Face Off (2011) s10e03 Episode Script

I'm very happy with this make-up.
It's creepy and weird.
That was so very well thought out.
- Thank you.
- Thank you.
Previously on Face Off Mel's whimsical watch brought her her first win, but Jennifer stumbled and was sent home.
And tonight the artists go on an epic quest.
Are you up for a little adventure today? Yes.
What you're doing is kind of cartoony.
This is not good.
I'm like, "This cannot happen right now.
" Rob, Robert, Robert, Robert.
That's a great-looking character.
It's just so flat.
That's cool.
That's what this challenge is all about.
In the end, only one will win a VIP trip from Kryolan Professional Make-Up to one of their a brand-new 2016 Fiat 500, and $100,000.
This is Face Off! - This looks pretty cool.
- Yeah.
We're walking up this hill.
I see McKenzie standing next to somebody, a bunch of statues, and some ruins.
I am nervous because I have been in the bottom twice now, but I am hoping to step up my game and show the judges what I am capable of.
Hey, guys.
Are you up for a little adventure today? Yes.
Good, because we've got a bit of a quest for you.
But first let me introduce you to our special guest today.
He's a conlanger, or professional language creator.
And you've no doubt heard his work on some of the biggest shows out there.
He created Dothraki for Game of Thrones, and various languages for Syfy's Defiance and Dominion.
Let's give a warm welcome to David Peterson.
Hi, everybody.
Me and my roommates love Game of Thrones.
We love the Dothraki, so it's amazing to meet somebody who created these languages.
It's really, really exciting.
All right, so how did you get started in such an unusual line of work? Well, I've been creating languages for about ten years, and then the producers of "Game of Thrones" put together a competition to see who would create the Dothraki language.
I was the one who eventually got the job, and since then, I've been working on a bunch of other television shows and movies.
- That's so cool.
- Nice.
How do you go about creating a language? The very first thing that I have to do is figure out who's going to be speaking this language.
Once I get a really good idea of who the people are, then I begin the long process of fleshing out the lexicon, which can have anywhere from 2,000, to 5,000 to 6,000 words.
- Wow.
- Wow.
All right, well, what do you think? You ready to get started here? - Let's do it.
- Okay.
Within these ruins are six sets of artifacts, each belonging to a long-lost race.
Now, David has created a brand-new language that corresponds to each of them.
Wow.
So, for this week's Spotlight Challenge, you will be working in teams to create a member of a long-lost race based on a set of artifacts and its corresponding language.
- Wow.
- That's amazing.
- Yes.
- That's really great.
This challenge is so far out of the box for me, but I love the idea of it.
All right, guys, it's time to get paired up, so go ahead and choose a new teammate.
Walter? Okay, one at a time, each team will enter the ruins and select an artifact.
When David calls out your names, you can head inside.
- Kaleb and Mel, you're first.
- Yes.
Good luck.
This is scary.
We walk into these ancient ruins, and there are different artifacts set up on these pedestals.
They look very primitive, and I'm immediately drawn towards this little deity with snakes on the helmet.
- We're comfortable with this? - Yeah.
- Made it out alive.
- Barely.
Oh, we've activated the ancient curse.
Run! Sea creature? I think I want the sea creature.
Yeah, let's do that.
I really like this.
I guess we're stuck with this one.
Hmm.
All right, David will be on the reveal stage to see what you guys have come up with.
- Wow.
- That's cool.
So, David, what will you be looking for, in terms of how our artists interpret their languages and artifacts? Each of the language sketches that I've created has a phonetic clue to give you an idea of what I was imagining when I created the language.
On the reveal stage, I want to look at your creature and say, "Yes, that is exactly who should be speaking that language.
" All right.
So why don't you guys head inside the ruins and get started? Good luck.
Thank you.
Yeah.
Scary.
Our las terrifying.
It an inhale and exhale sound.
We know we have to incorporate something maybe with a bladder or some sort of breathing mechanism.
I'm thinking maybe, like, cobra.
We take the shapes from the snakes on the helmet, and we decide to do an elder in a snake society, one that can rule and lead his people.
There's just lots of k-k-k-- Like, I don't even-- There's a lot of weird Ks and vowels all mixed together.
It sounds very Nordic.
