Face Off (2011) s09e09 Episode Script

You definitely achieved what you set out to do.
I thought it was a pretty cute idea.
Your hero makeup is awesome.
Just awesome.
Thank you.
Previously on Face Off Nora ran the gauntlet and got her first win.
But Jasmine fell short and was sent home.
It's me, guys.
And tonight, the artists tackle their most intimidating challenge yet.
Welcome to the end of the world.
- Oh! - Yes! - Boom.
- I just look fucking stupid.
I don't have time for this shit.
I just need to get these panels in.
My makeup looks embarrassing.
This thing went off the rails pretty badly.
I think it's fantastic.
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 2015 Fiat 500, and $100,000.
This is Face Off.
I don't know about you guys, but I'm beat, man.
- Yeah.
- The gauntlet kicked my ass.
- It was awesome.
- I've never been so tired.
The first two days were hard.
The third day was like, "Are you kidding?" Coming from the bottom on the gauntlet challenge, that was really kind of scary to me.
That's when I was like, "That's it.
I'm outta here.
" But winning the third stage of the gauntlet really boosted my confidence and I'm just really excited to jump into the next challenge.
Best foot forward, we'll see what they got to throw at us next.
As long as we can sculpt, I'm good.
What is this? We're walking down this dusty path and there is, like, a bombed-out car, bombed-out buildings, barbed wire everywhere.
I don't know where the heck we are, but all of a sudden, there's McKenzie and Glenn waiting for us.
Hey, guys.
Hey.
Welcome to the end of the world.
Today's challenge is all about the apocalypse.
The Four Horsemen of the Apocalypse.
- Oh! - Nice.
War, Death, Famine, and Pestilence.
Hell to the yeah, this is gonna be awesome.
I'm really feeling this challenge already.
Since the Four Horsemen are prophesized to bring about the end of the world in the book of Revelation, this place seemed an appropriate location for you to find inspiration for your spotlight challenge, which is to choose one of the Four Horsemen and use his name to inspire your own horrific incarnation.
What? I've always wanted to make an apocalyptic type character, so yeah, I'm stoked.
Glenn, you designed makeups for the apocalyptic thriller, Legion.
What advice do you have for these guys for creating such epic dark characters? You have to find some contrast in these characters.
For example, in Legion, the oddness of the ice cream man demon character stood in such stark contrast to the angels that it gave the entire story some range.
All right, guys, scattered amongst these ruins are survival kits featuring the names of the horsemen.
Now although this is ultimately an individual challenge, you'll be working in groups to create a set of Four Horsemen.
And that set of characters will be revealed together on stage.
So bitching.
You ready for this? - Yeah.
- Let's go.
Go! I wanted Pestilence so bad - All right.
- Go Famine.
- Yes.
- Nice.
From what I'm drawing right now, there's armor on my guy.
I mean, it's War, so I'm putting armor on the guy.
Yeah, it makes sense.
Yeah, mine is Famine and I was thinking of sculpting a thin chest, and a face and having that exposed through thin clothing.
I imagine my character, Famine, as having this touch of death.
He can't pick anything up and eat it because whenever he touches any kind of food, it actually kills it.
I want him to look very emaciated.
I'm going to have a face piece and a chest piece.
I'm going to have very exaggerated features, but I still want him to be human, so I think it's going to be a really cool looking.
I want the Death in my post-apocalyptic world almost being an empathetic guide to the other side.
War, Pestilence, and Famine do all the destruction, and she picks up the pieces, so my Death character would probably fit in old France in the catacombs.
I want her to look like a burial shroud-wrapped Death.
So I know this is an individual challenge, but I think the judges might be looking for something where they're connected since they're all four on stage.
- Yeah.
- Any certain timeline we want them existing in? We're in chronological time.
We live from a point A to a point B, but what if these guys are on a different type of time? If we're gonna have them exist across time, why don't we give them all pocket watches? - Yeah.
- And the pocket watch can - reflect their personal time.
- Right.
- Boom.
Boom.
- Right, right.
I think it's super cool that they all have little pocket watches.
The second it comes out of my mouth, the idea for my concept comes together.
Pestilence, you know, and any kind of disease starts off small and grows really big, so I thought it would be really cool if it was kinda like an impish character with big protrusions on it.
