0:00:02 > 0:00:05No, this isn't the bit they used to show between old programmes.
0:00:05 > 0:00:07It's week five.
0:00:07 > 0:00:09Check out my pot!
0:00:09 > 0:00:12Welcome to the Great Pottery Throw Down
0:00:12 > 0:00:14Previously...
0:00:14 > 0:00:16I need to get 20 more inches.
0:00:16 > 0:00:19It was super-sized sculpture for our potters.
0:00:19 > 0:00:21Why have I just burst out into a sweat? It's ridiculous.
0:00:21 > 0:00:24Matthew scored another huge win...
0:00:24 > 0:00:26Well done, Matthew. Second week in a row.
0:00:26 > 0:00:29..while Sandra's piece failed to measure up...
0:00:29 > 0:00:31Oh, no...!
0:00:31 > 0:00:34..and she had to leave the pottery.
0:00:34 > 0:00:37Now our judges, ceramic artist Kate Malone
0:00:37 > 0:00:39and master potter Keith Brymer Jones,
0:00:39 > 0:00:42have set three more challenges...
0:00:42 > 0:00:44I don't know what I'm doing with it at all.
0:00:44 > 0:00:47..including their most delicate build so far...
0:00:48 > 0:00:49Did that make you jump, sir?
0:00:49 > 0:00:52..a bone china chandelier...
0:00:54 > 0:00:56..a mesmerising Spot Test...
0:00:56 > 0:01:00I were going under there. I was going to be at your command.
0:01:00 > 0:01:03..and a Throw Down that refuses to play ball.
0:01:03 > 0:01:05Don't tickle it. You're the boss.
0:01:05 > 0:01:07Oh, no...!
0:01:13 > 0:01:15# I feel inside
0:01:15 > 0:01:17# I can't explain
0:01:17 > 0:01:19# A certain kind
0:01:19 > 0:01:20# I can't explain
0:01:20 > 0:01:22# I feel I'm cold
0:01:22 > 0:01:24# I can't explain
0:01:24 > 0:01:26# Yeah, down in my soul, yeah
0:01:26 > 0:01:27# I can't explain
0:01:27 > 0:01:29# I can't explain
0:01:29 > 0:01:30# I think it's love
0:01:30 > 0:01:33# Trying to say to you when I feel blue
0:01:34 > 0:01:37# Cos I can't explain. #
0:01:40 > 0:01:42There are a few people who really want to do well
0:01:42 > 0:01:43and can get through to the final.
0:01:43 > 0:01:45Everybody's going to raise their game today.
0:01:45 > 0:01:48I think we're all sort of ecstatic to be here at the moment.
0:01:48 > 0:01:50I can't wait to get on with the day.
0:01:50 > 0:01:53I made it to the semifinals!
0:01:53 > 0:01:54Miracles do happen.
0:01:54 > 0:01:56I feel really excited,
0:01:56 > 0:02:01but a bit nerve-racking, because I know the judges are stepping up their critique,
0:02:01 > 0:02:02they don't take any prisoners.
0:02:02 > 0:02:04I can sense the tension in everyone.
0:02:04 > 0:02:06There's not anyone here that doesn't want to go all the way.
0:02:06 > 0:02:10It's the semifinal of The Great Pottery Throw Down.
0:02:10 > 0:02:12- Banished to the back.- Yes.
0:02:12 > 0:02:15Just five potters remain,
0:02:15 > 0:02:18but only four can make it through to the final.
0:02:18 > 0:02:21- Well, good morning, potters. - Morning.
0:02:21 > 0:02:23And here we are, a brand-new day in the pottery
0:02:23 > 0:02:27and may I begin by saying a huge congratulations to you guys.
0:02:27 > 0:02:29You have reached the semifinal.
0:02:29 > 0:02:32All that stands between you and the winner's trophy, though,
0:02:32 > 0:02:34are some pesky little tasks we're going to make you do.
0:02:34 > 0:02:37The first of which is the Main Make.
0:02:37 > 0:02:40And Keith and Kate are really hoping that your creativity
0:02:40 > 0:02:45and skills are going to shine through with this one.
0:02:45 > 0:02:48And here to enlighten us with more details are the judges.
0:02:48 > 0:02:54We want you to produce a fine bone china chandelier.
0:02:54 > 0:02:59You're going to be using fine bone china slip
0:02:59 > 0:03:02and this has two beautiful qualities -
0:03:02 > 0:03:06it fires very white and it's also translucent.
0:03:06 > 0:03:09We want you to slip cast.
0:03:09 > 0:03:14Now, slip casting is a process where you pour liquid clay, slip,
0:03:14 > 0:03:18into a mould to create shapes or objects.
0:03:18 > 0:03:22Use your imagination, be adventurous and experiment.
0:03:22 > 0:03:26You have five hours to create and cast your chandelier pieces.
0:03:26 > 0:03:28Your time starts now!
0:03:28 > 0:03:33It will take five long days to create a stunning chandelier.
0:03:33 > 0:03:35And if that isn't formidable enough,
0:03:35 > 0:03:39making it out of bone china makes it the toughest Main Make yet.
0:03:39 > 0:03:45First of all, they'll have to pour the bone china slip into plaster moulds,
0:03:45 > 0:03:48where it's left to harden into a thin wall of clay.
0:03:48 > 0:03:52The excess slip is tipped out, the moulds are cracked open
0:03:52 > 0:03:55and then the thin wall of clay inside can be cut and shaped.
0:03:55 > 0:04:00These pieces are then dried and fired for 24 hours.
0:04:00 > 0:04:03They then need to be finessed, carefully hung
0:04:03 > 0:04:07and the finished chandeliers will be judged by Kate and Keith.
0:04:07 > 0:04:09Look at these wonderful pieces here.
0:04:09 > 0:04:12This is what we really want to see, isn't it? Fine china.
0:04:12 > 0:04:16It's not like any other clay that they'll be using throughout these challenges.
0:04:16 > 0:04:18It's so extraordinary, isn't it?
0:04:18 > 0:04:21Clay can be brick clay that we live in our houses and then it can be this.
0:04:21 > 0:04:23- CHINA TINKLES - I mean the sound, it's almost glass, actually.
0:04:23 > 0:04:25It's sort of relatives of glass, isn't it?
0:04:25 > 0:04:29We really want to see them use the wonderful quality that this clay gives,
0:04:29 > 0:04:31which is obviously the translucency.
0:04:31 > 0:04:34So if they use the clay at the correct thickness,
0:04:34 > 0:04:36we're going to see the light coming through.
0:04:36 > 0:04:38The first time we're going to see them casting
0:04:38 > 0:04:41and not only casting, but casting fine china.
0:04:41 > 0:04:45We really want to see them use the character of the material.
0:04:45 > 0:04:47That's what's so exciting about this challenge.
0:04:49 > 0:04:52The potters can choose from four shapes of mould.
0:04:52 > 0:04:56My chandelier shape is based on jellyfish and seaweed.
0:04:56 > 0:04:58I've gone for a cone,
0:04:58 > 0:05:01a circular cylinder and two spheres,
0:05:01 > 0:05:05which, apparently, was a bit of a crazy idea
0:05:05 > 0:05:07because they're quite difficult to cast.
0:05:07 > 0:05:09But I liked the shape.
0:05:09 > 0:05:13I'm aiming for using just one cylindrical shape,
0:05:13 > 0:05:16but modifying with a play on circles and a play on cylinders.
0:05:16 > 0:05:19Well, the inspiration comes from sort of a church organ.
0:05:19 > 0:05:21I can't even get the lid of the slip open,
0:05:21 > 0:05:23so I'm probably not going to do very well on this.
0:05:26 > 0:05:29These two moulds here are square section tubes, if you like.
0:05:29 > 0:05:34I'm going to use each face to cut out some very long leaf designs.
0:05:34 > 0:05:37And the idea is I'm going to try and make it as spiky as possible.
0:05:37 > 0:05:40I've got three cylinders and one cone.
0:05:40 > 0:05:44But I'm hoping to get three or four feathers out of each cylinder.
0:05:44 > 0:05:46And perhaps, you know, twist them
0:05:46 > 0:05:49and really use that warping which fine bone china does. Apparently.
0:05:49 > 0:05:53We're at the semifinals and we're using something very difficult.
0:05:53 > 0:05:55I kind of want, like, a quilt kind of effect.
0:05:55 > 0:05:58Once I've got them, I'm going to cut them in half
0:05:58 > 0:06:02and then I'm going to sort of push into them and just distort them.
0:06:02 > 0:06:05I've never done this. I've never dreamt of doing this.
0:06:05 > 0:06:07I've never wanted to do this.
0:06:07 > 0:06:10So, erm, yeah, this is very new and quite frightening.
0:06:10 > 0:06:13Tom's not the only novice.
0:06:13 > 0:06:17In fact, none of the potters have slip cast with bone china before.
0:06:17 > 0:06:20Nobody touches bone china.
0:06:20 > 0:06:22It's kind of a nemesis for potters
0:06:22 > 0:06:25or it's the monster in the castle.
0:06:31 > 0:06:35The first stage in the process is filling the moulds with slip.
0:06:35 > 0:06:38Casting slip is a liquid form of clay,
0:06:38 > 0:06:41which you pour into plaster moulds.
0:06:44 > 0:06:47When the slip touches the plaster,
0:06:47 > 0:06:50it starts drawing the water out of the slip
0:06:50 > 0:06:54and that starts forming a skin on the surface of the plaster.
0:06:54 > 0:06:59How long they leave the slip inside the mould will determine the thickness of the cast.
0:07:00 > 0:07:04The potters want to make the thinnest pieces possible,
0:07:04 > 0:07:08so their chandeliers will be delicate and translucent.