Like, I would like to do a big-cat-type creature.
Yeah, and then he can also be wearing, like-- Like a hide.
He is this feline creature.
He's this powerful, intelligent race that is in constant battle with a wolf race, and they kill the wolves and wear them like trophies as a pelt.
What the hell? So we listen to our language, and it sounds kind of aggressive.
We picked a vase with some kind of octopus, squid creature with tentacles, and since we hear that clicking, we think the octopus has this beak that could be clicking, you know, when he talks-- clack, clack, clack.
Okay.
It takes a minute because it's just so fast.
It's like And I'm like, "What was that again?" So it sounds like he's barking orders.
He's very stern, but he still sounds human.
People think of him as a god.
That's actually what I was thinking too.
So we both come up with pretty much the same idea, that he is a person who has deemed himself a god, and he is in control of his tribe of ancient people, but he's not leading them in a good way.
He has all the wealth.
He controls everybody's food supply, what they get.
He's pure evil.
All right, everybody, let's go back to the lab.
- Yay.
- Here, I'll take this.
Whoo-hoo! - Try that.
- Okay, there you go.
Katie and I hear these very low sort of speaking tones, almost like a prayer.
We call her "Mother of Death.
" She's this priestess that was born with a facial anomaly, and we incorporate the wings from the artifact as a scarification on her back.
She is supposed to be beautiful and terrifying to this culture.
She is the only mother than can deliver you - Okay.
- to the next life.
I like that.
I was thinking more and more and more about the language, 'cause all they do is, like, that Sound.
Njoroge and I notice that the vocal range is very limited for our creature.
Therefore their other senses would be heightened.
So we decide we want to create this reptile race with really big eyes and really big ears.
I think it'd be cool if the eyes went onto the cowl and onto the face.
It's really not human at all.
And because our artifact is some kind of ray gun, we decide that we really want to go with futuristic-looking, even though it's ancient.
I think it'd be cool, too, to do, like, dome-ish ears.
I've never done anything like this before, but I'm here to take a lot of risks.
I, like, kind of hate these ears, but I'm gonna come back to them after I do this part.
I'm very confident at sculpting ears, but I'm not getting the detail I want, so I really hate it.
I think they're something to talk about, because I love them.
I know that McKenzie and Mr.
Westmore are gonna agree with me.
So I say to Kaleb, "Whatever they say goes.
" Yeah, let's do it.
Are you sold on the eyes 100%? Yeah, the eyes are my favorite thing about it.
Hey, guys, we're here to take a look at your work.
- Hey.
- Hi.
- Hi.
- All right.
Let's see what you have, Robert.
- Okay.
- Hmm.
It's like a squid.
'Cause it looks like you're taking most of it from your artifact.
What are you using in here to make the language? I have kind of a beak thing going there - that might do click sounds.
- Uh-huh.
I think you have to be very careful in the painting because it's going to look like a bird, - as opposed to an octopus.
- Yeah.
So we have-- It's, like, two snakes wrapped around.
Like, a helmet of snakes, right? Yeah.
A point that we're disagreeing on, and I want your opinion, is the ears.
- I like the ears.
- I like them a lot.
If you can dig that clay out Sorry, Mel.
You've got a very alien-humanoid look going on here.
Very nice.
Let's move over here.
Yeah, let's take a look at the face.
I like the eyebrows.
I like what you have going on.
And I like what you're doing to the mouth, as opposed to just a slit.
Very good.
Thank you so much.
Well, with the sound, you know, it's very whispery.
It's very limited in what kind of sounds they can make.
Since the one sense would be lowered, all the other senses would be heightened, therefore the big eyes, big, dome-like ears.
- Ears? - Hmm.
I'm just concerned what you're doing is kind of cartoony.
Mr.
Westmore spots it immediately-- "Whoa.
What's going on with the eyes?" Literally, I'm really concerned.
Are you gonna paint them or? Yeah, the actor will be able to see through the bottom.
And then the whole thing will be painted like an eye.
This is not good.
You ought to rethink it a little bit.
The eyes are what I'm concerned about.
Yeah, I am too.
You're trying to do so much with the eyes here, but I think you're missing on your head shape.
Mr.
Westmore vocalizes what I'm not saying.
We need to change everything.