It's gonna be like a face piece and then a cowl that are both gonna be run in foam.
I'm gonna try to go with a girl instead of a guy.
You always think of women as kind of givers of life, so I thought it would be a cool juxtaposition to have a female who brings about the exact opposite.
This is tough.
- I had a clear idea in my head.
- What are you thinking? I'm gonna slender out my model and I'm gonna fabricate some barb wire, and I'd like to have it wrapped, like, around her head and going into her mouth.
I wanna go kind of outside of the box and make a really memorable character.
For some reason, as soon as I got Famine, I saw this skeletal-like face, cool external teeth.
I'm really excited about it, but I know that it's gonna be really tough to represent in clay form, so I'll just have to worry about that when I get into the lab.
So for Pestilence, should I go with something like biological? We just had a whole Ebola scare.
- Biological warfare? - Yeah.
This character is Pestilence.
He is going to be in servitude of Death.
So I want him to look very, like, empathetic.
He's been a victim of pestilence, but he's also the bringer of this plague.
I want to do something that looks bacterial, so I want his mouth to be like a sore, and I want him to be able to expose all his toxins onto the world.
My concept could be too outside the box, so this is a very risky decision.
But what I do know is I'm not gonna play it safe this time.
For Death, I'm thinking, like, you know, the Grim Reaper's classic, obviously.
My idea right off the bat, I want to do a Death reaper-type character with a really scary face with an overmask.
He's going to be very emaciated and old, and I want it to really impress the judges with how accurate it is as far as the muscle texture and how the bone looks.
I'm feeling really good.
I'm really excited about this challenge.
I can't wait to get back to the lab and start sculpting.
All right, everybody, let's go back to the lab.
We get back to the lab.
It's time to pick our models, and the first thing I do is start blocking out the face.
My concept behind this character is he has his war mask on, and underneath, that kind of represents the bloody aftermath of war, and it also has this hole in the center of his face that kind of absorbs the souls of those that he's defeated.
Today I'd like to sculpt a face, I need to sculpt a cowl, and I also need to make an overmask to reveal his underface.
It feels like a lot to do, but I think I can accomplish it in the time that we've got.
What I'm gonna do is make his whole chest a Kevlar vest.
Like built into his anatomy.
That's pretty cool.
I like that.
My concept for War is incorporating some armor plating into his anatomy.
So where his muscles are, we'll see plastic material growing out of his skin.
- I'm doing an entire torso.
- Entire torso? This is an opportunity to do something pretty cool with the character, and go a little bit bigger than I normally have.
With my face, I'm gonna make a big, gaping mouth, and I want it to look like complete rot and decay with, like, sagging flesh and sores everywhere.
I entertained the idea of putting tendrils on the cowl piece so he can bring his toxin to his victims through these little tendrils hanging off of him.
My fear is that it's gonna look very alien, and that's not what the challenge dictates, but with our number down to eight, the competition's getting harder.
So I really want to stand out with this one.
See, the cool part about doing this muscle texture is I can just paint it onto his eye.
Normally muscle goes over bone, but I want to have the bone on top of the muscle and do this really cool muscle pattern where it goes back and starts to split open and turn into these meat horns, and just make it really interesting as well as something that Glenn's never seen before.
- Tell me if you hate it.
- Wow.
I don't hate it.
Good.
I do love my idea, but I was worried earlier on about making this face sculpt, and sure enough, it's come back to bite me in the ass.
I'm not really feeling what's happening with the clay, and my concept's just not coming together the way I saw it.
I'm really lost.
This sculpture is just not looking right at all, and I can feel myself getting really anxious and panicky because at this point, I don't have time for this shit.
Like, I need to get this done or else it's my ass.
Oh, ah.
I'm worried about my sculpt for my Famine character.
And I'm starting to get really frustrated, and I'm starting to get really down on myself.
I can't get anything to look right.
It just looks fucking stupid.
What are you imagining? I just want it to look like barb wire.
- I think it looks awesome.
- Oh.
Seriously, that looks cool.
It's reassuring to have Evan telling me that the sculpt's looking great, and that I'm just in my own head about it.
I would just sculpt, like, a couple of these lines - just a little bigger.
- Okay.
