Portrait Artist of the Year Season 12 Episode 1

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Transcript

00:00Transcription by CastingWords

00:30of Portrait Artist of the Year.

00:32More than 1,200 artists from Britain and Ireland

00:35submitted remarkable self-portraits

00:37for a chance to take part in the 12th series

00:40of Portrait Artist of the Year.

00:44This is our youngest ever artist, just turned 16.

00:47Oh, my goodness.

00:47You can't believe that someone who is 16

00:50can put together a picture that is so composed.

00:53Just 72 are through to the heats.

00:55I've only started painting not long ago,

00:57so I just cannot believe that I'm actually here.

01:00It's amazing.

01:02But will their preparation pay off?

01:05Is there anything I'm happy with at the moment?

01:06I think not very much.

01:11Are you one of these people who could go on and on and on?

01:13I would like it to end soon.

01:15I think...

01:15At stake is a £10,000 commission

01:20to create a portrait of award-winning mathematician

01:23and broadcaster Professor Hannah Fry

01:25for the Royal Society

01:26to celebrate the 80th anniversary

01:28of the first women elected to its fellowship,

01:31Professor Kathleen Lonsdale

01:33and Professor Marjorie Stevenson.

01:36On the lookout for the most exceptional talent

01:39are our judges,

01:40art historian Kate Bryan,

01:43curator Kathleen Soriano

01:44and award-winning artist Tyshan Schierenberg.

01:48The judges want a great painting.

01:50We want a great piece of art

01:51that also functions as a portrait

01:53that tells us what it is to be alive today.

01:56So who will become

01:57the next Portrait Artist of the Year?

02:00Are you good at knowing when to stop,

02:02when to finish?

02:03I hope that I know that it's now

02:05this week the artists vying for the sitters

02:22and the judges' approval are

02:24Angel Mitoff, originally from Bulgaria.

02:28From Wiltshire, full-time artist Edie Bound.

02:33Charity worker Ephraim Haywood

02:35from South London.

02:37And also based in London,

02:39artist Natalie Charles.

02:42I don't think I'm nervous.

02:44I think it's just...

02:45I just want to start.

02:48Their fellow competitors in today's heat are

02:51artist and art teacher Alice Hesketh

02:54from Eastbourne.

02:56North Londoner Sonia Watts,

02:57an executive assistant.

03:00Part-time graphic designer Ian Dauber

03:02from Wigan.

03:03From London, retired financier David Weeks

03:07and Norwich-based property developer Ellis King.

03:13I'm feeling anxious.

03:16But no, really excited now I'm here.

03:18I've got a great spot,

03:19so I think I'm looking forward to seeing

03:21who the sitter is today.

03:22As the artists prepare for a day of painting,

03:28the judges examine the self-portraits

03:30that secured their spots in the competition.

03:36Fresh, spanking new wall.

03:38Nine artists, nine new self-portraits.

03:41It feels like it has sort of the weight

03:43of this person's life on their shoulders.

03:45I think it's really beautifully painted.

03:48It also has got me thinking about Monet's water lilies as well

03:51because of those wonderful tonal colours.

03:54What's going on here?

03:55It looks like a child's face.

03:57It does.

03:57And a younger version of himself on the right.

04:00The shirt, I think, is a tour de force.

04:02Stripes are so difficult.

04:04It's just very beautifully done.

04:07There's something really kind of fresh and vital about this.

04:10I feel he's really in our space.

04:11It must be the look in the eye

04:13that is making it feel so connected.

04:19Teeth.

04:21That's so interesting.

04:22I hadn't noticed the teeth

04:23because I was so taken by the red of the beads

04:27and then the red of the lips

04:28and, of course, the hair.

04:29You fall into that wonderful hair.

04:31It's very well constructed.

04:34What an extraordinary thing.

04:35I've got to say, I lost the words.

04:38Yes, this is so weird.

04:40You know, we have been saying for such a long time

04:42that if you can really paint in this photorealist way,

04:44you've got to find something original to do with it.

04:46You've got to push the boundaries.

04:47And this is basically a response to that

04:49and a very strident response.

04:52So from this very large and interesting painting

04:55to this very small and interesting painting.

04:57I think it's just a jewel.

04:59It is about a fleeting glimpse moment

05:01of somebody moving through the frame

05:03or just about to move out of the frame.

05:05It's very poignant.

05:08I like this because there's something quite sinister about it.

05:10Looming out of the shadow.

05:12And that ear is spectacular.

05:14Oh, it's the ear.

05:14It's so convincing.

05:19I love the bouncing around of the golden

05:22and the staining in the eye.

05:23I think that works really well.

05:24The density of the curls on one side,

05:27but then you have the suggestion of light

05:30coming through a dappled area

05:32in the bottom left-hand corner.

05:35It's about the messiness of life, isn't it?

05:36Everything's on tilt.

05:38She's mid-motion.

05:39The whole composition works incredibly well.

05:41And that boot in the mirror is just beautiful.

05:44It's a lovely bit of painting.

05:45Artists, your sitter today

05:54is one of the most recognisable faces

05:56on British television

05:57and broadcasts daily into our homes

06:00on The One Show.

06:01Please welcome author, podcast host

06:04and television presenter, Alex Jones.

06:07Thank you so much for joining us.

06:37to be portrayed.

06:38I think something lovely to give to the children.

06:42Just something, I think, that captures a warmth

06:45and something that they look at and think,

06:47oh, yeah, that was Mum.

06:48We asked you to bring something

06:49that means something to you.

06:51Yeah.

