0:00:02 > 0:00:03It's week three and just eight potters remain,
0:00:03 > 0:00:05so it's time to turn up the heat raku-style,
0:00:05 > 0:00:09as the potters master the art of Japanese-style ceramics.
0:00:09 > 0:00:11So welcome and konnichiwa, my friends,
0:00:11 > 0:00:14to the Great Pottery Throw Down.
0:00:14 > 0:00:15'Previously...'
0:00:15 > 0:00:17- Ryan's on the pull.- Hey!
0:00:17 > 0:00:18'..time was against the potters.'
0:00:18 > 0:00:21- Tick-tock, tick-tock.- '..as they constructed clocks.'
0:00:21 > 0:00:24Look at the cracks. Ah!
0:00:24 > 0:00:25'James clung on.'
0:00:25 > 0:00:27I'm angry because it's just a block.
0:00:27 > 0:00:30'As Daniel's lack of hand-building skills...'
0:00:30 > 0:00:32This is very naughty clay.
0:00:32 > 0:00:34'..meant he had to leave the pottery.
0:00:34 > 0:00:36'And despite Ryan's impressive clock,
0:00:36 > 0:00:38'it was Elaine who claimed the second spot
0:00:38 > 0:00:40'in the Pot Of The Week gallery.'
0:00:40 > 0:00:43You're going to make ME cry.
0:00:43 > 0:00:44'Now, we're heading east...'
0:00:44 > 0:00:47- Onegaishimasu.- Dou itashimashte.
0:00:47 > 0:00:52'..with a Japanese Main Make in the explosive raku style.'
0:00:52 > 0:00:53It's hot, hot, hot.
0:00:53 > 0:00:55'A Spot Test from hell itself.'
0:00:55 > 0:00:57I'll have to make it up as I go along.
0:00:57 > 0:00:59'And a Throw Down that never stops.'
0:00:59 > 0:01:02- I've run out of clay. - You've done that many?!
0:01:02 > 0:01:03No, I've done them that big.
0:01:03 > 0:01:07'But who will clinch the third spot in the gallery?'
0:01:07 > 0:01:08It's brilliant!
0:01:08 > 0:01:11'And who will be walking the cobbles home?'
0:01:11 > 0:01:14- Have a whiff of this. It seems to be working today.- Right.
0:01:19 > 0:01:23# Making time
0:01:23 > 0:01:26# Shooting lines
0:01:26 > 0:01:30# People have their uses
0:01:30 > 0:01:33# People have their uses... #
0:01:48 > 0:01:49It's raku this week,
0:01:49 > 0:01:53so I thought I'd put a shirt on to match the fiery nature of raku.
0:01:53 > 0:01:56I love raku, but anything can happen with it.
0:01:56 > 0:01:58Number one, just follow the brief.
0:01:58 > 0:02:01I'm going to slightly stick to the brief
0:02:01 > 0:02:03a little bit more than last time.
0:02:03 > 0:02:04I will finish on time.
0:02:04 > 0:02:06I have to finish on time!
0:02:06 > 0:02:10I'm super excited about it, due to the fact I'm a pyromaniac.
0:02:10 > 0:02:12'But before the raku pyrotechnics begin,
0:02:12 > 0:02:15'what will the potters be firing?'
0:02:15 > 0:02:16Good morning, potters.
0:02:16 > 0:02:18For your Main Make challenge this week,
0:02:18 > 0:02:23Kate and Keith would like you to throw a Japanese sake set.
0:02:23 > 0:02:28One bottle, of maximum 25 centimetres in height, and six cups.
0:02:28 > 0:02:31You've got enough clay there to throw two complete sets.
0:02:31 > 0:02:35However, you must then choose your favourite to decorate and raku fire.
0:02:35 > 0:02:39It's one of the most exciting and unpredictable processes in ceramics
0:02:39 > 0:02:42and we want to see you embrace that and step out of your comfort zone.
0:02:42 > 0:02:46Potters, you have two hours to throw your sake sets.
0:02:46 > 0:02:47Time starts now.
0:02:49 > 0:02:52'Traditional sake sets usually consist
0:02:52 > 0:02:55'of an elegant bottle with matching delicate cups.'
0:02:55 > 0:03:00The most difficult part is to get all of it exactly right.
0:03:00 > 0:03:03'To produce two sets in two hours,
0:03:03 > 0:03:06'the potters are free to throw as many cups and bottles as they like.'
0:03:06 > 0:03:08I've thrown my balls a little bit on the heavy side.
0:03:08 > 0:03:11Just because I've got big hands and I need...
0:03:11 > 0:03:13a bit more clay to centre.
0:03:13 > 0:03:16'But more attempts to get a matching set will mean more work.
0:03:18 > 0:03:20'And more balls to slap.'
0:03:20 > 0:03:22I am going to use a decoration technique
0:03:22 > 0:03:24at this throwing stage that I've
0:03:24 > 0:03:27never done before. I'm a little bit nervous about it,
0:03:27 > 0:03:28so I made three balls of clay.
0:03:28 > 0:03:30SHE LAUGHS
0:03:30 > 0:03:35Two hours of throwing to produce two sake bottles and 12 cups.
0:03:35 > 0:03:39We want to see the whole set like a family, working together,
0:03:39 > 0:03:41with that character right across them all.
0:03:41 > 0:03:43But also, it's a functional task.
0:03:43 > 0:03:46You know, there's six cups, there's a bottle,
0:03:46 > 0:03:48the bottle has to fill the six cups.
0:03:48 > 0:03:50And you actually put a cup to your lips, don't you?
0:03:50 > 0:03:53- You kiss it, in fact. - Yeah.- You know, when you drink.
0:03:53 > 0:03:54So it's got to feel nice.
0:03:54 > 0:03:55I don't want to see any rough edges
0:03:55 > 0:03:57that are going to be horrible to drink from.
0:03:57 > 0:04:00And maybe after a couple of glasses of sake,
0:04:00 > 0:04:03I wouldn't mind what I'm drinking it out of!
0:04:03 > 0:04:07'These delicate sake cups are the smallest items yet that the potters
0:04:07 > 0:04:08'have been required to throw.'
0:04:08 > 0:04:13Normally, you cone up with both hands and use equal pressure.
0:04:13 > 0:04:16With a tiny piece, you're sort of just using one finger.
0:04:16 > 0:04:19The boys are going to have a lot of difficulty with big hands.
0:04:19 > 0:04:21This is like making a miniature.
0:04:21 > 0:04:24None of this sar-key, it's sack-ee where I'm from.
0:04:24 > 0:04:26It helps having weird fingers.
0:04:26 > 0:04:28I'm double jointed in my fingers, and throwing small stuff,
0:04:28 > 0:04:31I can kind of twist in to the side.
0:04:31 > 0:04:35'Nam's flexible fingers will conjure up a sake set with a bulbous form,
0:04:35 > 0:04:39'inspired by the drinking bottles featured in his favourite films.'
0:04:39 > 0:04:41You see it in a lot of kung fu movies
0:04:41 > 0:04:42and it's this thing where they keep
0:04:42 > 0:04:44alcohol in and they fight with it.
0:04:44 > 0:04:47And it's just literally a curved form, like a fat waistline.
0:04:47 > 0:04:50That's the problem when you watch loads of kung fu movies
0:04:50 > 0:04:52as a kid, you get influenced by everything.
0:04:52 > 0:04:55I'm not very experienced at making lots of things that look identical.
0:04:55 > 0:04:58But this gauge is quite a useful little tool,
0:04:58 > 0:05:03and as long as you have each of the rims kind of in the same place,
0:05:03 > 0:05:06- that'll help.- That's just missing by half a mill.
0:05:06 > 0:05:09Which I know I can just push a tiny bit with my little weird fingers.
0:05:09 > 0:05:12In Japan, they have these sort of little gauges.
0:05:12 > 0:05:14This is the depth of the cylinder
0:05:14 > 0:05:16and this is the width of the cylinder.
0:05:16 > 0:05:20So this is the height and you can dip in and see the height,
0:05:20 > 0:05:21and then this can be the width.
0:05:21 > 0:05:23So that needs to come out a little bit more.
0:05:23 > 0:05:26'Ryan's straight-sided cups will have sharp-edged feet and will be
0:05:26 > 0:05:29'joined by a traditionally shaped sake bottle.
0:05:29 > 0:05:31'And he's managed to get in a bit more practice
0:05:31 > 0:05:33'than his fellow potters.'
0:05:33 > 0:05:36Is this something that you've done many times before, raku?
0:05:36 > 0:05:37I have done a few raku before.
0:05:37 > 0:05:39- OK.- Yeah, I built a raku kiln.
0:05:39 > 0:05:41- You've built a raku kiln? - I built a raku kiln, yeah.
0:05:41 > 0:05:44- It was in my grandma's garden.- Is your grandma's garden now
0:05:44 > 0:05:47- just transformed?- Yes, I've just taken it over.
0:05:47 > 0:05:48It's just a big old pottery yard.
0:05:48 > 0:05:50Poor lady, she can't hang out her washing.
0:05:50 > 0:05:52She's got a lovely little pony, as well,
0:05:52 > 0:05:55which sometimes I steal their hair, horsehair, for the raku, as well.
0:05:55 > 0:05:57- Put it on the pots.- So you give the ponies a brush
0:05:57 > 0:06:00- and then use the hair? - A little trim, yeah, a little clip.
0:06:00 > 0:06:02I've never made a sake set before.
0:06:02 > 0:06:04Not something I've ever thought of doing.
0:06:04 > 0:06:07Maybe after this, I might take it up.
0:06:07 > 0:06:10'Last week's winner of Pot of the Week Elaine's first attempt at raku
0:06:10 > 0:06:14'will see cups decorated with a slit design and a bottle with buttons on
0:06:14 > 0:06:18'the neck. But their shape is still a work in progress.'
0:06:18 > 0:06:21I'm going to see what grows out of the clay on the first one and then
0:06:21 > 0:06:24just follow that. As usual, the clay is the inspiration.
0:06:24 > 0:06:25It's how it feels.
0:06:25 > 0:06:27Just going to compress the bottom.
0:06:29 > 0:06:31I think I'm warming up, just getting the flow of it.
0:06:31 > 0:06:35Once I've got the knack of one, two, it just all pops out like candy.
0:06:35 > 0:06:38I'm just going to pull it out a little bit more.
0:06:38 > 0:06:41Hopefully, I'll get six somewhere similar.
0:06:42 > 0:06:44I'm going to stop being so fussy.
0:06:44 > 0:06:46'Whilst Elaine has found a form she likes...'
0:06:46 > 0:06:48Fiddly, fiddly.
0:06:48 > 0:06:51'..Freya's still got a few decisions to make.'
