:42:25I was thinking risotto, but, yeah, cat bowl.
0:42:25 > 0:42:26This is far too deep.
0:42:26 > 0:42:29What would you call it? It's a mixture between a plate and a dish.
0:42:29 > 0:42:32Um...it's a piece of pish!
0:42:32 > 0:42:33THEY LAUGH
0:42:33 > 0:42:34- Hi, Sally.- Hi.
0:42:34 > 0:42:3632 centimetres there.
0:42:36 > 0:42:38What I'm liking about the plate is the depth of it.
0:42:38 > 0:42:40Now, let's have a look here.
0:42:40 > 0:42:43It's sort of nice, but it does dip a bit in the middle, doesn't it?
0:42:43 > 0:42:45It's definitely a plate.
0:42:45 > 0:42:48- Yeah, no, it's good. - Thank you very much, Sally.- Cheers.
0:42:48 > 0:42:49Right, then.
0:42:49 > 0:42:54The judges must now decide who's served up the best plate.
0:42:54 > 0:42:57Sixth place, then, goes to...
0:42:57 > 0:42:58- Jane.- Yay!
0:42:58 > 0:43:00Which was a brilliant dish!
0:43:00 > 0:43:02- It was a brilliant dish. - Pish.- Yeah!
0:43:02 > 0:43:05Fifth place is...
0:43:05 > 0:43:06Jim.
0:43:06 > 0:43:08- Yeah, it was a bit of a dish.- Yeah.
0:43:08 > 0:43:11You were a bit careless at the end.
0:43:11 > 0:43:13In fourth place is Sally-Jo.
0:43:13 > 0:43:15Sandra is third.
0:43:15 > 0:43:17Second place, then?
0:43:17 > 0:43:19Well, second place was...
0:43:19 > 0:43:21Tom.
0:43:21 > 0:43:22Well done, Tom.
0:43:24 > 0:43:28I think the main thing, really, that brought you down to second,
0:43:28 > 0:43:29was the angle of your rim.
0:43:29 > 0:43:33Huge congratulations to Matthew, our winner of today's Throw Down.
0:43:36 > 0:43:40It was a good, flat plate, and it was a really lovely rim.
0:43:40 > 0:43:43Really good all-round effort, Matthew. Well done.
0:43:43 > 0:43:45Now, potters, the moment you've all been waiting for,
0:43:45 > 0:43:49because your garden monuments are out of the kiln.
0:43:49 > 0:43:51Rich is stacking them up as we speak,
0:43:51 > 0:43:53so let's go outside and get them ready for judging.
0:43:53 > 0:43:55Off you go.
0:43:56 > 0:43:58Three out of four's good.
0:43:58 > 0:44:01Um... It's good, three Throw Downs first. It's... It's all right.
0:44:01 > 0:44:03Disappointing to come second again.
0:44:03 > 0:44:04I didn't come last.
0:44:05 > 0:44:07- That's the main thing. - SHE CHUCKLES
0:44:07 > 0:44:10I can't make plates.
0:44:10 > 0:44:13It wasn't good enough, obviously, you know?
0:44:13 > 0:44:16I was so disappointed when he knocked the rim. What a shame(!)
0:44:16 > 0:44:17HE LAUGHS
0:44:17 > 0:44:20Now I know I can make cat dishes, so there's always...
0:44:20 > 0:44:22I've always got a market there.
0:44:25 > 0:44:28The sculptures have been fired for 24 hours.
0:44:28 > 0:44:30I just hope we're all right.
0:44:30 > 0:44:31The potters' prospects now rest
0:44:31 > 0:44:34on the quality of what comes out of the kiln
0:44:34 > 0:44:35Ooh...
0:44:35 > 0:44:37It will be interesting to see
0:44:37 > 0:44:40if their constructions have held up to the temperatures of the kiln.
0:44:40 > 0:44:42Tragic. Oh, dear.
0:44:42 > 0:44:45We're all now a bit worried about how they're actually going to stand up.
0:44:45 > 0:44:49I'm feeling fairly unconfident about going into judging.