But other than that, I think-- you don't even have to do that.
I think it looks awesome.
It's really hard for me to get out of my own way sometimes, but I know if I can't see it and he does, then hopefully the judges will too.
Hey, guys.
Here to check in on you.
Hey.
Mine is actually more of like a tribal, like, witch doctor kind of a feel.
Definitely want to do on one side kind of like that muscle, like, skin pull back type of a thing.
Yeah, but by taking and taking some of this fullness out of the lips, even you could fill in here to take that healthy lower lip out of the way.
And you can put in some small little wrinkles along there to really make it - look nasty and puss-y.
- Yeah.
The one thing I wanted to do, but I'm not sure how to do is actually disguise his mouth as if he doesn't have one.
Well, you know, I wouldn't think we'd want to disguise the mouth totally, but you can wrap right over the lips there.
Just be careful when you're casing it up that you don't get caught in there - and have that snap off on you.
- All right.
You're making your own bald cap? Yeah.
Since there's not a lot of texture to it or detail, I'm not going to waste time in sculpting or molding.
I'm just gonna go straight with the latex.
And then lay hair on it? - And lay hair.
- Will this be hair? - It's really nice and - Creepy.
And it's almost mummified and everything, so good.
Yes, exactly.
I'm doing kind of a backwards anatomy thing.
- Mm-hmm.
- I'm doing muscle under the bone.
Take a look at your skull a little bit more.
- Okay, okay.
- 'Cause in here, - see that you went around here.
- Yeah.
There's a little bit more to all this.
- Okay.
- I would try to put a little bit more of this-- this skull-- - Pop it out a little more.
- Yeah, yeah.
Okay, cool.
- Okay, so this is Pestilence.
- Okay.
I want it to look really disgusting.
I want its mouth to be kind of an open sore.
I'm not gonna have any teeth on it or anything.
Definitely gonna need some boils and sores to go along with pestilence.
I'll definitely do that, but what about these? - Some tendrils? - Coming out of, like-- We don't want it to look alien.
Still has to be human, but it's like a distorted human is what you're dealing with.
Of course I don't want to create an alien on this challenge because that means I'm getting eliminated.
So I'm going to figure out another way.
All right, guys, we're heading out, but it's looking good.
- Good luck to everybody.
- Thanks, guys.
Bye, guys.
I want the skin for my pestilence character to be super textured and super organic, So I lay down some slip cast latex and then I sprinkle some salt into it just to get a really exaggerated pimply, boily, skin-type texture.
I'm really digging it.
I think that it's heading in a cool direction, and I'm pleased.
To make this chest I cut out the pieces in paper and stick them onto the torso just so that I have a general layout.
And everywhere where the paper is is where the Kevlar material will be.
It's a lot easier for me to manipulate paper than to do clay because if I need to change something, it would be so much more work having to remove the clay and smooth everything out.
Time's up.
Mr.
Westmore confirmed my fear that if I do sculpt a pointed cowl with tendrils on it, it's gonna look alien.
That's all I need to know.
I am going to chop that off and instead, I'm going to put tendrils on his face.
That way I keep some vestige of my original design, but I apply it in a better way.
That is so cool.
- I think it's fucking cool.
- Okay, cool.
Thank you.
I'm feeling much better than yesterday.
I think I just had to sleep on it and now that I'm looking at it, I know exactly what I need to do.
I put a few more coils of clay in.
On my cowl, I'm gonna do these inverted ears, so barb wire is gonna wrap into the mouth and actually go back in through the ears.
Really starting to see it all come together, and I'm feeling a lot better about the sculpture.
Mm-hmm.
So we all decide that to unify our characters, we're gonna put these kind of collars on them and have Death kind of all walk them out on leashes.
Gonna do mine with the barb wire.
Barb wire? It'll match what you're doing.
For my collar, I want it to be nasty, rusted metal.
What's even cooler about that is I'm going to wrap it around my sculpture so I've got the clay skin kind of cut up around it.
- Love the collar idea.
- Me too.
Pretty bitch.
Today, I am sculpting the chest piece.
I want him to be really emaciated, malnourished.
So I'm actually gonna sculpt almost like a ribcage coming out and then be like very pulled skin as if he hasn't eaten in a long time.