0:06:51 > 0:06:56I practised, but never did decide on one particular shape.
0:06:56 > 0:06:58'When practising, all Freya DID decide on
0:06:58 > 0:07:00'was that she would create a male
0:07:00 > 0:07:03'and female-formed sake set and then make a choice.'
0:07:03 > 0:07:06I think the hardest thing is to get the cups to match the bottles.
0:07:06 > 0:07:09I'm going to get the cups first and then I'm going to get the bottle
0:07:09 > 0:07:11to match the cups, which sounds a bit backwards,
0:07:11 > 0:07:13but... There's too much to think about!
0:07:13 > 0:07:18Why do this? I chose to do pottery for an easy life.
0:07:18 > 0:07:20This isn't easy right now.
0:07:22 > 0:07:25'Even if the potters are happy with the shape and size of their
0:07:25 > 0:07:28- 'first few cups...' - That's about six centimetres,
0:07:28 > 0:07:30so I can probably make it a bit taller than that.
0:07:30 > 0:07:33'..this first throwing stage gets a little bit harder.'
0:07:33 > 0:07:36The trickiest part of this challenge is to actually get them off
0:07:36 > 0:07:38the wheel in one piece.
0:07:41 > 0:07:43If you don't throw the face thick enough,
0:07:43 > 0:07:46you've got nothing to hold on to and you just squash it.
0:07:46 > 0:07:49You've got to have, like, feather touch at this point.
0:07:55 > 0:07:58Two very different cups!
0:07:58 > 0:08:00Oh, my gosh.
0:08:00 > 0:08:01I'm trying to be as conscious
0:08:01 > 0:08:03as I can not to sort of warp it in any way.
0:08:06 > 0:08:07Not bad for a first two of them.
0:08:07 > 0:08:10'James's sake set will see the colours
0:08:10 > 0:08:12'and designs from Japanese body suit tattoos
0:08:12 > 0:08:15'adorning a straight-sided bottle,
0:08:15 > 0:08:19'and cups that will hold more sake than is probably good for you.'
0:08:19 > 0:08:22That's naturally the kind of shape and size that I would throw.
0:08:22 > 0:08:25Because you are from the land of the giants. That's why, James.
0:08:25 > 0:08:28- It's a giant sake cup, isn't it? - This is your sake cup, yeah.
0:08:28 > 0:08:30This is like throwing a miniature, for me.
0:08:30 > 0:08:33Well, you're measuring against the ruler for your height?
0:08:33 > 0:08:35Yes. You know, I've got a rough point...
0:08:35 > 0:08:36A rough point?
0:08:36 > 0:08:38- Well, a rough, by which I mean... - A rough point?!
0:08:38 > 0:08:42- That's a terrible word to use. - We're asking for identical beakers.
0:08:42 > 0:08:44We'll take that again!
0:08:44 > 0:08:46Potters, you're halfway through your time now.
0:08:46 > 0:08:48You've got an hour left.
0:08:48 > 0:08:50I've made nine cups so far,
0:08:50 > 0:08:53which is three short of how many cups I need to have made,
0:08:53 > 0:08:56and I've not started my bottles.
0:08:56 > 0:09:00'Rather than perfecting all 12 cups, some potters are moving on.'
0:09:00 > 0:09:04Get the bottles done and then it's like a production line for the cups.
0:09:04 > 0:09:06I know we've got to throw two,
0:09:06 > 0:09:08but I need to concentrate on the first set.
0:09:08 > 0:09:11Going to collar it in at the top and push out a belly.
0:09:11 > 0:09:15I'm going to try and get a shape that isn't too complicated.
0:09:15 > 0:09:18'But even the simplest forms aren't easy to pull off.'
0:09:18 > 0:09:20I just lost it at the top.
0:09:20 > 0:09:24So instead of trying to fix it, I may as well throw a new one.
0:09:24 > 0:09:26Do not overwork it, Clover!
0:09:26 > 0:09:29'Clover's having another attempt at a sake bottle
0:09:29 > 0:09:30'that will celebrate kyudo,
0:09:30 > 0:09:35'which means "way of the bow" - the ancient Japanese art of archery.'
0:09:35 > 0:09:40Archery has been closely linked to Zen Buddhism practising and also has
0:09:40 > 0:09:42this nice flow that could potentially work
0:09:42 > 0:09:44quite well with a sake set.
0:09:44 > 0:09:46How the sake is going to be poured out,
0:09:46 > 0:09:48how the arrow is coming out from the bowl.
0:09:48 > 0:09:50All could be related.
0:09:50 > 0:09:54I wanted to press a shape of the bow into my bottle after it has dried
0:09:54 > 0:09:57out a little bit. And then on the sake cup,
0:09:57 > 0:10:01- there will be the bottom of the... - The feathers.
0:10:01 > 0:10:05So hopefully they will bring together this magic throwing moment.
0:10:05 > 0:10:06Magic throwing moment.
0:10:14 > 0:10:16So I was going to give it hips and a waist.
0:10:16 > 0:10:18I was thinking of the human figure.
0:10:18 > 0:10:21I seem to be really female-orientated.
0:10:21 > 0:10:24Four done and a bottle, so I'm way behind,
0:10:24 > 0:10:26but I have already changed the shape completely.
0:10:26 > 0:10:29Cos I was kind of doubting myself ever so slightly.
0:10:30 > 0:10:32This one's rounder, which is a bit more me,
0:10:32 > 0:10:34but I looked at my cups and realised that they're quite straight,
0:10:34 > 0:10:38so I just wanted to make a nice straighter version, really.
0:10:38 > 0:10:42Hopefully, that would be comfortable to hold and you just do...
0:10:42 > 0:10:43Like that. And it would be...
0:10:48 > 0:10:50This is just a practice, yeah.
0:10:50 > 0:10:54Whilst most potters are obsessing over the shape of their bottles,
0:10:54 > 0:10:57Richard's given himself even more to worry about.
0:10:57 > 0:11:00What I'm looking for is to put a nice curve on one side
0:11:00 > 0:11:05and if you bend the top over, it should enhance that profile.
0:11:05 > 0:11:09Richard's first ever attempt at raku is all about profile,
0:11:09 > 0:11:13but the sweeping curve on his bottle will create even more work.
0:11:13 > 0:11:15Obviously, if you bend the top,
0:11:15 > 0:11:16you're going to have problems pouring,
0:11:16 > 0:11:20so if you attach the pourer on the other side, that actually helps.
0:11:20 > 0:11:24Richard's the only potter throwing spouts for his sake bottles.
0:11:24 > 0:11:28If you can get the movement of the pourer, as well, in an arc,
0:11:28 > 0:11:30it just adds something to it.
0:11:30 > 0:11:33I think, actually, the first one's form I'm the most happy with.
0:11:33 > 0:11:37And I've sort of managed to recreate it a few times.
0:11:37 > 0:11:40When Cait finally stops throwing cups and moves onto bottles,
0:11:40 > 0:11:43their profile should be very familiar.
0:11:43 > 0:11:46My inspiration are the bottle kilns around this area,
0:11:46 > 0:11:50so we're making bottles, so it's a fairly obvious form to use.
0:11:50 > 0:11:53And the raku process is all about firing.
0:11:53 > 0:11:57Cait's kiln-shaped sake bottle will be joined by cups that are also
0:11:57 > 0:12:00a nod to Stoke's potting heritage.
0:12:00 > 0:12:05The sake cups, I've chosen to use the saggars as a sort of inspiration
0:12:05 > 0:12:07for what they look like.
0:12:07 > 0:12:11- What's a saggar?- Saggars are basically to protect the ceramics
0:12:11 > 0:12:13from getting damaged in the firing process.
0:12:13 > 0:12:15Saggars are like crude pots, if you like.
0:12:15 > 0:12:18But the real pots are put inside them and the saggars, then,
0:12:18 > 0:12:20are built up inside the bottle kiln
0:12:20 > 0:12:22and it stops all the coal and the carbon
0:12:22 > 0:12:24getting to the really nice pieces inside.
0:12:24 > 0:12:26And is raku something you've done before?
0:12:26 > 0:12:29I've done it, I think, once or twice before.
0:12:29 > 0:12:31Cait, I hate to mention the T word.
0:12:31 > 0:12:33- I know.- Time.- Yeah.
0:12:33 > 0:12:37Can you please just not be running down the pottery when I'm at
0:12:37 > 0:12:39- five, four...?- I'm so sorry.
0:12:39 > 0:12:40Cos I don't know if we can take it.
0:12:40 > 0:12:42We're on medication. CAIT LAUGHS
0:12:42 > 0:12:45I'm already on heart pills as it is.
0:12:45 > 0:12:49Half an hour left to finish throwing 12 sake cups and two bottles.
0:12:49 > 0:12:52This could be very exciting, so I hope you're ready.
0:12:52 > 0:12:54SHE GROANS
0:12:54 > 0:12:57I've started again. I've scaled it down because I think,
0:12:57 > 0:13:01having a quick cheeky look around the room, mine was way too big.
0:13:01 > 0:13:03So I've halved the size of clay that I was using.
0:13:03 > 0:13:06So that was a pound, I'm now doing half a pound.
0:13:06 > 0:13:09Get my head down, get these bashed out.
0:13:09 > 0:13:11I'll close my eyes and do it, for the hell of it.
0:13:11 > 0:13:12Ah!
0:13:15 > 0:13:17Going to put me nozzle on.
0:13:17 > 0:13:20Got six cups and three bottles and a fourth on the way.
0:13:20 > 0:13:22You need 12...
0:13:22 > 0:13:24Are those your cups, as well?
0:13:24 > 0:13:26Yeah, yeah, over there.
0:13:26 > 0:13:28Rubbish, rubbish, rubbish.
0:13:28 > 0:13:30Oh, it's not high enough.
0:13:30 > 0:13:33Two, four, six, eight, ten... 12 little sake cups.
0:13:33 > 0:13:37One sake bottle, another on the way, and not three seconds remaining.
0:13:37 > 0:13:41- Yes!- Well, ten minutes isn't ideal for a bottle, but, yeah,
0:13:41 > 0:13:43- we'll get there. - Have a whiff of this.- Oh!
0:13:43 > 0:13:44Seems to be working today.
0:13:46 > 0:13:48Potters, this is your five-minute call.
0:13:48 > 0:13:51It's about refining now, getting that final shape.
0:13:51 > 0:13:53If I have as many as I can done,
0:13:53 > 0:13:56then I've got the choice of which ones are good, which ones are crap.
0:13:59 > 0:14:02Not ideal.
0:14:02 > 0:14:04Guys, you've got one minute left. You've got to get all of these sets
0:14:04 > 0:14:07in the drying room, please, in 60 seconds. Lots of you still
0:14:07 > 0:14:10working at the wheels here. I'm not sure what's going on.
