Face Off (2011) s09e11 Episode Script

I really like this piece.
He's fabulous.
Best thing you've done on the show.
Thank you.
Previously on Face Off Ben's freaky human peacock gave him the win, but Meg's shortcomings sent her home.
Bye, guys.
And tonight, the artists will reimagine human evolution.
A disastrous future earth scenario.
What could this possibly be? I'm totally screwed.
This is really so far off what the challenge is.
This is a huge setback.
Not your best work.
I think this character is fantastic.
In the end, only one will win a VIP trip from Kryolan Professional Makeup to one of their a brand-new 2015 Fiat 500, and $100,000.
This is Face Off.
Whoo! - Hi, y'all.
- Hi.
Mr.
Winner.
- Congrats.
- Thanks.
- Yeah, congrats, dude.
- Thank you.
I feel like I got my groove back the last challenge.
That's like total redemption.
Everything I do that I'm excited about, it seems to do really well on the stage.
And it's the opposite when you're not excited about it.
- It's crazy how that works.
- Uh-huh.
I'm just really disappointed in myself, but I'm relieved that I'm still here.
I just need to focus and really listen to the challenge.
We've made it this far, and I'm super happy to be with all of you guys.
- You guys are awesome.
- Same here.
Any three of us deserve to be on the top.
All of us really do, and it's just down to little things - that are gonna decide it.
- Yeah.
I'm shocked that I'm here in the top six.
Well, do we see what's next? I'm that much closer to the finale, and that feels awesome.
We walk into the lab and we see McKenzie and all of these signs, and right now we're just like, "What could this possibly be?" - Hey, guys.
- Hi.
Today we're diving into the world of The Expanse, the highly anticipated new space epic debuting on Syfy - this December.
- Awesome.
The series is set 200 years in the future where humans have industrialized the earth and set up colonies across our solar system.
In fact, some humans have even begun to evolve and adapt to their new environment in space.
We brought in the guys responsible for creating this rich universe.
Please give a warm welcome to the writers of The Expanse book series and producers of the upcoming show, Ty Franck and Daniel Abraham.
That's gonna be really cool to hear from the creators themselves, so I'm extremely excited about this.
Hi.
Thank you so much for being here.
- Thank you.
- Good to meet you.
All right, so why don't you tell these guys a little bit about The Expanse? The Expanse is set several hundred years in the future in a fully colonized solar system.
The prejudices of the time are really based on the gravity you grew up in, how that has changed your physiology.
So their bones are getting longer and more fragile.
Their heads are a little bit larger.
So that's the source of the changes we're seeing.
So with that in mind, we'll be going even further into the future giving us a glimpse of human evolution.
So that is your Focus Challenge, to create a human who has evolved to survive a disastrous future earth scenario.
- Cool.
- Awesome.
I'm excited.
I really like thinking of evolution, how things evolve.
It's cool to have it limited to just disasters.
This is an awesome challenge.
All right, guys.
These seven hazard signs are the catastrophic events that you'll use to inspire your evolved humans.
Now, when Ty or Daniel call your name, come on up and select your sign.
Scott, you're first.
Nuclear fallout.
- Nora.
- Toxic pollution.
Severe drought.
Volcanic disaster.
Polar melting.
Ice age.
Now, I want to arm you with as much information as possible.
Ty, Daniel, what advice do you have for them in terms of how humans might evolve to overcome them? One of the things you have to think about with evolution is that it's a response to the environment.
When you're in a really hot environment, you wind up finding ways to shed heat.
If you're in a really cold environment, you find ways to hold on to it.
That's the kind of thing you want to think about when you're looking at these new environments.
Now remember, guys, this is a Focus Challenge, which means your blending edges and details need to be on point, and all that fabrication you might be thinking about is irrelevant if the quality of the face suffers.
- You got it? - Got it.
All right, guys, time to pick your models and get to work.
- Good luck.
- Good luck, guys.
- Thank you.
- Thanks.
Okeydokey.
I chose nuclear fallout.
I know that I want to do something based on the old adage that a cockroach is gonna survive the nuclear winter.
So my concept is someone who has been modified to be more similar to a roach than a human.