06:51What have you got?

06:52I've got my watch on.

06:53Right.

06:54Mum and Dad bought it for me on my 18th

06:56and I've worn it every day since.

06:58So it would be odd not to have it.

06:59OK.

07:00And are you keen to have it in the portrait

07:02or see what happens?

07:03If you want to.

07:04Up to you.

07:05No pressure.

07:05Right.

07:07Artists, your sitter today impressed us

07:10as the writer, producer and actor

07:13of the hit BBC comedy

07:15We Might Regret This.

07:17Please welcome Kyla Harris.

07:20APPLAUSE

07:21Come and say hello.

07:34Come up, come on.

07:34Hello.

07:35Nice to meet you.

07:39Hi, welcome to meet you.

07:40What's your name?

07:41Next to me.

07:43What color are your eyes?

07:45Brown.

07:45Wow.

07:46So welcome.

07:51I felt like I was at the optometrist there for a second.

07:55Your series, you wrote it and you starred in it

07:57and you produced it.

07:59Are you a control freak?

08:00Uh, no.

08:02You know, and it was co-created, co-wrote.

08:04Right.

08:05I wish my best friend was with me here today

08:07who was the co-creator, co-writer.

08:08Okay.

08:09We asked you to bring along something

08:10that means something to you.

08:11What have you got?

08:12I have my foot.

08:14Right.

08:15In addition to my actual feet,

08:17I have a Mexican foot

08:19that was given to me by my co-creator,

08:21co-writer, Lee Getty,

08:23when she travelled to Mexico

08:24and seeing as we did the series together,

08:26it means a lot to me.

08:28Okay.

08:28We're going to bring that in later.

08:30Do you have any idea of how you'd like to be portrayed?

08:32Like Beyonce?

08:34Like Beyonce.

08:35Yeah.

08:35But my face will do, I guess.

08:39Artis, your sitter today is a musician

08:42whose electrifying performances

08:44have generated two UK number one albums

08:48and over six billion Spotify streams.

08:52Please welcome global sensation, Youngblood.

09:05Yo, it's Batman.

09:07Hello.

09:07Sorry, how are you doing?

09:08How are you?

09:09You well?

09:11How are you doing?

09:11Good to meet you.

09:13Yo, it's Batman.

09:14How are you?

09:15Nice to meet you.

09:17How are you?

09:18You well?

09:19I'm bad.

09:19Are you?

09:20Come on, let me see.

09:20This is your home.

09:21Isn't it?

09:26Well, I can tell immediately

09:28that you're someone who fizzes with energy.

09:30Oh, yeah.

09:30It's going to be prompt to sit still, isn't it?

09:32That's what I've been thinking.

09:33Because some artists will be painting you from life

09:35and they'll want you to keep fairly still.

09:37It might be an expressionist painting,

09:38so I'll be like blurring out, but...

09:40What are you looking for today?

09:41How are you looking to be portrayed?

09:43I always find it fascinating

09:44to meet another creative person.

09:46It's finding it a beautiful thing

09:47to see how someone's mind sees the world,

09:50so I think when I see it,

09:53it'll hit me in a way that you want to hit me.

09:56What have you got with you?

09:57Ozzy Osbourne gave me this cross,

09:59which is pretty mad.

10:02Well, the iconic Ozzy Osbourne.

10:04I can feel the darkness in it right now.

10:07The bat's blood.

10:07Which is, like, telling me to do naughty things.

10:11Well, there you go.

10:11You've got a fantastic sitter

10:13with a demonic necklace.

10:14Yes.

10:20Artists, the time has come.

10:21You have four hours to capture your sitters.

10:24Good luck.

10:25Your time starts now.

10:28Here we go.

10:29Right.

10:29How do you want to sit?

10:30You know, it's so funny, isn't it,

10:31when somebody says,

10:32sit naturally.

10:34Oh, God.

10:35You look quite...

10:37Don't mess with me.

10:38What?

10:39What?

10:41Sorry, are you OK

10:43if he's kind of looking towards my side?

10:46Yeah, is he, like, that?

10:48I really like the side angle,

10:49so that's really good.

10:50The side angle?

10:51Yeah.

10:52I find it's fascinating.

10:53I feel like I'm in a goldfish bowl.

11:08You've got a very strong look.

11:10Oh, thank you.

11:10Is this sort of look for when you go out

11:12or when you're round the house?

11:14To be honest, yeah, I make eggs in it.

11:17I'm liking the sunglasses a lot.

11:19Oh, do you like them?

11:19Yeah.

11:20I'm a bit jealous now.

11:21I want to be wearing mine.

11:22We've got the same earrings on.

11:23You have got the same earrings.

11:24That was mine.

11:27Edie Bound, originally from Wiltshire,

11:29is a full-time artist,

11:30now living in London.

11:31Her miniature self-portrait on a wooden panel

11:36was completed in four hours.

11:39So, Edie, I was looking out for you,

11:41and I was looking for someone with very bright red hair...

11:44Yeah.

11:45..painting on a tiny, tiny canvas.

11:46Mm-hmm.

11:47No, I've come in disguise.

11:48Couldn't find either of those things.

11:49Yeah.

11:50As soon as I saw Youngblood,

11:52I thought I'd go a bit bigger on this one.

11:53And I also noticed these upside down.

11:55Yes, these upside down at the moment.

11:58I like when I'm painting it,

11:59I don't want to see a face at all.

12:00I want to be seeing just shapes and forms.

12:04Okay.

12:04And then as soon as I can turn it around,

12:06I can start kind of painting more from life,

12:07getting the colours in.