0:14:10 > 0:14:14I'm just pressing the shape of the bubble on to the sake bottle.
0:14:16 > 0:14:18- Ten...- No way, is that...? Ah! - ..nine,
0:14:18 > 0:14:20eight - careful - seven...
0:14:20 > 0:14:26- No!- ..six, five, four, three,
0:14:26 > 0:14:28two...
0:14:28 > 0:14:31one. You're mad. You're all mad.
0:14:31 > 0:14:32I've never seen Richard move so quick.
0:14:32 > 0:14:35He was like a whippet then.
0:14:35 > 0:14:37I bit the bullet and put a spout on my bottle.
0:14:37 > 0:14:38It looks very smart, actually.
0:14:38 > 0:14:41I'm very pleased with that result.
0:14:41 > 0:14:44I knew I was up against it to get a bottle out in ten minutes.
0:14:44 > 0:14:47- SHE SIGHS - It's a bottle form.
0:14:47 > 0:14:49I'm fairly happy with my sake cups.
0:14:49 > 0:14:51The bases seem a little bit thin.
0:14:51 > 0:14:52Throw Down challenge next.
0:14:52 > 0:14:55I was sixth the last time, which isn't great.
0:14:55 > 0:14:57I don't want to be in the middle again.
0:14:57 > 0:15:00I'm going to try my best and claw my way up to the top.
0:15:00 > 0:15:02Whilst the sake sets are in the drying room,
0:15:02 > 0:15:05this week's Throw Down will test the potters' ability to demonstrate
0:15:05 > 0:15:09a skill that's been the cornerstone of Stoke's potteries since
0:15:09 > 0:15:13they were founded, right up to today.
0:15:13 > 0:15:14Under huge time pressure,
0:15:14 > 0:15:18they'll have to prove they can combine quality with quantity.
0:15:18 > 0:15:23This week, Kate and Keith would like you to throw as many rice bowls
0:15:23 > 0:15:25as you can. You're going to be throwing off the hump,
0:15:25 > 0:15:29which is essentially throwing each little bowl off the same great big
0:15:29 > 0:15:32whacking lump of clay. Keith, do you want to show us how it's done?
0:15:32 > 0:15:36So, you've all been given a 20lb lump of clay and it's already
0:15:36 > 0:15:40been centred. So you can start off quite quickly,
0:15:40 > 0:15:43building up the stem to make your first rice bowl.
0:15:43 > 0:15:46You go down, you grab your clay,
0:15:46 > 0:15:49you try and grab the same amount of clay every time.
0:15:49 > 0:15:53It's a very traditional method of throwing lots of pieces out of
0:15:53 > 0:15:58the same lump of clay without having to centre every single piece.
0:15:58 > 0:16:00This is a Japanese wiring method
0:16:00 > 0:16:02where you take the tail of the wire,
0:16:02 > 0:16:05place it round the base and just let it do the work.
0:16:05 > 0:16:07But just be ready to catch it.
0:16:08 > 0:16:12'The potters now have 15 minutes to throw as many perfectly formed
0:16:12 > 0:16:14'rice bowls as they can.'
0:16:14 > 0:16:15Your time starts now.
0:16:21 > 0:16:23I'm just going for consistency, trying to...
0:16:23 > 0:16:25Well, I say consistency, that was completely wrong.
0:16:25 > 0:16:26Just trying to go for as many as I can.
0:16:26 > 0:16:28I'd be chuffed if I got five done.
0:16:30 > 0:16:33Remember - quality, quality.
0:16:33 > 0:16:36Remember quantity, quantity.
0:16:36 > 0:16:38Can I just add in about size, as well?
0:16:38 > 0:16:40We don't want any egg cups, please.
0:16:40 > 0:16:43The sponge is like a giant doorstop.
0:16:43 > 0:16:45This is the tricky bit, here.
0:16:47 > 0:16:50Just place the tail on there.
0:16:50 > 0:16:51Whoo.
0:16:51 > 0:16:53- CLAPPING - Come on.
0:16:55 > 0:16:57Oh, my God!
0:16:59 > 0:17:01- SHE SIGHS - That's frightening, isn't it?
0:17:01 > 0:17:04It's just this whole bit is just alien.
0:17:04 > 0:17:06The difficulty is the trimming it off
0:17:06 > 0:17:08cos I've never used that tool at all.
0:17:13 > 0:17:16There's a couple that would be good if you're on a diet cos all the food
0:17:16 > 0:17:18would drop out the bottom. THEY LAUGH
0:17:18 > 0:17:20- But you've got a few nice ones, keep going.- Thank you.
0:17:25 > 0:17:27Now then, if I had to go to anyone's for dinner,
0:17:27 > 0:17:29it'd be yours, James. HE LAUGHS
0:17:29 > 0:17:32- These are a bit more substantial. - Big boy portions.- Yes.
0:17:32 > 0:17:33Big boy pots.
0:17:38 > 0:17:39Seven. No holes in them.
0:17:39 > 0:17:41- You're on fire.- I'm on fire.
0:17:41 > 0:17:44- Smoking today! - SHE LAUGHS
0:17:44 > 0:17:47- Oh.- Let's have a look. - I shan't take this up as a living.
0:17:48 > 0:17:52Oh, you say that, you've got four gorgeous ones here, Elaine.
0:17:52 > 0:17:53Yeah, but I haven't looked around yet.
0:17:53 > 0:17:55There's no chance!
0:17:55 > 0:17:57Five minutes, guys, five minutes.
0:18:00 > 0:18:02- There's eight on here. - Well, there's eight...
0:18:02 > 0:18:04There's a couple that are a bit dodgy.
0:18:04 > 0:18:05But keep going.
0:18:07 > 0:18:09They look like a sort of higgledy-piggledy family.
0:18:09 > 0:18:10Daddy and Mummy bowls.
0:18:10 > 0:18:13- We'll go with that. - Yeah, positive spin.
0:18:17 > 0:18:19- Colour sisters.- Yeah.
0:18:19 > 0:18:21Good colour choice.
0:18:22 > 0:18:23Oh, I've run out of clay.
0:18:25 > 0:18:26Oh, you've done that many!
0:18:26 > 0:18:29- No, I've done them that big. - THEY LAUGH
0:18:29 > 0:18:31Potters, one minute left.
0:18:31 > 0:18:32Come on!
0:18:41 > 0:18:45- JUDGES:- Five, four, three, two, one.
0:18:45 > 0:18:47Stop!
0:18:47 > 0:18:50Back from your rice bowls, please.
0:18:50 > 0:18:51'From 20lb of clay,
0:18:51 > 0:18:55'the potters had to throw off the hump as many consistently sized
0:18:55 > 0:18:58'and shaped bowls as possible in 15 minutes.
0:18:58 > 0:19:02'But those who don't reach Keith and Kate's high standards will end up
0:19:02 > 0:19:04'in the rejects bin and not be counted.'
0:19:04 > 0:19:07How many have we got here? We've got one, two, three, four, five, six,
0:19:07 > 0:19:11seven, eight, nine, ten, 11, 12, 13, 14, 15.
0:19:11 > 0:19:14But I don't think that's going to hold much rice.
0:19:14 > 0:19:15- No, no.- Ah.
0:19:16 > 0:19:18Bye!
0:19:18 > 0:19:21- That one, do you reckon, Kate? - Yeah, it's got a hole in.
0:19:21 > 0:19:24And the elephant in the room.
0:19:24 > 0:19:26It's kind of more like an egg cup, isn't it?
0:19:26 > 0:19:29- That one's too big, isn't it? - Yeah.- Bye-bye.
0:19:31 > 0:19:33One of them's a little small, isn't it?
0:19:33 > 0:19:35It's not as similar as the rest.
0:19:35 > 0:19:36- No.- That's harsh.
0:19:36 > 0:19:39That's the runt of the litter you've just separated from its family.
0:19:41 > 0:19:42Hello. Hi, Ryan.
0:19:42 > 0:19:44Sticky rice? No?
0:19:46 > 0:19:47Is that pulling the cord too high?
0:19:47 > 0:19:51Yeah. No, yeah, just didn't judge where the cord was going through.
0:19:51 > 0:19:52Hello.
0:19:58 > 0:20:00Oh. You are a beast.
0:20:02 > 0:20:05I think there's one that stands out as smaller than the others.
0:20:05 > 0:20:06Yeah, yeah.
0:20:08 > 0:20:09So that one's going in.
0:20:12 > 0:20:13- That one going in as well?- Yeah.
0:20:13 > 0:20:15Oh!
0:20:15 > 0:20:16JAMES LAUGHS
0:20:16 > 0:20:20Really tough. I'm really seeing the dark side of you, KBJ.
0:20:20 > 0:20:22And you, madam.
0:20:22 > 0:20:24I'm so sorry. I'm so sorry about this.
0:20:24 > 0:20:26'After so many of the potters' rice bowls
0:20:26 > 0:20:28'hitting the judges' reject bin,
0:20:28 > 0:20:31'which potter has managed' to throw the most?
0:20:31 > 0:20:36In joint last place, with six rice bowls, James and Cait.
0:20:37 > 0:20:40'Richard and Elaine both made eight bowls,
0:20:40 > 0:20:42'putting them in joint fifth place.
0:20:42 > 0:20:44'Freya is in fourth place with ten bowls,
0:20:44 > 0:20:49'and in third place is Ryan with 11, leaving Clover and Nam.'
0:20:49 > 0:20:53In second place, with 12 rice bowls,
0:20:53 > 0:20:56is Clover.
0:20:56 > 0:21:00First place, with 13 bowls, is Nam.
0:21:00 > 0:21:03Well done, Nam. Well done.
0:21:03 > 0:21:05Whoo-whoo-whoo-whoo!
0:21:05 > 0:21:07I set out to get first in the Throw Down,
0:21:07 > 0:21:10That's what I said I'll do, and I did it. Feels good.
0:21:10 > 0:21:11Feels really good.
0:21:11 > 0:21:12I came joint last.
0:21:12 > 0:21:15At least I wasn't all there on my own.
0:21:15 > 0:21:17Not ideal, but I'm not going to stress about it.
0:21:17 > 0:21:21I've never thrown off the hump at all, but, yeah, trimming next.
0:21:25 > 0:21:29The sake sets are now dry enough for the next stage of the Main Make...
0:21:31 > 0:21:33..turning and trimming.
0:21:33 > 0:21:36I can just centre the top here and turn off all this sort of
0:21:36 > 0:21:38rough edge here.
0:21:38 > 0:21:41The potters have 90 minutes to refine the edges
0:21:41 > 0:21:44and form of both their bottles and their 12 cups.
0:21:44 > 0:21:46This is good. I like doing this,
0:21:46 > 0:21:48this is, like, me in my happy zone right now.