0:07:09 > 0:07:11Timing is crucial here.
0:07:11 > 0:07:13Leave the slip in the mould for too long
0:07:13 > 0:07:16and the pieces will be too thick.
0:07:16 > 0:07:21But remove them too soon and they'll be too fragile to work with.
0:07:22 > 0:07:25It's important to pour it all in one go because, otherwise,
0:07:25 > 0:07:27if you only pour half of it,
0:07:27 > 0:07:31then the plaster mould is going to suck moisture out of that half.
0:07:31 > 0:07:33And then, when you continue to pour it,
0:07:33 > 0:07:36the thickness of the walls are going to be different.
0:07:36 > 0:07:41You've got to try and pour quite gently and quite evenly, really.
0:07:41 > 0:07:47But unfortunately, I'm not feeling brave enough just to handle the whole bucket,
0:07:47 > 0:07:50so I'm just going to try and do it gently with this.
0:07:53 > 0:07:55That was a bit messy.
0:07:56 > 0:07:59I want them quite thin, as well, for the translucency,
0:07:59 > 0:08:02so that you do get, like, some light just shining through it.
0:08:02 > 0:08:06So I think... Because, otherwise, there's no point in using bone china.
0:08:06 > 0:08:08And I think that, for what I want to achieve,
0:08:08 > 0:08:10it should be just over three minutes.
0:08:13 > 0:08:18The period of time that I'm allowing the clay to soak into the mould is five minutes.
0:08:18 > 0:08:21It's very important that you end up with,
0:08:21 > 0:08:23essentially, a creme egg inside your mould.
0:08:23 > 0:08:26You end up with the chocolate is the part you're going to keep.
0:08:26 > 0:08:32It's a thin film of drier clay on the inside of the mould
0:08:32 > 0:08:35and then the liquid in the centre, you're going to pour out.
0:08:35 > 0:08:37That's the excess.
0:08:39 > 0:08:41Just emptying the excess slip out of the mould,
0:08:41 > 0:08:44but you have to try and sort of twist the mould...
0:08:46 > 0:08:49..according to what I've seen on the internet.
0:08:49 > 0:08:51And now we just have to leave them to dry in there.
0:08:53 > 0:08:55After the potters have poured out the excess,
0:08:55 > 0:08:58how long they leave the remaining clay in the mould
0:08:58 > 0:09:00will dictate how hard the cast becomes.
0:09:00 > 0:09:03You need to catch it at the time when it's still malleable,
0:09:03 > 0:09:07to be able to twist and cut and make your shapes from it,
0:09:07 > 0:09:10but not so soft that, when you break open the mould, it just completely collapses.
0:09:10 > 0:09:13So it's quite a fine balance.
0:09:14 > 0:09:17Right, what's next after we've poured it out?
0:09:17 > 0:09:19- Wait.- Wait for it to dry.
0:09:19 > 0:09:21Matt, what are you doing?
0:09:21 > 0:09:23He's got a knife and stuff going on.
0:09:29 > 0:09:31They put me at the front of the room so I can't copy.
0:09:31 > 0:09:34I need to be looking at everybody else, seeing what they're doing.
0:09:34 > 0:09:35Jim... Look at him.
0:09:37 > 0:09:39He's all right, Jack.
0:09:40 > 0:09:43Sure, I look relaxed now cos I'm waiting for these to dry out.
0:09:43 > 0:09:45Once they're out,
0:09:45 > 0:09:47I've got to set up the casting for the next lot.
0:09:47 > 0:09:49So you're doing that at the same time as you're making
0:09:49 > 0:09:51and then, hopefully, you get this little routine in place
0:09:51 > 0:09:54to create as much stuff as you can, actually.
0:09:54 > 0:10:00This particular process really transformed pottery into a real ceramics industry.
0:10:00 > 0:10:02Because once you've got the mould,
0:10:02 > 0:10:04you can make as many of them as you want.
0:10:04 > 0:10:07So you can just repeat the process again and again and again
0:10:07 > 0:10:11- and produce thousands of things. - Of the identical same shape.
0:10:13 > 0:10:19In the 18th century, the finest tableware was made from Chinese porcelain.
0:10:19 > 0:10:22But importing plates and bowls from China was expensive.
0:10:22 > 0:10:27In 1748, in his quest to produce English porcelain,
0:10:27 > 0:10:30Thomas Fry started adding cattle bone ash
0:10:30 > 0:10:33to clay found in Cornwall
0:10:33 > 0:10:35and bone china was born.
0:10:35 > 0:10:4040 years later, the recipe was perfected by Josiah Spode
0:10:40 > 0:10:44and his white, light and strong alternative to porcelain became a huge success
0:10:44 > 0:10:50and was produced almost exclusively in the UK for the next 200 years.
0:10:50 > 0:10:52Today, having gone full circle,
0:10:52 > 0:10:55the world's biggest producer of bone china...
0:10:55 > 0:10:56is China.
0:11:02 > 0:11:07The potters' first casts have now firmed up enough to be removed from their moulds.
0:11:07 > 0:11:09Yeah, I'm fettling, apparently.
0:11:09 > 0:11:12It's a great word, actually, fettle. To fettle.
0:11:13 > 0:11:16They must work fast to cut them into shapes
0:11:16 > 0:11:18before the clay becomes too hard.
0:11:20 > 0:11:22I've taken the first one apart.
0:11:22 > 0:11:26It's a little bit thin, so it's a bit of a learning process.
0:11:26 > 0:11:28But they are still a bit sticky.
0:11:28 > 0:11:30I should have left this in a little bit longer.
0:11:30 > 0:11:33But I actually want them to be flexible to actually use.
0:11:33 > 0:11:37So what's the key to getting this slip casting spot on?
0:11:37 > 0:11:41Well, the key to the whole task, for me, is all about time and motion.
0:11:41 > 0:11:44It's getting those moulds working, it's getting them out,
0:11:44 > 0:11:48getting more slip in them and that continual process
0:11:48 > 0:11:50to maybe build up your chandelier.
0:11:50 > 0:11:52There's a lovely rhythm, really, to filling the moulds,
0:11:52 > 0:11:55emptying them, filling them, emptying, cutting.
0:11:55 > 0:11:59But, you know, the sense of repetition and rhythm is a lovely thing to do.
0:11:59 > 0:12:03I'm staggering the casting, cos while I'm fiddling with this,
0:12:03 > 0:12:05the others are casting.
0:12:05 > 0:12:07If you do them all at once, you've got to deal with them all at once
0:12:07 > 0:12:10and, by the time I've emptied this one
0:12:10 > 0:12:12and gone back to that one, then these are too thick.
0:12:12 > 0:12:14You see what I mean?
0:12:14 > 0:12:17So it's a kind of a... There is a plan of action there.
0:12:18 > 0:12:20Three hours remaining.
0:12:23 > 0:12:27The potters must use the brief time they have between refilling their moulds and casting
0:12:27 > 0:12:30to cut their shapes.
0:12:30 > 0:12:34Matthew's advantage is that he's only producing one shape,
0:12:34 > 0:12:37but he still needs a lot of them.
0:12:37 > 0:12:38These are the first ones
0:12:38 > 0:12:41and these are starting to become leather hard now.
0:12:42 > 0:12:46Just in the tops here, just put a small hole on each side
0:12:46 > 0:12:50and then some wire will go through and they'll all hang down.
0:12:51 > 0:12:54These are the feathers that are going to form the chandelier,
0:12:54 > 0:12:56but I need so many of them to make it work.
0:12:56 > 0:12:59But I'm tying to get some feather detail on them before they harden up too much,
0:12:59 > 0:13:03cos I don't want them looking like leaves, they've got to look like feathers.
0:13:03 > 0:13:06You've got a really short window of opportunity to work with it,
0:13:06 > 0:13:09because it's ever so thin and ever so soft and it dries out really fast.
0:13:09 > 0:13:11And if you want to play with it,
0:13:11 > 0:13:14you've got to play with it at the right moment.
0:13:14 > 0:13:16Otherwise you lose that opportunity.
0:13:21 > 0:13:22That was fun.
0:13:22 > 0:13:24Potters, you're halfway through your time.
0:13:24 > 0:13:26Two-and-a-half hours left.
0:13:26 > 0:13:29Have you finished yet, Matt?
0:13:29 > 0:13:31Even Matt's broken into a sweat for this one!
0:13:31 > 0:13:33I just, er...
0:13:33 > 0:13:35I just need to relax a little bit, that's what I need to do.
0:13:35 > 0:13:38- Take a coffee break.- Relax a bit and you'll go to sleep, mate, honestly.
0:13:38 > 0:13:42Despite casting and finessing over 20 pieces,
0:13:42 > 0:13:44Matthew's now had a change of plan.
0:13:44 > 0:13:47It's taken me until, literally, these three
0:13:47 > 0:13:49to understand the best way to work with it
0:13:49 > 0:13:52and I think, if I work with it when it's still in a cylinder,
0:13:52 > 0:13:54cos I started chopping them up at first...
0:13:54 > 0:13:55And then working on them then?
0:13:55 > 0:14:00Yeah. This way, it kind of keeps its strength and I can wiggle that into it
0:14:00 > 0:14:02and it creates some nice curves.
0:14:02 > 0:14:06And where the cracks are, as well, I'm hoping that you get some light just shining through.
0:14:06 > 0:14:09Absolutely. It will be a fine line between cracks and falling apart
0:14:09 > 0:14:12- and light and no light. So... - Yeah.
0:14:16 > 0:14:19If it gets too hard, the clay, then it's...
0:14:19 > 0:14:21I'm just trying to do it and it just splits it.
