You have a perfect ensemble here.
They have such bizarre coloring.
Spectacular.
Thank you.
McKenzie: Previously on Face Off...
eight artists faced the gauntlet,
but only seven survived, and Kaleb was sent home.
It's me.
McKenzie: And tonight, they'll tackle a challenge
that is more than just smoke and mirrors.
- Looks can be deceiving. - Wow.
This is fun.
That does not read female.
- No. - I am freaking out.
This is taking me forever. I can't just have a cowl.
Not gonna have enough time to sculpt a face.
It's just gorgeous.
It doesn't hold up as a whole.
McKenzie: In the end, only one
will win a VIP trip from Kryolan Professional Make-Up
to one of their 85 international locations,
a brand-new 2016 Fiat 500,
and $100,000.
[exciting music]
♪ ♪
This is Face Off.
[exciting music]
Sync and corrections by n17t01 www.addic7ed.com
Well, this looks cool.
And crazy.
We're walking down this road.
We turn the corner, and there's this castle.
So cool.
Dragons, anyone? That'd be cool.
It's really big, and it's really old-looking.
I'm hoping it's dragons, because it's a castle.
Castles and dragons. That's a thing.
- Hey, guys. - Hey, McKenzie.
Welcome to the incredible Lobo Castle.
It's beautiful, isn't it?
- Yes, it is. - Yeah, beautiful.
Well, as you all know, looks can be deceiving.
Now, while this castle home is stunning,
sometimes exterior beauty
is nothing more than a façade.
Ooh.
All these models come out, and they're very different.
I start thinking "fantasy."
And I love fantasy,
so I'm excited for this challenge.
It's gonna be fun.
- Wow. - This is fun.
As you can see, our evil sorceresses
are all young and beautiful--
a façade that is clearly the result
of their magical powers.
So, for this week's
Spotlight Challenge, you will choose one of these models
and turn her into the monstrous or hideous evil sorceress
she truly is when all that magic wears off.
My genre is scary beautiful,
so this challenge is a perfect match.
All right, it's time to pick your evil sorceress.
We've drawn your names at random.
Rob, you have first pick.
The dragon queen.
Corpse conjurer.
The Wiccan of the woods.
Shadow enchantress.
Sea witch.
Temptress of the flame.
Emerald empress.
All right, now, keep in mind that the judges
expect to see your sorceress's true evil nature
on full display at the reveal stage.
Good luck.
Thank you.
I couldn't be more excited because I got my dragon queen.
You lure younger girls to live in your castle
and then you steal their youth.
I want to stick with the colors of her dress,
so it's a lot of tans and browns and golds.
Those colors scream "dragon" to me.
So, a lot of scales, a lot of horns poking out,
old age.
So right now I'm thinking of doing a face, the back piece,
and maybe some hand appliances.
It's kind of a lot for one person to do all that,
so hopefully I can get it all done.
One, two, three.
I end up with one of the ones I really didn't want--
the emerald empress.
I don't know how to incorporate emeralds in a hideous creature.
I really got to think about this one
and pull from things I know to come up with a cool concept.
My character is the Wiccan of the woods,
and in Wicca and witchcraft,
a common theme is that when you send out a spell,
it comes back times three.
So this beautiful witch
is the character who sends out the spell,
but if you send out an evil spell,
she comes back in her true form to exact vengeance.
I want to incorporate trees and bark
and some element of decay,
and I want to make her overall sculpt very asymmetrical,
like a tree choked by burls and vines.
I have not sculpted a cowl yet for the competition on my own,
but I think if I pace myself correctly with the time,
I should be able to knock everything out.
The sorceress I pick is the temptress of flame.
She works with Satan by manifesting things
people are tempted by,
and if they don't give in to temptation, they're fine.
But if they do, they get burned.
I'm thinking of putting the flames on these ram horns.
The only thing that's causing me stress about this makeup
is sculpting the flames in a way that doesn't look cartoony.
I definitely want the silhouette
to be a powerful image,
and I just hope I can get it in clay.
You're definitely gonna be, like, scary.
I picked the shadow enchantress.
She is a demon sorceress
that seduces people into getting what she wants.
It's gonna be a darker makeup.
I want her to have
a hollowed-out face, sunken-in cheeks.
I want to turn the spikes that are coming out of her crown
into some sort of horns.