12:09Great.

12:19I took two photos from different angles.

12:22One more side profile and one more three-quarters.

12:26And I quite like the three-quarter version.

12:29She looks a bit soulful on it, you know.

12:32So, yeah, I'm looking forward to it.

12:35Ian Dorber from Wigan

12:36is a semi-retired graphic designer.

12:39who took up painting later in life.

12:42His self-portrait in acrylics

12:44is based on a photo taken in his bathroom.

12:49Ian, you use colour in a really interesting way.

12:52You're no stranger to turquoise.

12:54Yeah.

12:55I don't know why,

12:56but I think it gives you a better idea of skin tones.

12:59Do you think that helps you against your dreaded pink?

13:02Yeah, it's that contrast, I think.

13:04Yeah, it works for me.

13:09I've started by gridding my canvas

13:14just to make sure that I get Alex's proportions

13:19kind of where I want them.

13:21This just makes sure that I don't make those errors

13:23that I might do if I was doing it freehand.

13:25So, yeah, gridding and drawing.

13:26Self-taught artist and property developer

13:30Ellis King lives in Norwich.

13:33In her self-portrait, entitled Desperate Housewife,

13:37the judges were intrigued by the bare-headed figure staring out.

13:40I'm a little bit surprised, Alice.

13:47Hit me.

13:48Alice has got hair.

13:49You feel you've got to do it proper today?

13:51I don't know that I'll actually paint her hair,

13:54but I think the nod to it...

13:55OK.

13:56...Alex is very warm and bubbly,

13:59and obviously my self-portrait is, I would say,

14:01maybe a bit gritty.

14:02The geometry that we saw you use in your self-portrait,

14:05which very irritatingly...

14:06It's slightly off.

14:07God, that just makes me itch.

14:09Yeah. Why do you do that?

14:10I do that because there is an element of uncomfortableness...

14:14Yes.

14:14..that actually I quite like.

14:16I don't paint pretty,

14:18which is actually one of the challenges I'm going to have today,

14:21because Alex is very beautiful.

14:35Kylie's a great sitter.

14:37She's got a great look.

14:38Quite vampy.

14:39She's also listening to you.

14:41And she's got a good sense of humour, which is nice.

14:43I think it relaxes everybody.

14:46Alice Hesketh is an artist and art teacher

14:49who lives on the Sussex coast.

14:51Her self-portrait of a busy modern mother getting ready in the morning

14:55was inspired by Toulouse-Lautrec's backstage dressing room paintings.

14:59Alice, how are you finding all of this?

15:03So I started off quite big, and then I didn't like the composition,

15:08and I thought, oh, God, I'm not going to finish it.

15:10So I've changed to a smaller size.

15:12OK.

15:12And can you picture what this painter's going to look like at the end of the day?

15:15No.

15:15And is that a problem, or is that normal?

15:19Is that normal for you?

15:20No, it's normal.

15:20It's normal.

15:21You know some artists plan it all out totally.

15:22I've met lots of them.

15:23Yeah, I can't do that, because it takes away the spontaneity.

15:27OK, so it's all happening in real time?

15:29Yes.

15:32As the first hour ticks by,

15:34our artists are taking stock and considering next steps.

15:40My underpainting's going really well,

15:42so the next step is to get more details in.

15:45The most important feature to get a good lightness on the portrait

15:47is the mouth.

15:49Fingers crossed.

15:55It's got quite colourful.

15:56It's gone a bit messy colourful.

15:58Organised chaos.

15:59That's where we're at, at the moment.

16:05I've gone bigger than I expected,

16:07so that might put me back a little bit.

16:09That first hour flies by.

16:11Our nine artists are one hour into their portraits

16:27of our star-sitters.

16:29The top-streaming singer-songwriter Youngblood,

16:33television legend Alex Jones,

16:35and award-winning writer and actor Kyla Harris.

16:39Oh!

16:40It's quite rock now.

16:42It's good.

16:43Youngblood's next door.

16:45Maybe that's why.

16:46You've got to keep up with him.

16:47I'm delighted.

16:52I think she's amazing.

16:54I do watch the one show.

16:56I'm a fan.

16:57I just want to focus mainly on her face, really,

17:01so that's how I'm going to work it, really.

17:05Sonia Watt is an executive assistant from London.

17:09Her self-portrait in acrylics on canvas

17:11was based on a photo taken in Paris on her 50th birthday,

17:15which captures the bright, happy mood of that occasion.

17:18Sonia, I was taken by so many things in your self-portrait.

17:23There was that real sense of verticality,

17:25framing the figure.

17:26Oh, thank you.

17:26The bouncing around of colour.

17:28There was so much in it.

17:30But when you got ahead, you did it.

17:33Tell me a bit about your thinking in that relation.

17:36I'm thinking...

17:37I call myself a slow painter, I suppose.

17:39I do take a lot of time because I often do a lot of detail.

17:42Yeah.

17:42I feel it's better for me to just really focus in

17:46on the main aspect, which to me is the face.

17:49So I'm assuming your work goes through a fairly ugly phase.

17:52It goes through a very, very ugly phase.

17:54It takes a while for the person to emerge.

17:57Okay.

17:57I'm going to come back later when it looks more beautiful.

17:59Yes, when it looks more beautiful.

18:09What strikes me about the young blood,

18:11he has a little bit of like a vampire energy,

18:13dark, edgy, which I like.

18:16It's totally vibing.

18:18And I couldn't ask for a better sitter.

