Take Hart
Take Hart is a British children's television programme focused on art and crafts, presented by artist Tony Hart and broadcast on BBC One from 1977 to 1983.[1] The show, produced by BBC Television in Bristol, featured 102 episodes across eight series and encouraged young viewers to create artwork using everyday materials.[1] Set in a loft-like studio, the programme showcased Tony Hart demonstrating various drawing, painting, and crafting techniques, often with a humorous and accessible style to inspire creativity at home.[1] A key highlight was the "Gallery" segment, where Hart displayed and commented on artwork submitted by child viewers, fostering a sense of community and achievement.[2] The show also incorporated stop-motion animations, most notably featuring Morph, a mischievous terracotta-coloured clay character created by Aardman Animations' Peter Lord and David Sproxton, who debuted on the programme in 1977 and interacted playfully with Hart.[3] Take Hart succeeded the BBC series Vision On (1964–1976), retaining Hart as presenter but shifting away from sign language elements to emphasize direct art instruction.[1] It was complemented by recurring characters like the clownish Mr. Bennett, played by Colin Bennett, who added slapstick comedy through his bumbling caretaker role.[1] The "Gallery" segment was accompanied by Stanley Myers' "Cavatina," contributing to its warm, inviting atmosphere.[1] In 1984, Take Hart received a BAFTA award for children's programmes, recognizing its educational impact and popularity.[2] It paved the way for Hart's subsequent series Hartbeat (1984–1993), which built on its format, and influenced later BBC art shows like SMart.[1] The enduring legacy of Take Hart lies in its role in promoting artistic expression among generations of British children, with Morph becoming an iconic figure in animation history.[3]Origins and Development
Predecessors
The evolution of BBC children's programming in the visual arts can be traced back to early shows that laid the groundwork for interactive creativity, such as Playbox (1954–1959), where Tony Hart served as a resident artist demonstrating drawing techniques to young audiences.[4] Another foundational program was Tich and Quackers (1963–1965), a lighthearted children's series featuring ventriloquist Ray Alan (as Tich) and the duck puppet Quackers, whom Hart operated unseen while contributing artistic segments.[5] These early efforts emphasized accessible, engaging art education, setting the stage for more specialized formats in subsequent decades.[6] The immediate predecessor to Take Hart was Vision On (1964–1976), a BBC1 children's television program specifically designed to engage viewers with hearing impairments through its minimal dialogue and reliance on visual and musical elements.[7] Hosted by Pat Keysell and artist Tony Hart, the show prioritized silent demonstrations of art and crafts to ensure inclusivity for deaf children while appealing to all audiences.[8] Hart's role as the lead artist involved guiding viewers through creative processes without verbal narration, fostering a format centered on observation and imagination that directly shaped the non-verbal, demonstration-heavy style of later programs.[9] A key element of Vision On was the "Gallery" segment, in which Hart showcased and commented on children's submitted artwork, often accompanied by the distinctive theme "Left Bank Two," encouraging widespread participation and highlighting young talent.[10] This interactive feature, which emphasized viewer contributions over professional instruction, became a cornerstone of BBC art programming's evolution toward community involvement.[7]Creation and Launch
In 1976, the BBC developed Take Hart as a successor to the long-running children's programme Vision On, which had concluded after 12 years on air, with the decision to retain Tony Hart as the host driven by his established popularity among young audiences from his role on the predecessor show.[1] The programme was produced by the BBC's children's television team, including key figures such as producer Patrick Dowling, to maintain the emphasis on art and creativity while evolving the format for broader appeal.[1] Take Hart premiered on 15 February 1977 on BBC1, airing weekly in a teatime slot with initial episodes running for approximately 30 minutes to allow sufficient time for demonstrations and interactive elements.[11] The launch built on concepts like the viewer artwork showcase known as the Gallery from Vision On, adapting it to encourage home participation without the sign language focus of its predecessor.[1] Among the early production choices was the introduction of Morph, a stop-motion Plasticine character designed as Hart's mischievous sidekick to add humour and visual dynamism to the art-focused content; Morph was created by animators Peter Lord and David Sproxton, who would later co-found Aardman Animations.[3][12] This character debuted in the first episode, marking a pivotal shift toward incorporating animation as a core element of the show's appeal.[3]Content and Format