0:14:21 > 0:14:23Which is a little bit tiresome.
0:14:24 > 0:14:26How are you finding this process?
0:14:26 > 0:14:29Erm, I have to be honest, I was absolutely dreading it this morning.
0:14:29 > 0:14:34But, actually, once I got into it, I don't want to tempt fate too much,
0:14:34 > 0:14:39but it's not as hideous as I anticipated it was going to be.
0:14:39 > 0:14:41And as you were marking the surfaces with the shell,
0:14:41 > 0:14:42you're now scratching a pattern
0:14:42 > 0:14:45and you're hoping that pattern will show more light through it?
0:14:45 > 0:14:47Exactly that.
0:14:51 > 0:14:53With just over an hour to go,
0:14:53 > 0:14:57Tom's having second thoughts about his organ design.
0:14:57 > 0:15:01I'm probably going to shelve that idea and move on to having some more discs hanging down.
0:15:01 > 0:15:04I'm just worried that it's going to look like a sort of a kid's mobile,
0:15:04 > 0:15:08or a wind chime or something, rather than a chandelier, but...
0:15:11 > 0:15:14I'm trying to get a circular cut.
0:15:14 > 0:15:17Oh, what do I want to do?
0:15:17 > 0:15:19It's probably going to fail, but let's do it again.
0:15:19 > 0:15:21This is not going to work.
0:15:21 > 0:15:24That's a waste of a whole piece.
0:15:24 > 0:15:25I was trying to be clever.
0:15:25 > 0:15:27I know, it's a forlorn hope.
0:15:28 > 0:15:30The air of positivity in the air...
0:15:31 > 0:15:33Oh, it's just awful.
0:15:33 > 0:15:34Eek!
0:15:34 > 0:15:36Go with it.
0:15:36 > 0:15:39And the thing with this task, as well, is there's no decorating,
0:15:39 > 0:15:41there's no glazing,
0:15:41 > 0:15:43there's no colour, no pattern.
0:15:43 > 0:15:46It's all done in the shapes we make today.
0:15:47 > 0:15:50Apart... Oh, there you go.
0:15:50 > 0:15:51Next!
0:15:51 > 0:15:54# Bend it, bend it
0:15:54 > 0:15:58# Just a little bit of take it easy
0:15:58 > 0:16:01# Show you're liking it... #
0:16:01 > 0:16:02It's behaving badly.
0:16:02 > 0:16:08You obviously can't manoeuvre this clay too much when it's damp,
0:16:08 > 0:16:10because it's very jelly-like.
0:16:10 > 0:16:13It's been carved and that should be kind of drying off now,
0:16:13 > 0:16:14but it doesn't want to.
0:16:14 > 0:16:17I'm going to stop playing with this one. I'm wasting a lot of time.
0:16:17 > 0:16:21Oh, it looks like a goose down pillow has exploded.
0:16:21 > 0:16:22I know, remnants of a pillow fight.
0:16:22 > 0:16:25Beautiful feathers everywhere.
0:16:25 > 0:16:27I was going to be casting while I did this bit,
0:16:27 > 0:16:30but if I don't catch this quickly enough, then it doesn't work.
0:16:30 > 0:16:32They all just dry out and crumble.
0:16:32 > 0:16:35They look a bit like insoles. I mean, I know that's not the plan.
0:16:35 > 0:16:37That's not helping, is it?
0:16:37 > 0:16:39They're beautiful feathers, though.
0:16:39 > 0:16:41I'm just going to just... I'm sorry.
0:16:41 > 0:16:42Insoles!
0:16:42 > 0:16:43Oh, man...
0:16:45 > 0:16:52Before firing, the potters need to pack their pieces in aluminium oxide or alumina,
0:16:52 > 0:16:54as bone china can warp and become sticky
0:16:54 > 0:16:57at temperatures of over 1,200 degrees C.
0:16:58 > 0:17:01Alumina has a very high melting point,
0:17:01 > 0:17:03which is over 2,000 degrees,
0:17:03 > 0:17:07so you can use it in conjunction with firing your bone china,
0:17:07 > 0:17:11because it's not going to melt or flux or become hard.
0:17:11 > 0:17:17It can be used in quantities to support a free-flowing shape.
0:17:17 > 0:17:23If it wasn't there, the bone china would probably just collapse on itself.
0:17:23 > 0:17:27The alumina prevents the clay from sticking,
0:17:27 > 0:17:31so it's the best stuff to put between your pot and the shelf.
0:17:31 > 0:17:33Think about these discs that you're doing.
0:17:33 > 0:17:37Think about how you're going to stack them with the alumina in between them, OK?
0:17:38 > 0:17:39Right.
0:17:41 > 0:17:42All right?
0:17:42 > 0:17:46I don't know what I'm doing here at all. So I'm doing... Yeah.
0:17:46 > 0:17:48Just think alumina. Just always think alumina.
0:17:50 > 0:17:54Also, I would put a bit more alumina on the shelf.
0:17:54 > 0:17:59You cannot underestimate the way this stuff is fluid in the kiln.
0:17:59 > 0:18:00Oh, I can.
0:18:02 > 0:18:04We'll let you get on, Tom.
0:18:04 > 0:18:06He's so intense when he works, isn't he?
0:18:06 > 0:18:09I don't like to see him getting so uptight.
0:18:09 > 0:18:12Well, you haven't seen me work, have you?
0:18:12 > 0:18:14- Yeah. I'm a bit the same, really. - Are you?
0:18:14 > 0:18:18You have to give yourself a bit of a hard time to get the best out of yourself.
0:18:18 > 0:18:21- No-one else is going to give you a hard time.- Oh, I don't know.
0:18:21 > 0:18:23Guys, the alumina.
0:18:23 > 0:18:27You just pile it up to support it, support the shape.
0:18:27 > 0:18:28Are you going to do that, Matt?
0:18:28 > 0:18:30What, the alumina?
0:18:30 > 0:18:32Matt's won't slump cos they're Matt's!
0:18:32 > 0:18:33Ooooh!
0:18:33 > 0:18:35My porcelain's perfect.
0:18:35 > 0:18:37You're a star potter. It doesn't happen to you.
0:18:51 > 0:18:55Jane's design is made up of strands of hanging seaweed
0:18:55 > 0:19:00and she's come up with a plan to make them look as authentic as they would in the sea.
0:19:00 > 0:19:05The material's completely bonkers, so it's just drying so quickly
0:19:05 > 0:19:09that I'm not getting the curve I was sort of hoping for and it's...
0:19:09 > 0:19:10Whoa! You see, it's so difficult.
0:19:10 > 0:19:13Whoop... It's so fragile.
0:19:13 > 0:19:16So I've sort of undulated the alumina.
0:19:16 > 0:19:19I've just put really loads on
0:19:19 > 0:19:23and then I've used a rolling pin to create contours on the surface
0:19:23 > 0:19:30and I'm hoping, as the clay sort of becomes more malleable in the heat of the kiln,
0:19:30 > 0:19:34it will sort of follow those contours.
0:19:34 > 0:19:38When it's in the kiln, it's probably going to warp a bit more and change and alter
0:19:38 > 0:19:42but, you know, that's down to the kiln gods, really.
0:19:42 > 0:19:45As well as the inherent fragility of bone china,
0:19:45 > 0:19:50the alterations Matthew has applied could create further problems in the kiln.
0:19:50 > 0:19:54The only concern is, like, the cracks developing, which could happen.
0:19:54 > 0:19:58I think ceramics prepares you for disappointment, you know? It's...
0:19:58 > 0:19:59Yeah.
0:20:00 > 0:20:02I'm doing the final cast now.
0:20:02 > 0:20:04But they've only been drying for ten minutes
0:20:04 > 0:20:07and I thought I could get away with that one a bit sooner than I can.
0:20:07 > 0:20:09I just have to wait.
0:20:09 > 0:20:10- Well, I better open this.- Oh, good.
0:20:10 > 0:20:13You're going to crack a... What's it called? Crack a...
0:20:13 > 0:20:14Crack a mould.
0:20:16 > 0:20:17My God...
0:20:17 > 0:20:19Did that make you jump, Sarah?
0:20:19 > 0:20:20It's always exciting with you, Jim.
0:20:23 > 0:20:25Ladies and gentlemen, five minutes left.
0:20:25 > 0:20:28If you want to get your chandelier pieces in the drying room, please?
0:20:28 > 0:20:30- I've just got to keep going. - Exciting.
0:20:30 > 0:20:33I'm probably loading this one up a little bit too much, but...
0:21:01 > 0:21:03And off she goes, like a gazelle!
0:21:04 > 0:21:06Do be careful!
0:21:09 > 0:21:11I have no idea what I've got.
0:21:11 > 0:21:13No idea.
0:21:13 > 0:21:16Some have got one hole, some have got two holes.
0:21:16 > 0:21:18It'll be all right. We'll be all right.
0:21:18 > 0:21:20Five, four,
0:21:20 > 0:21:24three, two, one.
0:21:24 > 0:21:25Time's up!
0:21:25 > 0:21:26Ay! Ay! Ay!
0:21:26 > 0:21:29Stage one of the potters' Main Make is over.
0:21:29 > 0:21:32- You all right?- Yeah, baby! - Well done.
0:21:32 > 0:21:35Their chandelier pieces cannot be altered any more.
0:21:35 > 0:21:41They will now dry for two days and then fire for a further 24 hours.
0:21:41 > 0:21:43You've worked very hard.
0:21:43 > 0:21:45You can now go and have a bit of a breather and enjoy
0:21:45 > 0:21:48the Stoke-on-Trent glorious sunshine.