0:44:49 > 0:44:52I think this challenge has possibly stretched me the most.
0:44:52 > 0:44:55Some of them are going to be pleased with their decoration,
0:44:55 > 0:44:58and some of them I think are going to be disappointed.
0:44:58 > 0:44:59Even I, after 30 years...
0:44:59 > 0:45:02I close the kiln and I kind of do a little prayer,
0:45:02 > 0:45:05- cos it's down to the fire and the kiln time.- Exactly.
0:45:05 > 0:45:08On the one hand, you can't wait to see the piece you've made
0:45:08 > 0:45:10and on the other hand, you don't want to be let down.
0:45:17 > 0:45:19Well, this is the kind of moment of truth.
0:45:19 > 0:45:20Here goes.
0:45:21 > 0:45:24Let's see if...
0:45:24 > 0:45:26it's some sort of reasonable fit there.
0:45:26 > 0:45:29And...
0:45:29 > 0:45:31- doesn't quite fit... - HE LAUGHS
0:45:31 > 0:45:33- ..which is a shame.- Hey, Jim.
0:45:33 > 0:45:34SHE GASPS
0:45:34 > 0:45:36Wow! That looks amazing!
0:45:36 > 0:45:38Does it fit?
0:45:38 > 0:45:40- It doesn't, unfortunately. - Oh, sorry!
0:45:40 > 0:45:41What about yours?
0:45:41 > 0:45:43Oh, I don't know yet.
0:45:43 > 0:45:45I just really hope it stands up.
0:45:48 > 0:45:49Beautiful.
0:45:49 > 0:45:51Lost all the green, though.
0:45:51 > 0:45:52It's meant to be green!
0:45:55 > 0:45:56Looks promising.
0:45:56 > 0:45:58Pretend that's stable.
0:45:58 > 0:45:59Oh...
0:45:59 > 0:46:02Oh, it's going to fall over.
0:46:02 > 0:46:03There you go.
0:46:03 > 0:46:05SHE CHUCKLES
0:46:05 > 0:46:06Whoa!
0:46:06 > 0:46:07- That's fine.- Don't touch it!
0:46:07 > 0:46:10- SHE CHUCKLES - It's fine!
0:46:10 > 0:46:12Ooh! That bit looks good!
0:46:12 > 0:46:15It LOOKS good. I'll show you what the real deal is here.
0:46:15 > 0:46:16- What's happened?- Oh...
0:46:16 > 0:46:17- Ooh, ouch.- Oh...
0:46:17 > 0:46:19- It's off...- Oh, no!
0:46:19 > 0:46:21- Three pieces.- The base has come off.
0:46:22 > 0:46:24Oh, I see, there as well.
0:46:24 > 0:46:25Three pieces.
0:46:26 > 0:46:28Oh, that's such a shame.
0:46:28 > 0:46:30- Is it the front or the back? - It's the back now!
0:46:30 > 0:46:32- THEY LAUGH - Look at this bit as well, actually.
0:46:32 > 0:46:34I wonder if she's seen that.
0:46:34 > 0:46:36There's another one, look.
0:46:36 > 0:46:40Both of them inside are just completely loose.
0:46:40 > 0:46:42Rightio. So I'll glue this together.
0:46:42 > 0:46:43Push that together...
0:46:43 > 0:46:46- Not yet, don't, not yet!- Yeah.
0:46:46 > 0:46:47No, Jim, please don't. Just...
0:46:47 > 0:46:50Jim, please, don't. No, leave it, leave it, leave it, leave it.
0:46:50 > 0:46:53- JIM LAUGHS - No, please, just leave it.- OK, OK.
0:46:53 > 0:46:56Wow, guys. Look at these beauties!
0:46:56 > 0:46:58Sandra, what's happened?
0:46:58 > 0:47:00- It's totally fell off, the thing. I can't believe it.- Oh, no!
0:47:00 > 0:47:02Please don't fall apart!
0:47:06 > 0:47:08- Look at that.- Woo-hoo!- Perfect!
0:47:08 > 0:47:09It's a bit of a mess, though.