18:20Bulgarian-born Angel Mitov is a self-taught tattoo artist

18:24who moved to Glasgow to study classical painting.

18:28His self-portrait in oils on canvas

18:30has more than a nod to the old masters.

18:33I've got a question about tattoo artists

18:37that always intrigues me.

18:38Okay.

18:38There must come a point where for the first time

18:41you put a tattoo on somebody else.

18:44Yeah.

18:44It must be nerve-wracking, isn't it?

18:46It was very nerve-wracking.

18:47Luckily for me, my mum was like very...

18:50It was your mum?

18:51Yeah, my mum was like my first customer.

18:52Your first tattoo?

18:53I remember I was like shaking more than her.

18:55It's actually similar to how I feel right now.

18:57Right.

18:58Yeah.

18:58I see a lot of similarities between the two of you.

19:00You're both fizzing with energy.

19:01Yeah, hopefully some connection's going to happen

19:04and that's going to help me resolve my poetry today.

19:13I just am really drawn to circles.

19:16I think the circles kind of...

19:17It makes you think differently.

19:19We get very used to just always having a rectangle.

19:22I just like something a bit different.

19:23A little challenge.

19:25Artist Natalie Charles from London was an animator

19:28who went back to college to study drawing.

19:32In her own work, she takes inspiration

19:34from everyday women from marginalised backgrounds.

19:39Natalie, I recognise this lovely feathery tondo

19:43from your submission.

19:44Tell me about what you use

19:45because I couldn't work it out a layer

19:46and I was wondering, is this watercolour, is it pencil?

19:48These are tinted graphite blocks

19:50so it's kind of like a fat graphite pencil

19:52but it's got colour in it as well.

19:53OK, so then you're using this directly onto the paper

19:56and I thought you only transfer it with the paintbrush?

19:57Both.

19:58Ah!

19:59It's magic, it does everything.

20:00Yeah.

20:01With your submission, you really fill the frame.

20:03I mean, it's very intense.

20:04And you've done the same thing here with Kylo.

20:07Why this kind of format?

20:08Because I think when you give someone

20:10something quite punchy to look at,

20:12it forces them to stop and slow down

20:14and really look more closely than we do.

20:17I like that.

20:18It sort of demands your attention.

20:19Quietly demanding.

20:20Quiet.

20:21OK, we'll take it.

20:22Many artists appreciate a clue to the subject's personality.

20:29So to help them out,

20:30our celebrity sitters have brought along

20:32a personal item they hold close to their hearts.

20:36So, Youngblood,

20:37I've heard you've been given something rather precious

20:39by Ozzy Osbourne.

20:40Yes.

20:40And it is your object for today.

20:43That is a very large and over-the-top crucifix.

20:48It's pretty cool, isn't it?

20:49It is.

20:49You like your jewellery, don't you?

20:50I do, man.

20:51Silver with denim, gold with, like, a suit.

20:55OK, these are fashion notes.

20:57I will be...

20:57I'm telling you, I'll see you next time.

20:59You'll be blinged out.

21:00You'll definitely...

21:01Your nose ring, I'm telling you, I'm into it.

21:02I have got effects on people.

21:10Alex, you're a very busy person.

21:12How is it sitting so still?

21:14To be honest, I'm, you know,

21:15I'm a paper pleaser and a good student,

21:18so when David said, can you just sit like this very still,

21:21I try to do my best to a dear.

21:23I can see you're really doing that.

21:24And also, you're showing off your objects

21:26because you're wearing your objects.

21:27I am.

21:28Tell us about it.

21:29This is a watch that Mum and Dad bought me when I was 18.

21:33And it's been on my wrist every day.

21:35And even though my focus now is obviously on my own family,

21:39having this with me sort of connects me to Mum and Dad as well.

21:42We can't guarantee it's in the picture.

21:44How do you feel about that?

21:45That's okay.

21:46I think, you know, I'm open to interpretation.

21:49And that's the fun of today, isn't it?

21:51Is seeing how other people see you,

21:54which is exciting and terrifying in equal measures.

21:58So, Kyla, tell me about this strange but beautiful thing.

22:10I believe it's a last that was used to mould shoes off of.

22:14And it was given to me by my best friend.

22:17She brought this from Mexico.

22:20Why did she think of you when she saw that?

22:22What was it?

22:23Is it the giant ruby?

22:25Well, I think it's open for interpretation.

22:28I think it's a wonderful object.

22:29And I think there's a bit of magic in it.

22:31And maybe she sees that in me.

22:33But normally when you see these,

22:34they are just the beautiful wood that sits underneath.

22:38I've never seen one sort of covered in...

22:39What is this that you think it's got around it?

22:41I think it's tin.

22:42I think it's a hammered tin.

22:44It's beautiful.

22:45It's really, really beautiful.

22:46Precious.

22:50And it actually brought braces as well.

22:52Oh, epic, man.

22:52Did it.

22:53Where'd you get yours from?

22:54Do you know what?

22:55On the secret, I'm getting them from Marks and Spencer's best one.

22:57I'm telling you.

22:58Got mine from Next.

23:01I think Youngblood's a great sitter.

23:03Right now, I'm oddly calm about everything, I have to say.

23:07I was nervous, but I feel weirdly calm, honestly.

23:10South Londoner Ephraim Hayward works for a homeless charity

23:15and is a part-time carer.

23:18In his self-portrait, he used watercolour pencils

23:21to conjure up almost ghostly images of his face.

23:27Ephraim, why have you chosen this particular picture?

23:29I changed from a photo I had before, actually, to this one.