I think it'll really help sell the character more.
I'm a little nervous that I'm just starting to work on such an important piece.
On top of that, I have never sculpted a chest piece before.
That's definitely stressful, but I just have to get it done as fast as I can.
I get to the mold room to finish my face mold for my Death character, and my intention is to get the rest of the cowl done.
Hopefully get everything pre-painted before application day.
I need to get my face piece for my Death character a little more refined and molded.
I need to start my cowl, finish that, and mold that, and then I also need to make my overmask.
God, I have so much to do.
This is a lot of work, so I'm worried about that.
But all in all, I think I got enough stuff to make him look pretty cool.
Take it one bite at a time, man.
I finally get the chest piece done, but the clock is ticking at this point.
And I'm one of the last people in the mold room.
Ah! I don't know if there's enough time to get this mold done right.
I'm nervous now.
My chest piece will help sell the famine, so I do need it.
If I don't have the chest piece, then I'll just have a face, which is definitely not enough.
I'm really freaking out about this one.
The clock is ticking at this point, and I'm one of the last people in the mold room.
My chest piece will help sell the famine, so I do need it.
I know I need to mold as quickly as possible.
It's just the only option I have left.
I finish the sculpt on the cowl, get it molded.
It goes really smoothly.
I'm really excited.
And then I start sculpting my overmask.
I sculpt horn shapes into the mask so you can kind of see the muscle underneath it.
To get the shape, I vacu-form it, which heats up this plastic, and the vacuum sucks it down, and then you end up with the shape that you sculpted.
Oh, ho-ho-ho-ho.
- About to do mine.
- Check that shit out, dude.
Cool.
At the end of the day, I get my piece molded, so priority was set and met, so I can focus on my timepiece that binds our Four Horsemen of the Apocalypse together.
I want a really aged look to my character.
I want her to be comfortable in that antique look, so it's important that I do a timepiece that reflects that, so I want to do an hourglass.
I vacu-form a couple of pieces to get the basic shape that become the top and bottom half of the hourglass, and then the spindles are just PVC pipes, so very quick fabrication, but with a little bit of ingenuity, it's coming out pretty cool.
Holy fuck, dude.
That's time, guys.
I get my mold cleaned out with just enough time.
I'm looking forward to application day.
I'm proud of myself for sculpting something new to me, so I'm excited to see how it all turns out.
Oh, boy.
Look at them edges.
Application day, it's all about the face.
The foam piece is perfect.
The edges are so nice.
Everything is so clean.
I couldn't be happier.
- Good morning.
- All right.
How are you? It's gonna be your piece to see through here.
And how do you expect me to eat, Jordan? This is all going on in Last Looks.
Oh.
Are you serious? - Yep.
- Oh, thanks, man.
So today's gonna be a little bit different than what I'm used to.
I'm not gonna be applying any of my makeup to my model until Last Looks.
- Is that latex? - Yeah.
So I'm thinking about doing it for your arms or any part of your skin that's showing.
So I'm gonna use this nasty, old flesh look.
Hopefully that really ties it in with the abstract look in his face and unifies the character.
I'd love to get a top look with this one.
My prosthetics turn out very well.
So that's good.
It's not too tight or anything.
No.
Since my concept is a little abstract, my paint job demands detail in order to sell the idea, and that means I need to get everything glued down as fast as I can.
So that way I'll be able to really focus on going in and making the detail.
All right, let's paint you up, bro.
I'll let you know when you can open your eyes.
Just don't do it until then because I don't want your eyelashes to get caught in the cowl.
I apply the face and then I start to do a cotton and latex buildup to give fluidity to the tumors on her head.
I just have to really focus on making her look really crusty and grimy.
If you wouldn't mind just kind of trimming them just-- just bigger than this.
I end up spending a good half of application getting the Kevlar panels embedded into my torso piece.
This chest has quickly become the bane of my existence.
It's eaten up so much of my time.
I'm worried 'cause I still haven't started painting yet, and the paint job is exceptionally important on this one.
I just need to get these panels in.
I wish there was a faster way to do this.
We have so much painting to do.
I mix up a flesh tone that's gonna match my model's skin tone because he's a really skinny guy, so I'm actually gonna just embellish his natural skinniness with some subtle body painting and contouring and shadowing technique.