0:47:11 > 0:47:13Wow, look at them, guys!
0:47:14 > 0:47:16- SHE GASPS - Amazing!
0:47:16 > 0:47:17It's really nice.
0:47:17 > 0:47:19- Ooh!- Nice. Yeah!
0:47:19 > 0:47:21- We were saying it looks... - It doesn't fit.
0:47:21 > 0:47:24- It doesn't fit, no, you're right. - Oh, mate!- Oh, no!- What a shame!
0:47:24 > 0:47:26I was shot down in flames!
0:47:26 > 0:47:27Trust Tom just to rub it in!
0:47:27 > 0:47:32I've got a little bit of an issue, I think, with this one.
0:47:32 > 0:47:34You're not alone, my dear.
0:47:34 > 0:47:36And that gives me an extra bit of height!
0:47:37 > 0:47:41Do you know what? That is what I designed and planned for.
0:47:41 > 0:47:43Mine's the shortest.
0:47:43 > 0:47:45- But hey...- But the cutest.
0:47:45 > 0:47:47- Oh, that's lovely!- Beautiful.
0:47:47 > 0:47:49- I think it's the other way round. - Yours is really tall!
0:47:49 > 0:47:50So how happy are you?
0:47:50 > 0:47:53- I'm very happy, thank you. - Very happy? That's cool.
0:47:53 > 0:47:54Thank you for asking.
0:47:56 > 0:47:58'The sculptures have been assembled...'
0:47:58 > 0:48:01Welcome to the Stoke-on-Trent Sculpture Park.
0:48:01 > 0:48:02Wow!
0:48:02 > 0:48:05'..and now it's time for them to be judged.'
0:48:11 > 0:48:13Wow, potters.
0:48:13 > 0:48:14- Hi, Jim.- Hi, guys.
0:48:24 > 0:48:25Well, Jim, your design concept
0:48:25 > 0:48:28was this fish leaping out of the water,
0:48:28 > 0:48:30which I think you've achieved.
0:48:30 > 0:48:34You don't have any cracks on the main sections of your piece.
0:48:34 > 0:48:36Obviously, it's not quite fitting.
0:48:36 > 0:48:38You were in two minds about using
0:48:38 > 0:48:41- your white glaze, weren't you? - Not at all, actually.- No. I...
0:48:41 > 0:48:44I think it really works, Jim, before you say anything else.
0:48:44 > 0:48:47I think it really, really works. I'm really pleased with that.
0:48:47 > 0:48:49I really like this as a design feature.
0:48:49 > 0:48:52It's gone an amazing pearly, glittery kind of white.
0:48:52 > 0:48:55I would have liked to have seen more of them all over the fish.
0:48:55 > 0:48:58And I think one of the really successful things of this design,
0:48:58 > 0:49:01you were asked to make something in sections and, in fact,
0:49:01 > 0:49:05that section is invisible because you've repeated that angle
0:49:05 > 0:49:06up through the head.
0:49:06 > 0:49:09You do seem to have this knack of doing something very simple,
0:49:09 > 0:49:10looks so quick and easy,
0:49:10 > 0:49:14and as we both know, that's not. That's a talent.
0:49:20 > 0:49:23- Did I notice that you actually put something on this?- I did.
0:49:23 > 0:49:24Yeah, what was that, then?
0:49:24 > 0:49:27Well, I sponged copper oxide in the centre of each panel,
0:49:27 > 0:49:28cos I wanted the green to come up,
0:49:28 > 0:49:32- but I've obviously put it on too thinly, and it's burnt off.- Right.
0:49:32 > 0:49:33It hasn't come through.
0:49:33 > 0:49:36But the use of oxide on the base is really nice.
0:49:36 > 0:49:39I think it works really well with the texture that you've gone with.
0:49:39 > 0:49:43In fact, this, for me, is a separate sculpture to this.
0:49:43 > 0:49:45I think the use of shiny and matt works
0:49:45 > 0:49:48and I think the seed shapes just about work.