0:21:48 > 0:21:52But do come back here, because I know you've toiled for a good five hours,
0:21:52 > 0:21:53but we think you want to do a bit more work.
0:21:53 > 0:21:57So more surprises in store when you come back up. Thank you very much.
0:21:57 > 0:21:58Another hurdle.
0:21:58 > 0:22:01Well, it was a long time we were in there.
0:22:01 > 0:22:03I'm pretty exhausted. In fact, I'm shattered after the Main Make.
0:22:03 > 0:22:08You sort of finish and think, "Oh, God, I wish I could do it again, you know, tomorrow,
0:22:08 > 0:22:10"cos I could do it much better."
0:22:10 > 0:22:14Maybe, you know, I should have chosen a different design which was a bit more challenging.
0:22:14 > 0:22:18I think now the success of my chandelier, it'll be on the hanging.
0:22:23 > 0:22:25Whilst their chandelier elements dry,
0:22:25 > 0:22:29Kate and Keith have set a Spot Test to challenge the potters.
0:22:35 > 0:22:39The skilled workers of Stoke would have needed a steady hand and keen eye
0:22:39 > 0:22:46to provide the distinctive finish associated with such names as Shelley's, Wedgewood and Minton.
0:22:46 > 0:22:49But can our potters match this standard?
0:22:49 > 0:22:53Now, then, welcome along to your semifinal Spot Test.
0:22:53 > 0:22:54Oh, and it's a goody.
0:22:54 > 0:22:59If you look underneath your hessian, you will see six plates.
0:22:59 > 0:23:02We are testing your skills of banding.
0:23:04 > 0:23:08Banding is the process of putting a fine line on the body of an object.
0:23:08 > 0:23:12It must be consistently straight and we don't want any wobbles.
0:23:12 > 0:23:16We want you to put two bands on these plates,
0:23:16 > 0:23:19one on the outer rim and one on the inner rim of each plate.
0:23:19 > 0:23:23You'll be banding with an enamel pigment.
0:23:23 > 0:23:28Because you're using enamels, you'll be able to wipe it off and redo it.
0:23:28 > 0:23:31Now, as usual, the judges won't be in here for this Spot Test.
0:23:31 > 0:23:33We shall see you in a little while.
0:23:34 > 0:23:36You have 30 minutes.
0:23:36 > 0:23:39Best of luck to you. Potters, get banding!
0:23:49 > 0:23:52So the first thing they've got to do is centre the plate on the wheel.
0:23:52 > 0:23:53If it's not centred,
0:23:53 > 0:23:56then obviously their line's going to be completely wonky.
0:23:56 > 0:23:58It stands to reason.
0:23:58 > 0:24:01Can you see that's moving on and off my finger there?
0:24:01 > 0:24:04Oh, yes. So there's a little bit of a wiggle in it.
0:24:10 > 0:24:14The potters have been given their own colour with which to band their plates.
0:24:16 > 0:24:20This will help the judges distinguish between each set of six.
0:24:23 > 0:24:26The secret of banding successfully
0:24:26 > 0:24:31is to get the consistency of the enamel perfectly correct.
0:24:31 > 0:24:36If it's too thick, it will sit in this lovely, big, fat long-haired brush.
0:24:36 > 0:24:38If it's too thin, it will just run out.
0:24:38 > 0:24:40I just dribbled it.
0:24:40 > 0:24:41Argh!
0:24:41 > 0:24:43Cor, it's a tricky one this, isn't it?
0:24:43 > 0:24:45Yeah, it's all about the consistency.
0:24:45 > 0:24:48I've watered it... I've thinned it down too much,
0:24:48 > 0:24:50cos it's just dribbling.
0:24:50 > 0:24:52- Is that Jim off?- Mm.
0:24:52 > 0:24:53It's all right, he's swanning it.
0:24:53 > 0:24:56- I've got to give him that look. - It's a bit boring.- Yeah.
0:24:56 > 0:24:58God, Jim, have you done one already?!
0:24:58 > 0:25:00Ah, cor...!
0:25:00 > 0:25:05Every time somebody walks past me, my paintbrush wobbles!
0:25:06 > 0:25:09They need to charge the brush up with enough enamel
0:25:09 > 0:25:13to get a full circular rim.
0:25:13 > 0:25:16If they don't have enough, you'll get something called chattering,
0:25:16 > 0:25:18where you'll run out of colour
0:25:18 > 0:25:23and you'll get this sort of juddery effect all the way around the plate.
0:25:23 > 0:25:27A loaded brush, a steady hand, and a calm demeanour.
0:25:27 > 0:25:29For Matthew, this should be a doddle.
0:25:29 > 0:25:32Is it harder than you thought or...?
0:25:32 > 0:25:36Yeah, I've never, ever, ever even thought about banding.
0:25:38 > 0:25:40It's like a dance, you have to be so graceful.
0:25:40 > 0:25:43You actually have to go down very gently
0:25:43 > 0:25:46and you have to let the enamel flow out of the brush
0:25:46 > 0:25:48and just come back up.
0:25:48 > 0:25:50Like a bird or a swan taking off from a lake.
0:25:50 > 0:25:53It's got to be so gentle and so graceful.
0:25:53 > 0:25:56If you're heavy-handed and you go down hard and fast,
0:25:56 > 0:25:58you're going to get a splodge or a wobble.
0:25:58 > 0:26:00I think I'm drawn to yours,
0:26:00 > 0:26:03because it's like there's a bit of gravy left on a plate.
0:26:08 > 0:26:11Are you breathing?
0:26:12 > 0:26:14Are you breathing? I'm not really.
0:26:14 > 0:26:16I were going under then. I was going to be at your command.
0:26:16 > 0:26:18Yeah. Back in the room.
0:26:18 > 0:26:20It's quite hypnotisiling, isn't it?
0:26:28 > 0:26:32With 12 minutes still remaining, Jim has finished.
0:26:33 > 0:26:37But should he have made use of all the allotted time?
0:26:37 > 0:26:40Jim, well done. That's your sixth plate complete.
0:26:40 > 0:26:43That's my best one yet. Getting better.
0:26:44 > 0:26:45Oh, Jane...
0:26:45 > 0:26:46Oh!
0:26:46 > 0:26:49I want to marry that plate.
0:26:49 > 0:26:50It's a beauty.
0:26:50 > 0:26:52I could eat me dinner off it.
0:26:52 > 0:26:54Look at that...
0:26:55 > 0:26:57And Matthew has six plates at the front of the room.
0:26:57 > 0:26:59Thank you very much, Matthew.
0:27:03 > 0:27:04Go ahead, then, Jim.
0:27:04 > 0:27:07Do you want to run round with the Hoover or something while you're hanging about?
0:27:07 > 0:27:09I don't want to disturb anybody, actually.
0:27:09 > 0:27:12They're concentrating over there.
0:27:12 > 0:27:15Jane's got six up at the front there. Everybody has, actually. Well done.
0:27:15 > 0:27:17Apart from Sally-Jo.
0:27:17 > 0:27:20Two minutes left. And Sally-Jo has finished her final plate.
0:27:20 > 0:27:22Well done.
0:27:23 > 0:27:27# Painter man, painter man... #
0:27:27 > 0:27:32Has anyone achieved the precise banding Kate and Keith demanded?
0:27:32 > 0:27:34- Shall we start at the end? - Yeah, absolutely.
0:27:34 > 0:27:36The strength of colour is there,
0:27:36 > 0:27:40but there is a bit of inconsistency with the application, don't you think?
0:27:40 > 0:27:42Yes, further up, it looks like there's a bit of chattering.
0:27:42 > 0:27:45Or some of the colour is slightly spreading.
0:27:45 > 0:27:47This end one, there's quite a bit of chattering on it.
0:27:47 > 0:27:49Shall we move to these darker blue?
0:27:49 > 0:27:53We're actually seeing a tonal change through all the colour.
0:27:53 > 0:27:57Yeah, and we're also seeing the start of the band there.
0:27:57 > 0:28:00- Or a blip. - Yeah, this kind of blip here.
0:28:00 > 0:28:02Mm. Move along?
0:28:02 > 0:28:03Yeah.
0:28:03 > 0:28:05It looks well-centred.
0:28:05 > 0:28:09It looks as though the outer one is nicely on the edge.
0:28:09 > 0:28:12- Not bad, actually. Quite consistent in colour.- Yes.
0:28:14 > 0:28:16So let's look at the yellows.
0:28:16 > 0:28:19I'm loving the delicacy of the banding on this.
0:28:19 > 0:28:20- It's superb, actually. - It's really nice.
0:28:20 > 0:28:24- That, to me, is almost a set of plates.- It's dead on.
0:28:25 > 0:28:26And now to the orange.
0:28:26 > 0:28:28Yeah, last but not least.
0:28:28 > 0:28:32I think there's a bit too much of the white rim of the plate showing here for my liking.
0:28:32 > 0:28:35It's not right on the rim.
0:28:35 > 0:28:37- But a pretty good effort, actually. - Yeah.
0:28:40 > 0:28:44But who served up a winning set of plates?
0:28:44 > 0:28:48The person who goes into fifth place... Whose are these?
0:28:49 > 0:28:51- Oh, right.- Matthew.
0:28:51 > 0:28:53Just a bit inconsistent with your application.
0:28:53 > 0:28:55There's a lot of blobs on the lines
0:28:55 > 0:28:59and the colour is inconsistent throughout the whole set.
0:28:59 > 0:29:03In fourth place, the green row at the end here...
0:29:03 > 0:29:05Whose are those? Sally-Jo.
0:29:05 > 0:29:07Yes, there was chattering on the brush, Sally-Jo, wasn't there?