I start to paint the face and I decide to base out all the muscle in a pink.
I'm gonna airbrush you.
I do that and then I base out the bone in white, and he looks really weird.
Okay.
I'm just gonna speckle you.
So I start bringing in more reds and dirtying up the bone.
He looks all right, but I'm a little worried about the paint job.
It looks a little stark.
I finally start painting, and I start basing him out in a red packs.
I'm stressed.
There's still a lot of painting that has to be done on this torso as well as the face, and I have to figure out how to make everything blend together, and I'm just running out of time really fast.
Ten minutes, guys.
That's time.
Shit, man! The challenge has just kinda gotten away from me, and, you know, looking at everybody else's work just a wave of acceptance comes over me, and I know that I'm most likely gonna go home.
It's Last Looks and I've got an entire makeup to apply.
I've gotta get that face piece glued down, put on his entire wardrobe, get all of the armor fit to him that I created.
This is probably going to be the most frantic Last Looks I've had yet.
I'm gonna paint your arms up.
I'm worried about my paint job, so I decide to put some transparent jelly to it and put it over all the muscle and leave the bone.
I just hope it works.
All right.
I have to paint his face as good as I can.
It almost seems hopeless, but I'm not giving up yet.
I want to stylize every part of this thing.
I think that's gonna be a nice complement to the makeup.
He's looking like I wanted him to.
As I put the teeth in and get the barb wire situated, he's really coming together.
I think he's a pretty cool character, and I'm really happy with it.
Time! That's time! Come here, man.
Nice.
Good job.
I like it, but it's just looking really weird.
Hopefully weird's okay, but you never know what the judges are gonna say about it.
Welcome to the Face Off Reveal Stage.
You know our talented series judges.
Owner of Optic Nerve Makeup Effect Studio, Mr.
Glenn Hetrick.
- Good evening.
- Hello.
Oscar and Emmy award-winning makeup artist, - Ms.
Ve Neill.
- Evening, all.
- Hello.
- Hey, Ve.
And creature and concept designer, Mr.
Neville Page.
- Hi, guys.
- Hey, Neville.
This week, your Spotlight Challenge was to create some of the most foreboding characters imaginable, the Four Horsemen of the Apocalypse.
Let's see how they turned out.
She looks super voodoo-y.
I feel like it is so I feel kick-ass.
He looks awesome.
He looks like he's ready for war.
This character is everything that I envisioned from the get-go.
My model definitely reads famine and gaunt.
I like this makeup.
He looks very creepy.
Definitely the makeup evokes empathy in the face.
There's nothing harsh about it other than it being the face of Death.
I'm very happy with the way it's coming across.
I am proud of this makeup.
I just think it looks really obscure and gross.
I'm hoping the judges like it as much as I do.
I think my character looks very cool on stage, and it really feels like it embodies the apocalypse.
My makeup looks embarrassing.
It's a total turd out there compared to everybody else's.
It doesn't read as War.
It just looks so scary.
I'm really, really, really happy with it.
Okay, judges, it's time to take a closer look.
- Yeesh.
- Wow.
The finish feels almost too dry.
Well, I kinda like it.
I like the lower eye over cheek a lot.
This is my favorite part of the makeup.
- Mm-hmm.
- Yeah.
I like what's going on in there, but it's weird.
I don't understand it at all.
I like it.
It's creepy.
The face is one of the most unique things I've seen on the show.
I like the color palette, cheeks are a bit weird.
I do appreciate what she's doing there with the eye orbit making it a totally different look, but it does start to feel a touch synthetic.
Look at the ears.
That's cool.
She really looks mummified.
Yuck.
Interesting.
It's some really obscure choices.
Looking forward to hearing the story about this thing.
Thank you.
- It's red.
- It looks very dry to me.
It looks like it should be a little bit more moist.
It's embarrassing putting that in front of them.
I almost wonder if this wouldn't be better without No.
I'm certain that I'm the bottom look, and I don't want to go home.
All right, guys, it's time to get on Twitter and tell us who made your favorite Horseman using #FaceOff This is odd.
Honestly, I just don't want them to look at the makeup at all.
At this point, it's very clear to me that I'm the one that's going home.
It just feels like the design is fighting the outfit.