Even though it's humanoid in shape, it needs a little more reptile thinking into it.
Okay.
We just wasted a ton of time with these sculpts, so we need to figure it out, and we have to do it quick.
- Good luck.
- I appreciate it.
Thank you, sir.
He's gonna be weathered, really leathery.
I think what you have to be careful with is that it doesn't turn into a caricature of an old man.
We're gonna make his skin cracking and - Oh, good, okay.
- Yeah, really weathered.
- Okay.
- Damaged, yeah.
Well, by adding a little bit more bone structure to it, you're gonna be able to crack it deeper.
So we're thinking of a big-cat/human hybrid character.
The feline species are the more intelligent, so they hunt the canine, more primitive-- So basically you're saying cats are smarter than dogs? - A little bit.
- Glenn would love that.
This is going to have to be magnificient in the paint job.
If you did use a little hair, put it down here in the shoulder area and then just take it up on the sides of it there.
Yeah.
All right, so how are you going to bring all this together? She is the Mother of Death, because she delivers the souls into the next world.
Wow.
I think it's very interesting, and it's different.
I can't say I've really seen any of the other artists here do that before.
- Okay, cool.
Awesome.
- Yeah.
We'll take it.
All right, guys, we're heading out.
- Can't wait to see these.
- Thank you.
- Thank you.
- Bye.
Bye-bye.
If we're gonna make changes, we got to make them now.
What do you want to do? We'll change the eyes, and I'll take the thing and move it.
So, as soon as Mr.
Westmore leaves, we scrap those eyes, and Njoroge starts sculpting new ones that are a little more round, like a tree frog.
What do you think about a little bit more like that? Yeah, that's cool.
And I'm gonna make the cowl more cobra-like.
I know Ant's been bottom before, and I know I've been bottom before.
I don't want to be there again.
So now there's no room for error.
My plan for the cowl is to completely cover it up with beads and jewels and then, right before molding, pop them right out, and then I can glue them in afterwards.
They might get trapped in the mold.
You might not be able to pop them out.
- Otherwise - If they get stuck, then we're, like, in a lot of trouble.
Oh, my God, like, this is not gonna work.
So We'll figure out something else for the rest of it.
If I don't think of something quick, it's just gonna be this blank, square headpiece, which that's not gonna fly.
So we're coming towards the end of the day, and that's when this idea hits me, "Well, maybe I can cut the shape that I want into a popsicle stick, and that could look like diamonds.
" What if I do something like this? Nice.
I think this is gonna look awesome.
That's time, everyone! Let's go.
Kaleb and I hit the ground running.
We immediately go to the mold room, because the faster we finish our molds, the more time we'll have to fabricate the collar and the bladder.
Gonna be able to mold that up soon? Yeah.
Ant and I get back to work on our sculptures-- Ant on the cowl, I'm working on the face still.
It's just too flat.
I want the roundness of it.
That's gonna help sell the whole eye thing.
I change the shape of the eye to a large almond shape, so I feel better.
I like where the face sculpture's going.
The cowl that I'm sculpting is a lot bigger than most of the other cowls, and I'm proud of that.
I really want to deviate from the human form as much as possible.
I've got no shoes on my feet What is this? Why are you doing this? We're gonna lifecast my feet.
For our big cat's feet, we need a positive to sculpt on.
So I fix up the alginate, and I put it all over Walter's feet.
This is really disturbing.
Once that sets up, we pop his foot out, and we pour UltraCal inside to create the positive.
So now we have a perfect cast of my beautiful feet, and I sculpt it, add an arch so that it looks like a lion's foot.
I'm really hoping that it helps bring the total character together.
You know, Njoroge, after Game Board Man, this is Octoman.
- Octoman? - Octoman.
We decide to call our squid guy Octoman, naturally, but his very close friends call him Sushi.
Are you gonna name all of your faces? Of course.
Game Board Man, now Octoman.
Octoman, Octoman, he swims it's Octoman - Very cool.
- Thank you.
I'm glad you like Octoman.
It's stupid.
That's cool.
I really like it.
- Do you? - Yeah.
Anna is finishing up the face, and I'm focusing on this headpiece.
I start using a sculpting tool just to make these little diamond shapes.
This is a pretty big cowl, so I start working as fast as I possibly can.