Hosts and Characters
Tony Hart served as the primary host of Take Hart from its debut in 1977 until 1983, leveraging his background in art education to engage young audiences. Born Norman Antony Hart in Maidstone, Kent, in 1925, he developed an early interest in art and studied at Maidstone College of Art (now part of the University for the Creative Arts), graduating in 1950 after initially pursuing military service during World War II.[13] His role on the show involved demonstrating various art techniques using accessible materials like cardboard, string, and sand, presented in a relaxed, encouraging manner from a simulated penthouse workshop, emphasizing creativity over perfection to inspire viewers.[14] Hart's soft-spoken, patient on-screen style, honed from prior programs like Vision On, made complex ideas approachable, often revealing large-scale outdoor artworks via crane shots to showcase scale and possibility.[14] A key element of the show's charm was Morph, the mischievous stop-motion Plasticine character created by animators Peter Lord and David Sproxton of Aardman Animations in 1976 specifically for Take Hart. Morph, a simple terracotta-colored figure capable of shape-shifting back into a lump of clay, debuted interacting directly with Hart in short animated sketches, often injecting humor through clumsy or cheeky antics like knocking over art supplies or mimicking the host's demonstrations.[12] Tony Hart often narrated over Morph's animations, enhancing the character's playful personality and seamless integration into live-action segments. Morph's design allowed for quick animation on 16mm film, typically producing one minute per week.[3] Supporting the main host were live and animated characters that added comedic flair. Colin Bennett portrayed Mr. Bennett, the bumbling caretaker of the studio, whose recurring visits often involved hapless attempts to fix minor issues like faulty heating or misplaced items, leading to slapstick mishaps such as toppling stacks of bricks for humorous effect.[15] Another animated figure, Smoulder the Moulder—created by David Sproxton—was a lump of malleable mould that comically produced props on demand by "spraying" them from a can, providing lighthearted support in sketches while underscoring the show's theme of inventive creation.[16]Key Segments
The core of each Take Hart episode revolved around Tony Hart's engaging art demonstrations, which emphasized accessible creativity using everyday materials. Hart would guide viewers through small-scale projects, such as crafting sculptures from nuts, bolts, kitchen utensils, or even egg whisks, often presented in the show's studio workshop setting to foster a sense of hands-on experimentation.[17] These sessions highlighted improvisation and encouraged children to replicate or adapt the ideas at home, with Hart's calm narration underscoring the joy of artistic expression over perfection. Larger-scale endeavors included ambitious murals and installations, like a 150-foot image created on an airfield or expansive open-air artworks on beaches and car parks, revealed dramatically via crane-mounted cameras to showcase the transformative power of art in public spaces.[17][14] A highlight of the program was "The Gallery" segment, where selected viewer artworks were presented on-screen to celebrate young creativity. The selection process prioritized original, humorous, and inventive pieces from the thousands received weekly, curating a diverse array that reflected the show's inclusive ethos.[17][14] On air, Hart would introduce each item with enthusiastic commentary, often zooming in on details like a necklace made from gold-painted macaroni, while the segment was accompanied by the distinctive "Left Bank Two" theme music, creating a rhythmic montage that linked the submissions into a cohesive visual narrative.[17][18] This format not only displayed the artwork but also built a communal sense of achievement, with Hart occasionally drawing inspiration from the pieces for his own demonstrations. Animated interludes featuring Morph, the plasticine character created by Aardman Animations' Peter Lord and David Sproxton, provided lighthearted breaks throughout episodes. Morph, residing in a box on Hart's desk and characterized by his bulbous nose and mischievous personality, appeared in short stop-motion sequences depicting art-related mishaps, such as clumsily attempting to copy Hart's drawings or embarking on whimsical adventures within the studio environment.[17][18] These non-verbal gags, often involving shape-shifting antics or interactions with other pencil-box characters like the ill-mannered Chas, added humor and reinforced the theme of playful imperfection in creativity. Occasionally, live sketches incorporated Mr. Bennett, the bumbling caretaker played by Colin Bennett, who would interrupt proceedings with comical concerns over the heating boiler or misplaced buckets, serving as transitional elements to maintain the show's energetic flow.[18][14]Viewer Participation