0:29:07 > 0:29:10And it was... There are thicker and thinner lines.
0:29:12 > 0:29:15In third place... Who's done the orange ones?
0:29:16 > 0:29:17Tom.
0:29:17 > 0:29:19Really nice thickness of line.
0:29:19 > 0:29:22Just the placing of the outside line
0:29:22 > 0:29:25could have been just a bit further on that edge.
0:29:26 > 0:29:29The colour consistency is slightly out, as well.
0:29:29 > 0:29:31So we've obviously got two sets of plates left,
0:29:31 > 0:29:33belonging to Jim and to Jane.
0:29:35 > 0:29:39So in first place is these...
0:29:39 > 0:29:41Ah, well done, Jim!
0:29:45 > 0:29:48Really nice, concise lining there,
0:29:48 > 0:29:50a consistency throughout the whole set.
0:29:50 > 0:29:52So, very good. Yeah, really good.
0:29:52 > 0:29:55Well done, Jim. And, of course, Jane, well done - second place.
0:29:55 > 0:29:56Awesome.
0:29:58 > 0:30:00Now, then, you've had a really busy day
0:30:00 > 0:30:04and we appreciate all your hard work, so you are free to leave the pottery
0:30:04 > 0:30:08and we will see you back here when we have a look at your chandelier pieces.
0:30:08 > 0:30:09Thank you very much.
0:30:14 > 0:30:16Well done, you! Very good!
0:30:18 > 0:30:21I never imagined it's that difficult.
0:30:21 > 0:30:23It makes me want to run out, get home and do it again straight away,
0:30:23 > 0:30:26but it's definitely something I'm going to do again.
0:30:26 > 0:30:27Zam!
0:30:27 > 0:30:30Yeah, I'm very chuffed about coming second in the Spot Test.
0:30:30 > 0:30:33I needed that for my confidence.
0:30:34 > 0:30:38It has been mentioned that I need to sort of up my game a little bit,
0:30:38 > 0:30:40so that's what I'm endeavouring to do.
0:30:42 > 0:30:44I'd have loved it if I'd have beaten him.
0:30:44 > 0:30:45That would have been amazing.
0:30:45 > 0:30:47Power to the Jimbo!
0:30:51 > 0:30:55The potters now face an anxious wait for their chandelier pieces
0:30:55 > 0:30:58to dry and be given their one and only firing.
0:31:05 > 0:31:08# Woke up this morning feeling fine... #
0:31:08 > 0:31:11The five remaining potters return to Middleport
0:31:11 > 0:31:13for the last day of the challenge.
0:31:13 > 0:31:17At the end of today, only four will make it through to the final.
0:31:17 > 0:31:20So, as we approach semifinal judging,
0:31:20 > 0:31:23who is looking really strong for the final?
0:31:23 > 0:31:26We're looking at Matthew and we're looking at Jim, really,
0:31:26 > 0:31:28as being the ones riding at the front of the wave.
0:31:28 > 0:31:31You know, obviously, we haven't seen their chandeliers yet,
0:31:31 > 0:31:33so anything could happen.
0:31:33 > 0:31:37With fine bone china, it's a very different kind of firing process.
0:31:37 > 0:31:39They could've all stuck together.
0:31:39 > 0:31:40And who's in danger
0:31:40 > 0:31:43from leaving the pottery and not making it to the final?
0:31:43 > 0:31:46Well, there's Tom. He was third in the Spot Test.
0:31:46 > 0:31:48What are you hoping to see from Tom's chandelier, Kate?
0:31:48 > 0:31:51He came in with one idea and he seemed to steer off it.
0:31:51 > 0:31:53So whether he's added to the original idea
0:31:53 > 0:31:57and added some dynamism, which is what we want to see from Tom,
0:31:57 > 0:31:58or whether it's really taken it
0:31:58 > 0:32:01a step too far away from what he wanted to show us,
0:32:01 > 0:32:02I don't know.
0:32:02 > 0:32:06Who else is looking like they can't quite keep up?
0:32:06 > 0:32:07Jane and Sally-Jo are.
0:32:07 > 0:32:09Such a shame. Let's start off with Sally-Jo.
0:32:09 > 0:32:15I'm just hoping that her chandelier design is just going to pull her right to the top of this.
0:32:15 > 0:32:16So let's talk about Jane.
0:32:16 > 0:32:18All throughout this contest, she's been pretty consistent.
0:32:18 > 0:32:21She's had a couple of hiccups. What's going on with her now?
0:32:21 > 0:32:24She's trying so hard and she's so focused.
0:32:24 > 0:32:26I just don't know whether she's done enough for this Main Make.
0:32:26 > 0:32:29I don't know whether she's done enough actual pieces
0:32:29 > 0:32:32to make her chandelier look so dramatic.
0:32:35 > 0:32:38Before the potters are judged on their chandeliers,
0:32:38 > 0:32:40they have one last chance to impress Kate and Keith...
0:32:40 > 0:32:43- Hello!- Hello.
0:32:43 > 0:32:45..and secure their place in the final.
0:32:45 > 0:32:48Welcome back to the pottery.
0:32:48 > 0:32:50We've got the little matter of a Throw Down.
0:32:50 > 0:32:53This is the bit where you go up against each other, you go up against the clock
0:32:53 > 0:32:55and you go up against this man.
0:32:55 > 0:32:58Keith, king of the wheel.
0:32:58 > 0:33:00What delights do you have in store
0:33:00 > 0:33:03for our five fabulous semifinalists, please, Keith?
0:33:03 > 0:33:05Well, we've got a goodie this week, peeps.
0:33:05 > 0:33:10Today, you're going to throw a perfectly closed sphere.
0:33:10 > 0:33:14And we want that sphere to be as large as you can make it,
0:33:14 > 0:33:18but we don't want to see any evidence of that closed top.
0:33:18 > 0:33:22We want a smooth top hemisphere.
0:33:23 > 0:33:26- This...- Not easy.- ..is not easy.
0:33:26 > 0:33:28Beautifully put, Tom. It's quite a tricky one.
0:33:28 > 0:33:31No, we're not just going to set you off to do it all by yourselves.
0:33:31 > 0:33:33Of course, first, you can watch the master at work.
0:33:33 > 0:33:35- So, Keith...- Yep.
0:33:35 > 0:33:37..sit at the wheel, sunshine.
0:33:41 > 0:33:43Here we go...
0:33:43 > 0:33:46The great discipline with this is, obviously, the speed of the wheel
0:33:46 > 0:33:47when you're closing it up.
0:33:47 > 0:33:49And it's the control of the wheel
0:33:49 > 0:33:51throughout the whole process, really.
0:33:51 > 0:33:54The speed of the wheel is always altering,
0:33:54 > 0:33:56depending on what you're doing.
0:33:57 > 0:33:59So...
0:33:59 > 0:34:01close it up.
0:34:03 > 0:34:05Could you just do that bit again?
0:34:06 > 0:34:08So you really need to come in at the base.
0:34:10 > 0:34:12Get that knuckle hurting.
0:34:19 > 0:34:21I'm now using the sponge to throw with,
0:34:21 > 0:34:23because I can't really get my hand in there.
0:34:23 > 0:34:26The old sponge on the stick trick.
0:34:33 > 0:34:35This is the tricky bit.
0:34:36 > 0:34:39Yeah, this is the crucial bit, closing it in.
0:34:39 > 0:34:41Nice work, sir. Nice work.
0:34:43 > 0:34:46So it really is bringing it together bit by bit.
0:34:46 > 0:34:48Can you see him closing... Ah, there it goes.
0:34:51 > 0:34:53Not quite there yet.
0:35:05 > 0:35:06That'll do. That'll do, won't it?
0:35:06 > 0:35:08- Yeah, that'll do. - Not bad, mate. Not bad.
0:35:11 > 0:35:13Let's see what it is.
0:35:13 > 0:35:17Well, that's 17.5 centimetres, that one.
0:35:17 > 0:35:18Nice.
0:35:20 > 0:35:24And make sure that the inside is like a bowl shape.
0:35:25 > 0:35:28There. So look, you've got a nice even thickness
0:35:28 > 0:35:31and then, when you come down,
0:35:31 > 0:35:35you would turn that, so it would be a complete sphere.
0:35:35 > 0:35:40You're going to have 12 minutes to make your sphere, OK?
0:35:40 > 0:35:44So go and get yourselves settled at the wheels, please.
0:35:44 > 0:35:46- Good luck, guys. - Good luck, dudes.
0:35:46 > 0:35:48Yeah, and you.
0:35:48 > 0:35:51OK, semifinalists, this is your Throw Down.
0:35:51 > 0:35:5312 minutes, one sphere.
0:35:53 > 0:35:56Time starts now!
0:35:56 > 0:35:59Keith made throwing a sphere look almost too simple.
0:35:59 > 0:36:01So what could possibly go wrong?
0:36:05 > 0:36:06That's it, just relax.
0:36:06 > 0:36:09You've got plenty of time to get it centred.
0:36:13 > 0:36:15Looking good, Jim. Looking good.
0:36:15 > 0:36:18- How's it going, Jane? - Yeah, it's going fine.
0:36:19 > 0:36:21Yeah, it's going fine.
0:36:26 > 0:36:28- Jim's trying to close his in now. - Wow.
0:36:28 > 0:36:29Yeah.
0:36:30 > 0:36:33- How's it going, Jim? - Trying to take it easy.
0:36:33 > 0:36:35I hope I've left enough there to do that join at the top.
0:36:35 > 0:36:38But it's kind of roughly the shape, so...
0:36:38 > 0:36:41- It's looking... - We're kind of getting there.- Yeah.
0:36:41 > 0:36:43Don't let that collapse, Jim.