Right now, I'm trying to determine how far into the future from the event.
Would it be immediate damage or would it be, you know, long-lasting evolution? So that's kind of where I am now, just trying to feel it out.
I chose volcanic disaster.
I like the idea of having her face collect ash over the years and eventually integrate it into her biology.
It made her a little bit more rugged and a little more impervious to the heat.
So I want to do metallic finish over some of it with also some dry spots.
So I have ice age, and I need to make a character that retains heat just so they can live in this frigid type of environment.
So I'm thinking of doing some skin folds so it looks like it's got that more fatty layer underneath of it.
I'm also gonna lay down some hair.
I'm pretty happy with the direction that it's headed right now.
So I start sculpting, getting the general forms of the face down, puffing up the areas in the cheek as well as the forehead, almost giving it a Neanderthal type of look but also keeping it more humanistic.
I don't want a go-to creature or anything like that.
I have toxic pollution, and I know right away I definitely want to do some kind of natural respirator, especially around the mouth and the nose area.
So I want to do a play on a human gas mask.
I'm really having trouble trying to figure out how to sculpt this thing, but we're down to the last six people and I'm not here to go home this close to the finale, so I really got to get going.
I chose severe drought.
My idea is to make this a half lizard, half human character.
In his skin he has this coral that collects the condensation and keeps him hydrated.
I also want to incorporate these gills that filter out all the toxins.
This is a really cool challenge.
I'm actually really into sci-fi, and The Expanse seems like it's right up my alley.
I have polar melting, so I kind of imagine a fish human, someone who evolves to being able to live in the water most of the time.
I sculpt a higher forehead and a streamlined nose.
The nose will turn into gills.
It all makes sense, and it all has a purpose, So I'm happy with that.
This looks like a fucking fish.
I can feel myself getting really, really overwhelmed.
Oh, Jesus fuck.
My brain and my hands are not communicating, and for some reason, things just aren't working.
What do you need? I don't have a shit.
I'm like, I'm not in a good spot right now.
It just doesn't look like a human.
It looks like a fish.
I hate it, and it's not how I envisioned it.
I just don't know what to do.
I cannot start over.
I don't have any fucking time left.
I'm really frustrated, and I'm really down on myself.
Stupid.
To be feeling this mentally disconnected from my main tools right now, it's killing me.
I'm totally screwed, and I've got nothing right now.
I've got nothing right now.
I'm, like, sculpting and crying, and I'm like a fucking mess.
Because this is a Focus Challenge it's all about the face, so this needs to be perfect.
I don't want to go home at this point.
I've come too far.
Not figuring something out is not an option.
Finally, I just rip my sculpture down and I start over.
It's a tall order, but I've got to make those tough decisions, and I think, in the long run, it's the right thing to do.
Hopefully this'll put me in a better mental spot.
For my nuclear fallout evolution I want to give it segmented exoskeletal structures that would protect against the radiation, mandibles that look a little bit different, eyes that are deeper set, and I want to change this from a human form, make it more plated.
I'm very happy with the way it's coming across.
- That's cool.
- Thanks, man.
The cracks in the face are looking pretty neat on my volcanic disaster human.
I sculpt in pitting as volcanic rock.
What are you gonna paint it? Well, I was thinking about doing almost like a gunmetal but, like, in the cracks sort of like a fleshy color.
That'll be sweet.
I want to make sure that everything falls in line with where normal creases would be in anatomy to represent that human aspect still.
As I'm sculpting my ice age character, I start adding in all of the overlapping areas.
It's looking a little bit droopy, but it also looks like the skin layers have overlapped over each other, so I'm thinking that it's gonna read that you can retain heat underneath.
I'm just hoping that it really makes sense in the end to the judges.
- Hey, guys.
- Hey.
We're here to check in on you.
Hello.
I got severe drought.
This is my vacuform piece that's gonna go over like this.
So this actually builds up moisture, and these vents actually filter out all the toxins into their lips because when there's not a lot of water, there tends to be a lot of toxins.
You've got a nice start here with this texture.
But you need to make it deep enough - Yes.
- to be able to read, especially since you're gonna be putting this over the top of it.
