0:00:34 > 0:00:38In the beginning, I do a lot of drawing. You get a feeling
0:00:38 > 0:00:41of the character you want.
0:00:43 > 0:00:45The audience, in a few minutes,
0:00:45 > 0:00:49have to get the feeling of what that character is.
0:00:49 > 0:00:52You need good contrasts between good characters,
0:00:52 > 0:00:56bad characters, old characters, young characters.
0:00:56 > 0:00:58We have the clown, who's lots of fun.
0:01:03 > 0:01:08We've got the girl, who's very pretty but very silly at the same time.
0:01:12 > 0:01:14And let's have a very bad man.
0:01:14 > 0:01:18So I think we're going to make him...
0:01:18 > 0:01:22Maybe we're going to make his eyebrows come down a bit,
0:01:22 > 0:01:25and he could have a cross mouth,
0:01:25 > 0:01:28but maybe the moustache will do the same.
0:01:28 > 0:01:32So, that does the same thing as the mouth would have done.
0:01:32 > 0:01:35So he's going to look quite a bad guy.
0:01:35 > 0:01:38All the clues you can give the audience help them,
0:01:38 > 0:01:41so they know, when they see the character,
0:01:41 > 0:01:45what he is, or who he is, and what he's going to tell them.
0:01:59 > 0:02:02The good thing about using a marionette
0:02:02 > 0:02:06is that, for a start, the puppeteer can be right away.
0:02:06 > 0:02:09We have long strings and can stand on a bridge.
0:02:09 > 0:02:13We're completely hidden and all you see is the full marionette.
0:02:19 > 0:02:22An interesting thing about marionettes
0:02:22 > 0:02:26is you see the full figure. You can do a lot of walking
0:02:26 > 0:02:30and a lot of movement that uses the whole body.
0:02:30 > 0:02:33That's something very special about a marionette.
0:02:38 > 0:02:42With a tabletop figure, you get a very direct movement
0:02:42 > 0:02:46because your hand is really close to the puppet.
0:02:46 > 0:02:51That's something really good. It's the advantage of a tabletop figure -
0:02:51 > 0:02:55you can get a really positive, straight action.
0:02:55 > 0:02:58Quite a direct, strong movement if you want to.
0:02:58 > 0:03:01You can also get the subtler movements.
0:03:06 > 0:03:09The good thing about a glove puppet is
0:03:09 > 0:03:11he can pick up things and hold them.
0:03:11 > 0:03:14He can hold my hand, really quite well.
0:03:14 > 0:03:17I'm not faking - he's holding it tightly.
0:03:17 > 0:03:21That's their advantage. They can pick up things and move very fast.
0:03:37 > 0:03:40I think it's about 19 different blocks of wood
0:03:40 > 0:03:43that we use to make one marionette.
0:03:43 > 0:03:47The major tools that I'll be using for shaping the wood
0:03:47 > 0:03:50are really razor-sharp chisels.
0:04:02 > 0:04:08You get flat ones and curved ones, and all sorts of sizes and shapes.
0:04:16 > 0:04:21The brilliant thing with sanding is you can take all the marks
0:04:21 > 0:04:24you've put onto the wood when you're chiselling -
0:04:24 > 0:04:27flat shapes or curved shapes...
0:04:27 > 0:04:32You can take all those marks away and make the surface really smooth.
0:04:32 > 0:04:34Once I've got all the bits cut out,
0:04:34 > 0:04:39shaped, sanded, smoothed and exactly the right shape and size,
0:04:39 > 0:04:43the really delicate part is actually making each joint.
0:04:43 > 0:04:48That's to do with restricting or stopping the amount of movement
0:04:48 > 0:04:54in some directions, and allowing movement in other directions.
0:04:54 > 0:04:59This piece, I've got almost to the point of final adjustments.
0:04:59 > 0:05:04The leg on THIS side is really working very nicely and smoothly,
0:05:04 > 0:05:10so I'm able to almost get a nice walk out of it.
0:05:10 > 0:05:13This leg's too stiff, so I'll take it apart,
0:05:13 > 0:05:18chisel things, enlarge it, and then I'll get the right movement.
0:06:31 > 0:06:33We're moving on to making the costume.
0:06:33 > 0:06:36The first thing to do is measure your puppet.
0:06:45 > 0:06:49Materials that we use for puppets need to be nice and soft,
0:06:49 > 0:06:55so...silk or cotton or washed-out cotton.