0:49:48 > 0:49:50You did have a struggle, you know, your big pod fell to pieces
0:49:50 > 0:49:53and you got it back together. You know, all power to you.
0:49:53 > 0:49:55- You did well.- Yeah.
0:50:01 > 0:50:03Obviously, we can't get away from the fact that we've got
0:50:03 > 0:50:06some cracks here, and obviously we have a crack round the back.
0:50:06 > 0:50:08It is a construction issue,
0:50:08 > 0:50:12but I think the proportions of each section are really nice.
0:50:12 > 0:50:15I'm really liking this kind of texture.
0:50:15 > 0:50:18I think this has worked really well with this particular oxide mix
0:50:18 > 0:50:19that you've got here.
0:50:19 > 0:50:21That blue you put in around the edge,
0:50:21 > 0:50:24- I'd have loved that to have been that bit more accurate. - Absolutely right.
0:50:24 > 0:50:27I understand this is the first time you've done slab building?
0:50:27 > 0:50:30- I've never done anything like this before!- Pretty impressive.
0:50:30 > 0:50:31- Thank you.- Well done.- Thank you.
0:50:43 > 0:50:45- Hi, Sandra.- Hello.
0:50:45 > 0:50:48- Can we speak to you over the sculpture, Sandra?- I'm sure you can.
0:50:48 > 0:50:50Mmm. It's very much helped by the antennae.
0:50:50 > 0:50:51SANDRA LAUGHS
0:50:51 > 0:50:54You know, otherwise we'd be missing a little more,
0:50:54 > 0:50:56but you've had a problem, haven't you, with the back?
0:50:56 > 0:50:57- It blew off in the kiln.- Yeah.
0:50:57 > 0:51:00- And so you've stuck this on, have you?- This bit.- Glued it back on.
0:51:00 > 0:51:04I would have made the bases taller to start off with.
0:51:04 > 0:51:08Yes, I actually missed out... One of these is not there.
0:51:08 > 0:51:10- You lost it in the kiln or you didn't make it?- I didn't make it.
0:51:10 > 0:51:13- There was no time.- There was!
0:51:13 > 0:51:14You had as much time as everyone else.
0:51:14 > 0:51:16But they're cleverer than me.
0:51:25 > 0:51:28So you've exceeded the height request.
0:51:28 > 0:51:31I might have gained a little bit of height just with this section here.
0:51:31 > 0:51:34- OK.- Have you gained height here as well?- No, that was intentional.
0:51:34 > 0:51:37- Was it really? - I don't think that plug has worked.
0:51:37 > 0:51:41I maybe would have wanted to see a bit more surface design on there.
0:51:41 > 0:51:45- Yeah, I don't necessarily think the black insides work.- No.
0:51:45 > 0:51:47You know, to me, it just doesn't visually work.
0:51:47 > 0:51:49It looks as though it's something half done.
0:51:49 > 0:51:53I really love the idea, but to me I just don't feel it holds together.
0:52:03 > 0:52:05It's fantastic.
0:52:05 > 0:52:10This very simple but very effective way that you half cut through,
0:52:10 > 0:52:15and then tore the crank body apart to show us this rough edge.
0:52:15 > 0:52:17And you've been really clever with the design,
0:52:17 > 0:52:21because if something had broken, we wouldn't have noticed!
0:52:21 > 0:52:23- Exactly, yeah. - It almost looks alive.
0:52:23 > 0:52:24It could be something from the past,
0:52:24 > 0:52:27but it could also be something quite science fiction.
0:52:27 > 0:52:28It's got your mark.
0:52:28 > 0:52:31There's a sort of punk anarchy in it, which you know, your hair...
0:52:31 > 0:52:33It's all you. I'm really impressed.
0:52:33 > 0:52:36The thing with you, Matthew, you have a great affinity...
0:52:43 > 0:52:45You have a great affinity
0:52:45 > 0:52:49- to use the glazes and the oxides to their optimum.- Thank you.
0:52:49 > 0:52:51It's fantastic.
0:52:57 > 0:53:00Kate and Keith have got to decide who is Top Potter,
0:53:00 > 0:53:03and who is going to be leaving the pottery.