23:33Right.

23:33Because I thought this conveyed a bit more emotion,

23:37so I've had to rework it.

23:38So it's taking a bit longer than I wanted to,

23:41but I'm still OK with it.

23:42You're happy with what you are.

23:43Yeah.

23:44It's a mixture of kind of vulnerability and attitude.

23:47Yeah, I think, near the head, actually,

23:49it's that dichotomy of, yeah, that attitude,

23:51and then there's something, maybe a sadness there as well.

23:54I find it difficult getting a convincing image from a photograph

24:02because the danger for me is to start getting drawn into details.

24:06That's why I prefer to work from life

24:07and try to keep it loose and fresh.

24:11After a career in finance,

24:13Londoner David Weeks is now a full-time painter.

24:17He created his self-portrait using oils on canvas.

24:20It took him 120 hours.

24:23That's 30 times longer than he's got today.

24:28I can see here that you've got the same colours

24:29that you had in the background of your own self-portrait.

24:32Yeah, so I'm just using a very simple palette.

24:34So just three primary colours and a warm white.

24:36Yeah.

24:37Because, you know, it's four hours, you haven't got a lot of time,

24:39and I just want to keep things as simple as I can.

24:42But I have to say, I've got a lovely pose here.

24:44You have.

24:44And you've got direct gaze.

24:46Presumably, that sort of gives you an advantage in some way

24:49because they start to build a deeper connection.

24:51Yeah, yeah.

24:51Just by looking.

24:52It's looking very beautiful.

24:54The colours are just, like, candy gorgeous.

25:01It's nearly halfway through the four-hour painting challenge,

25:04and it's not just the artists who are feeling the strain.

25:08No one's doing your arms, apparently.

25:10Good.

25:10Because it's going to fall off soon.

25:17It's not progressing how I thought it was going to progress, you know?

25:21So, yeah, I just need to slow down a little bit and kind of meditate

25:24and get it as accurate as possible.

25:28Is there anything I'm happy with at the moment?

25:30I think not very much.

25:33Don't worry, David.

25:34It's going to be fine.

25:35Time is marching on, and our nine artists are doing what it takes

25:51to perfect their portraits of TV presenter Alex Jones,

25:55pop star Youngblood,

25:56and writer and performer Kyla Harris.

26:00So, Ian, what's your main medium?

26:02Acrylic.

26:03Oh, always?

26:04Always, yeah.

26:05I like how they dry fast.

26:07You can, like, put another layer on it quickly.

26:09It suits my style.

26:10Well, you know, I don't even know your style yet.

26:13You will.

26:13I'll be singing soon.

26:17Well, we're not short for personality in our sitters today.

26:21Alex is a wonderful sitter, isn't she?

26:23I think what's really great about Alex is she's able to pose with a warmth,

26:27and so as a consequence, you're getting that warmth in the pictures.

26:30Particularly Sonia, I mean, she's got Alex smiling in that picture.

26:34The jawline's not quite there, it needs softening,

26:36but she knows the likeness isn't perfect

26:37and just needs to build up the portrait with paint.

26:41Ellis, on the other hand, I mean, I think she's really wrestling

26:43with that idea of how do you incorporate your own stylistic preferences

26:47with trying to paint someone in the way in a style

26:50in which you think they would like to be portrayed.

26:53What about David?

26:54I'm just gutted for him because he's really struggling with the likeness,

26:56but it's a great painting.

26:58It is a game of sort of chasing it, capturing it,

27:01and then get the whole painting to evolve without losing it.

27:03If you can get the likeness, it will be one to beat.

27:06Youngblood.

27:07What a fabulous sitter.

27:09Edie just looked at that sideburn swoosh and went,

27:11that's one lovely swoop of the brush.

27:14He's made for Edie and she very quickly caught Youngblood

27:18and it was just the cursory drawing of the eyes

27:21and there was a speed of mark around the hair.

27:23I don't quite understand why she went so big.

27:26Ifram has left a lot of negative space in his portrait.

27:29I just found him fascinating to watch

27:31because he's got some really interesting tools.

27:33He's got a pencil sort of with a brush attachment.

27:35And isn't it interesting that when you have a sitter

27:38with such pronounced features,

27:41yet the delicacy of the pencil is still somehow managing to get that?

27:45Mm-hmm.

27:46You would say that Angel and Youngblood have a similar kind of energy.

27:50Is that translating into a good portrait?

27:51I've been watching Angel's painting evolve

27:53and he's very contemporary, Youngblood's very contemporary.

27:56And in a funny way, he's made Youngblood look like a vampire,

27:59which is already a throwback as an idea, as a legend.

28:02So there is an old-fashionedness coming through

28:04in the stylisation of his sitter.

28:07Kyla's very generous, chatty, warm presence.

28:10It's interesting, she's engaging the most, I think, with Alice,

28:12who's directly in front of her.

28:14It's big, it's bold, just like Kyla.

28:16It'll be interesting to see if she gives us something closer to reality

28:19or something that still sits within her style.

28:22I love the way that she occupies the space.

28:23I love the translucency of the clothing.

28:26It really felt like her very quickly.

28:29Natalie, her process is really interesting.

28:31She did really well at the beginning.

28:33Now she's trying to give the tom-do a bit of dynamism

28:36by putting Kyla to the right

28:37and suddenly run out of space to make a better likeness, I think.

28:41What about Ian?

28:43I like Ian's head of Kyla.

28:45There's a kind of luminosity.

28:46It's kind of interesting that he's used the same

28:49light turquoise background as he did for his self-portrait.