0:07:03 > 0:07:08And then we sew it. With needle and thread, we sew the costume up,
0:07:08 > 0:07:11being very careful how we sew it.
0:07:21 > 0:07:25Then, try it on the puppet. Puppet costumes need to be quite loose -
0:07:25 > 0:07:28the puppet needs to move freely in it.
0:07:36 > 0:07:41Finally, you put your buttons, beads or whatever you want to add -
0:07:41 > 0:07:45your little trimmings - and your puppet costume is done.
0:08:21 > 0:08:25If someone wants to make bread at home and learn about it,
0:08:25 > 0:08:28it's not complicated. One thing is to be focused
0:08:28 > 0:08:30and to love and want to do it.
0:09:52 > 0:09:55Each loaf needs our love and a bit of our soul.
0:09:55 > 0:09:57Usually, you make it right.
0:11:22 > 0:11:25We do not control the bread. The bread controls us.
0:11:25 > 0:11:27When it's ready, it's ready.
0:12:20 > 0:12:24Just enjoy it. If you do enjoy it, it will work.
0:12:24 > 0:12:28Give it some love. Give it some love. HE CHUCKLES
0:12:51 > 0:12:55I've received a brief from our customer, regarding sandwiches.
0:12:55 > 0:12:56It's for Christmas.
0:12:56 > 0:13:01They're looking for sandwiches to appeal to the whole family,
0:13:01 > 0:13:05so really creative thinking. Caps on. What have we got?
0:13:05 > 0:13:09When we get a brief for a new sandwich, we, as a team,
0:13:09 > 0:13:14will sit down and decide what flavours work well together,
0:13:14 > 0:13:18and for seasonal products, what produce fits the time of year.
0:13:18 > 0:13:22Could we have turkey, stuffing, cranberry?
0:13:22 > 0:13:26We could do Boxing Day leftovers and have a lot of meat.
0:13:26 > 0:13:28And pickles, chutneys?
0:13:28 > 0:13:31We get as many people's input as possible.
0:13:31 > 0:13:35No idea's a bad idea. Everyone's got their own opinion.
0:13:35 > 0:13:39We could put red in. A red chutney so you've got...
0:13:39 > 0:13:42Christmas colours. Reindeer sandwich.
0:13:42 > 0:13:46There's a compromise, sometimes, between flavour and health,
0:13:46 > 0:13:50and it's trying to... get the balance right.
0:13:50 > 0:13:53- Low fat?- It's best to keep it indulgent.
0:13:53 > 0:13:57In a Christmas sandwich, you want something that tastes fantastic.
0:14:04 > 0:14:07Right, guys. We've got a few ingredients here.
0:14:07 > 0:14:11We'll look at a few combinations to find out what works.
0:14:11 > 0:14:15We'll taste and see if chutney works with a certain cheese.
0:14:15 > 0:14:19We'll have a selection of chutneys or mayonnaises.
0:14:19 > 0:14:22It's how it feels in the mouth, how the flavour lasts
0:14:22 > 0:14:24and how balanced it works.
0:14:24 > 0:14:27Try moist stuffing. Have you tried it?
0:14:27 > 0:14:31- I've put it with the ham AND cheese, to see how that goes.- Works well?
0:14:32 > 0:14:34Mm. Yeah, goes really well.
0:14:34 > 0:14:38Which chutney do you think goes best with turkey?
0:14:38 > 0:14:40I really like the tomatoey one.
0:14:40 > 0:14:44It goes with it nicely. It's a bit different, a bit tangy.
0:14:44 > 0:14:47I'm not keen on that. I think cranberry goes better.
0:14:51 > 0:14:54Mmm. To me, you can't beat
0:14:54 > 0:14:58traditional turkey and cranberry sauce. Really great flavour.
0:15:02 > 0:15:04We need to lift it. It's a bit boring.
0:15:09 > 0:15:11- Like it? - Yeah, goes really well.
0:15:16 > 0:15:18It's definitely about experimenting
0:15:18 > 0:15:22with the produce you put into a sandwich.
0:15:22 > 0:15:25I think turkey, stuffing, blue cheese mousse
0:15:25 > 0:15:28is the direction for the Christmas one, yeah?
0:15:28 > 0:15:30- Yeah.- OK?- Yeah.
0:17:09 > 0:17:12We're going to be tasting one of our sandwiches
0:17:12 > 0:17:15against two competitors' sandwiches.
0:17:18 > 0:17:21You need to make comments on appearance, aroma,
0:17:21 > 0:17:25flavour and texture, then score the sandwiches overall.