So I have a lot of work ahead of me.
Hope this works out.
All right, everybody. Let's go back to the lab.
All right.
So we get back to the lab,
and I start sculpting the sea witch.
My sorceress name is Maris Tenebris,
which is Latin for "Darkness of the sea."
My concept is to show
like she's transforming into a fish-like sea creature,
but I'm thinking of just turning half of her face,
and there's a side I keep normal.
My sea witch is pretty in the daytime,
and sailors fell for her, and then by the time
she shows her real face, it's already too late.
What she does to them is so twisted that we can't really
talk about it on television.
I'm still stuck on this character,
but as I'm looking at my reference photo,
I realized my model was already very powerful-looking,
and I want to use her features to my advantage.
So I'm gonna have emeralds coming out of her cheeks
following up to her forehead,
emerald shoulder pieces,
and I'm gonna do a crown piece
with the emeralds shooting out of her skin.
Once I get into it, I'm really liking this.
And it's something that I could see as,
like, an action figure.
I am so excited that I got the corpse conjurer.
My idea is that every time she conjures the dead,
she turns into a corpse version of herself.
I want to take her skeletal system
and make it look like it's pressing through the skin.
It's like a shape that's coming out.
It's, like, pushing through the skin.
- Does that look like that? - Yeah.
It's gonna be hard to sculpt without just
turning it into a skull,
but at this point in the competition,
after finishing the gauntlet,
I'm more confident in my abilities.
Hey, guys. Here to check in on you.
- Yay. - Hello.
- How are ya? - Hi.
I have the Wiccan of the woods.
I'm trying to, like, yeah, make it look like
knots and burls and stuff like that.
What's so important about this is just not painting them brown.
You're gonna have to go in and pick up some wood texture.
Otherwise it's gonna look like brown boils.
- Yeah. - I got the emerald empress.
Now, are you gonna use any stones on the face?
I want them to come down a little bit
up on the higher cheekbone.
These things that are coming down here on the cheeks
should be more of accents than trying to do giant things.
You have to be careful you don't start making
her look like a porcupine.
Yeah.
I want to kind of keep her pretty,
but scary and disturbing.
Right. I think your nose is too perfect.
I'd take and distort that nostril.
You know, like a fish,
a fish is so smooth around the front of their faces.
But do away with that
and literally bring this into the face here.
Oh, make it bigger?
Yeah. Yeah.
I got the shadow enchantress.
My model had this really cool headpiece,
so I thought it would be cool to have this be a bunch of horns.
Right now, that looks like a bald cap.
I think you need something back here, though.
Maybe a ridge that's going to come down here.
- I like the ridge idea. - Yeah.
So I got temptress of the flame.
This is gonna be sculpted into flame.
I'm just working on symmetry right now.
The shape is really interesting.
- Just don't over-flame it. - Mm-hmm.
The flame, it's symbolic as opposed to reality.
- Thank you so much. - Thank you.
My sorceress was the dragon queen.
She's this old, haggard dragon who steals youth.
I love what you got going on from here up.
Okay.
This, to me, might look like a normal old age makeup.
That can be a problem.
Try adding a little fantasy to it and give her more nostril.
You know, the dragons have the--
- A little more flared? - Yeah.
- Flared and a little bigger. - Okay.
Because the ones you have here are too small.
- Okay. - Good luck to everybody.
- Thank you. all: - Bye.
Mr. Westmore's advice makes me rethink my entire plan.
I'm trying to change the nose
and make it more dragon-y and fantasy.
But, it's looking really masculine.
This has to read female,
and right now it does not read female.
No, it doesn't.
I'm getting really frustrated and stressed, and every minute
that I spend trying to make this work,
I'm worrying more and more about everything else
that I need to get done.
I might have bitten off more than I can chew,
and I'm freaking out.
I'm spending more time than I want to
trying to get this face piece done.
It's not reading "old dragon lady."
It's reading "old man."
Are there any forms of her anatomy
that I can just tweak to make it seem more female?
'Cause I'm lost.
I go over to Anna and Mel,
and sort of ask for help.
You could lessen up this jowl a little bit.
- Yeah. - Should I round out the jaw?
Rounder shapes are gonna be softer, yeah.
Yeah. It's good advice.
So I knock down the jowls, try to create a more rounded form,
and it's helping.