0:21:48 > 0:21:52When you throw a pot, you've got it to a point, but turning a pot,
0:21:52 > 0:21:54you can discover its character.
0:21:54 > 0:21:58By the way you use your tools you can accentuate the various forms,
0:21:58 > 0:22:02give it a much more curved belly or a foot ring.
0:22:02 > 0:22:04So how you use your turning tools
0:22:04 > 0:22:07defines the character of the pot you're throwing.
0:22:07 > 0:22:09God, I sound like a potter. Shoot me now.
0:22:11 > 0:22:14But it's not a process that should be rushed.
0:22:14 > 0:22:16I've given myself 30 minutes to get them done,
0:22:16 > 0:22:1730 minutes to get them done
0:22:17 > 0:22:21and then 30 minutes to kind of make them a little bit more jazzy.
0:22:21 > 0:22:23Spend too little time trimming a pot...
0:22:23 > 0:22:25Woohoo, come back.
0:22:25 > 0:22:28..and the edges and bottoms could remain dirty.
0:22:28 > 0:22:32Keith is right to ask for a good bottom.
0:22:32 > 0:22:35But over trimming can lead to much worse.
0:22:35 > 0:22:36You've got to be really careful.
0:22:36 > 0:22:409Many times I've put holes in the bottom of my pots
0:22:40 > 0:22:42cos I've turned them too much.
0:22:42 > 0:22:46And there's only one way to avoid a hole in your bottom.
0:22:50 > 0:22:53You can really hear it, it's like a real hollow sound. You can sense
0:22:53 > 0:22:55it's just really thin. So I'm actually not going to touch that cos
0:22:55 > 0:22:57if I do, it'll just go through.
0:22:57 > 0:22:59Can you feel it thinner here and thicker here? What are you hearing?
0:22:59 > 0:23:03It's definitely thicker here, you can hear the echo.
0:23:04 > 0:23:05There it goes.
0:23:05 > 0:23:10Judging the thickness of the clay is crucial, as most of
0:23:10 > 0:23:14the potters are turning a foot into the bases of their sake sets.
0:23:14 > 0:23:16Thankfully, there isn't a lot to do with mine.
0:23:16 > 0:23:18And whilst James is being cautious...
0:23:18 > 0:23:22So, I've gone from that, to that, just taken that edge off.
0:23:22 > 0:23:24That's all I really want to do.
0:23:24 > 0:23:27..Nam is going a bit further than a few feet.
0:23:27 > 0:23:30I'm turning the bottoms and then I'll give them a three foot...
0:23:30 > 0:23:34- Oh, OK.- Trying to stay honest to the form and not change too much
0:23:34 > 0:23:37but also giving it a bit of characteristics.
0:23:37 > 0:23:38Any word of advice would be nice.
0:23:38 > 0:23:41- No, I'm kidding. I know you can't. - Well... Yeah, conflict of interest,
0:23:41 > 0:23:44you see. I can't really give you too much advice.
0:23:49 > 0:23:51Those spaces are incredibly thin, aren't they?
0:23:51 > 0:23:55Yeah. But I really wanted them to, just so it has that weight factor.
0:23:55 > 0:23:57'As well as their 12 cups,
0:23:57 > 0:23:59'the potters need to leave enough time to turn and trim
0:23:59 > 0:24:01'both their bottles.'
0:24:01 > 0:24:02A tale of two bottles.
0:24:03 > 0:24:05Yeah, quickly becoming.
0:24:05 > 0:24:07The tall, slim brother
0:24:07 > 0:24:10- and the stout other one. - Beefy, rugby player type.
0:24:10 > 0:24:13- I wonder where the inspiration came for that one.- Mmm...
0:24:13 > 0:24:18This is my masculine set and this is my feminine set.
0:24:18 > 0:24:21This is more me and this is just me kind of playing it safe
0:24:21 > 0:24:25and just trying to get a functional sake set,
0:24:25 > 0:24:27instead of going crazy on it.
0:24:27 > 0:24:30SHE WOLF WHISTLES Occasionally, I'm forced
0:24:30 > 0:24:33to wolf-whistle a pot. That is beautiful.
0:24:33 > 0:24:38- It's not often you can say, "I like that."- Yeah.- But I do like that one.
0:24:38 > 0:24:40- You'll never forget that pot.- No.
0:24:40 > 0:24:42It's one of those pots where you think, "I'll always have that pot."
0:24:42 > 0:24:45HE CHUCKLES 'While Richard added a few extras
0:24:45 > 0:24:47'at the throwing stage,
0:24:47 > 0:24:50'Elaine's using the turning stage to start decorating.'
0:24:50 > 0:24:52I'm just putting slip on.
0:24:52 > 0:24:54It's just made out of clay and water.
0:24:54 > 0:24:57It's a clean line, but I love the dot
0:24:57 > 0:25:00at either end just to finish it off.
0:25:00 > 0:25:01Such a lovely atmosphere in here,
0:25:01 > 0:25:04it's a shame to give a time call in case it stresses you out,
0:25:04 > 0:25:05but there's 15 minutes left.
0:25:05 > 0:25:07HE GASPS
0:25:07 > 0:25:09- That has slightly stressed me out! - HE LAUGHS
0:25:09 > 0:25:11That was very dramatic, Nam!
0:25:14 > 0:25:17- Are you happy? - They do look like the bottle kilns.
0:25:17 > 0:25:19- That's a little wide at the top, isn't it?- It is.
0:25:19 > 0:25:22- I didn't leave enough time to get the walls up high enough.- Mmm.
0:25:27 > 0:25:29Still quite heavy, actually.
0:25:29 > 0:25:31SHE SIGHS
0:25:32 > 0:25:35I'm trying to get spontaneity.
0:25:35 > 0:25:37It's not happening. My hands are shaking so much.
0:25:54 > 0:25:56Time's up. Well done, ladies and gentlemen.
0:25:56 > 0:25:58Excellent work.
0:25:58 > 0:26:00The first part of your Main Make is over,
0:26:00 > 0:26:03so now you can go home for a few days, possibly...yeah,
0:26:03 > 0:26:04go and lie in a darkened room,
0:26:04 > 0:26:07but we will see you back here quite soon.
0:26:10 > 0:26:14It takes 48 hours to dry the sake sets completely.
0:26:15 > 0:26:19Only then can Rich take them for their first firing.
0:26:19 > 0:26:22So these sake sets are now ready to go into the electric kiln for their
0:26:22 > 0:26:24bisque firing, so when they apply the glaze,
0:26:24 > 0:26:27and the water's absorbed by the body of the piece,
0:26:27 > 0:26:29it won't turn back to raw clay.
0:26:29 > 0:26:33It's fixed, it's ceramic, it's a solid object.
0:26:33 > 0:26:35The bisque firing takes another 24 hours.
0:26:36 > 0:26:38So when the potters return,
0:26:38 > 0:26:40while their sake sets are cooling in the kiln,
0:26:40 > 0:26:44Japanese Week continues with a Spot Test from hell.
0:26:44 > 0:26:46Good morning, potters.
0:26:46 > 0:26:49Now, your sake sets have been fired, they are ready to be decorated,
0:26:49 > 0:26:53but first I think there's time a little Spot Test.
0:26:53 > 0:26:56Kate and Keith would like you to pierce and cut
0:26:56 > 0:27:00a design of your choice into a leather-hard Japanese lantern.
0:27:00 > 0:27:03This is also known as devil's work.
0:27:03 > 0:27:07You've got 50 minutes to cut and pierce your Japanese lanterns.
0:27:07 > 0:27:09Let the devil's work begin.
0:27:11 > 0:27:15Devil's work is a highly skilled craft first pioneered in Asia
0:27:15 > 0:27:19by the Chinese Ming dynasty in the 14th century.
0:27:19 > 0:27:23It's a decorative technique where holes are pierced in unfired clay.
0:27:23 > 0:27:26I poke holes in clay all the time but not intentionally.
0:27:26 > 0:27:28It's usually cos I'm clumsy.
0:27:28 > 0:27:31I haven't quite worked out what I'm going to do yet
0:27:31 > 0:27:32but we'll get there.
0:27:32 > 0:27:37It's sort of suiting my like of precision.
0:27:37 > 0:27:40My main problem, I think, is my hands are shaking.
0:27:41 > 0:27:44With just 50 minutes to carve their lanterns,
0:27:44 > 0:27:46the potters need to work quickly.
0:27:46 > 0:27:49Oh, my God, is he doing it already?
0:27:49 > 0:27:51But they also need to work efficiently,
0:27:51 > 0:27:52demonstrating knife skills,
0:27:52 > 0:27:55a fluidity of design and a lightness of touch.
0:27:55 > 0:27:58I'm just using a knife at the moment.
0:27:58 > 0:28:00It's not actually that sharp, which is a bit annoying,
0:28:00 > 0:28:02cos it's actually harder to push through the clay.
0:28:02 > 0:28:04Normally people have days doing this stuff.
0:28:04 > 0:28:05We've got a few minutes.
0:28:05 > 0:28:07I haven't got any sort of plan at all.
0:28:07 > 0:28:08I don't have time for a plan.
0:28:08 > 0:28:10I'm more conscious of it being quite a functional thing,
0:28:10 > 0:28:13so I am going to try and cut away the majority of it.
0:28:13 > 0:28:16It's a lantern. It has to be fit for purpose.
0:28:16 > 0:28:19They've got to understand how the light will shine through that.
0:28:19 > 0:28:22Well, there is the practical thing about if you have a huge open block,
0:28:22 > 0:28:24you're going to see right through to the light, aren't you?
0:28:24 > 0:28:29- Yeah.- We actually really want to see differences in scale of holes.
0:28:29 > 0:28:34My design's inspired by Minami in Japan, where, in the summer,
0:28:34 > 0:28:36they have fireworks.
0:28:36 > 0:28:39These are just the sort of patterns that I doodle when I'm bored.
0:28:39 > 0:28:41That's how I came up with it.
0:28:41 > 0:28:44There is no plan. I have to make it up as I go along.
0:28:44 > 0:28:48With devil's work, one false pierce, one false cut,
0:28:48 > 0:28:50you can't really go back on that.
0:28:50 > 0:28:52You've got to be very careful.
0:28:52 > 0:28:55My goodness! I tell you, it's frightening.
0:28:55 > 0:28:58Here we are in the oasis of calm that is Richard's world.
0:28:58 > 0:29:01Well, I wouldn't say it was that calm at the moment.
0:29:01 > 0:29:02Oh, gosh, really? That's not like you.
0:29:02 > 0:29:05- I know.- Ooh, yours is like a castle version,
0:29:05 > 0:29:08mine's like a church version. Ha-ha!