I do like this color on the chest.
She did a pretty good job of matching - all the colors up, too.
- Mm-hmm.
I do love this scratchiness, especially 'cause it does imply eyebrows.
Yeah.
Can you put your mask on real quick? Wow, that's really nice weathering and metal painting techniques.
I like the fact that it's completely different, but artistically we're still following the rules with the lines.
It's really smart.
Okay, the judges have scored your creations, so let's find out what they thought.
Kevon, Nora, Ben, Evan, you're the best and the worst this week.
The rest of you are safe and can head back to the makeup room.
Thank you.
All right, the judges would like to speak with the rest of you guys before making their decisions.
Kevon, you're up first.
Kevon, tell us about your concept.
I wanted him to portray being a victim of pestilence because when you think of, like, pesticides and then kind of pests, you think of cockroaches, and other things with, like, feelers.
That was my motivation.
That for me isn't working in terms of the storytelling.
I don't mind if it looks alien or creaturey, but I have to feel like he's one of the Horsemen of the Apocalypse, and by dragging his eyes down, you've lost all of the human form.
And there is a line where things become so obtuse that they no longer feel like a workable concept.
Well, Kevon, if the Sloth from The Goonies and The Fly had a baby, it would probably look just like this guy.
Unfortunately I don't think that's what we're looking for.
Probably on another challenge this would have been the cool-looking thing, but I think for this, it's just a little off kilter.
You have too many different ideas that don't go together.
You've got this insect-like thing, but it's mixed with the flagella you'd find in bacteria, and it doesn't feel like a viable character.
Kevon, you can head back.
Thanks, Mal.
Nora, please step up.
Hey, Nora, tell us about the concept for your Horseman, please.
Well, I had Famine, and instantly for some reason, I saw barbed wire, and I saw the mouth.
It was shut like nothing could get in.
Metaphoric for not being able to eat.
Cool.
You got a good spin going on here.
Cool.
I really love the coloring that you put on the chest, and I know it's supposed to complement the face.
That's difficult to do because you've got rubber and you've got skin, but I think you did a pretty great job of it.
I love the barbed wire around the mouth.
I just love what you've done.
Ah, thank you.
There's some really beautiful work in general.
The sculptural forms I like a great deal because they're so subtle.
The textural detail that you're doing as well, those two things combined with a really cool concept make this feel very thorough.
Thank you.
I think this is great stuff.
I love the color palette.
I love the blend around the eyes.
But using the colors around the eyes then letting the lids be lighter so that the lids pop out, really, really sophisticated, complex color layering.
Thank you, guys, so much.
Nora, please step back.
Thanks, buddy.
You're awesome.
- Good job.
- Thanks, man.
Evan, you're up.
Explain your Horseman concept to us.
So I got Death.
I wanted to explore anatomy, so what I did was reverse anatomy, and I gave him this overmask to protect his fragile face.
Can you pull the mask off again? Yeah.
I'll get it.
The graphic design is what makes it so interesting.
Great sculpting, great paint.
I love how the mask is echoing what you've done underneath.
I think it's fantastic.
Thank you.
The reason that this is successful is because it's exactly what I asked you for the other day.
Give me your own unique interpretation, and it immediately reads the Horsemen.
This is gorgeous.
You should be very proud - of yourself.
- Thank you.
I appreciate it.
I love the subtle sheen that you have not only on the bone, but on the exposed muscles.
That's beautiful.
The painting on the mask really looks like metal, which is so hard to do most of the time.
- Nicely done.
- Thank you.
Evan, please step back.
Thanks.
- Good job.
- Whew! Thanks.
Ben, please step to the center.
Tell me about the idea behind this makeup, please.
This was my modern day interpretation of War.
I had a hard time coming up with an idea that I liked.
This was just one bad decision after another.
Yeah, this thing went off the rails pretty badly for you, man.
Yeah.
Overall, it's not a horrible image.
Your sculpture's not messy.
It's symmetrical.
It's a design, but it doesn't feel like it has your heart and soul behind it.
It lacks passion, and it lacks clarity.
Agreed.
Once you realized that you weren't going to show these body parts, if you would have completely covered them up or not used them and spent more time just painting the face, you probably could have pulled it up a little bit more, and I think this could have been a lot more successful with a different paint job on it.