I'm still nervous about it,
but I do feel better.
I think you just saved my ass, Anna.
- Yeah? - Yeah.
- Is it working? - Yeah.
I feel like the sculpture is progressing nicely,
so it's time to mold.
I'm trying to get this face ready for foam
so that I can have a completed face for day two
so I can make sure all the little vines and everything line
up on the cowl.
I have enough time to get everything molded,
but whether or not I have time to clean it out is a question.
So, I'm just trying to get it done as quickly as possible.
- You gonna go mold? - Yep.
Whoo-hoo.
I'm trying to figure out how to make these flames
look realistic and not cartoony,
but all the forms are not what I want,
so Yvonne actually talks to me
about how she's used vacu-form plastic for flame in the past.
You just got the plastic and melted it with a heat gun?
Yes.
So, I get some vacu-form and heat it with a heat gun
and bend it in a way to create watery-looking flame shapes
that I couldn't have created on my own.
- Anna. - What?
Just like fire.
[laughter]
At first, it's not working.
Yeah. This is not great.
But eventually I land on something that looks organic.
It's not perfect, but I'm happy with what's happening.
- Does that look like fuego? - Yeah, totally.
It looks sweet as hell.
This was fun to sculpt.
I'm pretty much done with my cowl.
I do have to do some detailing tomorrow,
but other than that, by the end of the day,
I'm exactly where I need to be.
That's time, everyone.
Are you serious?
It's my first cowl
and face sculpt of this competition on my own,
so time management is super important.
But I'm headed in a good direction,
so as long as I stay on track,
I should be in a totally good spot.
- Okay. - Let's rock and roll.
Hello.
I have to finish sculpting and mold everything.
I think yesterday I had too many ideas,
and I was confusing myself.
That's how I feel every day.
I think yesterday I was really scatterbrained,
and I was mixing myself up trying
to do everything all at once.
So, I'm hoping today is different,
and I really need to focus and get things done.
The first thing I do is redo the back.
Instead of doing dragon wings,
I decide to go with more of an exaggerated spine.
It's only a one piece mold, and it won't take that long,
so I can spend my time sculpting.
I'm excited and a little intimidated,
since I do have to sculpt and mold a cowl in one day.
But, luckily, I got my face piece that I had run.
I'm like, "I can use that to have a smooth form
as I go from the face sculpt to the cowl."
This kind of cowl, I think,
in real life would take me at least a couple weeks to do.
So, just trying to nail all my ideas, get
it done as quickly as possible, nail up some textures.
It can be a little rough,
and I'll correct it in the paint job.
Are you doing the spine or are you doing this?
Originally it was the spine, but that doesn't really
make sense to push through.
Wouldn't it?
I'm struggling with the neck a little bit
because I'm not sure if I want the neck muscles to come out
or if I want more of the skeleton
from behind the neck to come out.
It might be kind of cool
if you mimic these sort of shapes.
Mimicking that more than this?
Like, sort of the little vertebrae or whatever.
Even if it's, like, a light impression of it.
Rather than it's like a limbo between the two?
Yeah.
I really need this to be accurate
and read as proper anatomy.
So I exaggerate the neck bones a little bit more.
I'm happy enough.
I'm still not 100% satisfied with the neck,
but I just have to get it off to the mold room.
- Rob. - Hmm?
Do you think it would be better if I ran it
across the back?
So, I finish my shoulder pieces,
but it's gonna be a tricky mold,
and I'm not exactly sure how I'm gonna do it.
The thing is, there's no under cup.
- You would do a cup, then? - Yes.
Rob suggests that I just make it like a pod
that is just a one piece that goes over the shoulders.
So, never done that before.
I'm gonna give it a try.
This mold is taking me forever.
This mold is bigger than I anticipated it to be.
It's not really setting up quickly,
and it's taking far too long.
I'm scared I'm not gonna have enough time
to sculpt and mold a face.
I'm concerned that I haven't started sculpting my face yet.
There's not that much time left today,
and I think I might be in trouble.
Why is this mold taking me so long?
I don't want to put just a cowl out in front of the judges,
especially looking around, and the other artists
are doing cowls, faces,
and Rob's doing an entire body.
So, I can't just have a cowl.
I'm really feeling the pressure.
I'm scared I'm not gonna have enough time
to sculpt and mold a face.