Dude, that looks awesome, right? That does look awesome.
Anna's looking pretty good on that end, and we're ready to mold.
There we go.
So I start to mold this cowl, but as soon as I put on the first coat The UltraCal is heavy enough on the top of the head that it starts to droop.
Robert, I need your help.
And I'm like, "This cannot happen right now.
" Rob, Robert, Robert, Robert, Robert.
- Yeah? - I need your help.
What's going on? Too heavy? Yeah, these are drooping.
I need you to hold them in place.
Okay.
The whole thing is kind of dipping back.
- Oh, oh, oh.
- Shit.
Then suddenly the top dips too.
Okay.
This cowl is our most important piece.
It's just pandemonium.
- Oh, oh, oh.
- Shit.
The UltraCal on our cowl is so heavy on the top of the head that it starts to droop.
Okay.
I have to really move quickly, or I'm going to lose this cowl.
I'm like, "Screw it.
I am gonna just ruin the back of the sculpture and just shove popsicle sticks in there to hold this up.
" Okay, let go.
Then we'll see.
- Let's see this one.
- Are you sure? Yep, go ahead.
So crisis kind of averted.
Now you know how they felt when they built the pyramids.
That was pretty intense, but we fix it.
They call me The Plaster Whisperer.
Well, you better start yelling at it.
As Katie's finishing the cowl, I start drawing scarification wings on the back, which represent her initiation into the priestesshood, and I also want to reference elements from Katie's cowl sculpt and make it a unified design.
That'll look cool.
Hopefully.
We are trying to create a bladder in the neck.
That way, it can show the phonetics of the in and out that our language has.
We have to make it fit under the neck, and we're not exactly sure how to execute that correctly.
- 'Cause, look, it - Oh, nice.
And then we don't have to worry about having it in his mouth.
We have a hose that runs down from his neck with a pump so our model can control it himself.
Hopefully it'll work perfectly.
There you go.
We open the mold and start cleaning it out, getting it ready.
Yeah, it came out.
All right.
Now I can breathe a little sigh of relief, but we still have to figure out how to make the tentacles work, so I try to make them using cotton and latex, but the cotton is absorbing the latex, and that's not working.
I didn't get a pull out of the tentacles.
It just wasn't working.
Clearly, I don't know how to make these tentacles work, and I'm done trying today, because time is ticking, so we have to figure it out tomorrow.
Nice.
This is awesome.
All right, guys, it's time! I'm running.
I'm running, I'm running, I'm running.
All right, this is gnarly, but this is all gonna be covered.
Johnny, it came out good.
We look at our pieces, and they came out very nice.
So I go to the mold room to run the tentacles in poly foam.
Hopefully I can make this mold work this time.
Johnny.
How's it going? Walter.
- Matt.
Nice to meet you.
- Nice to meet you.
Our models arrive, and Rob starts applying the bald cap and the face.
While he's doing that, I'm trying to make the wolf head look as realistic as possible just with paint.
I would really like to lay hair, but just don't have enough time.
Doing okay in that position? Anna is painting the face while I coat the cowl in black so the metallic will pop.
Then I start dry-sponging the gold on.
All right, let's shoot for half an hour for you to finish this, because I need your help body painting and all that stuff too.
I'll totally be good in a half hour, for sure.
I'm doing this as fast as I can, 'cause we got to just get this whole thing painted and onto the model.
While Katie is painting the face, I start applying the scars on her back.
Since they're made of silicone, I use alcohol paints to break up the edges, and then I go into the scars themselves and giving them this sort of shiny, pink texture.
It looks very realistic.
Now, how do we attach this so he's comfortable? We have no idea if the bladder is actually gonna work.
It's sort of something that we hope.
I feel like if we just sort of attach it at the top and then underneath so that it can, like, go out.
We put the bladder on his neck and stretch the foam across it to make sure it's not too thick, that it won't show the function of it.
It feels comfortable.
It works.
And we're feeling really excited about this.
Yeah.
This is perfect.
We also got some across there, and it looks cool.
I just think it needs to be not so, "Ho, ho, ho.
" We want it to look like a poison arrow frog without crossing into cartoony.
So Njoroge lays down a bunch of bright colors, and then I go over it with browns, reds, and a little bit of black.