0:17:37 > 0:17:39When we design a sandwich,
0:17:39 > 0:17:44we try to take into account all the aspects of the eating experience.
0:17:44 > 0:17:47It's the presentation that first gets you.
0:17:47 > 0:17:50In the supermarket with all your sandwiches there,
0:17:50 > 0:17:55we want ours to be like, "I'm the best sandwich here. Pick me."
0:17:57 > 0:18:00It's really playing on all the senses for a customer.
0:18:00 > 0:18:05It's a very visual and sensual experience, eating a sandwich.
0:18:26 > 0:18:30Out of the three, which was your preferred and why?
0:18:30 > 0:18:33I like sandwich B. It was definitely best.
0:18:33 > 0:18:37The turkey was really moist, the bacon was tender.
0:18:37 > 0:18:39I thought two was actually pretty good.
0:18:39 > 0:18:44Good texture on the bread. Bounces back right - it's not too dry.
0:18:44 > 0:18:46I thought A was very slimy.
0:18:47 > 0:18:50Very wet lettuce.
0:18:50 > 0:18:53From that, we get a score of where our products are
0:18:53 > 0:18:58against our competitors. Obviously, if we start to score lower down,
0:18:58 > 0:19:03we have to look at our products and think, "How can we improve this?
0:19:03 > 0:19:07"How can we make it better?" We always want to be the best.
0:19:36 > 0:19:39RAUCOUS LAUGHTER FROM GAME
0:19:48 > 0:19:52A game starts with just that initial spark.
0:19:52 > 0:19:55The idea has to appeal to a lot of people,
0:19:55 > 0:19:59so we start by talking about it, playing around the idea,
0:19:59 > 0:20:03then do some sketches of what it could look like.
0:20:03 > 0:20:05If we're confident they can go forward,
0:20:05 > 0:20:08we then go into production of prototypes.
0:20:08 > 0:20:13Before designing, I meet the people that have written the rules
0:20:13 > 0:20:18so I know how many spaces, how many areas, there are on the board.
0:20:18 > 0:20:21What I then do is draw a basic shape on the computer.
0:20:21 > 0:20:23We start off here,
0:20:23 > 0:20:28where we've got 27 circles on the board and they're totally regular.
0:20:28 > 0:20:32We thought, "That's boring, doesn't work. No-one will enjoy it."
0:20:32 > 0:20:36You can see here that I've taken all those circles
0:20:36 > 0:20:40and rearranged them in a slightly crazy and odd shape,
0:20:40 > 0:20:44so it's, "I don't know where I'm going", as you move around.
0:20:44 > 0:20:46Then we start colouring them.
0:20:46 > 0:20:49The colours are important for two reasons.
0:20:49 > 0:20:54Number one, they help to define exactly where you are in the game,
0:20:54 > 0:20:56whereabouts you are on the board,
0:20:56 > 0:21:00and also, it helps to give a sense of fun.
0:21:00 > 0:21:03Finally, we add things like the logos
0:21:03 > 0:21:07and instructions that are necessary on the board.
0:21:07 > 0:21:12People need to know where to start, when they win, where to finish.
0:21:12 > 0:21:14If we had more than 27 squares,
0:21:14 > 0:21:18the game goes on too long and people get bored.
0:21:18 > 0:21:22If we have less than 27 squares, the game ends too quickly
0:21:22 > 0:21:25and you can't determine who's really played it well.
0:21:25 > 0:21:30Once we've a rough design, we print versions in different colours
0:21:30 > 0:21:32and send them to people to play.
0:21:35 > 0:21:37And here...
0:21:37 > 0:21:39is our first design, ready to be tested.
0:21:45 > 0:21:49We're getting the game tested by six ten-year-olds.
0:21:49 > 0:21:53We feel they're the right age group to aim it at.
0:21:53 > 0:21:57It's very important, because I need to know, are the jokes right?
0:21:57 > 0:22:01Do the sounds actually make them laugh?
0:22:01 > 0:22:03RAUCOUS LAUGHTER
0:22:03 > 0:22:08The game play we've developed - is it simple enough for them to follow?
0:22:08 > 0:22:12And the design. I'd like their opinions on the design.
0:22:12 > 0:22:17What's grey and zooms through the jungle at 70 miles an hour?
0:22:17 > 0:22:20An elephant on a motorbike.