I'm spending way too long on this cowl mold.
I just have to call it quits
and hope that it doesn't break when I open it.
This is going to be the fastest face sculpt
I've ever done in my life.
But I have to have a face for this makeup,
or else my whole concept is shot.
I want to make a eel for my sorceress,
which she can then wrap around her arm.
What are you gonna run that out of?
- Gelatin. - Gelatin?
It's gonna be gross.
Yeah.
Gelatin is translucent,
and it looks very eel-like normally.
So, when my mold is ready to go,
I mix some color into the gelatin
so I don't have to paint it.
Pour it in and then hopefully it comes out tomorrow.
Okay.
I want to start knocking out these vines.
I grab some foam tubing.
I start snipping in to create little thorns,
and then I heat it up.
And what that does is it causes it to expand,
and it also slightly shifts the color
so it looks more dark and less silvery.
It's pretty much the effect that I'm looking for.
It's not perfect, but, you know, given the time I have,
it's pretty damn good.
I'm finally done with the facial sculpture.
I'm not happy with it, but if I don't
mold it now, there's no molding it at all.
30 minutes.
All right. I'd say you're kind of good.
That's time.
That was the fastest mold I've made in my life.
I was like, "How am I gonna deal with Anna tonight
if she doesn't get that fucking face done?"
These were not the best molds I ever made.
I hope my foam turns out.
If not, I am in serious trouble.
How many frigging molds did you make?
Like, 15?
Three stone molds, a little silicone mold,
and then I attempted to brush up the horns.
- No good? - I probably don't have horns.
This is the most work I've done in this competition.
I'm worried about how mine's gonna come together.
- Same. - Yeah.
Everybody feels pretty stressed right now.
This is a lot of work that we all undertook,
so everybody feels crazy.
Recently, my trick is to summon demons into my makeup.
So, that new demoness,
she will be pissed off if I mess it up.
I should be more afraid of that than of losing the challenge,
because then she owns my soul.
Damn it, Robert.
What?
[laughter]
It's been a long day.
But I'm serious.
- Thank you, sir. - All right. Let's do this.
Oh, I actually have edges.
- Walt. - Oh, fuck!
Oh, yay.
The first thing I do is check on my foam pieces,
and they actually look okay.
This is way better than I thought it was gonna be.
- How are you? - All right.
Hey. How you doing?
I hope to God you can walk in these.
The porcupine quills are pretty dangerous,
so before I put on the face piece,
I have to protect her skin with a piece of plastic.
It's kind of like armor
in case she suddenly decides,
"I want to run with my face against the wall."
It's a pretty big piece,
so it might take a while to get all that on.
The way I sculpted my appliance, it is going into her hairline,
and I can't really glue it down into her hair.
So, I stick it under her wig cap,
and hopefully the wig on top will hide it.
If this rips, it's okay. It's gonna be covered in burn.
I'm so happy that it lines up.
I take my time applying face and it all turns out really well.
So, now I can start painting.
I start basing the entire face
and cowl out in a PAX tone-- which is like a pinky-white--
and then I take the porcelain airbrush paint
and just even it out.
After that, I start going from light to dark with my airbrush.
I really need to make sure my highlights and shadows
make this sculpture pop.
- Do you feel pretty in there? - Yeah.
After I apply the cowl and the brow piece,
I mix latex with coffee grounds and I start applying the burns.
Once I paint it, it looks like charred skin.
So cool.
I put it in the negative space of the horns,
and I'm just trying to lay it unevenly
and much like charred skin would look,
and then I used black Aquacolor on it,
and it's looking cool.
You smell like coffee.
The judges are gonna know what I did here.
I get the face and cowl on.
So, I start putting in the vines.
Basically, all I'm doing is using glue to put the vines in,
and it's kind of holding.
I'm trying to create this sort of big head piece
so that it looks like this flowing mess on one side,
and I think it'll look really cool,
but not if the vines fall off on the stage.
As I'm applying all the pieces,
it's looking really cool,
and even though I didn't get to finish the horns
that I tried to mold,
I actually find stock horns that fit perfectly.
But there's not much time left,
and I need to finish the paint job.
It's acrylic paint and water.
So, it's, like, really thinned out.
So, it sinks into all the cracks and wrinkles.