One of the defining features of Take Hart was its encouragement of young viewers to submit their artwork by post, fostering a direct line of interaction between the audience and the programme. Children were invited to mail their drawings, paintings, and collages to the BBC at the address provided on-air, typically Wood Lane, London W12 8QT, with submissions targeted at those aged between 4 and 15 to ensure age-appropriate content.[19][20] The selection process involved an initial review by a small team, often retirees, who sifted through thousands of entries weekly—averaging around 6,000 to 10,000—before Tony Hart personally oversaw the final choices to balance representation across age groups and creative styles, emphasizing originality and imaginative use of materials over technical perfection.[21][19] In the programme's The Gallery segment, selected artworks were showcased on studio walls, accompanied by Tony Hart's warm, personal commentary that highlighted the creators' ingenuity and effort, often including a mix of exceptional and more modest pieces to reflect the diversity of submissions. Successful contributors received a letter of confirmation from the BBC, along with modest prizes such as a book token and a commemorative sticker, which served as tangible recognition of their participation.[21][4][19] This interactive element significantly boosted viewership and had a lasting educational impact, with the influx of submissions—totaling tens of thousands across each series—demonstrating widespread engagement and inspiring creativity in schools and homes throughout the UK. By making children active participants rather than passive observers, Take Hart cultivated a generation of budding artists, some of whom later credited the programme as a pivotal influence in their careers.[4][19]Production Details
Filming and Locations
The primary filming for Take Hart took place at the BBC studios in Bristol, where the show's studio-based format allowed for the creation of an immersive environment tailored to its educational focus on art.[1] The sets were designed to resemble Tony Hart's personal loft studio overlooking the docks, featuring large worktables cluttered with art supplies, colorful backdrops, and elements evoking a creative workshop to engage young viewers.[1] This child-friendly art direction, overseen by set designer Desmond Chinn, emphasized accessible and vibrant visuals that encouraged hands-on participation at home.[22] The production team consisted of BBC staff, including producers such as Patrick Dowling, Molly Cox, Christopher Pilkington, and Jane Tarleton, who handled the logistical aspects of transforming the studio into a dynamic space for artistic demonstrations.[1] Episodes typically ran for 30 minutes, with occasional 60-minute holiday specials that expanded on the core format to include extended segments and guest features.[23] Directors like Christopher Pilkington and Jane Tarleton managed the blend of pre-recorded animations—such as those for Morph, produced at Aardman Animations in Bristol—with live on-set elements.[24][25] Filming presented challenges inherent to a children's art program, including the coordination of live demonstrations by Tony Hart, which required precise timing to maintain a relaxed yet instructional pace, and the management of props like paints, brushes, and craft materials to avoid disruptions during recordings.[1] Early episodes faced issues with limited on-screen interaction, prompting the addition of co-hosts like Mr. Bennett to enhance engagement, while the overall production balanced spontaneity with the need for clean, repeatable setups.[1] In 1993, some 2-inch Quadruplex videotape masters of Take Hart episodes were junked by BBC archivist Adam Lee as part of broader storage and financial policies affecting children's programming archives.[26]Music and Graphics
The auditory elements of Take Hart were integral to its creative and relaxed atmosphere, drawing from library music to complement the artistic focus. The opening credits featured "Left Bank Two," a jazz piece composed by Wayne Hill in 1963 and performed by the session group The Noveltones, which had previously served as the Gallery theme in the predecessor series Vision On.[27] This vibraphone-led track, characterized by its gentle shuffle and playful tone, underscored the show's emphasis on viewer-submitted artwork during the Gallery segment.[28] From the 1982 series onward, the opening theme shifted to the more upbeat, reggae-infused "Passion Punch" by Stanley Myers, reflecting a subtle evolution toward a livelier rhythm while maintaining the program's whimsical spirit.[29] Additional music enhanced specific segments, with "Cavatina"—composed by Stanley Myers and performed on classical guitar by John Williams—accompanying the Gallery sequence in later episodes.