0:36:43 > 0:36:45Cheers, mate. No pressure, then!
0:36:45 > 0:36:48Sally-Jo's taking it really slowly.
0:36:48 > 0:36:49- Hey, Sally-Jo...- Hiya.
0:36:50 > 0:36:53You're literally shaking. Are you enjoying it?
0:36:53 > 0:36:55Loving it, yeah.
0:36:55 > 0:36:57He's getting the height now, isn't he?
0:36:57 > 0:36:59He's getting a decent bit of height.
0:36:59 > 0:37:01- Matthew's got great height at the back there.- Yeah.
0:37:03 > 0:37:06One minute to go.
0:37:12 > 0:37:14Don't tickle it.
0:37:14 > 0:37:15You're the boss.
0:37:16 > 0:37:19- Look at the horizon. - Ten, nine,
0:37:19 > 0:37:22eight, seven, six,
0:37:22 > 0:37:25five, four, three,
0:37:25 > 0:37:27two, one.
0:37:27 > 0:37:28Time's up, guys!
0:37:30 > 0:37:31I made an egg...
0:37:33 > 0:37:37On the upside, for one of you, that's your last ever Throw Down.
0:37:37 > 0:37:38Whooo!
0:37:38 > 0:37:41- OK, guys, shall we come and have a look?- Yeah.
0:37:41 > 0:37:43We're going to come and check out your spheres.
0:37:45 > 0:37:48Right, then, let's have a look here, Jane.
0:37:48 > 0:37:50It looks a bit like a head.
0:37:50 > 0:37:52Oh, 17.5.
0:37:52 > 0:37:54Got it.
0:37:54 > 0:37:56It's a really nice shape.
0:37:56 > 0:37:58It's not quite a sphere.
0:37:58 > 0:38:01It's got a square bottom, hasn't it? Square inside.
0:38:01 > 0:38:03It's got a flat bottom, but it's definitely closed up.
0:38:03 > 0:38:07- A really good effort there, Jane. Brilliant.- Good effort, Jane.
0:38:07 > 0:38:10- Oh, Sally-Jo...!- I know.
0:38:10 > 0:38:14As a sphere, it's absolutely hopeless.
0:38:14 > 0:38:19But...you actually finished it off incredibly well.
0:38:19 > 0:38:23If there's a mark for dignity, I think that would win.
0:38:24 > 0:38:26Hi, Matthew.
0:38:26 > 0:38:27Looking good.
0:38:27 > 0:38:30I want to wolf-whistle it, it's so good.
0:38:30 > 0:38:32So that's 18cm.
0:38:32 > 0:38:35- The northern hemisphere looks really good, doesn't it?- Yeah.
0:38:35 > 0:38:38Lovely finish on the top of it there.
0:38:38 > 0:38:41The bottom part could have come out a bit more.
0:38:41 > 0:38:43Let's have a look at the cross section here...
0:38:44 > 0:38:46It's a really nice profile, isn't it?
0:38:46 > 0:38:49And look at that top seal. That's really good. Yeah, it's great.
0:38:49 > 0:38:53- Excellent. Well done, Matthew. Thank you.- Thank you.- Good.
0:38:53 > 0:38:55- Hi, Jim.- Hello.
0:38:55 > 0:38:57Let's have a look at yours, shall we?
0:38:57 > 0:38:59Just over 18cm.
0:38:59 > 0:39:01It's a really, really good shape.
0:39:01 > 0:39:05- That is...- Look at that base, that's really not too flat.
0:39:05 > 0:39:08That is pretty good. You've got a lovely curve in there.
0:39:08 > 0:39:11Beautiful closing up. The profile is absolutely dead on.
0:39:11 > 0:39:14Yeah, well done, Jim. That's a really good one.
0:39:14 > 0:39:15Last, but not least...
0:39:15 > 0:39:18The southern hemisphere is not so bad
0:39:18 > 0:39:20up to about a third of the way
0:39:20 > 0:39:24and then it just goes up into a bit of a beehive shape there.
0:39:24 > 0:39:26I mean, it's definitely closed up.
0:39:26 > 0:39:27Great, Tom.
0:39:27 > 0:39:29- Great work, Tom.- Thank you.
0:39:30 > 0:39:34So, who's thrown the most impressive sphere?
0:39:34 > 0:39:39In glorious fifth place, which is special, in a way, is...
0:39:39 > 0:39:41Sally-Jo.
0:39:41 > 0:39:43- Best bowl in the room, though. - Best bowl.
0:39:43 > 0:39:45Fourth place goes to Jane.
0:39:45 > 0:39:47It was very close, wasn't it?
0:39:47 > 0:39:48It was close, yeah.
0:39:48 > 0:39:51Jane, you finished it off really, really nicely.
0:39:51 > 0:39:54It was just a bit too straight at the base.
0:39:54 > 0:39:56Third place, please, judges.
0:39:56 > 0:40:00Third place today goes to...Tom.
0:40:00 > 0:40:05What we liked about Tom's was he'd actually made the bowl shape
0:40:05 > 0:40:07at the beginning of his sphere.
0:40:07 > 0:40:10Who have you put into first place, please?
0:40:10 > 0:40:16So first place today is...
0:40:16 > 0:40:17Jim.
0:40:21 > 0:40:22Well deserved.
0:40:22 > 0:40:26And really, Jim, you had a great curve on the inside of your base,
0:40:26 > 0:40:27you had a good overall shape.
0:40:27 > 0:40:30It could have been turned into a really lovely sphere.
0:40:30 > 0:40:33Second place goes to Matthew.
0:40:33 > 0:40:37Really nicely finished, really nicely closed in.
0:40:37 > 0:40:39Just could have bellied out the bottom a bit more.
0:40:39 > 0:40:42That was the semifinal Throw Down.
0:40:42 > 0:40:47Still to come, we're going to have a look at your bone china chandeliers.
0:40:47 > 0:40:49So we'll see you in a little while.
0:40:50 > 0:40:52Two out of three.
0:40:52 > 0:40:54I mean, my luck is holding up.
0:40:54 > 0:40:59A place in the final now rests on what emerges from the kiln.
0:40:59 > 0:41:02Fourth in the Spot Test, last in the Throw Down...
0:41:02 > 0:41:05Yeah, I am a bit concerned now about my place in the final.
0:41:05 > 0:41:09I'm really hoping to get through to the final.
0:41:09 > 0:41:11No-one wants to go out at this stage.
0:41:11 > 0:41:14Not to go all the way, you know, would be a real shame.
0:41:14 > 0:41:19Hopefully, yeah, you know, the chandelier will carry on in the same vein.
0:41:19 > 0:41:22You know, I'll be very pleased. I might even celebrate.
0:41:22 > 0:41:23Yeah.
0:41:23 > 0:41:25I'm not too concerned about winning.
0:41:25 > 0:41:28It's the taking part that's important, I think you'll find.
0:41:35 > 0:41:38The bone china pieces are out of the kiln.
0:41:38 > 0:41:41Once the potters have dusted off the alumina and tidied them up,
0:41:41 > 0:41:44they can begin hanging their chandeliers.
0:41:44 > 0:41:48I put the alumina on the kiln shelf
0:41:48 > 0:41:51and I'd sort of run a rolling pin
0:41:51 > 0:41:54just to create some soft undulations,
0:41:54 > 0:41:57hoping that the tentacles would sort of slump into it.
0:41:57 > 0:41:59But they haven't.
0:41:59 > 0:42:01I'm slightly worried about some of these holes, actually,
0:42:01 > 0:42:05because they have shrunk quite considerably.
0:42:07 > 0:42:08Yeah.
0:42:08 > 0:42:10So these little holes here, if they're too small,
0:42:10 > 0:42:14then, obviously, I'm not going to be able to thread our lines through to hang them.
0:42:14 > 0:42:18I thought they were going to be more translucent.
0:42:18 > 0:42:20Yeah, that might just be our process.
0:42:20 > 0:42:22Maybe because I've just made them too thick.
0:42:22 > 0:42:25I really just wasn't sure what thickness I was aiming for. Were you?
0:42:25 > 0:42:27No.
0:42:27 > 0:42:29Look at that. I've made myself a little needle.
0:42:29 > 0:42:32Wow! You should have some more alumina on your face, it's a good look.
0:42:32 > 0:42:33Have I got alumina on my face?
0:42:33 > 0:42:35Could you add a bit more?
0:42:35 > 0:42:37- That's lovely.- Good.
0:42:37 > 0:42:40- Can I pick one up?- Yeah, yeah, yeah. Pick one up. That's fine.
0:42:42 > 0:42:45Oh, you've got the light coming through. That looks really good.
0:42:45 > 0:42:47It should be all right, I think.
0:42:47 > 0:42:51Not surprised to see Matt's come out exactly as he'd hoped.
0:42:51 > 0:42:54He clearly understands the material really well, which is great.
0:43:00 > 0:43:03With their bone china pieces now prepared,
0:43:03 > 0:43:08the potters have two-and-a-half hours to bring their vision to life and light.
0:43:09 > 0:43:13The judges are looking for skilfully-shaped, well-designed
0:43:13 > 0:43:15and full chandeliers.
0:43:15 > 0:43:18I can't even get my wire open. That's a good start.
0:43:18 > 0:43:21Now, how do we go about this?
0:43:21 > 0:43:24I've got 80-odd pieces.
0:43:24 > 0:43:27Quite literally, 80-odd pieces, as well.
0:43:27 > 0:43:30The only problem that I've got is time, really,
0:43:30 > 0:43:33because I've got to hang every one of them,
0:43:33 > 0:43:38pretty much to make it look less mobiley and more chandeliery.