The acrylic wash, it's difficult and it's time consuming.
So, I'm worried about how much time I have left
and if I can do it well.
That actually works. Holy crap.
Yay.
These are taking way too long.
I'm trying to base out all these emeralds
because I know I'm not gonna have time in Last Looks
to highlight, shadow,
and put a shine over all the emeralds.
So, I'm worried that it's not gonna have the look
that I really wanted it to,
but there's nothing I can do.
15 minutes, everyone.
That's time, everybody.
Whoo.
I got to glue down your mouth.
And then finish your entire makeup.
I'm surprised that nobody's looks totally painted
and ready to go, but I'm still nervous.
I'm still worried about how much work I have left to do.
Where's my vibrant green?
We get to Last Looks, and I got to start painting
because I've got a lot of detail work to do,
as well as all my lining and cracking.
My hands are crazy shaky right now.
There's something weird on this foam.
There is a piece of the foam
that I needed to patch that I never did.
We're just gonna have to pretend it's not there.
At this point, it's way too late.
I have to just let it go.
There's no time to fix that.
I have to still do her eyes.
I have to paint her arms.
So, I'm worried.
I don't have anything that will work for the hands,
but then I realize that I can use this extra face piece.
So, I tear up the face piece
and put bits of the prosthetic on her hands.
We're just gonna bypass the fingernails.
It looks very woodsy, and I'm excited.
The paint job on the face piece is only halfway done.
What in the hell?
And my airbrush clogs.
Gonna have to wing it.
So I grab some super color and the foundation brush
and I start painting as fast as I possibly can.
15 minutes.
All right, guys. It's time.
Oh, my God.
That was pure madness.
I look around in the room and see the other makeups,
and I think my design is still pretty interesting.
So, I hope the judges get it.
Welcome to the Face Off reveal stage.
You know our fantastic series judges.
Owner of Alchemy Studio, Glenn Hetrick.
Good evening.
- Hi, Glenn. - How you doing?
Oscar and Emmy award-winning makeup artist, Ve Neill.
Hello, everyone.
all: Hi.
Creature and concept designer Neville Page.
- Hi, guys. - Hey, Neville.
All right, let's get to it.
This week, we presented you with various evil sorceresses
who use magic to maintain their beautiful appearances.
Your Spotlight Challenge was to choose one
and show us what her monstrous
or hideous true self looks like after the magic wears off.
Let's take a look at your creations.
[spooky music]
♪ ♪
I really think I hit the mark on this challenge.
The hard work and stress is finally paying off.
I like my sculpture and the paint job.
So, I'm feeling good about this overall character.
It's better than I thought it was going to be,
but at this point, I just want to be safe.
This vine thing looks pretty cool.
With the exception of the wardrobe,
I'm very pleased with how it looks.
Seeing my sorceress look at herself as what I've created
is really cool, and I think she looks awesome.
I am aware of my technical flaws.
But I still really like my design.
She is pretty evil.
I know that it's incomplete,
but the overall look of her I'm really pleased with,
and I really like how powerful and evil she looks.
Judges, why don't you go ahead and take a closer look?
The breakup's nice.
I love the color choice.
Wow, he even got her hands done.
With some really specific scaling.
Let's see the back.
There's a beautiful echoing of the human anatomy
with these scapula peaks and this beautiful vertical piece.
This is even better up close.
And the sculpting is a really subtle.
Just these tiny little wrinkly lines here.
You can't figure out if it's bone or flesh.
And this really nice countershading
separating everything out.
It's really creepy.
So much of the sculpting is happening in the airbrush work.
Wow, this is far worse up close than I had feared.
The proportions are all off for me.
If she would have made the top of the head much bigger, that
would have really helped a lot.
It would've.
It's obvious the judges aren't into this makeup.
Open your mouth.
You don't need the teeth.
At this point, I need a miracle
to keep me in this competition.
All right, guys, it's time to get on Twitter
and tell us who made your favorite evil sorceress
using #FaceOff
Wow, this is actually far worse up close
than I had feared.
Yeah. The proportions are all off for me.
They're looking at everything that is wrong with it.
I'm just hoping to be safe this week.
First off, I don't like this at all.
Second off, there's some really cool stuff happening with it.
The color choices are bizarre, too.
It's almost like an avant garde
approach to the challenge.
Her beauty makeup part of this is really well done.