Oh, yeah, I want the option for them to take it off so they can see all this detail.
Good.
I got polar melting, and I imagined humans adapting to live mostly in water since there's almost no land mass left.
So I turned the nose into gills, and I was thinking of adding scales.
Yeah, I think you've got a great concept going here as far as your water flowing coming off of it, and with the upper lip and the nose.
But don't try to scale the whole face.
If you do that, - it might look reptilian.
- Yeah.
I have volcanic disaster.
- Okay.
- And so my idea is that all of the ash that has been falling has accumulated and compacts and forms protective armor.
When I paint it I'm gonna have metallics, but also some flesh tones coming out as well.
You have it segmented, which is really nice, but you don't want to make it look like a robot.
- Right.
- So I think you have to really be careful with your metallics because this is basically skin, - right? - Right.
I've got toxic pollution.
I'm, like, struggling a little with this.
I have an idea, but it just looked very snake-like, and so I just literally scrapped it right before you guys got here and started over.
You're really subtle with what you're trying to do.
With the toxicity you're talking about, the eyes may sink in.
They may need to be protected more.
You could have not a prehistoric brow but a heavier one and bring it around, have a little heavier cheekbone on here.
After talking to Mr.
Westmore, I realize that even though I've already lost a few hours of time, I feel much better about the direction that I'm gonna be heading in.
So I got ice age.
I've got all these skin folds here so that each layer that overlaps the last one can retain the heat in.
It has a cartoony look to it.
It's gonna read better without a big lower lip sticking out like that.
- Yeah.
- Right away, it looks less cartoony.
And I don't mind the nostrils and I don't mind these nasolabial folds wrapping up, but I just don't know about a ball right out there.
- Right.
- So that's why I think you need to redesign your nose.
I got nuclear fallout, so I automatically went to the old adage about cockroaches outliving everyone, so I wanted to keep it very insectoid in its look.
You know, I really love your sculpture, but I think you're missing a little bit of human in it.
This whole area here, if there was a little bit of a nose in there or something, as opposed to totally insect.
I could do that, something in here have nostrils and then change this, rather than those mandibles, - into more of a lip.
- I think so.
Mr.
Westmore is worried that I'm losing that human element.
This is not favorable feedback, so I'm in a very precarious situation.
All right, guys, we're heading out.
- Can't wait to see this.
- Bye-bye.
- Good luck.
- Thanks, guys.
Mr.
Westmore thinks my sculpt kinda reads a little bit too cartoony with how bulbous the end of the nose is.
So I need to kind of shave it down a bit, make it a little more humanistic.
I feel like I'm on the mark.
I just need to get some of those forms down and get that humanistic aspect into it a little bit more.
- We're back.
- So, Scott, we're back.
I'm working away, and all of a sudden Mr.
Westmore comes back to my table.
This has never happened before, so now I'm really worried.
We are a little concerned.
You know, we walked away, and we are concerned that this is really so far off what the challenge is.
I would hate to see you go because you missed what the challenge is about.
This here still looks like alien or fantasy movie, uh, cockroach kills the earth.
It needs to have more - Human quality.
- human quality to it.
Yeah, it's reading too alien.
Quite honestly, I thought it was good.
There's a human evolution here, and I think you evolved too far, okay? All right, thank you very much.
- I appreciate your words.
- Of course, of course.
Absolutely.
Thank you so much.
Considering that this sculpt is 95% finished, this is a huge setback.
The clock is ticking.
I know that I don't have time to start over, so I don't know what I'm gonna do.
I'm feeling pressure now.
I'm feeling like this could possibly be the factor that sends me home.
Oh, gosh.
Mr.
Westmore is worried that I'm losing that human element, so I'm gonna have to change my direction of this makeup.
It's a lot of work to do in a short period of time, but I remind myself that I do this all for my kids, for my family.
I want them to be proud of Daddy, so I have to up my game and make this work.
I like the detailing.
It's gonna be, like, half aquatic, half lizard.
I decide that I've taken my face far enough, so I start molding.
My only concern is that I sculpted it really, really thin and it has a lot of detail.
So I really spend time on the flashing, which is the dividing line in the mold that controls how good the edges are.