0:29:08 > 0:29:12Oh, my God. What are people doing? They're so good, aren't they?
0:29:12 > 0:29:15Potters, you're halfway through your time. 25 minutes left.
0:29:15 > 0:29:17Ah, I need to hurry up.
0:29:17 > 0:29:19Do not panic.
0:29:19 > 0:29:21Could've been neater. Kind of hacked away at it, really.
0:29:21 > 0:29:24I think I've possibly give myself a little bit too much to do in
0:29:24 > 0:29:26- the time available. - There's a lot of solid there.
0:29:26 > 0:29:28There's quite a bit, isn't there?
0:29:28 > 0:29:31I think I might need to be amending my design.
0:29:31 > 0:29:33Some of my lines are not even going to be cut out.
0:29:33 > 0:29:35And I like that. It's meant to be a lantern, right?
0:29:35 > 0:29:39So let's create some flames here and there.
0:29:39 > 0:29:41No!
0:29:41 > 0:29:43I just realised there's an actual scalpel.
0:29:45 > 0:29:47- Oops.- This is your one-minute call.
0:29:47 > 0:29:49- One-minute call, potters.- Oh...
0:29:49 > 0:29:53Potters, you've got one minute left of this Spot Test.
0:29:53 > 0:29:54- Why? - JAMES LAUGHS
0:29:54 > 0:29:57- Why?- I thought we were friends, Sarah!
0:29:57 > 0:29:59- I thought we were friends. - I know, I'm so sorry.
0:29:59 > 0:30:02I've just realised why mine's so messy in comparison to everybody
0:30:02 > 0:30:04else's is that I've only just realised there is actually
0:30:04 > 0:30:07a real sharp knife here and I've just been using a nice blunt knife,
0:30:07 > 0:30:09so everything's pushed rather than actually cut.
0:30:09 > 0:30:11- HE LAUGHS - Literally one minute to go,
0:30:11 > 0:30:14I've just found there's an extra scalpel there.
0:30:14 > 0:30:16So, yeah. Bit of a shame.
0:30:16 > 0:30:18No, I've cut too much.
0:30:18 > 0:30:20It's not very beautiful, is it?
0:30:20 > 0:30:22Let's just put some holes in it.
0:30:22 > 0:30:24That'll do. They'll come out fast.
0:30:24 > 0:30:29- Ten, nine...- One more door, one more door!- ..eight, seven, six,
0:30:29 > 0:30:32five, four, three,
0:30:32 > 0:30:36two, one - potters, tools down, please.
0:30:36 > 0:30:37Step back from your lanterns.
0:30:37 > 0:30:38Tools down.
0:30:42 > 0:30:45- It's like a gazebo that's about to collapse.- Well done, potters,
0:30:45 > 0:30:48please bring your lanterns to the front of the room for judging.
0:30:48 > 0:30:52'Kate and Keith will be looking for lanterns with intricate
0:30:52 > 0:30:53'and well-planned designs,
0:30:53 > 0:30:56'perfect knife skills and a solid structure.'
0:30:56 > 0:31:00Here you go then, eight lovely Japanese lanterns for your delight.
0:31:00 > 0:31:02- Happy judging. KATE:- I like this.
0:31:02 > 0:31:05I think this is really nicely cut.
0:31:05 > 0:31:06It's very clean, isn't it?
0:31:06 > 0:31:09- KEITH:- Nice use of the knife.
0:31:09 > 0:31:13I should think these three carved panels would be quite stunning
0:31:13 > 0:31:15on a dark night, with the light shining out.
0:31:15 > 0:31:17But there is quite a lot of surface area here
0:31:17 > 0:31:19that's really not been used.
0:31:21 > 0:31:24Were you using your fingernails to cut it out?
0:31:24 > 0:31:26It's so annoying cos it's such a great design.
0:31:26 > 0:31:28You know those knives you get in the airport,
0:31:28 > 0:31:31- it looks like it was done with one of those.- A plastic knife.
0:31:31 > 0:31:32There's nothing left.
0:31:32 > 0:31:35It is the devil's work but, also, these have a job to do.
0:31:35 > 0:31:37They're lanterns.
0:31:37 > 0:31:39Yeah, obviously they've run out of time.
0:31:39 > 0:31:43Or maybe they've made it kind of a feature of sort of just peeling away
0:31:43 > 0:31:46- the leaves.- The lines of light would actually be very nice.
0:31:46 > 0:31:49You think it's been left behind by accident?
0:31:49 > 0:31:51Er...kind of.
0:31:51 > 0:31:53That's really, really nice.
0:31:53 > 0:31:57And there's a lovely sense of the design just carrying through.
0:31:57 > 0:32:00They made a decision and they executed it very well.
0:32:00 > 0:32:02Really good knife work.
0:32:02 > 0:32:04So this is like firework night.
0:32:04 > 0:32:07It's got a lovely sense of design all the way round.
0:32:07 > 0:32:11Yeah. It's just a bit disjointed in surface pattern for me.
0:32:11 > 0:32:12It's really, really lovely.
0:32:12 > 0:32:17They're showing a nice flowing form coming up from the base of the pot
0:32:17 > 0:32:19- up to the rim.- There's strength running up through it.
0:32:20 > 0:32:23The judges must now decide which potter has shown
0:32:23 > 0:32:25the best devil's work.
0:32:25 > 0:32:28In eighth place is this.
0:32:28 > 0:32:30I could put my arm through it, couldn't I?
0:32:30 > 0:32:32It's just too much taken away.
0:32:32 > 0:32:34In seventh place, this one.
0:32:35 > 0:32:38We just didn't think the design was great
0:32:38 > 0:32:41and we didn't know if this would actually work.
0:32:41 > 0:32:42Richard is sixth,
0:32:42 > 0:32:44Ryan carves out fifth place
0:32:44 > 0:32:46and Freya is fourth.
0:32:46 > 0:32:49Third place is this one.
0:32:49 > 0:32:51Whose is that?
0:32:51 > 0:32:52Nice, Clover.
0:32:52 > 0:32:55We like the joyfulness of it and a nice execution with the knife.
0:32:55 > 0:32:57And in second place today...
0:32:59 > 0:33:01..this one here. Well done, Elaine.
0:33:01 > 0:33:05Really nice scale of holes
0:33:05 > 0:33:07and beautifully executed.
0:33:07 > 0:33:10So the winner of the Spot Test is James.
0:33:10 > 0:33:13Well done, James. Beautifully finished, beautifully executed,
0:33:13 > 0:33:15- great design.- Thank you.
0:33:15 > 0:33:18Won the Spot Test, which was a bit of a surprise.
0:33:18 > 0:33:20I'm trying to be humble with it, you know. Yes, I've had a win,
0:33:20 > 0:33:22but I've got to look forward now to the next step.
0:33:22 > 0:33:25I think I'll get a bit of stick for that one, just not having a look
0:33:25 > 0:33:26and seeing what my tools were before I started.
0:33:26 > 0:33:29I was quite lucky to still come fifth, so I was quite happy
0:33:29 > 0:33:30with that, really.
0:33:30 > 0:33:35It was a little bit overly light for a lantern, but it stayed up,
0:33:35 > 0:33:36which was good.
0:33:41 > 0:33:43Moment of truth.
0:33:43 > 0:33:45The sake sets have been bisque-fired
0:33:45 > 0:33:46and it is Rich's job to get them
0:33:46 > 0:33:50back to the studio, ready for decorating -
0:33:50 > 0:33:52the crucial stage that could decide
0:33:52 > 0:33:54the potters' future in the competition.
0:33:54 > 0:33:57So whose sake set are you most excited about seeing?
0:33:57 > 0:33:58I can't wait to see Clover's.
0:33:58 > 0:34:01I just think her design is glorious.
0:34:01 > 0:34:04It even brings in the costume that the archers wear in Japan.
0:34:04 > 0:34:06Richard's done a lovely spout on his.
0:34:06 > 0:34:10He's the only one that's really done a kind of appendage to his bottles.
0:34:10 > 0:34:12Nam, his set is so exquisite.
0:34:12 > 0:34:14Those three little feet underneath.
0:34:14 > 0:34:16And I'm really looking forward to seeing Elaine's.
0:34:16 > 0:34:19We know she lacks confidence when she's decorating.
0:34:19 > 0:34:21This might be the right challenge for her
0:34:21 > 0:34:23because when you put things in a raku kiln
0:34:23 > 0:34:25you can get some wonderful results.
0:34:26 > 0:34:29Who are you worried about, who could we be bidding farewell to?
0:34:29 > 0:34:31I'm a bit worried about James.
0:34:31 > 0:34:33I think his original idea was slightly diluted.
0:34:33 > 0:34:37He hasn't focused from his drawing through to making.
0:34:37 > 0:34:38Cait could be in trouble.
0:34:38 > 0:34:41Her lovely idea of the bottle kiln, she threw them a little short
0:34:41 > 0:34:44- and they're a bit stumpy.- We could be bidding farewell to Ryan.
0:34:44 > 0:34:47SHE GASPS A million girls' hearts break.
0:34:47 > 0:34:49- How could you?- I know. Shock horror.
0:34:49 > 0:34:51I loved his concept
0:34:51 > 0:34:54but we're all worried about the thinness in his bases of his cups.
0:34:54 > 0:34:57But he loves his grandma and she's got a rescue pony.
0:34:57 > 0:34:58You can't chuck him out.
0:34:58 > 0:35:00Oh, no, well, that's all right, then.
0:35:04 > 0:35:07The potters now have just two hours to decorate.
0:35:08 > 0:35:11But first they need to choose which of their two sake sets
0:35:11 > 0:35:13they're going to finish.
0:35:13 > 0:35:15Have they all come out in one piece?
0:35:15 > 0:35:16Yeah, I was just hoping I've got six.
0:35:16 > 0:35:21SHE LAUGHS And whilst it's a difficult decision for some,
0:35:21 > 0:35:23for others, it's pretty straightforward.
0:35:23 > 0:35:25That one's in two halves.
0:35:25 > 0:35:27I knew when I was turning it that I messed it up.
0:35:27 > 0:35:32So, my only option is this one.
0:35:32 > 0:35:34- I love that little fella. - I'm paying homage to him before
0:35:34 > 0:35:37- he gets thrown in the bin. - Look.- Poor little thing.
0:35:37 > 0:35:38HE CHUCKLES
0:35:40 > 0:35:42So was that an easy enough choice to make?
0:35:42 > 0:35:43- Yeah, very easy.- Yeah?
0:35:43 > 0:35:46- Why?- Cos I just have one.
0:35:46 > 0:35:48Er, you can't go nicking other ones that you like the look of.
0:35:48 > 0:35:50Oh, that looks a bit better!
0:35:50 > 0:35:52- Take this one.- Ooh, Clover's.