She's really quite exquisite.
Okay, turn to the side, honey.
All the way around.
Even as an attempt to sculpt the illusion of flame.
This is nothing like it.
It looks like she got her head shoved in baked Alaska.
Wow, this is kooky-looking.
It looks like she's not all the way transformed or something.
I don't think that was a good choice.
Seeing this as a full symmetrical character
would've been so much more interesting.
It's way too many different tones
that are fighting one another.
I really love what's happening with the mouth here.
Not the colors, but that texture is gorgeous.
All right. The judges have scored your creations.
Let's find out what they thought.
Mel.
Melissa.
Walter.
Congratulations, you are all safe
and can head back to the makeup room.
Thank you.
That means the rest of you
were the best and the worst this week,
and the judges would like to hear from each of you
before making their decisions.
Yvonne, please step forward.
- Hi, Yvonne. - Hi.
Tell us about your approach to this corpse conjurer.
She enchants the dead,
and when she does she starts to transform into a corpse herself.
I wanted the skull to press through her skin.
I didn't want her to be like a corpse
when she conjures the dead.
I absolutely love this.
It is so smooth.
That soft, subtle touch with the airbrush
is exactly what gives it such a fantasy look.
It's just gorgeous.
- Oh, thank you so much. - Oh, my God.
It's like her skin has fused with her skull.
I love your paint job. I love the colors you chose.
It's really nicely done, honey.
Thank you.
It's a skull for all intents and purposes,
but retains her beauty,
and I think that that's a difficult thing to pull off,
and you've managed it quite well.
Thank you so much.
Yvonne, please step back.
Thank you. Thanks.
Robert.
Hello, Robert.
Hello.
Please tell us about this evil sea witch.
This is Maris Tenebris,
which translates to "darkness of the sea."
She lures the men with her beauty,
and when she reveals her true face, it's already too late.
I'm bummed out that you didn't complete the whole makeup.
Instead of doing it mid-transition,
if we would have seen the whole thing,
it would have been a lot cooler-looking.
I wanted her sort of be kind of pretty,
so I kept, like, one half.
I'm not quite sure there's enough of that pretty side
left under there, unfortunately.
What is the detail
that's sticking out on her right-hand side?
- Oh, this here? - Yeah, yeah.
It's like a little wing for fishes.
A wing for fishes?
Oh, yeah. You know, a fish-wing.
- No, that's a fin. - Tiny ones.
Okay. I get it.
I don't like it, but I get it.
If it was a gill-like feature,
I think it would have elevated the sophistication of it.
There's some great stuff happening,
it just doesn't hold up as a whole for me.
I really like the forms that you have going on here,
and I think if you would have just concentrated on bringing
that across the face in a nice, tight paintjob,
you could have ended up with a very successful makeup.
Okay.
Robert, you can head back.
Anna, please come forward.
- Hi, Anna. - Hello.
Tell us about your shadow enchantress.
She is a demon that wants what she can't have,
so she seduces people and takes their souls.
I wanted these to be horns on top of her head,
like she was, you know, a demon.
But I didn't just want, like, two horns coming out.
I wanted her to look more sunken in and hollow,
but it got away from me.
It's just a bit too cliché and on the nose.
Some of the forms are so either asymmetrically sculpted
or asymmetrically applied.
It's those elements
that affect the integrity of this particular design.
I'll give you an E for effort,
but you didn't quite get there in terms of the build.
The stalagmite-type formations
just issuing forth from the top of her head
to me echoes more your confusion in terms of what your design
was going to be than it does the point of the challenge.
From a distance, she looks fantastic.
It's when you get up close where everything starts falling apart.
You're putting something on top of somebody's head
that's covering their ears.
That's gonna make this part of their face really wide,
and whatever is on top is gonna get very narrow,
so the proportions get all kind of wonky.
Thank you.
Anna, if you please, step down.
Thank you.
Rob, please step forward.
Tell me about your dragon queen.
She is this ancient dragon empress
who lures young girls into her service and then
slowly drains their youth and absorbs their energy.
My goal for this was to create something
that was obviously dragon,
but I didn't want to build a dragon.
I think it turned out pretty good.
I think you're right about that, Rob.
You covered so much and gave us details,
but you didn't go nuts and bite off more than you can chew.