28:52I think that turquoise is great.

28:54I think it's a really clever device.

28:55It's very cool and it's great to put the skin against.

28:58It adds to the likeness of her character

29:00and her sort of breeziness and openness

29:03and I think that's very beautiful.

29:09It's a huge privilege to have these three working so hard

29:12to try and capture me.

29:15I feel really lucky.

29:16But I think David looks quite pained.

29:19I think he's under a lot of stress.

29:20I'm willing him to do really well

29:22and be happy with it.

29:28Angel was covering his eye, which was bizarre.

29:31I don't know why.

29:32I'm going to ask him afterwards.

29:33He's literally covered his eye,

29:35then did that, then did this, then did that.

29:37Don't know, man.

29:39Trippy.

29:40I'm into it.

29:41I'm feeling very aware of my face for the big reveal

29:48because I have been known to have quite an expressive face

29:52and imagine if I just went...

29:55when they turned the paintings around.

29:57So I'm practising in my mind, just being like...

30:00But no, all jokes aside, I think I'll just...

30:03I'm really looking forward to it.

30:04Natalie, something's shifted

30:07and it's become more complete suddenly.

30:10Is the new colour doing this?

30:12I think it's helped.

30:13It's sort of just helped bring her forward a bit more.

30:16It's made it pop a bit more.

30:17And then I've gone back to my trusty coloured pencils

30:20just to really deepen certain bits that I can't do.

30:23She's coming to focus, hasn't she?

30:25Are you one of these people who could go on and on and on?

30:27I would like it to end soon, I think.

30:30OK.

30:35You don't have an awful lot of time left, you know,

30:37coming up to the last hour.

30:39You've got the shirt open there,

30:41so the necklace is there in reality,

30:42but I can't see it in the painting.

30:44I will definitely include it.

30:45It's very important for our sitters today.

30:47And are you going to do that right at the end

30:48or are you going to concentrate on the face first?

30:49Yeah, I'll do it at the end.

30:51OK.

30:51Because jewellery is tricky.

30:52If you give it too much attention,

30:54it can take off from the actual portrait.

30:55I want to be here to watch that necklace come in

30:58at the 11th hour, that'll be exciting.

31:01Half an hour to go,

31:03and one artist has had a change of heart and colour.

31:08The background is red, so I'm doing it in my head.

31:12But for some, late changes are too risky.

31:16I'm not going to do anything drastic in case I mess it up,

31:18so we'll see, we'll see.

31:20I think I need to add Alex's neck.

31:26Sorry, Alex, there's a sentence you never thought you'd hear.

31:28The artists are racing to finish their four-hour challenge,

31:42committing to canvas writer, director and actor Kyla Harris,

31:46TV presenter Alex Jones,

31:48and musician Youngblood.

31:51What have you got left to do?

31:52It's just those, like, final tweaks.

31:54I don't want to push it, and I don't want to lose it.

31:57Don't panic, but five minutes to go.

32:02My mental must at the moment.

32:08Not a huge amount of time.

32:09I'm going to do a blue chunk down the bottom

32:11just to mark her jeans.

32:18Prepare yourself.

32:19It's going to be great.

32:23One minute.

32:35That's it.

32:36Your time is up.

32:37Please stop what you're doing

32:38and step away from your easels.

32:44I've got to pay your hands.

32:47That's a very good one.

32:50So far, I think it is.

32:52Aww.

32:55We did it.

33:00Very beautiful.

33:03How was it?

33:04It was absolutely fantastic.

33:07I mean, thank you so much to the three of you.

33:10Any idea what's waiting for you on the other side of those canvases?

33:12I've been sort of looking at their self-portraits,

33:15and I think that is probably a little bit of a clue.

33:20Come on, then.

33:21Come on, gang.

33:22Come on, here we go.

33:23Can I ask you, please, to turn your easels?

33:25Oh, my gosh.

33:32Gosh, it's amazing to see yourself.

33:37How have you managed to do this in four hours?

33:41Can I, can we, yeah?

33:42Yes.

33:43I'm just desperate.

33:43Let's do it.

33:44OK.

33:46Sonia, I want to touch you.

33:48Is that OK?

33:48Yes, of course.

33:49I think you've really captured me.

33:52How can anybody paint dyes like that?

33:55You've done such a lovely job.

33:57I love it.

33:59There it is.

34:01Oh, my goodness.

34:02So I looked at yours for ages,

34:04and it's so sort of abstract and graphic,

34:08and I thought they'd be the same, and you've done that.

34:10It's so different to anything I've seen before.

34:14Thank you, David.

34:17I mean, you've worked so hard.

34:20I've got paid your hand.

34:21It doesn't matter.

34:22It doesn't matter.

34:23You've worked so hard.

34:24And, oh, my goodness,

34:26I love how you've used all the colours

34:28and they've come into the shirt as well.

34:30It's cruel, I know,

34:31but we're going to make you choose one.

34:33What if I just did a month with each, and then...

34:36Then how are the audience fixed for the next three months?

34:39Is that OK?

34:39I think, though,

34:43that ultimately I'm going to choose Alice.

34:48APPLAUSE

34:49I didn't see you the whole day.

35:02No.

35:02Every 20 minutes, you'd be like, hello.

35:04I'd be like, oh, there he is.

35:06Shall we do it?

35:06Oh, man, all right, then.

35:07You ready?

35:08I'm actually stressed.

35:09Sit down, sit down.

35:10We don't need you standing up.

35:11Sit down.

35:12OK, here we go.