0:22:20 > 0:22:22GAME PARPS
0:22:22 > 0:22:24THEY GIGGLE
0:22:28 > 0:22:33What do you get if you cross kitchen equipment with a vampire?
0:22:33 > 0:22:34Count spatula.
0:22:34 > 0:22:36LAUGHTER
0:22:39 > 0:22:41- Knock knock.- Who's there?
0:22:41 > 0:22:44- Boo.- Boo who?
0:22:44 > 0:22:46Don't get upset - it's only a game.
0:22:50 > 0:22:52Oh!
0:23:00 > 0:23:02I thought it was really fun,
0:23:02 > 0:23:07cos the colours are really appealing and it's easy to play.
0:23:07 > 0:23:10There should be more variety of jokes
0:23:10 > 0:23:13and maybe some for older people as well.
0:23:13 > 0:23:17It was easy to play. Once you read the instructions,
0:23:17 > 0:23:20I think you could get it quite easily.
0:23:20 > 0:23:24Good range of jokes and simple gameplay. The design is well liked.
0:23:24 > 0:23:28Could be a good game. I'm really pleased with it.
0:23:28 > 0:23:30MACHINE PARPS
0:23:47 > 0:23:51So, use-and-abuse testing is primarily done
0:23:51 > 0:23:53to see if we can break things off a toy
0:23:53 > 0:23:57to simulate what would happen if a child breaks it, pulls it,
0:23:57 > 0:24:01smacks it onto a door frame, drops it out of the car.
0:24:02 > 0:24:05The torque test is used to simulate
0:24:05 > 0:24:09what happens if a child pulls oddly on a toy.
0:24:25 > 0:24:28The small parts cylinder
0:24:28 > 0:24:32has been very carefully designed to mimic the inside
0:24:32 > 0:24:35of a three-year-old's mouth and throat cavity.
0:24:35 > 0:24:40Anything that fits wholly inside this could be swallowed,
0:24:40 > 0:24:44might get stuck in the throat and could cause that child to choke.
0:24:59 > 0:25:04The impact test is performed by dropping a weight of one kilogram
0:25:04 > 0:25:08from a height of 100 millimetres onto the test piece.
0:25:12 > 0:25:16After impact testing, we look to see if any sharp edges,
0:25:16 > 0:25:19sharp points or small pieces have broken off.
0:25:23 > 0:25:27If the pieces fit in the small parts cylinder,
0:25:27 > 0:25:30it would be deemed unsafe for under-threes.
0:25:36 > 0:25:41The drop test is performed from a height of 850 millimetres
0:25:41 > 0:25:43into a tank of specified hardness.
0:25:43 > 0:25:45The article is dropped five times.
0:25:45 > 0:25:50At the end of testing, we see if anything's dropped or broken off,
0:25:50 > 0:25:54then test those for sharp edges, sharp points and small parts.
0:26:03 > 0:26:06When testing material from fancy dress outfits,
0:26:06 > 0:26:10we take a length of material that's 500mm,
0:26:10 > 0:26:15attach it to the rig, set fire to it, and measure the time it takes
0:26:15 > 0:26:18for the flame to spread from the bottom to the top.
0:26:18 > 0:26:23With different materials, we find different rates of flame spread.
0:26:23 > 0:26:26Some will burn fast and some will burn slower.
0:26:36 > 0:26:39Do not try this at home.
0:26:39 > 0:26:43How fast the flame spreads determines whether it's a pass
0:26:43 > 0:26:45and if it's deemed to be safe.
0:27:08 > 0:27:11All toys will need to be tested for flammability.
0:27:11 > 0:27:14This is to ensure that they are safe,
0:27:14 > 0:27:18and we basically set fire to them to see how fast they burn.
0:27:21 > 0:27:25Depending on the type of toy, we test it in different ways.
0:27:25 > 0:27:29We adjust flame height, apply the flame to the toy in different ways
0:27:29 > 0:27:32and measure it from different distances.
0:27:44 > 0:27:47Don't try this at home.
0:28:20 > 0:28:23Although the teddy bear burned completely,
0:28:23 > 0:28:27it took enough time for the flame to spread to the top,
0:28:27 > 0:28:31so it was deemed to be a pass and to be safe. This means
0:28:31 > 0:28:35that if the teddy bear caught fire, the child would have enough time
0:28:35 > 0:28:38to drop the teddy bear and move away.
0:28:50 > 0:28:53Subtitles by Red Bee Media Ltd
0:28:53 > 0:28:56E-mail subtitling@bbc.co.uk