It's gonna kill me if I hear, "Well, we love the idea, but we don't like the paint.
" Yeah, that's not gonna go well.
I know that it's a risk doing something so bright and so vivid, but our concept is not like anybody else's, so I don't think our makeup should be either.
So I go over and check on the poly foam, and it's still not ready.
I don't know what's going on, but it looks like the poly foam didn't fully set up or something.
Yeah, I noticed that.
Yeah, I went to pull it, and it ripped in half.
The poly foam is taking way too long to set up, so we scrap the tentacles.
- It's what we have.
- Yep.
Losing the tentacles is gonna be really detrimental to the finished look of this character, so I'm trying to put as much effort into this paint job to hopefully bolster it enough to keep us here, but time is not on our side.
All right, that's time! Yay! Oy, oy, yeah.
Leaving for Last Looks, we have a lot to do.
First thing, get the fucking thing on his head.
We still have to apply the cowl, finish the paint job, get him in wardrobe.
It's not gonna be the makeup that we envisioned.
I'm just hoping to not be on the chopping block.
We get to Last Looks, and Walter and I still have to finish the paint job on the face, apply the cowl, and then apply our feet in one hour.
Just getting you ready for school.
Once we put on the cowl, it is such a frenzy trying to get everything finished.
Robert, please don't put your fingers in that.
Just keep doing what you're doing.
I kind of mottle the face red, but it doesn't really match with the top part, but I just want some paint on there to be able to send him out.
Ant paints the mouth with this white stripe through the middle.
It's completely cartoony.
I have some dark green with brown mixed in in my airbrush, so I go in and spray a defining line on the mouth, and I feel like I fixed it.
- Yeah, that's better.
- Yeah.
We have to take them out.
We are having troubles.
The teeth are a little bit too big for our model's mouth.
It's not looking right.
Fuck.
It's ruining the prosthetic.
We decide to scrap the teeth idea 'cause the makeup's far more important.
Plus, he needs to be able to speak this language properly.
So I think this is gonna work out to our benefit.
Time, everybody! High five.
We have a cool-looking makeup.
It just needs a better paint job.
To send it out unfinished, it's bad.
Welcome to the Face Off reveal stage.
Let's say hello to our amazing series judges-- owner of Alchemy Studio, Glenn Hetrick.
- Good evening.
- Good evening, Glenn.
Oscar and Emmy Award-winning makeup artist Ve Neill.
- Hi, guys.
- Hi.
Creature and concept designer Neville Page.
- Hello.
- Hi, Neville.
And, of course, our special guest judge, the man who created your languages this week, David Peterson.
Nice to see you again.
Welcome back, David.
Are you ready to see how these guys interpreted your languages? - Can't wait.
- All right, let's get to it.
For this week's Spotlight Challenge, we asked you to choose a language and its corresponding artifacts and use them to create the member of a long-lost race.
Let's take a look at your creations.
He absolutely looks like someone who would speak that language, and I'm really proud of it.
Now that I see our model saying the language, I feel that we really hit the challenge.
Her motions and the way she speaks makes the makeup come alive.
It's wonderful.
He looks amazing.
I have this wave of confidence crash over me, because I don't think he could have gone any better.
I know they're either gonna love it or they're gonna hate it.
There's no in-between with this makeup.
He's doing a really great job at selling our makeup, but I don't think it's gonna be enough to overcome our shortcomings.
Okay, judges, it's time to take a closer look at our revitalized races.
Such a difference between the quality of the cowl and the quality of the face.
I like the face.
Yeah, I think the face is really good up close.
With the mouth, the language I designed, it's spoken with the back of the mouth, so it actually works with these lips.
This is kind of cool.
Some of the sculpting feels like it's becoming a mummy, and it also seems very ceremonial.
I love that, though.
That's what makes it feel Egyptian.
It was important to me that the mouth and the teeth didn't impede the speed of the delivery.
I actually almost like this up close better than I did far away.
Can you turn to the side? I mean, they built this entire headpiece, and there's, like, a wing motif going on that's on the side of the head, then replicated.
It's so cool.
I love those recessed eyes.
It's kind of creepy-like, isn't it? Especially with the black lenses.
Do it again.
Cool.
- So there's a bladder in there.