Yeah.
I don't want to keep kicking you while you're down - Go ahead.
- 'cause you're fully aware of what's happened here, but the framing going from forehead down around the eyes feels a little contrived.
There's nothing unique about it.
The thing to take away from this is all the mistakes that occurred.
- Yeah.
- And knowing how to avoid them in the future.
That is how we grow as artists.
Yeah.
Ben, thank you very much.
Will you please step back? All right, guys, will you please head back to the makeup room while the judges deliberate.
Thanks, guys.
All right, judges, let's start with your favorite looks tonight.
How about Nora? I loved her color palette.
I loved that kind of jaundicey sallow look, and she carried it through right down onto the sternum.
So many layers of interest in not just the sculpture work and the makeup work, but in the storytelling as well.
It was gorgeous, and then on top of handling the form really nicely, that barbed wire thing gave it a really modern cutting edge design feel.
It really fulfilled the challenge.
All right, let's move on to Evan.
Absolutely stellar.
I love his incredibly courageous attempt at redefining anatomy.
The paint job is beautiful.
Love the way it was all carved out.
Nicely done.
That's probably the best sculpture work I've seen him do, and even though he violated anatomy, how dare he.
But he did it with skill And with a vision that the end result was so beautiful it's permissible.
All right, judges, let's move on to the looks that didn't work for you this week.
Let's start with Kevon.
Yep, he had everything in it and the kitchen sink.
That was the biggest problem.
There were too many different motivations.
If I was directing a film, I would never be able to use that design to tell my story.
It doesn't have the presence and the awe of one of the Four Horsemen of the Apocalypse.
Each little thing independent of each other was kinda cool, but you put it all together, and it just becomes a big mess.
All right, let's move on to Ben.
I don't know what the heck happened with Ben.
I mean, he's done so much better in the past.
And I don't think it was, like, a horrible face sculpture.
It just was not a good paint job.
And red-- why did he choose red? He completely missed the Horsemen concept.
And he also completely missed the post-apocalyptic part of the concept.
He never got to a place where he came up with his vision for War.
So he started laboring away on something that had no point.
Okay, judges, should we crown a winner? - I think so.
- Yep.
- We're ready.
Okay, let's bring 'em back out.
All right, Glen, tell us about tonight's top looks.
Nora you gave us some really interesting forms, but your greatest success was to veer away from the obvious path of the frail, skinny character.
Evan, the sculptural choices were very adventurous.
And your paint job really enhanced all of those risks that you took on that front.
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 Evan.
- Good job, buddy.
- Thank you.
Thank you.
You took big risks and managed to pay off all of your choices with gorgeous work all around.
Great job.
Thank you very much.
Appreciate it.
I'm blown away by how much they liked it.
I feel amazing, second win in a row for me.
- Evan, congratulations.
- Thank you.
You and Nora can head back to the makeup room.
Thank you, guys.
Good job.
Thanks a lot.
All right, guys, the two of you are on the bottom this week.
One of you will be going home.
Please step forward.
So, Glen, tell us about the bottom looks.
Kevon, we truly applaud the way that you think out of the box, but this one wound up way past the point of no return, artistically speaking.
And, Ben, some of your sculpting on the face was actually pretty good, but you were hammered with poor decision-making through the whole process.
So who's going home tonight? The person going home tonight is Kevon.
You got caught up by your own high-concept thinking this week and ultimately it resulted in a confused character.
Kevon, I'm sorry, but that means you have been eliminated.
Ben, you're safe this week and can head back to the makeup room.
Whew! Kevon, we've really loved some of the makeups that you've given us on this show.
And I think you have a bright future in makeup, so best of luck, darling.
Thank you.
Kevon, it's been so great having you here with us.
Please head back to the makeup room and pack up your kit.
- Thank you, guys.
- Good luck, Kevon.
Good luck.
Leaving, of course, stings a little, but I have no regrets about this.
It's me.
- What? - Yeah.
Just-- I'm-- I'm at peace with this, guys.
I am proud that I got this far.
And being a part of this competition has meant everything to me.
And it has built me as an artist so much.
I didn't make it through this challenge, but I've come a long way.
This is not the end for me.
This is only a new beginning.