[30] This emotive, melodic piece, originally expanded for the 1978 film The Deer Hunter, provided a soothing backdrop for showcasing children's drawings and paintings, evoking a sense of quiet accomplishment.) The use of such accessible library tracks from publishers like De Wolfe ensured a consistent, nostalgic audio palette that supported the show's educational yet entertaining tone without overpowering the visual content.[27] Visually, Take Hart employed innovative graphics and animations to blend artistry with accessibility, particularly through stop-motion techniques. The iconic character Morph, a malleable clay figure, was animated using traditional stop-motion by Aardman Animations, debuting in 1977 to interact humorously with host Tony Hart on his desk.[3] Morph's simple, terracotta-colored design allowed for fluid shape-shifting in short sketches, exemplifying the show's theme of creative transformation and appealing directly to young viewers. Title sequences featured hand-drawn art transitions, often evolving from static illustrations into dynamic animations that mirrored the program's drawing activities, such as lines forming objects or colors blending seamlessly.[31] Over the series' run from 1977 to 1983, the visuals adapted to maintain freshness, with early episodes using softer, pastel color schemes in title cards to evoke a craft-room intimacy. In the later series (1982–1983), sequences incorporated brighter hues and cel-animated elements, aligning with the reggae shift in music for a more vibrant, cartoonish feel that encouraged ongoing viewer engagement.[32] These changes, including updated title cards with playful motifs like spinning art tools, ensured the graphics remained integral to the artistic theme without overwhelming the live demonstrations.Broadcast History
Series Overview
Take Hart was a British children's television programme focused on art, presented by Tony Hart, that aired on BBC One from 1977 to 1983.[23] The series comprised 8 series totaling 102 episodes, each approximately 25 minutes in length, and was broadcast weekly in the late afternoon or early evening slots to engage young viewers after school.[23][33] The show typically aired on Tuesdays or Wednesdays at around 5:15 pm, with summer repeats often scheduled in morning slots during school holidays to maintain accessibility.[34][35] Throughout its run, the production maintained a consistent format of live demonstrations, animated segments, and audience interaction, though later series incorporated adaptations such as additional recurring characters to enhance appeal for evolving children's programming trends.[11] This structure remained largely unchanged until the final series in 1983, ensuring the show's enduring focus on creative encouragement.[36]Episode Guide
Take Hart consisted of eight series broadcast on BBC One between 1977 and 1983, totaling 102 episodes, each approximately 25 minutes in length.[1] The series emphasized practical art demonstrations, viewer submissions, and animated segments featuring Morph, with episodes typically airing on Tuesdays or Thursdays in the late afternoon or morning slots.[33]Series Breakdown
| Series | Year | Episodes | Start Date | End Date | Notable Themes |
|---|---|---|---|---|---|
| 1 | 1977 | 13 | 15 February 1977 | 17 May 1977 | Introduction to basic drawing and painting techniques, such as lines, quill pens, and water effects; Morph is fully introduced in episode 4, "Rollers and Morph!", marking the clay character's debut as a regular sidekick.[37][38] |
| 2 | 1978 | 6 | 14 March 1978 | 18 April 1978 | Exploration of materials like paper and light; shorter run focused on experimental art projects, including scribbling and repetition patterns.[1] |
| 3 | 1979 | 13 | 13 February 1979 | 8 May 1979 | Emphasis on everyday objects in art, such as cats, rubbings, and demolishing structures creatively; introduction of viewer gallery highlights.[1] |
| 4 | 1980 | 13 | 2 January 1980 | 26 March 1980 | Themes around foil, wallpaper, and tracing paper; included segments on making custom tools like ball-point pens.[1][35] |
| 5 | 1981 | 15 | 5 January 1981 | 30 March 1981 | Broader topics like sea and shore, mistakes in art, and ancient paper forms; featured more interaction with Mr. Bennett's slapstick routines.[1] |
| 6 | 1982 | 15 | 6 January 1982 | 14 April 1982 | Focus on scrap materials, underwater scenes, dragons, and man-made flight; highlighted stripes and protection motifs in artwork.[1][39] |
| 7 | 1983 | 15 | 5 January 1983 | 13 April 1983 | Advanced concepts like light and dark contrasts, books, and paper engineering; included caretaker humor with Colin Bennett.[1] |
| 8 | 1983 | 12 | 29 August 1983 | 30 December 1983 | Concluding themes on sea and shore variations, with final episodes wrapping up viewer participation; new episodes aired in morning slots during the summer holiday period.[1][40] |