0:43:38 > 0:43:41- Cor, this isn't easy, is it? - It's a little bit fiddly.
0:43:43 > 0:43:46A third hand would come in useful, wouldn't it?
0:43:46 > 0:43:49I envisioned it as a sort of longer column
0:43:49 > 0:43:52with more feathers, sort of a bit more dramatic.
0:43:52 > 0:43:57But within the time that we've got, that's pretty much what I thought.
0:43:57 > 0:44:00I'd like to say it was my week for Top Potter,
0:44:00 > 0:44:03but I don't think that would be the case.
0:44:03 > 0:44:06But it would be nice. It would be nice.
0:44:06 > 0:44:08It's Sally's week for Top Potter.
0:44:08 > 0:44:10Come on, girls, it's about time.
0:44:10 > 0:44:11- Yeah.- Oh, Jim!
0:44:13 > 0:44:15- That's fighting talk.- Steady on.
0:44:18 > 0:44:20Maybe they could be a tiny bit thinner.
0:44:20 > 0:44:23But, no, I think the translucency's quite good.
0:44:23 > 0:44:27You can definitely see, when I held them up, I could see my hand through it.
0:44:29 > 0:44:31Oh!
0:44:31 > 0:44:32- Ooop...- You all right?- Yeah.
0:44:32 > 0:44:35Look at that. Actually stuck into the floor.
0:44:37 > 0:44:38Death by chandelier!
0:44:40 > 0:44:43Quite a lot still to do, then.
0:44:47 > 0:44:50Could have done with it being a bit more busy.
0:44:50 > 0:44:52I would have done a lot more of these.
0:44:52 > 0:44:56But as an overall effect, I'm quite chuffed with that. I think it works.
0:44:56 > 0:44:57Sounds great.
0:44:57 > 0:45:00- CHANDELIER RINGS - I could dingle that all day long.
0:45:02 > 0:45:03Oh!
0:45:03 > 0:45:05That sound is like music to my...
0:45:08 > 0:45:10We know that I don't mean that.
0:45:10 > 0:45:12It's all right, you've got plenty extra.
0:45:12 > 0:45:13Let's go for a couple more...
0:45:13 > 0:45:15It's all right, is it?
0:45:15 > 0:45:18- Oh, look at that! - Wow, the dome's OK.
0:45:18 > 0:45:19Oh, the dome's OK.
0:45:19 > 0:45:23Jim, would you mind just cupping my jellyfish?
0:45:23 > 0:45:24- Cupping your jellyfish?- Cupping it.
0:45:24 > 0:45:27- Cupping it, of course. - There we go. Thanks, dude.
0:45:27 > 0:45:30- You've found your vocation in life. - Yeah.
0:45:35 > 0:45:40Five minutes to go before the chandeliers need to be ready for the final judging.
0:45:43 > 0:45:45Yeah, I don't think I can do this in time.
0:45:45 > 0:45:50I didn't appreciate quite how long this assembly was going to take.
0:45:50 > 0:45:54If I did it again, I'd hang the flowers so they were angled,
0:45:54 > 0:45:57just to get more of the effect of the flower.
0:45:57 > 0:45:59But other then that, it was on the right tracks.
0:45:59 > 0:46:01And that's good enough for me.
0:46:02 > 0:46:05I'm all right with that. I could live with it.
0:46:07 > 0:46:11I think small fiddly stuff just doesn't look so good.
0:46:11 > 0:46:15And I think larger, larger shapes that have repetition
0:46:15 > 0:46:18to allow you to see that shape in different angles,
0:46:18 > 0:46:19because these are all twisting
0:46:19 > 0:46:22and with the light and the glint and, you know,
0:46:22 > 0:46:25that's the way I think to really impress with these chandeliers.
0:46:27 > 0:46:30Looking a little bit like a wind chime,
0:46:30 > 0:46:33which is not really what I was going for.
0:46:34 > 0:46:37Bit concerned now. Everyone's done a really nice job.
0:46:42 > 0:46:45Five days, five bone china chandeliers,
0:46:45 > 0:46:50but Kate and Keith can only send four potters through to the final.
0:46:52 > 0:46:55Potters, talk about all things bright and beautiful.
0:46:55 > 0:46:57They look gorgeous!
0:46:57 > 0:47:01Five days ago, the judges asked you to design and create
0:47:01 > 0:47:04a bone china chandelier, which you have done.
0:47:04 > 0:47:06And they look great. It's time now for the judging.
0:47:21 > 0:47:24I think it's really successful, a really lovely shape.
0:47:24 > 0:47:26Well, what's interesting, I think, for me,
0:47:26 > 0:47:28is that the whole thing is very compact
0:47:28 > 0:47:29and it's very full, isn't it?
0:47:29 > 0:47:31It's a very full design.
0:47:31 > 0:47:33I'm a bit disappointed by the flowers.
0:47:33 > 0:47:35I would have liked to have seen marks on those flowers.
0:47:35 > 0:47:37You could have done better with the flowers.
0:47:37 > 0:47:40I was really excited to see what these were going to do.
0:47:40 > 0:47:43And, actually, they're not as impressive
0:47:43 > 0:47:45as, actually, your leaves.
0:47:45 > 0:47:46And I'm loving this double leaf.
0:47:46 > 0:47:48I think it's a really, really good idea.
0:47:48 > 0:47:51The leaves and the fluidity that you've got,
0:47:51 > 0:47:53they are very, very nice flowing forms.
0:47:53 > 0:47:54Great, Jim.
0:48:10 > 0:48:11To me, it's lost its direction.
0:48:11 > 0:48:15Really, you should have been thinking about your original design and strengthening it.
0:48:15 > 0:48:18And I was very worried that you were weakening it.
0:48:18 > 0:48:20And that's how I feel with this.
0:48:20 > 0:48:24It's interesting, because it's slightly diluted as you go down the chandelier, hasn't it?
0:48:24 > 0:48:27I can see the strong message around the top.
0:48:27 > 0:48:29And as we come down, it gets more and more sparse.
0:48:29 > 0:48:33I really think you have salvaged the design quite a lot
0:48:33 > 0:48:34by hanging it so well.
0:48:34 > 0:48:36Yeah, it's very, very symmetrical, isn't it?
0:48:36 > 0:48:40It's very nicely balanced on the whole surround of the chandelier.
0:48:40 > 0:48:42- Thank you, Tom.- Thank you very much. - Thanks, Tom.
0:48:54 > 0:48:56Well, this is quite a departure for you
0:48:56 > 0:49:00because, usually, you're quite free and slip-flinging all over the place.
0:49:00 > 0:49:03And here, you've gone for a really repetitive design.
0:49:03 > 0:49:04I absolutely love it.
0:49:04 > 0:49:08I think you've chosen this quilt effect really, really well.
0:49:08 > 0:49:11I think, as the sun goes down and the light comes through,
0:49:11 > 0:49:14that would really, really show up, really, really nicely.
0:49:14 > 0:49:17I even like the way that the repetitive forms
0:49:17 > 0:49:20actually slightly curl under because of the weight.
0:49:20 > 0:49:22I think the sense of volume is really interesting,
0:49:22 > 0:49:24that you've managed to do that.
0:49:24 > 0:49:27I also think you've threaded them really cleverly.
0:49:27 > 0:49:29There's these double loops that work well.
0:49:29 > 0:49:31You're so good at showing us how the clay really is.
0:49:31 > 0:49:35You're showing us the soft, beautiful silkiness of the slip
0:49:35 > 0:49:38- as it comes out of the mould. - Thank you very much.
0:49:54 > 0:49:57You could have done far more on this top ring, I think.
0:49:57 > 0:49:59And also, the other thing is that the bottom ring
0:49:59 > 0:50:01does seem a bit one dimensional.
0:50:01 > 0:50:04They're all sort of roughly the same length.
0:50:04 > 0:50:06I don't know whether that's intentional or not,
0:50:06 > 0:50:10but it does look a bit sparse. on the top half of your chandelier.
0:50:10 > 0:50:12The textures that you've done,
0:50:12 > 0:50:15I can actually see the light coming through, and that's very successful.
0:50:15 > 0:50:19I'm loving all this texture round the bottom ring here.
0:50:19 > 0:50:20It could be better.
0:50:20 > 0:50:24I'm just looking at things like this articulated piece here with the threading.
0:50:24 > 0:50:26What does that actually add to the whole design,
0:50:26 > 0:50:28if it had been a long piece?
0:50:28 > 0:50:30- They are a bit too straight.- Yeah.
0:50:30 > 0:50:32You know, there could have been a bit more fluidity in there.
0:50:32 > 0:50:35I just think it's a really sweet design, very thoughtful,
0:50:35 > 0:50:37- could have been done better. - Thank you.
0:50:54 > 0:50:56I absolutely love the concept.
0:50:56 > 0:50:58I think it's fantastic.
0:50:58 > 0:51:00I love the whole overall effect.
0:51:00 > 0:51:04Obviously, making the thing is one thing,
0:51:04 > 0:51:07it's then placing these particular pieces
0:51:07 > 0:51:11and arranging them in the chandelier is another, isn't it, really?
0:51:11 > 0:51:13You could have maybe done with a few more feathers there,
0:51:13 > 0:51:17but I really like the way it sort of cascades down.
0:51:17 > 0:51:18I love the movement.
0:51:18 > 0:51:21I was a bit concerned about how the wings would hang,
0:51:21 > 0:51:24because there's a sort of sense of fallen wings
0:51:24 > 0:51:27and we don't want wings falling like an Icarus or something,
0:51:27 > 0:51:28we actually wanted flight.