0:53:03 > 0:53:05While they come to that decision, you guys can have a breather
0:53:05 > 0:53:07and we'll see you back here in a little while.
0:53:11 > 0:53:15I think the outcome of this is I'm out of here.
0:53:15 > 0:53:18And...you know, I've exceeded my expectations.
0:53:18 > 0:53:20I just wanted to last after the first week, and I did.
0:53:20 > 0:53:23It's like waiting for the inevitable, really.
0:53:23 > 0:53:27Jane looks like she's struggling and she's demoralised
0:53:27 > 0:53:30and thinking, "This is the worst, it's all going to happen."
0:53:30 > 0:53:33Maybe it'll be somebody else - who knows?
0:53:33 > 0:53:36The issues weren't particularly my skills in making.
0:53:36 > 0:53:37It was just the timekeeping.
0:53:37 > 0:53:40I don't know what's going to happen. I'll have to wait and see.
0:53:40 > 0:53:42My fate is in their hands.
0:53:42 > 0:53:45Judges, here we are again, with big decisions to be made.
0:53:45 > 0:53:48Let's start off with the happy business, please. Top Potter.
0:53:48 > 0:53:54Well, Top Potters, we think, are between Matthew and Jim.
0:53:54 > 0:53:57I think the two of them stand as sculptural pieces with Jim's.
0:53:57 > 0:54:02It's a really cheery piece, whereas Matthew's is rather a serious,
0:54:02 > 0:54:03crazy piece.
0:54:03 > 0:54:06Jim's Spot Test this week was brilliant.
0:54:06 > 0:54:09Now, he really did transform that main pot into a strawberry pot.
0:54:09 > 0:54:12There was this sure methodology.
0:54:12 > 0:54:14Such an exciting thing to look at.
0:54:14 > 0:54:18And Matthew won the Throw Down. His plate was really competent.
0:54:18 > 0:54:22It was well finished and really well executed.
0:54:22 > 0:54:26But what about who's leaving this week - are you as certain about that?
0:54:26 > 0:54:30Well, we have decided two that haven't really stepped up
0:54:30 > 0:54:32to the mark with design and construction,
0:54:32 > 0:54:35and they are Sandra and Jane.
0:54:35 > 0:54:37And the little antenna on the top...
0:54:37 > 0:54:40It's a sort of design insult to try and get the height up.
0:54:40 > 0:54:45Sandra's construction is very good - there's just not enough of it.
0:54:45 > 0:54:49She did even admit to us that she'd left a whole section out.
0:54:49 > 0:54:52Let's talk about Jane and where she went wrong.
0:54:52 > 0:54:56Well, where do you start? I'm just so disappointed with it.
0:54:56 > 0:54:59The simplicity of the design... It's far too conservative.
0:54:59 > 0:55:02This looks as though it's going to snap and fall at us
0:55:02 > 0:55:03so it makes me feel insecure.
0:55:03 > 0:55:06I wouldn't want it in my garden. Then it's cracked,
0:55:06 > 0:55:09and she's scratched it and the glaze doesn't work.
0:55:09 > 0:55:10In the Throw Down, Jane came sixth,
0:55:10 > 0:55:14and then with Sandra, Sandra was sixth in the Spot Test?
0:55:14 > 0:55:19- She was, yeah.- She was. I'm totally, totally in a dilemma about this.
0:55:19 > 0:55:21I just don't know what to do.
0:55:25 > 0:55:28Gather round, potters, gather round.
0:55:32 > 0:55:37As you know, potters, each week the judges decide who is Top Potter.
0:55:37 > 0:55:40Keith and I have agreed that the person
0:55:40 > 0:55:44who we've chosen to be Top Potter has done well in the Spot Test
0:55:44 > 0:55:46and the Throw Down,
0:55:46 > 0:55:49had a clear design message that really strengthened
0:55:49 > 0:55:54through the process, showed us clay in a really energetic and great way.
0:55:54 > 0:55:57The Top Potter for this week is...