35:14Artists, can I ask you, please, to turn your easels?

35:23Whoa.

35:26Wow, that's... that's cool.

35:28Completely different.

35:31This is crazy.

35:32You want to have a look?

35:33It looks like you want to have a look.

35:34Let's go and have a look.

35:34Look at this dark, bruising character.

35:39That's what I'm saying.

35:39I'm into the colour.

35:40I love the darkness.

35:42Like, I could put that in my house, 100%.

35:45You know what I mean?

35:46Where?

35:47In your house?

35:49It's just...

35:50Probably the toilet, just to mess with people.

35:54Aussie's cross, man.

35:55It will go good next to me gargoyles.

35:57Yeah.

35:58Thanks, Angel.

36:00Thanks, you're perfect.

36:00Thank you, Angel.

36:01Brilliant.

36:02Ephraim.

36:03I like that you changed the suit colour.

36:05I think I've got to get myself a white suit.

36:09Epic, man.

36:11That's killer.

36:13ED.

36:14Sick.

36:16Look at the hair.

36:17Earring, what?

36:18It's like a photograph.

36:20I find you guys, like, you're aliens, man.

36:24Thank you, Eden.

36:25Epic.

36:26What a vibe.

36:27Three portraits, but you can only take one of them away with you.

36:30Oh, what?

36:32I know which one I want to take away.

36:34OK.

36:34Because it's my personal style.

36:36Right.

36:38I want to take that one away.

36:40Angel.

36:40APPLAUSE

36:41Any clue as to what's waiting for you on the other side of those easels?

36:54Well, OK, I feel like Natalie has a drawing.

36:57I don't think that's going to be a shocker.

37:00The other two are probably paintings.

37:03Well, let's find out, shall we?

37:05Artists, can I ask you, please, to turn your easels?

37:08MUSIC PLAYS

37:11Oh, whoa!

37:17They're so different.

37:20Cool.

37:21Right, let's have a closer look.

37:23I feel like you've put a lot of yourself into this somehow,

37:26and that really means a lot to me,

37:29because I always feel like portraits are never entirely about the sitter, right?

37:33It has a lot of movement in it,

37:35like a wistful movement within it as well.

37:38Brilliant, Natalie.

37:39Thank you so much.

37:41And Alice.

37:43I really love your treatment of the sheerness of the top.

37:47I, like, very much see my eyes.

37:50I mean, they're hard to miss.

37:51They're a bit, like, Bambi sometimes.

37:53Thank you, Alice.

37:54Brilliant.

37:55Thanks.

37:57And Ian.

37:58Oh, I don't know why this makes me a bit emotional.

38:05Um, I think I see a lot of sadness.

38:11I see the resilient part of me in this,

38:16which makes me think that you've probably gone through a lot, too.

38:19And maybe that's what you saw in, uh, in me and this, and this.

38:28Oh, come here.

38:29Come on.

38:30Come on.

38:36My pleasure.

38:37Oh.

38:40Still looking kind of hot, though.

38:42Yeah.

38:43Definitely.

38:44Definitely not.

38:45Yeah.

38:46I didn't think I was going to be a person that was going to cry on this.

38:49Me, too.

38:50Yeah.

38:52Thank you, Ian.

38:54Right.

38:55What do you want to do with me now?

38:56I don't know.

38:57Maybe...

38:57Maybe we could all just go to the pub or something.

39:02You've got three.

39:04You can take one with you.

39:06But just one.

39:08But I can't.

39:08I can't.

39:09But you have to.

39:10I think I have to go with Ian's.

39:16APPLAUSE

39:16While our artists can finally relax,

39:28the judges must get down to business.

39:31I think Edie really caught Youngblood's sort of, I don't know,

39:34half rock star, half matinee idol,

39:38and all done with real brevity and lovely touches,

39:41like the little, the redness of the eye.

39:43You understand that's a real eye that you're looking at.

39:47I've got to say, Youngblood, what a fantastic model.

39:50His face is just a wonderful thing to work with.

39:52And Ephraim, you know, got that.

39:54The pouch.

39:55And look at the way the sunglasses are just syndicated.

39:58I mean, that's cool as well.

40:01Obviously, you commend Angel from working entirely from life.

40:04I really will say that there's a darkness to this

40:07and a kind of vampiric sophistication.

40:10I just wish the likeness was stronger.

40:15I love the colours that David found.

40:18It's a beautiful painting.

40:19I love the mark-making.

40:20I like the building up of the portrait.

40:21But there really isn't enough of her there.

40:26Ellis really can get a likeness.

40:29She's done something here that's got warmth to it.

40:32I feel like I need a little bit more in the body.

40:35The hands and the jeans work.

40:36It's just this sort of pencil angular outline

40:39isn't strong enough for me.

40:42Sonia's caught a very lovely Alex.

40:45There's a softness to her face.

40:47There's so much warmth coming from her.

40:49And I love it for the expression, really.

40:51I think the expression overrides everything else.

40:55It's kind of interesting seeing Ian work.

40:58He's got this magical touch where he puts down very little

41:01and it says so much.

41:03These weird brush marks, they seem to be very abstract

41:06and sit on the surface, but they come together beautifully.

41:10There's a lovely freshness, isn't there?

41:12A lightness to the way in which Alice works.

41:14And, you know, lovely loose treatment of the hair and the jewellery.

41:17And there's a wonderful sense of benign calmness.

41:21Natalie was curious because she's quite sort of fixated

41:25on this medium that she's got.

41:26But actually, I really enjoyed it when she started to put in

41:29these blue tones into the hairs, beautifully observed.