0:51:28 > 0:51:31And I think the level at which you've got the wings is really good
0:51:31 > 0:51:34and the way the feathers catch the light is exquisite.
0:51:34 > 0:51:36I think it's a really successful design.
0:51:36 > 0:51:39I love the way the light's shining through the wings.
0:51:39 > 0:51:40What the light is doing
0:51:40 > 0:51:43is actually accentuating the delicacy of the feathers.
0:51:43 > 0:51:47It's giving this really delicate feel to the whole thing, really good.
0:51:47 > 0:51:48- Thank you very much.- Really nice.
0:51:48 > 0:51:52So, potters, that's the semifinal judging done.
0:51:52 > 0:51:55You guys can go and have a well-earned breather now,
0:51:55 > 0:51:58because Kate and Keith have got a lot to discuss.
0:51:58 > 0:52:02There's big decisions to be made. See you in a little while.
0:52:17 > 0:52:19Well, judges, like a moth to a flame,
0:52:19 > 0:52:22I'm just drawn to the glorious glow of these chandeliers,
0:52:22 > 0:52:25especially now that we've dimmed the lights a little bit.
0:52:25 > 0:52:27They look beautiful. What do you think?
0:52:27 > 0:52:29- They're just gorgeous.- Incredible.
0:52:29 > 0:52:33They'd never touched bone china slip before and look what they've done.
0:52:33 > 0:52:36So, let's start with your favourites, then.
0:52:36 > 0:52:37It's definitely Matthew.
0:52:37 > 0:52:42I think it's absolutely fantastic, the way that he's used that repeating shape,
0:52:42 > 0:52:43the quilting effect that he's got on there.
0:52:43 > 0:52:49We wanted to see this lush and precious, lit up cascade.
0:52:49 > 0:52:52- And we've got it. - Well, Jim's, you see, for me,
0:52:52 > 0:52:55he's really captured the fluidity of fine bone china.
0:52:55 > 0:52:57He's really used the light so beautifully.
0:52:57 > 0:53:01He has a great sense of composition and volume made of smaller pieces.
0:53:01 > 0:53:04It's really lush and dense. We can't see the light bulb there.
0:53:04 > 0:53:05It's really good.
0:53:05 > 0:53:08So Jim came top in the Spot Test, top in the Throw Down
0:53:08 > 0:53:10and he's made a lovely chandelier.
0:53:10 > 0:53:13Surely, he's got to be up there for Top Potter?
0:53:13 > 0:53:16He is up there, but is it really hanging,
0:53:16 > 0:53:17is it a great cascade of objects?
0:53:17 > 0:53:21I'm loving Sally-Jo's. What do you think, Kate?
0:53:21 > 0:53:24She's showing us light coming through cuts and marks
0:53:24 > 0:53:28and I just think there's a great sense of light and movement. Super.
0:53:28 > 0:53:32I think it's a great, great concept and she's actually pulled it off.
0:53:32 > 0:53:34In the Throw Down, Sally-Jo came last
0:53:34 > 0:53:37because throwing is just not her thing.
0:53:37 > 0:53:40Has she pulled it back with her gorgeous design and this chandelier?
0:53:40 > 0:53:42Could she be our first female Top Potter?
0:53:42 > 0:53:46I think it's a toss up between Matthew and Jim for Top Potter.
0:53:46 > 0:53:47No, I'm not so sure.
0:53:47 > 0:53:50I'd really like to keep Sally-Jo right in contention.
0:53:50 > 0:53:53It's the most delicate use of fine bone china
0:53:53 > 0:53:54out of the whole five of them.
0:53:54 > 0:53:58Sally-Jo is up there with those two gentlemen there.
0:53:58 > 0:54:00And another one you've got to thrash out, as well,
0:54:00 > 0:54:04is who is not going to make it through to the grand final.
0:54:04 > 0:54:06We've got Tom and we've got Jane.
0:54:06 > 0:54:11Tom's is, conceptually, horrendous.
0:54:11 > 0:54:15He started off with a really precise design
0:54:15 > 0:54:18and he's changed it, which is great,
0:54:18 > 0:54:19but he's absolutely done nothing.
0:54:19 > 0:54:21It doesn't tell me anything.
0:54:21 > 0:54:24It's just a few objects hanging from a frame.
0:54:24 > 0:54:27If he hadn't hung it so well with this circle of discs
0:54:27 > 0:54:29and this circle of twists
0:54:29 > 0:54:31and then the circle of cheese gratery things,
0:54:31 > 0:54:34I just think it would have been floundering even more.
0:54:34 > 0:54:36I'm really annoyed with Tom.
0:54:36 > 0:54:39We know he's technically brilliant at most things,
0:54:39 > 0:54:41but where's the message?
0:54:41 > 0:54:43It's hopeless. Absolutely hopeless.
0:54:43 > 0:54:45Whereas, if we turn to Jane's,
0:54:45 > 0:54:48she always has these great ideas with depth and meaning.
0:54:48 > 0:54:51And she's the one who made these gorgeous patterns
0:54:51 > 0:54:54and we're seeing through the patterns to the light.
0:54:54 > 0:54:56But she hasn't hung it as well as Tom did.
0:54:56 > 0:54:58It just looks really, really boring the way she's hung it.
0:54:58 > 0:55:00But I have to agree with Kate.
0:55:00 > 0:55:03The concept of it, absolutely brilliant.
0:55:03 > 0:55:07It just looks really, really immature the way it's been hung.
0:55:07 > 0:55:08One has great ideas.
0:55:08 > 0:55:10Could have possibly done better with the hanging.
0:55:10 > 0:55:15And Tom, the idea just dissolved to nothing and he's hung it very well.
0:55:15 > 0:55:18It's always a big decision who's going to leave the pottery,
0:55:18 > 0:55:21but this week it's huge, because you've got to get it right,
0:55:21 > 0:55:25because it decides who leaves the pottery and also who goes through to the grand final.
0:55:25 > 0:55:28We can't look back, we can't look forward.
0:55:28 > 0:55:30We have to take this week into account.
0:55:44 > 0:55:48After much discussion between Kate and Keith,
0:55:48 > 0:55:53they did eventually decide who is going to be semifinal Top Potter.
0:55:53 > 0:55:58They've shown a really good use of the material
0:55:58 > 0:56:01and they've shown a really good design concept.
0:56:01 > 0:56:04So Top Potter this week goes to...
0:56:08 > 0:56:09..Matthew.
0:56:10 > 0:56:12Again!
0:56:14 > 0:56:17Congratulations on getting a hat trick with Top Potter, as well.
0:56:17 > 0:56:19A huge well done.
0:56:19 > 0:56:22Now to the trickier decision.
0:56:22 > 0:56:26And I've got to say, a lot of heartfelt debate,
0:56:26 > 0:56:28discussion, negotiation,
0:56:28 > 0:56:32wrangling went on to decide who was going to leave the pottery.
0:56:32 > 0:56:36The judges have made their decision, though.
0:56:37 > 0:56:40The person not making it through to the grand final
0:56:40 > 0:56:43and leaving the pottery is...
0:56:49 > 0:56:50..Jane.
0:56:52 > 0:56:53Oh, Jane!
0:56:53 > 0:56:55Sweet.
0:56:55 > 0:56:58It's all right. I knew it was coming.
0:56:58 > 0:57:00It's fine.
0:57:00 > 0:57:02Jane had a lovely idea,
0:57:02 > 0:57:04she just didn't really carry it through
0:57:04 > 0:57:08and the hanging of the chandelier was not up to speed.
0:57:09 > 0:57:12I knew a slip cast bone china chandelier
0:57:12 > 0:57:15wasn't one of my strong points.
0:57:15 > 0:57:17I shan't probably be doing it again.
0:57:17 > 0:57:19I'm chuffed that I got this far.
0:57:19 > 0:57:21Staggeringly, I've made it through.
0:57:21 > 0:57:23Great to have been saved from the chop.
0:57:23 > 0:57:27But very disappointed that I got such a, erm...
0:57:27 > 0:57:30rightly harsh criticism for the chandelier.
0:57:30 > 0:57:32You were up with Top Potter, actually.
0:57:32 > 0:57:34What you did with that...
0:57:37 > 0:57:38Brilliant.
0:57:38 > 0:57:40We knew you had it in you. It was brilliant.
0:57:40 > 0:57:41Really, really good.
0:57:41 > 0:57:42Fantastic concept.
0:57:42 > 0:57:45I haven't yet managed to knock one of those boys off the top spot.
0:57:45 > 0:57:49There's a lot of talented potters left in the final.
0:57:49 > 0:57:51I'll absolutely give it my best shot.
0:57:51 > 0:57:53Top Potter for a third time.
0:57:53 > 0:57:55I'm trying not to think about it too much because
0:57:55 > 0:57:59I don't want to go into the final feeling a bit too confident
0:57:59 > 0:58:02and, yeah, making a fool of myself.
0:58:02 > 0:58:04Down to the final four.
0:58:04 > 0:58:09My wife whooped for joy this evening when I told her I was in the final.
0:58:09 > 0:58:12This is a real contest of four great makers,
0:58:12 > 0:58:16who have great skills and I can't wait to see what they do.
0:58:16 > 0:58:19I'm hoping to sort of come through with my head held high.
0:58:19 > 0:58:21It is literally anyone's challenge for the taking.
0:58:21 > 0:58:23This week was the hardest so far.
0:58:23 > 0:58:25But I've earnt my place in the final
0:58:25 > 0:58:27and I'm going to go out to win it.
0:58:29 > 0:58:31Next time...
0:58:34 > 0:58:35..the final.
0:58:35 > 0:58:38- Here goes nothing.- It's your worst nightmare as a potter.
0:58:38 > 0:58:39No!