It's a Focus Challenge, so its edges have got to be perfect.
I'm actually ahead of the game here, so I'm feeling really good.
Since this is a Focus Challenge, it's important to have a lot of detail.
So I'm gonna use the Dremel to make Popsicle sticks into a tool to make scales.
You just press it into the clay, and it helps me lay down these scales much faster than hand sculpting them.
I'm gonna go subtle like Mr.
Westmore said.
I think those secondary forms and those little details are always a good touch to complete your makeup.
It's tedious.
It looks tedious, but tedious pays off.
Yeah.
Finally, the character's actually looking the way that I wanted it to look in the first place.
I'll keep it more human and do these cool vents along the nose and the mouth.
It's pretty badass.
Cool.
I'm feeling better.
I get it into the mold room, and I'm really looking forward to application day.
So the new concept is to dramatically peel centuries off of the evolutionary process.
I'll make the nosepiece and the lips much more human-shaped and the armor plating much closer to the skin.
I think this is definitely reading more human and fits the scope of the challenge a little bit better.
So I am optimistic how this is gonna come out, and then the rest will be just application and painting.
While my mold's setting up, I start working on different pieces of hair for the beard and facial hair area.
I grab my tablet and start sketching out over top of the pictures that I took of my sculpt.
I just really would like to get a sense of how this character's gonna look.
I'm actually also adding in a few different beads as well as some jute twine.
I feel like it's a little bit risky to spend time doing hair, but it completely goes along with the rest of the character, so I'm feeling pretty good.
That's time! Day one went pretty smoothly.
I think I've got a cool design, but the paint job is a really important aspect of this creation, so I need to make sure it looks as pristine as I can on application day.
Ev, how's it looking over there? Fucking perfect.
- How are you? - Good, how are you? How you doing? So this is what you're gonna look like today.
Kind of a post-apocalyptic roach creature.
I'm very comfortable with the changes that were made.
I feel that it brings the character back to a more human look, and I'm still feeling like it's a pretty good makeup.
Everything is going down beautifully.
I am happy with the edges, so I'm feeling very confident.
Yeah, that looks excellent.
Close your eyes for me.
I get my prosthetic all glued down.
The edges look awesome.
My plan of attack for the paint is to give it this lizard amphibian look.
So I kind of base them out in this pale tone, and I just start adding complementary colors to that, lighter lavenders and some yellows and a couple of really light browns, and it's really popping.
My sculpture is subtle, so I need a really stand out paint job.
I'm basing my model out in just a pale-ish green kind of skin tone, and then I paint all the slits and vents that I've put into the prosthetic.
Because she's from a toxic environment, I want to go for a very sickly looking skin tone.
I know it's not the best sculpt I've done, but at least I have something to put in front of the judges.
I just kind of try to save it with a really killer paint job.
I don't want it to look like a volcano.
That's been done a lot.
So I press metallic powder into the black because the face is meant to reflect heat.
After that I go into the cracks and start adding the warm hues, and I do a little bit of spatter to break up some of the color.
I don't know if the judges are gonna like it or not.
It's completely different, and I think it's really risky.
I want to keep this a little fleshier because it's already pretty far away from human, and I want to keep that human tone.
After I pax it, I'm going in with an airbrush and I'm doing mottling on the forehead and bringing that into the face.
Then I want to just go in with my hand and just paint each and every scale.
And then I actually dry brush some iridescence onto it so that it has that scale effect.
I've never done this effect before, so it's gonna be a risk painting this way, and I don't know if that's gonna pay off in the end or not.
After I get all of my colors blended, I go in and start laying down the beard and all the facial hair and then start going in with some hair that I had actually cut up over top of it just to blend it in.
I've got several beaded braided pieces that I put beads in and wrapped those with some twine.
It's really bringing this character together.
This is really what is making this character is this beard piece.
All right, guys, that's time.
I'm feeling really disconnected with this makeup.
I don't feel good about it, and I'm not confident in how my paint's turning out.
I hope that in Last Looks I can wrap everything up, but it's so late in the game, I feel like this might be the end of the line for me.
I've got one hour left, and I need to address the mouth area and also retouch the eyes.