41:31I got a feeling that it would be an even better picture

41:34with just a little bit more time.

41:35I didn't realise how many great pairs of lips we had today.

41:43They're all sort of really luscious and full.

41:46Yeah.

41:47But out of all the lips, I think that one is the best

41:49from my point of view.

41:50Yeah, I think that's incredible likeness.

41:52It's got to go through that one.

41:53This doesn't have a likeness at all for me yet.

41:55No.

41:55With the sitter gone and now you see it,

41:57you think it's not them.

41:59Then this one isn't a direct likeness

42:01and yet it embodies the spirit of the person

42:02and we would be able to recognise the sitter.

42:05Yeah.

42:05That one for sure.

42:06Yeah.

42:06So we've got those two, we need one more.

42:08And, you know, I think probably this one, James, do you think?

42:11Yeah.

42:11That's a nice three.

42:15Artists, it's been a fantastic day.

42:17Thank you for all your hard work

42:18and thank you for your creativity.

42:20After careful considerations,

42:21the judges have arrived at a shortlist of three.

42:25The first artist is...

42:29Ian Dauber.

42:31APPLAUSE

42:32The second artist is...

42:38Alice Hescoff.

42:41APPLAUSE

42:42And the third artist to be shortlisted is...

42:49Edie Bowne.

42:52APPLAUSE

42:53Well done.

42:57Just a great experience, really memorable

43:00and I'm just very honoured to have been chosen

43:04to be part of it, really.

43:07Interesting shortlist.

43:08Thoughts?

43:09Well, I'm really pleased

43:10because the people I didn't want to overwork their pictures

43:12didn't overwork their pictures.

43:14You were worried that Alice might overwork her piece.

43:18Yeah.

43:18And she obviously didn't because she picked her.

43:20You thought Ian needed quite a bit of work to be done.

43:22He obviously did it.

43:23He did something that threw the painting in a completely different direction

43:27by adding the red.

43:27And I thought it became a more successful painting because of it.

43:30One always thinks, you know, the eyes being the windows of the soul,

43:34but actually I think the likeness sits in the mouth.

43:36You know, we communicate with our mouth, we eat with our mouth.

43:39The mouth is how we express our personality and Ian understands that.

43:43And then Edie.

43:45Both paintings were quite slight in some ways, aren't they?

43:48I think for Edie, the brevity of the mark-making

43:50is actually the important thing.

43:52There are some glorious touches in there.

43:54The cross is only half seen, but you know it's there.

43:57The shadow underneath that earring,

44:00it's just such a delicate little thing.

44:02Delicious.

44:03But it just pings beautifully.

44:04And the red lining of the inner eye.

44:07The paint sits very quickly and lightly on the surface.

44:10What do you mean by that?

44:11The paint sits quickly and lightly on the surface.

44:13Don't you understand?

44:14No.

44:15So the artist's signature or their style

44:19is actually the way they touch the canvas or the surface.

44:22It's the way they put paint on.

44:23And in Edie's case, there's a kind of speed and lightness to it.

44:27OK.

44:27And finally, Alice,

44:29who gave us that great sense of movement in her submission.

44:32Very similar colour palette today.

44:34Yeah, and also I think what's similar

44:35is the way that there's an awful lot of rhythmic paint going down,

44:39these rich colour tones and some sketchy marks.

44:41But when you get to the eyes,

44:42she really, really pulls focus.

44:45And for me, anyway, it's in the eyes.

44:47She does introduce these strange moments of colour.

44:50If you look at her face and in her hair,

44:51you've got a similar use of an odd colour that suddenly appears.

44:55I mean, essentially, they feel like bruises, don't they?

44:58I think they're wonderful, magical bruises.

45:00And you've got Kyla looking into the distance,

45:03you know, imagining a future.

45:05Who's it going to be?

45:08Who is it going to be?

45:09I don't know.

45:09Ian, Edie, Alice, it's been an absolute privilege

45:16watching you all work today.

45:18But as you know, only one of you can go through to the semi-final.

45:22The artist the judges have picked

45:23conjured a striking portrait with a lightness of touch.

45:29And that artist is...

45:31Edie Bao.

45:44What?

45:46Oh, my God.

45:47You're so afraid.

45:51Crazy.

45:52I didn't expect that at all.

45:54I don't know how to react in that situation.

45:56You're just kind of looking like,

45:57not me?

45:58It meant a lot, and it was quite overwhelming.

46:02I think it's been one of the best days of my life so far.

46:05I think I did a good painting, so that's a bonus.

46:08Made the sitter cry.

46:10She made me cry.

46:13I'm always impressed when young artists go out on a limb,

46:18but they still nail it with the lightness.

46:21We see artists struggling with lightness all day long.

46:24This wasn't a problem for Edie.

46:26She could concentrate on the painting, the art aspect of it.

46:29And that's what we want.

46:31If you want to find out more about the competition

46:33and the artists featured,

46:35visit our website,

46:36skyartsartistoftheyear.tv

46:39GIANT stable.com.

46:47See you guys tomorrow.

46:52Ask All Days

46:53to the Club of the Closed Captions

46:54to the Club of the Closed Captioning

46:54be back in đây.

46:55They were just wondering how the film is new.

46:57We're going to be back in this video.

46:58They were a great إلى.

46:59They're going to be back a lot,

47:01and why they really play it.

47:02They учify it

47:03and see you in the school right now.

47:03And then?

47:04Yeah, some of the children on Di介念

47:05they had a look right there.

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