0:35:52 > 0:35:55I'll have your set. That looks better.
0:35:55 > 0:36:00They wear a particular type of clothing when they practise kyudo,
0:36:00 > 0:36:03so I'm just trying to replicate the dressing.
0:36:03 > 0:36:05I just drew a line with pencil.
0:36:05 > 0:36:08That will define which area I want glazed on
0:36:08 > 0:36:10and which one I will leave black.
0:36:10 > 0:36:13The decoration is going to be really simple,
0:36:13 > 0:36:14just like me, as normal,
0:36:14 > 0:36:17and then this will go black in the raku firing.
0:36:18 > 0:36:20Or so it says in the book.
0:36:22 > 0:36:25There's a number of options that they have for decorating.
0:36:25 > 0:36:27- Let's just take masking.- Yeah.
0:36:27 > 0:36:30They can use wax resist to stop the glaze attaching to the body
0:36:30 > 0:36:32in certain areas. With this piece,
0:36:32 > 0:36:35there's a decision to leave no glaze on here.
0:36:35 > 0:36:39And here, they have the daisy pattern that's done with torn pieces
0:36:39 > 0:36:41of newspaper and it's a barrier against the other colour.
0:36:41 > 0:36:43When it's unglazed,
0:36:43 > 0:36:45we're going to get this amazing black and where it it's glazed
0:36:45 > 0:36:47we're getting crackle and colour and shine.
0:36:47 > 0:36:50This one here is a perfect example.
0:36:50 > 0:36:52They've really attacked it with oxides,
0:36:52 > 0:36:54a raku glaze, to get that crackling,
0:36:54 > 0:36:56and it really is a pot that's just been fluxed,
0:36:56 > 0:36:59melted in the raku kiln.
0:36:59 > 0:37:03So, the word "raku" means happiness or enjoyment.
0:37:03 > 0:37:06Yeah. And when I see these pots coming out of the raku process,
0:37:06 > 0:37:08I want to be happy.
0:37:11 > 0:37:14After some dodgy throwing and a poor Spot Test...
0:37:17 > 0:37:21..Ryan's now totally reliant on a simple masking approach.
0:37:21 > 0:37:22Where I take the masking tape off,
0:37:22 > 0:37:25it'll carbonate with the combustion and then be black.
0:37:25 > 0:37:28It's going to be a contrast, black and white stripes
0:37:28 > 0:37:30and then I'm going to choose to keep the foot black,
0:37:30 > 0:37:32so they almost look like they're elevated off the ground.
0:37:34 > 0:37:36My sets are going to be black and white,
0:37:36 > 0:37:38- so it's positive and negative. - For his monochrome design,
0:37:38 > 0:37:42Richard's masking the areas he wants to remain black by painting them
0:37:42 > 0:37:45- with wax. - The top of this will be black,
0:37:45 > 0:37:47the rest will be a white crackle,
0:37:47 > 0:37:50along with the majority of these will be white crackle.
0:37:52 > 0:37:56Simple can give you some wonderful results.
0:37:56 > 0:37:59Whilst her black and white design is also simple...
0:37:59 > 0:38:00What's Cait doing?
0:38:00 > 0:38:04..Cait's use of wax is heading in a more complicated direction.
0:38:04 > 0:38:06Continuing with the bottle kiln,
0:38:06 > 0:38:12I'm going to wax-resist away some bars to look a bit like
0:38:12 > 0:38:15the iron strapping that goes around the bottle kilns.
0:38:15 > 0:38:16Oh, yes, of course, yeah.
0:38:16 > 0:38:18And then I'm putting in some copper wiring, as well.
0:38:18 > 0:38:21You're actually going to put the copper wiring on and place that
0:38:21 > 0:38:24- in the kiln?- Yeah, and then see what results come out.
0:38:24 > 0:38:25Wow. OK.
0:38:25 > 0:38:30But waxing and masking to produce a black and white sake set
0:38:30 > 0:38:32doesn't suit everyone.
0:38:32 > 0:38:35I've got, like, a rough sketch that I'm sort of going off.
0:38:35 > 0:38:38Turquoise and the red are sort of the traditional colours
0:38:38 > 0:38:41of Japanese tattoos. Little sort of scales,
0:38:41 > 0:38:43and I'm doing sort of tails to fish,
0:38:43 > 0:38:46so it's sort of quite expressive strokes.
0:38:46 > 0:38:48There's a lot of "sort ofs" here.
0:38:48 > 0:38:49- Yeah.- I want precision.
0:38:49 > 0:38:52- Yeah. Fingers crossed.- I'm not sure about all those uneven tops there,
0:38:52 > 0:38:55but it's too late now, you've got to pull it together with the design.
0:38:55 > 0:38:57Will do.
0:38:57 > 0:39:00I've got my copper oxide, copper-cobalt oxide.
0:39:00 > 0:39:02To be honest, I've never done this experiment,
0:39:02 > 0:39:05but knowing what's in here, I should kind of predict the outcome.
0:39:06 > 0:39:09Nam's black-looking copper and cobalt oxides should produce
0:39:09 > 0:39:13metallic reds and blues in the heat of the kiln.
0:39:13 > 0:39:14Putting a bit of splatter effect,
0:39:14 > 0:39:17knowing that it is a random effect and I can't control it.
0:39:17 > 0:39:20What happens if I add random effects on everything?
0:39:20 > 0:39:23Would that make it a whole set, because of the randomness?
0:39:23 > 0:39:26Or am I just being too random?
0:39:26 > 0:39:30- I don't know.- After being forced to abandon her curved sake bottle,
0:39:30 > 0:39:34Freya's hoping to use colour to lift the set she's been left with.
0:39:34 > 0:39:37- What are you going to do?- Maybe I can get away with being a bit more
0:39:37 > 0:39:39adventurous with the glazing.
0:39:39 > 0:39:40I might do something in the middle there.
0:39:40 > 0:39:44Put some copper oxide somewhere in between and some bright colour
0:39:44 > 0:39:46and then it'll all kind of filter into the darker carbon
0:39:46 > 0:39:49that I'm going to leave this raw at the bottom.
0:39:49 > 0:39:52And then I'm going to keep working on it and just add bits and bits.
0:39:52 > 0:39:54So you've got a clear design concept, haven't you?
0:39:54 > 0:39:55Sort of. Yeah.
0:39:55 > 0:39:56What do you mean, sort of?
0:39:59 > 0:40:03There's just 45 minutes remaining to decorate the sake sets.
0:40:03 > 0:40:07I'm using the turquoise base in the inside of my cup on the arrow.
0:40:07 > 0:40:10It does run a little bit, so when it runs,
0:40:10 > 0:40:15it will run into the centre of the cup, like this, and stop there.
0:40:15 > 0:40:18I want to put two white crackle beads that'll match the rest of
0:40:18 > 0:40:22the bit, with a red cord around the neck and just hang slightly.
0:40:22 > 0:40:25I am trying to attach copper wire.
0:40:25 > 0:40:29I'm hoping it's going to melt a bit and do some interesting stuff
0:40:29 > 0:40:30when it gets fired.
0:40:30 > 0:40:33So I've put the copper oxide on and I've just put a white glaze
0:40:33 > 0:40:35that's going to crackle. I was thinking of adding, like,
0:40:35 > 0:40:37red and blue to the palette.
0:40:40 > 0:40:44Just going to ally my wax resist with the arrow.
0:40:44 > 0:40:48So this is how the sake cup's going to drink from,
0:40:48 > 0:40:51so it's almost like pulling the arrow.
0:40:51 > 0:40:56I've decided to add just a band of red oxide in between the copper
0:40:56 > 0:40:59and the white. It'll give a punch.
0:40:59 > 0:41:01I can't paint, that's why I'm dipping them.
0:41:01 > 0:41:04What I should do is put red on my little dots, shouldn't I?
0:41:04 > 0:41:06They'd be black with little red dots on.
0:41:07 > 0:41:10Basically, what's going to happen is this is going to be black
0:41:10 > 0:41:14and then these are going to be organic cracks.
0:41:14 > 0:41:17My wax resist design is just strokes of the brush
0:41:17 > 0:41:20mirroring the flow of the shape, so that'll come out black,
0:41:20 > 0:41:23the body will be white crackle.
0:41:23 > 0:41:24That's a bit too light.
0:41:24 > 0:41:27When you look at, like, tattoo books, it's more that colour.
0:41:30 > 0:41:32That's pretty turquoise, mate.
0:41:34 > 0:41:36- Oh, that's beautiful. - Is that turquoise?
0:41:36 > 0:41:37It's a bit dark.
0:41:37 > 0:41:39You like your red.
0:41:39 > 0:41:42I love red. Don't you? Red's gorgeous.
0:41:42 > 0:41:47Oh, you need to be a, em, physicist.
0:41:47 > 0:41:48Have you done this before?
0:41:48 > 0:41:50- No.- No?
0:41:50 > 0:41:51No.
0:41:51 > 0:41:53I'll be glazing the bottom of my pot,
0:41:53 > 0:41:55which normally is a no-no in ceramics
0:41:55 > 0:41:58cos there's a very high chance that your pot may get stuck to
0:41:58 > 0:41:59the kiln shelf.
0:41:59 > 0:42:01Trying to decide whether it's done
0:42:01 > 0:42:03or whether it can be improved.
0:42:04 > 0:42:07I'd want to have a red stripey flick.
0:42:07 > 0:42:10- Erm...- Two minutes, guys. Two minutes.
0:42:10 > 0:42:12I'm really, I'm just overthinking it.
0:42:12 > 0:42:14This is the problem.
0:42:14 > 0:42:16Sometimes more isn't always good.
0:42:16 > 0:42:17Mmm.
0:42:18 > 0:42:20This is transparent glaze that will crack.
0:42:20 > 0:42:23I always overdo everything.
0:42:25 > 0:42:26What do we have?
0:42:28 > 0:42:29Adding that last little detail in.
0:42:29 > 0:42:31Just cos it adds that nice movement.
0:42:31 > 0:42:33Red iron oxide.
0:42:33 > 0:42:34It's a last-minute decision.
0:42:34 > 0:42:36I reckon it's a bit too last-minute.
0:42:36 > 0:42:39Mmm...
0:42:39 > 0:42:41It's looking fairly similar to the drawing so there is method
0:42:41 > 0:42:43to the madness, even though it does look like
0:42:43 > 0:42:45a five-year-old's been at it.
0:42:45 > 0:42:48Just leave it. Just leave it. It's fine.
0:42:48 > 0:42:49One minute left, potters.
0:42:49 > 0:42:50One minute left.
0:42:50 > 0:42:53But you've all finished. Have you all finished?
0:42:54 > 0:42:57Even Cait? CAIT LAUGHS
0:42:58 > 0:43:00Flabber and, indeed, gasted!