Right now I'm not feeling as confident as I've felt in the past, so I really just hope I'm safe on this one.
I need to add some finishing touches just to bring out the paint a little bit.
It's my favorite paint job I've done.
I just don't know what the judges are gonna think, and I'm worried that it's not enough.
I've got to do this clear coat on her to give it a shiny look so that it looks wet, but it worries me so much because it doesn't look as good as I'd hoped.
So this is scary.
I'm just gonna hit these gills one more time.
I have to finish blending the top part of the appliance into the hair.
I use Gafquat to glue those down.
It's essentially a concentrated version of hairspray and has a pretty strong bond.
It doesn't look good, and there's nothing I can do about it now, so I'm nervous.
I start sprinkling bits of snow all over him just to really sell that frozen wasteland look, and it really just makes the entire character come to life.
That's time! Whew.
Feeling good today? Uh I don't know.
She could definitely be a lot better.
I'm just worried that maybe it won't stand out on stage, and that the judges are gonna hate it.
Welcome back to the Reveal Stage, everyone.
We started with 16 this season.
So congratulations to each of you for making it this far in the competition.
- Thank you.
- Thank you.
Let's say hello to our very talented series judges.
Owner of Optic Nerve Makeup Effects Studio, Mr.
Glenn Hetrick.
- Good evening.
- Hello, Glenn.
Oscar and Emmy award winning makeup artist, Ms.
Ve Neill.
- Hi, guys.
- Hello, Ve.
And creature and concept designer, Neville Page.
- Hello, everyone.
- Hello, Neville.
This week your Focus Challenge was inspired by Syfy's upcoming space epic, The Expanse.
We asked you to choose a disastrous future earth scenario and use it to create a human who had evolved to survive in that environment.
So let's take a look at how we might all look someday.
Evan, you're up first.
As far as what his face looks like and the paint job, he does look awesome, and I think I'm really proud of him.
It looks like he's in this frozen wasteland.
I think it really reads he's getting all this heat in the center of his face.
So we'll just see what they think of it.
I'm very happy with the way she looks.
Everything looks organic, and I definitely see the roach and insect there.
I'm not happy with this makeup in general.
I just hope it's not my head on the chopping block.
The makeup reads a lot better than I thought it would.
From a distance all of the design elements in the face actually pop quite well, but it's definitely not my best work.
My heart is going crazy.
I hate the paint job and since this is a Focus Challenge, I'm gonna be in trouble.
All right, judges, it's time to take a closer look.
- Neat stuff going on in there.
- Yeah, there is.
I love this pattern, and the shape of the face, and the color.
- A lot of good decisions here.
- It's cool.
There's like all this little moisture stuck in there.
I wonder if that's, like, supposed to be that way.
Edges look really good.
Up close it's even tighter than I thought it was.
It's like a cross between a Bigfoot and a Santa Claus.
This is really complete makeup.
There's some decent attention to the hair too.
He even got the little braids in there and everything.
The edges are beautiful around the eyes.
It looks like he even got a chance to put some snow on him, which is kind of cool.
- Look at the little ears, huh? - Teeny little ears.
- Yeah, I love that.
- So do I.
Nice touch.
There's some really well-executed forms on this.
I just don't understand what's going on.
Can you open your mouth? Let's see how the lips look.
Move your brow around.
God, everything moves really well.
What a great texture up in here.
I kinda like the way this goes here as well.
There's some interesting ideas and some really beautiful, classic Nora sculpting going on here, but the paint job-- she's taken a step backwards with the veining.
It feels very artificial.
And this is kind of messy all down in this area.
I'm having my doubts about the way this is looking.
After everything I've been through, it would totally suck if this were the end for me.
All right, guys, it's time to get on twitter and tell us who made your favorite future human using #FaceOff The paint job-- she's taken a step backwards with the veining.
It feels very artificial.
And this is kind of messy all down in this area.
Right now I'm having my doubts about the way this is looking.
I am not feeling good.
I like the sculpt though.
- Yeah.
- Yeah, the sculpt is cool.
She looks like a toasted marshmallow.
- She does.
- It's a bit rougher up close, - actually.