It's a hard thing to do with the time that you're given.
- Impressive. - Thank you.
Would you please have your model turn around for us?
Amazing, dude. That's phenomenal.
I would have liked to have seen
her face look a little bit more feminine.
- But it's beautiful makeup. - Thank you.
You managed to integrate the form language
of that head horn with that beautiful bone line
as well as allowing for a classic demon furrowed brow.
The overall vision is really spectacular.
Thank you.
Rob, please step back.
Thank you.
All right, guys, please head back to the makeup room
while the judges deliberate.
Okay, you guys still have your special immunity available
if you'd like to use it tonight.
So, with that, why don't we talk about your favorite looks?
Why don't we start with Yvonne?
Such a beautiful, clean sculpture and paint job.
I'm just so impressed with the symmetry of this.
I just love the way that the skin
looked like it was fused to the bone.
Really beautiful, subtle sculpting all over that makeup.
Really nicely done.
She's getting better every single week.
All right, let's move on to Rob.
Absolutely brilliant.
The back's just as good if not better than the front.
It's all gorgeous.
Even the accuracy of the hands,
which was done quickly, but it didn't look like it at all.
In fact, none of it looked like it was done quickly.
Everything was cohesive.
It was so beautifully done.
All right, so let's move on to the looks
that didn't work for you so well this week.
Let's start with Robert.
I fear that he's being a bit too playful.
He's like the class clown of Face Off.
And this isn't the challenge for it.
I don't believe it should have been a transition makeup.
It should have been a complete character,
which is what we didn't get.
I think if he applied himself,
he could really pull out a great makeup.
This certainly wasn't one.
All right, let's move on to Anna.
Well, I love the idea.
It was very Maleficent-like.
A distance read was pretty good, but, you know,
when you get up close, you see how wonky the whole thing was.
It looks like it was glued on asymmetrically.
The nose is moving just a touch to the right,
and the chin a bit to the left.
The only thing she got right is the idea of the white
and the black-- the palette with the wardrobe.
Other than that, everything on this makeup has failed.
- Yeah. - All right, then.
Judges, have you made up your minds?
- Yes, we have. - Okay.
Let's bring them back out.
All right, Glenn, tell us about the top looks.
Yvonne,
you gave us a gorgeous, fantastical character,
and you struck a really interesting balance
between the horrific and the beautiful.
And Rob,
we love the detailed sculpting in the face and the back,
and we were impressed
with how well you put the whole character together.
So, who is the winner of this challenge?
The winner of tonight's challenge is...
So, who is the winner of this challenge?
The winner of tonight's challenge is...
Rob.
You really, really wowed us this week.
You did so much, and you did it so well.
It's almost unbelievable that you did it by yourself.
Thank you.
Ah! I'm so excited.
This is my favorite makeup so far,
and I'm so happy that I've done this well and gotten this far.
- Rob, congratulations. - Thank you.
You and Yvonne can head back to the makeup room.
Thank you.
All right, guys.
That means the two of you are on the bottom this week,
and one of you will be going home.
Please step forward.
Glenn, tell us about the bottom looks.
Robert, despite a few cool shapes in your sculpture,
your makeup felt half-baked
and bit of an odd fit for this challenge.
And Anna, from afar,
your character definitely captured that classic look,
but it was littered with technical problems.
So who is going home tonight?
The person going home tonight is...
Anna.
Clearly, a lot went wrong for you this week.
The concept was lacking,
and your technical execution was pretty poor across the board.
Anna, I'm sorry, but you have been eliminated.
That means, Robert, you're safe this week
and can head back to the makeup room.
Bye, Robert.
Anna, although you're leaving us,
just know that you're also leaving us
with some great exposure to your talents.
- Thank you very much. - Thank you.
I've been wanting to be on Face Off since season one,
so this is a dream come true,
and I had a great, great time.
And we're glad you were here.
Anna, it's been so great having you here with us,
and if you'll please, head back to the makeup room
and pack up your kit.
- Thank you so much. - Good luck, Anna.
- Thank you, Anna. - Bye-bye.
This challenge totally got away from me.
- It's me. - What?
But, I'm leaving here with my head held high.
I love special-effects makeup.
So I'm definitely gonna keep going for it,
I'm not giving up.
This has not set me back at all.
Sync and corrections by n17t01 www.addic7ed.com