0:43:01 > 0:43:03I think we've finished relatively early
0:43:03 > 0:43:08because raku is too spontaneous for precise decorations.
0:43:08 > 0:43:09It's a fairly immediate process
0:43:09 > 0:43:12so we get to see the results straightaway.
0:43:12 > 0:43:15I think of it as like cooking broccoli or something.
0:43:15 > 0:43:16You don't want to overdo it.
0:43:16 > 0:43:20The only thing I'm nervous about is actually just dropping them, really.
0:43:20 > 0:43:22Totally excited about what's going to happen, but if it goes wrong,
0:43:22 > 0:43:24I will be more than disappointed.
0:43:29 > 0:43:31I think I should jump in the canal.
0:43:31 > 0:43:34# Fire, I'll take you to burn... #
0:43:37 > 0:43:41Raku is such a volatile process that Rich has had to set up the kilns
0:43:41 > 0:43:43outside the pottery walls.
0:43:43 > 0:43:47First, the potters will place their sake sets in the raku kiln,
0:43:47 > 0:43:49where the temperature will be rapidly increased
0:43:49 > 0:43:52to over 1,000 degrees centigrade,
0:43:52 > 0:43:55then transfer them to bins full of sawdust
0:43:55 > 0:43:58and their own choice of combustibles,
0:43:58 > 0:44:02and then plunge them in cold water and scrub away the carbon
0:44:02 > 0:44:06in the cleaning area to reveal their raku design.
0:44:06 > 0:44:08Oh, nerve-racking!
0:44:11 > 0:44:12Nice and cosy in there.
0:44:12 > 0:44:16'The kiln's starting temperature is 200 degrees centigrade.'
0:44:16 > 0:44:18OK, she's shutting the kiln door.
0:44:18 > 0:44:22'In a matter of minutes, it'll get five times hotter.'
0:44:22 > 0:44:23Whoopee.
0:44:23 > 0:44:27'The sheer speed of the temperature rise makes this
0:44:27 > 0:44:29'the most brutal firing in ceramics.'
0:44:29 > 0:44:30Let's do this.
0:44:30 > 0:44:34'And the huge stress the pots are under can lead to explosions.'
0:44:34 > 0:44:37- Let's close it.- Yeah.- OK, go for it.
0:44:37 > 0:44:40- Crank it up. - 'As the temperature soars,
0:44:40 > 0:44:43'the potters have to prepare metal bins full of sawdust
0:44:43 > 0:44:45'and their chosen combustibles.'
0:44:45 > 0:44:48I'm going to supplement the sawdust with beer mats.
0:44:48 > 0:44:50They are very much used beer mats.
0:44:50 > 0:44:53I've no idea how it's going to come out.
0:44:53 > 0:44:56- What is that? - Just putting some dried rose
0:44:56 > 0:44:59and lavender and the flower from my hometown.
0:44:59 > 0:45:02- What's the flower from your hometown?- Gui hua.
0:45:02 > 0:45:04- Gui hua.- Yes, very good.
0:45:04 > 0:45:05This is silver nitrate.
0:45:05 > 0:45:09It will help have more of a flaming effect on my pots.
0:45:09 > 0:45:13- And what's this?- My sister's dreads. - Has she done it specially for you?
0:45:13 > 0:45:15She's been planning to cut them for ages.
0:45:15 > 0:45:17I don't know what these are going to do so it's going to be
0:45:17 > 0:45:20a bit of guesswork. It's going to really stink, though.
0:45:20 > 0:45:22We're at 970.
0:45:22 > 0:45:24Have a quick look.
0:45:24 > 0:45:26'When to remove their sake sets from the kiln
0:45:26 > 0:45:28'is entirely up to the potters.'
0:45:28 > 0:45:30It's quite tricky to tell.
0:45:30 > 0:45:33We're at 985 degrees.
0:45:33 > 0:45:34'Remove them too soon
0:45:34 > 0:45:37'and their glazes won't have had time to react with the clay
0:45:37 > 0:45:40'or produce raku's signature crackle.'
0:45:40 > 0:45:42994 you're at.
0:45:42 > 0:45:44Oh, gosh.
0:45:44 > 0:45:48'Left too long and the glaze will simply melt and run off the pots.'
0:45:48 > 0:45:50This is your raku firing.
0:45:50 > 0:45:53You decide. It's up to 1,000 now.
0:45:54 > 0:45:56It's really hard.
0:45:56 > 0:45:59- Go for it.- I think I'm going to go for it.
0:46:01 > 0:46:03OK, nice and steady.
0:46:08 > 0:46:09- Whee-hee! Ooh.- OK, good girl.
0:46:09 > 0:46:12Nice and steady.
0:46:12 > 0:46:13Oh, it's hot.
0:46:13 > 0:46:15- Oh, it's hot, hot, hot.- That's it.
0:46:15 > 0:46:16Chuck it all in.
0:46:18 > 0:46:19'Once the lid of the bin is shut,
0:46:19 > 0:46:23'the burning combustibles starve the sake sets of oxygen in a process
0:46:23 > 0:46:25'called reduction.
0:46:25 > 0:46:27'Without oxygen, carbon is created,
0:46:27 > 0:46:31'turning the unglazed areas black and creating chaotic colours
0:46:31 > 0:46:35'and textures where the pots have been decorated.'
0:46:35 > 0:46:37They're shiny, shimmery.
0:46:37 > 0:46:39Right, I'm good to go.
0:46:39 > 0:46:41Absolutely no rush here, Richard, take your time.
0:46:45 > 0:46:46Feeling good, let's do this!
0:46:48 > 0:46:51- Yes.- Sprinkle it off. Sprinkle it on.
0:46:51 > 0:46:53That's it.
0:46:53 > 0:46:56I'm going to put it in. I totally know what I'm doing.
0:47:00 > 0:47:04'Elaine has raided the family banana business for her combustibles.'
0:47:04 > 0:47:07- It's good. - Sprinkle your banana skins on top.
0:47:07 > 0:47:09- See what happens. Put them on the big one.- Yes.
0:47:11 > 0:47:121,010.
0:47:12 > 0:47:14- 1,010.- 11.
0:47:14 > 0:47:1612.
0:47:16 > 0:47:19Yeah, kill the gas. It's like the Krypton Factor.
0:47:19 > 0:47:22'James and Ryan are the only two potters
0:47:22 > 0:47:24'not relying solely on reduction.'
0:47:24 > 0:47:26- Ooh!- I'm actually going to use my beakers out here.
0:47:26 > 0:47:28I'm actually going to put them in the bin.
0:47:28 > 0:47:29So they're not going to be reduced
0:47:29 > 0:47:31and they will still go black cos they're still going to burn,
0:47:31 > 0:47:34because I want to control the carbon a little bit if I can.
0:47:34 > 0:47:36My secret weapon. Beard hair.
0:47:36 > 0:47:38Nice. What are you going to do? Are you going to sprinkle that?
0:47:38 > 0:47:40Yeah, I'm going to kind of throw it.
0:47:40 > 0:47:41Like a bit of seasoning.
0:47:41 > 0:47:43Yeah. Please work!
0:47:44 > 0:47:48Oh, it's caught on it. Beard flying off there into the canal.
0:47:50 > 0:47:53Ryan's hair is a little longer.
0:47:53 > 0:47:55So this has come from Misty the little rescue pony.
0:47:55 > 0:47:57Yes, Misty's tail.
0:47:57 > 0:47:58So she's very generous.
0:47:58 > 0:48:02What I've done is just cut the horse hair down so I can sort of swirl in
0:48:02 > 0:48:04the pot a little bit and create some, sort of, lines.
0:48:04 > 0:48:06That's the idea.
0:48:06 > 0:48:08THEY LAUGH
0:48:10 > 0:48:11They're looking OK-ish.
0:48:11 > 0:48:15As you see, the flames accentuates the copper
0:48:15 > 0:48:17and that formulates in a rainbow effect.
0:48:23 > 0:48:24Hello, big boy!
0:48:36 > 0:48:40Right, I don't want to drop this.
0:48:40 > 0:48:42Wow! Handled like a pro.
0:48:44 > 0:48:46At the moment, they're covered in carbon.
0:48:46 > 0:48:47So I need to clean it up first.
0:48:47 > 0:48:51'The potters will have no idea how the raku firing has transformed
0:48:51 > 0:48:54'their glazes until they scrub away the carbon.'
0:48:54 > 0:48:55They've come out all right.
0:48:55 > 0:48:56I think they're in one piece.
0:48:56 > 0:48:58That inside's so lovely.
0:48:58 > 0:49:01I'm not sure the banana peel did anything.
0:49:01 > 0:49:04The copper has kind of fused with the glaze here.
0:49:04 > 0:49:06That's quite cool.
0:49:06 > 0:49:07I am fairly happy.
0:49:07 > 0:49:10It's something that I would really love to put in my own house.
0:49:10 > 0:49:12Ryan, what about your delicate bottoms?
0:49:12 > 0:49:14- HE LAUGHS - Yeah, they're all right.
0:49:14 > 0:49:16They stayed put, which is good.
0:49:16 > 0:49:18- You can see all the horse hair. - Oh, it's gorgeous.
0:49:18 > 0:49:20It just sort of stays, really.
0:49:20 > 0:49:22I'm pleasantly surprised, I think.
0:49:24 > 0:49:25Where's the beard marks?
0:49:25 > 0:49:28Ah, there's a few. This one's got a bunch at the bottom.
0:49:28 > 0:49:31Very nice. It's great.
0:49:31 > 0:49:33Raku did the magic and the arrow does show.
0:49:33 > 0:49:36But whether this is up to the standard,
0:49:36 > 0:49:39among these talented potters, I really don't know.
0:49:45 > 0:49:49I quite like how the copper wires worked with the glaze.
0:49:49 > 0:49:53The glaze has sort of melted over it and it's held it in place.
0:49:53 > 0:49:56There are times when you make a pot and you look at it, and you say,
0:49:56 > 0:50:00"Yeah, that's me." I think I've done that with the raku bottle.
0:50:00 > 0:50:03My piece has come out pretty much as what I expected it to do.
0:50:03 > 0:50:07But then I look at other people's pieces - a lot more interesting!
0:50:07 > 0:50:09A lot of people have stuck with that white crackle.
0:50:09 > 0:50:11I mean, there's a totally different style within those glazes,
0:50:11 > 0:50:16but mine is like a totally different style AND a totally different glaze.
0:50:16 > 0:50:18So, yeah, I can't say I've played it safe.
0:50:18 > 0:50:21I think the Spot Test for me was a bit of a failure.
0:50:21 > 0:50:23Hopefully the sake set's pulled that back.
0:50:23 > 0:50:26If the middle's there, I'll be like here.