- Tilt your head down.
Look at this transition of face, skin, to hair.
There's something odd happening.
It doesn't make a whole lot of sense.
That being said, I do like the fact that he used those luminescent colors to create that look.
That is probably the best part about this makeup is the paint job.
It looks to me like she got it on a little crooked.
It's a little strange how it transitions into this heavy porous scale.
I wish the gills were more defined.
That is an area that you really want to spend some time designing and to have just a couple of little slits and two little dots doesn't quite cut it.
Okay, the judges have scored your creations.
Let's find out what they thought.
Nora.
Scott.
Congratulations because you are both safe and can head back to the makeup room.
- Thank you, guys.
- Good job, guys.
All right, that means that you guys are the best and the worst this week.
The judges would like to hear from each of you before making their decisions.
Jordan, please step up.
Would you tell us about the evolution of your ice age man? If a human was going to be living in an ice age, he would need to retain heat somehow.
So I put these different open pore areas in his face to absorb the heat from the sun so that the overlapping skin then could retain the heat underneath of those.
I think this character's fantastic from head to toe.
You did some beautiful hair work.
I like the color palette.
It's really nice.
It's very subtle.
It's very believable.
And once again, you did a great job around the eyes.
You didn't darken the eyes, so there's nice focal points.
- I like it a lot.
- Thank you.
I think you accomplished the necessary goals rather well.
It's thorough in its palette, silhouette, concept, - and detail.
- Thank you.
I like that you have a conceptual backup for why you made specific artistic decisions in your sculpture.
The evolution is in the wrinkles on the face, which makes sense.
It's all about focusing on the face, and so you told your story there.
I love it.
I think you did a great job.
- Thank you.
- Jordan, you can head back.
Ben, would you please step forward? Tell us about how this character evolved in a volcanic disaster environment.
During volcanic disaster there's a lot of ash that falls.
Somehow they figured out a way to process that ash and pull out, sort of, the metallic elements of it and create a crust on their face to help protect them from heat and extreme cold.
- It's not your best work.
- No.
The details seem a bit dodgy to me.
I'm just not quite sure that you've honed in on exactly what it is and how it works.
And because of that, I think there's a conceptual failure, and it's definitely not up to par with some of the things we've seen from you in the past.
That's fair.
I just don't see this as an evolution of what humans would look like if they were in a volcanic environment.
This just looks more like she's put some sort of volcanic mud on and it's started to crack.
The fact that she still has hair is totally wrong.
It just doesn't feel like an evolutionary situation for me.
It's so asymmetric and random what you've done to the face, that it feels like a natural occurring condition versus if this was evolutionary there would be a bit more symmetry to it, and it gives you artistic license to do something beautiful.
Just symmetry alone would have made a huge difference to this.
Ben, could you please step back? Thanks, Alex.
Evan, please step forward.
Tell us about your severe drought character.
What I wanted to do is a reptilian hybrid.
My idea was to have this moisture trap with this membrane that builds up moisture and allows it to soak into the skin to keep him hydrated.
I think you've come up with a really sound concept.
Thank you.
Really beautiful design choices.
With regard to those additional gill-like slits, it's very difficult to pull off the symmetry in that too.
That detail is done with real nice accuracy so it feels purposeful.
Thank you.
This is by far the best work that you've done.
- Thank you.
- You paid such close attention to the anatomical forms underlying the human structure, and that's why those beautiful S shapes follow along and sync so nicely with the rest of his face.
- Well done.
- Thank you.
I love the color palette.
All these lavender shades and the soft beigey lavender around his eyes, it's just a beautiful palette, and it really works well.
Really a cool character.
I really like him, and I think you did a great job, honey.
Thank you very much.
I appreciate it.
Evan, please step back.
- Good job.
- Thanks.
Stevie, please step to the center.
Tell us about the concept for your polar melting environment human.
I designed her to have a lot of streamlining effect like dolphins and fish have so that she would be more fluid in water.
I also had her have gills so that she can start to breathe underwater.
And then a slow development of scales.
There's a couple of elements that take it away from what I was looking for in this challenge.
Okay.