0:55:59 > 0:56:00..Matthew.
0:56:00 > 0:56:03- THEY APPLAUD - Well done, Matthew.
0:56:05 > 0:56:08Well done, Matthew. Second week in a row!
0:56:08 > 0:56:10- Yes.- Gosh.
0:56:10 > 0:56:14And now to the more difficult task - who is leaving the pottery?
0:56:14 > 0:56:16You've really struggled, haven't you?
0:56:16 > 0:56:20It's been so, so hard, and I have to be honest with you,
0:56:20 > 0:56:23it's been a decision between two of you.
0:56:23 > 0:56:27Now, the person who's going through has gone through
0:56:27 > 0:56:30by the skin of their teeth, and I mean that.
0:56:30 > 0:56:33And the person leaving the pottery is...
0:56:39 > 0:56:41..Sandra.
0:56:42 > 0:56:45Oh, Sandra!
0:56:45 > 0:56:46Oh, no!
0:56:46 > 0:56:49Sweetheart, we're going to miss you so much.
0:56:49 > 0:56:51They really struggled.
0:56:51 > 0:56:54We literally did think of a double elimination.
0:56:54 > 0:56:56That's how close it was,
0:56:56 > 0:56:59and that's how close Jane came to actually going.
0:56:59 > 0:57:05'We just felt that at least Jane finished her concept.
0:57:05 > 0:57:07'She finished it, yeah.'
0:57:08 > 0:57:11I hadn't fulfilled the brief, so it makes sense
0:57:11 > 0:57:14that I got eliminated at this stage.
0:57:14 > 0:57:17Well done, Jim, great work.
0:57:17 > 0:57:21THEY TALK OVER EACH OTHER
0:57:21 > 0:57:23'She admitted herself she was missing a piece.'
0:57:23 > 0:57:27'Frustrating because she's a great character, great touch,'
0:57:27 > 0:57:29really very frustrating.
0:57:29 > 0:57:32I don't want you to go!
0:57:32 > 0:57:37Sandra's just been voted out, which I'm really devastated about.
0:57:37 > 0:57:38She's a really good friend.
0:57:40 > 0:57:42It's really hard...
0:57:42 > 0:57:43Really struggled.
0:57:43 > 0:57:45Can we have a group hug, please?
0:57:45 > 0:57:48THEY ALL TALK OVER EACH OTHER
0:57:51 > 0:57:53'I'm quite surprised at being Top Potter again.
0:57:53 > 0:57:57'Keith was quite emotional and it was nice to see people'
0:57:57 > 0:58:00be like that about the subject that they're truly passionate about,
0:58:00 > 0:58:04and, yeah, I think him saying that I've got an affinity with clay
0:58:04 > 0:58:08and glaze, it's something I'd be happy to have on my gravestone.
0:58:09 > 0:58:12Next week is the semifinal. Really can't believe I'm there.
0:58:12 > 0:58:14I just have to give it my best shot.
0:58:14 > 0:58:16You're up against it now, I think, you know,
0:58:16 > 0:58:18can't let the guard down now.
0:58:20 > 0:58:22I don't know what I'm doing with it, at all.
0:58:22 > 0:58:23The potters...
0:58:23 > 0:58:24SHE GROANS
0:58:24 > 0:58:27..face their most delicate build so far...
0:58:28 > 0:58:30Did I make you jump?
0:58:30 > 0:58:32..a bone china chandelier.
0:58:32 > 0:58:33GASPING, CRASHING
0:58:33 > 0:58:36Plus a mesmerising Spot Test...
0:58:36 > 0:58:40- I were going under then. Was going to be at your command.- Yeah.
0:58:40 > 0:58:44And a Throw Down that refuses to play ball.
0:58:44 > 0:58:46Don't tickle it. You're the boss.
0:58:46 > 0:58:49But who will be heading to the final?
0:58:49 > 0:58:50That's fighting talk.
0:58:50 > 0:58:52And who will be heading home?
0:58:52 > 0:58:54He's absolutely done nothing.
0:58:54 > 0:58:57It doesn't tell me anything.