0:50:36 > 0:50:37Elaine, if you'd like to come up,
0:50:37 > 0:50:39please, bring your sake set to the front for judging.
0:50:54 > 0:50:56I love the way the design carries across the whole set,
0:50:56 > 0:50:58from the bottle to the cups.
0:50:58 > 0:51:00This red here is fantastic.
0:51:00 > 0:51:02Maybe you could have done that on the whole thing
0:51:02 > 0:51:04because there is quite a lot of black there.
0:51:04 > 0:51:05I think the turning is good.
0:51:05 > 0:51:10It is surprising how this beautifully-bellied bottle
0:51:10 > 0:51:11seems to hold so much.
0:51:21 > 0:51:24I think the set hangs together very well.
0:51:24 > 0:51:26The cups are fairly identical.
0:51:26 > 0:51:28This one's slightly larger.
0:51:28 > 0:51:31I'm loving this little reaction here at the rim.
0:51:31 > 0:51:34But this is looking fairly bland here.
0:51:34 > 0:51:37I really like this little tiny bit of resist here.
0:51:37 > 0:51:39And I think it is really masculine.
0:51:39 > 0:51:42There's a toughness about it which I haven't seen you do.
0:51:42 > 0:51:44There's a bit of dripping coming back around the rim.
0:51:44 > 0:51:46- Just a bit heavy.- Mmm.
0:51:57 > 0:52:00- This copper wiring that you've put round here, it is beautiful.- Mmm.
0:52:00 > 0:52:02But it is very, very subtle.
0:52:02 > 0:52:04It's a shame there isn't more of a reaction.
0:52:04 > 0:52:06I also think the brick ovens, if you look at them,
0:52:06 > 0:52:08there's a height that was missed.
0:52:08 > 0:52:12That bottle kiln could have come up just to accentuate
0:52:12 > 0:52:15- that lovely bottle shape.- But if I went into a top Japanese restaurant
0:52:15 > 0:52:19and they served me sake from this, I'd think it was pretty cool.
0:52:28 > 0:52:34I really love the way the raku is really shown to a very high degree.
0:52:34 > 0:52:37It just looks like true alchemy and it's fantastic to hold.
0:52:37 > 0:52:41- KEITH CHUCKLES - Yeah.- It's brilliant.
0:52:41 > 0:52:43You've done a fantastic job.
0:52:43 > 0:52:44And I'm really liking this base.
0:52:44 > 0:52:48You've got a really competent control over the turning.
0:52:49 > 0:52:51It's pouring nicely.
0:52:52 > 0:52:54And it's really nice on the lips.
0:53:03 > 0:53:05It looks just slightly under-fired.
0:53:05 > 0:53:08I think you've probably taken it out a bit too early.
0:53:08 > 0:53:12The glaze hasn't quite melted to its optimum condition.
0:53:12 > 0:53:16They're sort of flat at the top and they're sort of round at the top.
0:53:16 > 0:53:19I think it could've been executed a lot better.
0:53:19 > 0:53:21Obviously, there's a slight drip.
0:53:21 > 0:53:22I'm not filling them to the top
0:53:22 > 0:53:24because you wouldn't have that much sake.
0:53:27 > 0:53:28It's not brilliant to drink from.
0:53:28 > 0:53:29No.
0:53:37 > 0:53:42I have to say, it's a very definite, constructed design.
0:53:42 > 0:53:44It's absolutely brilliant.
0:53:44 > 0:53:48You've taken the essence of raku, you can see the control in there.
0:53:48 > 0:53:51This... This is fantastic.
0:53:51 > 0:53:52It's fantastic!
0:53:54 > 0:53:56The inside, you can see the horse hair,
0:53:56 > 0:53:58you can see you tickling the horse hair.
0:53:58 > 0:54:01I think there's so much movement and so much geometry
0:54:01 > 0:54:04and I think that's really, really well done.
0:54:11 > 0:54:13One thing I do love is this.
0:54:13 > 0:54:17This is fantastic. This has been applied to this bottle
0:54:17 > 0:54:19but it looks like it's grown out of it.
0:54:19 > 0:54:22It's kind of got this throat, hasn't it?
0:54:22 > 0:54:25And it bends back and it's in sympathy, actually,
0:54:25 > 0:54:26with your design.
0:54:26 > 0:54:28- It's a lovely pourer, lovely. - Thank you.
0:54:28 > 0:54:30Feels great.
0:54:30 > 0:54:33Uh-oh. We're missing a bit.
0:54:33 > 0:54:34Cups could've been smaller.
0:54:34 > 0:54:35The spout could've been higher.
0:54:35 > 0:54:40More volume in your jug and less volume in your cups.
0:54:40 > 0:54:45TRANSLATION:
0:54:49 > 0:54:52For me, the cups, they're a bit on the shallow side.
0:54:52 > 0:54:55It would've been nice to see a bit more depth.
0:54:55 > 0:54:57It's very striking that you've got this arrow.
0:54:57 > 0:54:59It's been wonderfully executed.
0:54:59 > 0:55:01And then you've got this fabulous rainbow here,
0:55:01 > 0:55:03going through all sorts of colours, actually.
0:55:03 > 0:55:05You have turned under the bottle
0:55:05 > 0:55:06but there could've been more weight taken away.
0:55:06 > 0:55:08You could've been more concise and I feel that was
0:55:08 > 0:55:10a slight waste of time.
0:55:15 > 0:55:17While the potters take a well-earned break,
0:55:17 > 0:55:21the judges have two difficult decisions to make.
0:55:21 > 0:55:22Let's start off with the good stuff.
0:55:22 > 0:55:24Potter Of The Week, who's in the running?
0:55:24 > 0:55:25For me, Nam is up there.
0:55:25 > 0:55:29The reaction he got with his glazes, the shapes, everything,
0:55:29 > 0:55:32it just all came together in that volcanic way that raku does.
0:55:32 > 0:55:35High in the running really for me, as well, is Freya.
0:55:35 > 0:55:40She's made a really elemental, complex and finely-thrown piece.
0:55:40 > 0:55:41And let's not forget Ryan.
0:55:41 > 0:55:43The delicacy of those cups that he's done.
0:55:43 > 0:55:46I think his experience meant that he treated them very gently.
0:55:46 > 0:55:48And sadly, someone's got to leave us.
0:55:48 > 0:55:50- Have you made up your minds? - Well, it's tight, isn't it?
0:55:50 > 0:55:52- It's hard.- It really is hard.
0:55:52 > 0:55:56Cait, if she'd only just thrown it slightly thinner.
0:55:56 > 0:55:59One minute more, another few centimetres up here,
0:55:59 > 0:56:01it would have been a contender.
0:56:01 > 0:56:05For me, James hasn't really used the true essence of raku.
0:56:05 > 0:56:07He's used no oxides whatsoever.
0:56:07 > 0:56:10I heard, "Sort of, sort of, sort of," with James so often
0:56:10 > 0:56:11and it's frustrating.
0:56:11 > 0:56:15If only he had shown the same discipline and clarity
0:56:15 > 0:56:17that he showed at the Spot Test.
0:56:17 > 0:56:21And let's not forget, the whole thing is slightly under-fired.
0:56:28 > 0:56:30Well, potters, there's been much fiery debate
0:56:30 > 0:56:32but the judges have made their decisions.
0:56:32 > 0:56:34So, let's start with the good stuff first.
0:56:34 > 0:56:35And Pot Of The Week.
0:56:35 > 0:56:39- Over to you, Keith.- So, the Pot Of The Week this week is...
0:56:44 > 0:56:47- ..Nam's bottle.- Ey!- Woo!
0:56:49 > 0:56:52The bottle form and shape is fantastic
0:56:52 > 0:56:54and it's a really true representative
0:56:54 > 0:56:56of the raku technique.
0:56:56 > 0:56:58- Thank you.- Now for the more difficult part,
0:56:58 > 0:57:02because somebody has got to leave the pottery.
0:57:02 > 0:57:04And the person leaving the pottery this week is...
0:57:10 > 0:57:12It's James.
0:57:12 > 0:57:14Oh, James!
0:57:14 > 0:57:18Oh, we're going to miss you so much.
0:57:18 > 0:57:19Bring it in!
0:57:19 > 0:57:23I was kind of ready to go, you know, I've done what I set out to do.
0:57:23 > 0:57:25I've stuck to my style.
0:57:25 > 0:57:28I knew it was going to be a toss-up today, to be honest with you.
0:57:28 > 0:57:30He did so well in his Spot Test
0:57:30 > 0:57:33but he just really left us no choice at all.
0:57:33 > 0:57:37His raku just wasn't representative of the raku technique
0:57:37 > 0:57:38and it was such a shame.
0:57:38 > 0:57:43But I'm really surprised that I'm here and James has been sent home
0:57:43 > 0:57:47cos I think his sake set was much more functional than mine.
0:57:47 > 0:57:50When you're in a class and your best friends aren't sitting next to you,
0:57:50 > 0:57:52you just... You've got no-one to mess around with.
0:57:52 > 0:57:55So now, I suppose, I can just knuckle down a bit more.
0:57:55 > 0:58:00Nam's Pot Of The Week, it would stand up, for me, in any exhibition.
0:58:00 > 0:58:04Nam's sake set is the third piece to make it into the gallery.
0:58:04 > 0:58:09He embodied raku and the essence of raku with this great whirlwind,
0:58:09 > 0:58:12this great whisk, this great galaxy of oxides.
0:58:12 > 0:58:13Beautifully done.
0:58:13 > 0:58:16I feel excited and happy in a way.
0:58:16 > 0:58:20But there's a sad, deep sorrow that my friend James left.
0:58:20 > 0:58:23So I came here as quite a good potter,
0:58:23 > 0:58:25I'm definitely leaving as a better one.
0:58:25 > 0:58:28But I'm pleased with what I did, so I can leave on a high, for sure.
0:58:32 > 0:58:34- 'Next time...'- Oh!
0:58:34 > 0:58:35'..it's Garden Week...'
0:58:35 > 0:58:38Roses are red, your face is, too, a little bit.
0:58:38 > 0:58:41'..and the potters face a pretty thorny Spot Test...'
0:58:41 > 0:58:44We've got to make a dozen, that's mad.
0:58:44 > 0:58:46..a Throw Down that pushes them to the edge...
0:58:46 > 0:58:47Come on!
0:58:48 > 0:58:52..and they grapple with almost 300 kilos of clay...
0:58:52 > 0:58:56- Simple.- I don't think I've ever thrown something as big as this!
0:58:56 > 0:58:58..to produce epic water features.
0:58:59 > 0:59:02Blood may flow on this one.
0:59:02 > 0:59:05I think the neighbours are going to be like, "Harold, we're moving!"