Several components are a bit crooked and off center, and they don't seem to have been designed with a purposeful asymmetry to emulate nature but rather they're crooked, and there's a difference.
Okay.
I'm struggling with the color palette in general.
It doesn't jive with my brain to see this fishlike character that still is completely flesh-toned, and it's a very flat color palette, especially in a distance read.
A really incredible paint job on this character, I think, would have helped a lot.
Okay.
The specificity of form choices, that's where it starts to get muddy, and everything that you're conceiving isn't as aesthetically alluring as what you're capable of.
- Yeah.
- Stevie, you can step down.
All right, guys, would you please head back to the makeup room while the judges deliberate.
Thank you.
All right, judges, let's talk about your favorites tonight.
Why don't we start with Jordan? - Solid character head-to-toe.
- Yeah.
He had a solid concept too.
A great choice with his hair work.
He did a really great beard on the guy.
Just nice little touches that completed the character.
Jordan showed a great restraint in not taking it so far that it felt like an alien or a monster.
He focused exactly on what he was supposed to focus on.
The face, it feels like an evolved human, and it makes sense within the environment.
All right, let's move on to Evan.
What a cool character.
He was smart enough to put a little bit of glycerin in there to create that moisture trap.
I love the tonality of the whole thing, that real soft muted purples.
It was really well done.
Then those little detailings on the cheeks were also kind of a gill.
I thought that was brilliant.
It had so much story.
This is the kind of thing that I was expecting out of this challenge.
All right, let's move on to the looks that didn't work out so well this week.
Let's start with Stevie.
She had good ideas, but they just didn't come together in a complete makeup.
Unfortunately, it was conceptually a failure and definitely a technical failure in terms of sculpt and paint.
To choose to stay with all that flesh tone when she had brought all those fish characteristics into it, I think, was a bad move.
All right, let's move on to Ben.
Why does she still have hair? That would have been long gone.
I mean, if they had to, like, put all that ash on themselves to protect themselves, their hair would have been singed off already.
The disparity of what he's capable of and what he presented today is what's jarring.
Let's not forget, this was a Focus Challenge, so we have to really study the edges, the way the makeup blended on the performer, the way it moves.
He fell down there pretty heavily too.
All right, judges, have you made your decisions? - Yes, we have.
- Okay, let's bring them back out.
All right, Glenn.
Tell us about the top looks.
Jordan, your character was detailed in all the right ways, and we love how completely convincing he was from head to toe.
Evan, you absolutely packed that face with features, both broad forms that gave it shape and all sorts of details for us to savor up close.
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.
Thank you.
Thank you very much.
You took big risks and managed to pay off all of your choices with gorgeous work all around.
- Great job.
- Thank you very much.
I'm shocked to win a Focus Challenge.
It feels awesome, and I'm really happy with myself.
- Evan, congratulations.
- Thank you.
You and Jordan can head back to the makeup room.
- Thank you, guys.
- Thank you.
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.
Stevie, the primary forms of your makeup were quite nice, but some of the details seemed crooked rather than intentionally asymmetrical.
And Ben, really interesting thinking from you, but the way that you sculpted the face left you little room to end up with a great finished product.
So who is going home tonight? The person going home tonight is Stevie.
The competition is so tough at this point, you just can't afford to leave the door open for anyone else, especially when it comes to the finest of details.
Stevie, I'm sorry, but you have been eliminated.
Ben, that means you're safe this week and can head back to the makeup room.
- Sorry, Stevie.
- It's okay.
Stevie, you've been such a treat to have on Face Off.
Your ideas are great.
Execution's been great.
Your attitude has been great.
I'm pretty confident to say that we're gonna see a lot of great things coming from you in the future.
I appreciate both the compliments you guys have given me and the critiques.
They've really helped me grow as an artist here, so thank you.
Stevie, it's been so great having you here with us, but would you please head back to the makeup room and pack up your kit.
- Thank you, guys.
- Good luck, Stevie.
- Good luck.
- Bye, Stevie.
I feel like a badass getting this far.
Stevie.
The competition helped me grow as an artist.
Bring it on in.
There's no more questioning myself, and that's exciting, and I'm ready to continue my career.