- Tilt your head way down.
There's something going on on the top of your head.
- Oh.
- Nice stuff.
Rad.
- Cool.
- Yeah, it is.
Looks kind of like a praying mantis.
Why did they paint this whole thing solid green? Yeah, it feels very synthetic.
It kills me, because it looks rushed.
None of the wrinkles have any direction, form, or gravity-- they don't make sense.
I'm really nervous.
I'm not ready to leave.
All right, guys, it's time to get on Twitter and tell us who made your favorite revitalized race using #FaceOff It feels so masky.
So big and so rough.
- And the big plastic eyes.
- Yeah.
I know mine's in the bottom.
So there's apprehension creeping up on me again.
A really good paint job could have saved this makeup.
It's just too literal.
Can you go ahead and produce your line for us real quick? There are a number of sounds produced with both of the lips, including a With a beak like this, it's simply not physically possible.
- Thanks.
- Okay, thank you.
All right, the judges have scored your creations, so let's find out what they thought.
Walter and Rob Melissa and Katie congratulations.
You guys are safe and can head back to the makeup room.
The rest of you were the best and the worst this week, and the judges would like to find out more about your work.
Robert and Johnny, please step forward.
Tell me how you took your language and came up with this idea.
Well, I heard some clicking noises in the language, so I thought a beak might do some clicking noises.
It feels like two different people working on a project that got glued together in the end.
Share with me how you split up the work on this.
I sculpted, molded, and painted the cowl.
I did the face piece and the beak.
We perhaps bit off a bit more than we could chew.
In terms of the cowl, I like a lot of the stenciling and painting, but it doesn't really fit in with Robert's face.
That's my biggest complaint.
Okay.
I think the face got really, really muddied, and from far away, it just looks like he's inflamed.
Also, from a distance, it doesn't read like a beak.
It just looks like a big black hole.
I think it was fine to use squid metaphorically, but you went literally, and that makes this look silly as a result.
My concern was that with the beak, they wouldn't be able to produce a sound like For example.
It doesn't quite work.
Robert and Johnny, thank you.
You can step down.
Thank you.
Anna and Yvonne, you're next.
Tell us about your concept.
Our idea was that this ancient tribe was trying to find a new place to live.
They came across a cave.
Our character went in the cave, put on the headdress, and he became the god, but he's not using any of his powers for good.
That's cool.
That's what this challenge is all about.
To be able to see that without you telling me that, - that's a successful makeup.
- Thank you.
It's a great-looking character, particularly the headdress, which I think is really well done.
That's so hard to do quickly.
- I like him a great deal.
- Thank you.
What I was looking for was to make sure that nothing happened to him to prevent him from being able to speak the language really quickly and really fluently, and I was extraordinarily pleased.
So, very good job.
- Thank you.
- Thank you.
Anna and Yvonne, you can head back.
Njoroge and Ant, please step to the center.
So how did your language and artifacts give rise to this character? We realized that they were very limited in their dialect, therefore their other senses would be heightened, hence the domed cranium so they could hear better and the giant eyes so they would see better.
My biggest concern really just comes down to execution.
And it's mostly because of how you're handling the detail.
Are these scales on the muzzle? I don't know, and that's a problem.
Guys, tell me who sculpted what on this makeup.
I sculpted the cowl, and he sculpted the face.
From a distance, I didn't even know that it was supposed to be reptilian, so that's really bad, and up close, I was hoping that I was gonna see a lot more in the paint job that would make me like it a little bit more, but, unfortunately, it's just so flat.
This is not a successful makeup job.
Njoroge and Ant, thank you.
If you'll please step down.
Mel and Kaleb, please come forward.
I like the headbands.
Tell me how your language and your artifacts inspired your creation.
We used a lot of the forms we found in the artifacts, and for the language, it sounded like he spoke on the inhale and the exhale, so we tried to incorporate the bladder as a second breathing mechanism that allowed that language to exist.
- Outstanding work.
- Thank you so much.
Thank you so much.
Looking up close at your mouth with the two fangs that come over, those sounds are impossible, but I had to ignore that because I thought overall that you did a really outstanding job incorporating the language.
- Thanks.
- Thank you.
Who did what on this makeup? Kaleb sculpted the face and fabricated the whole headpiece.
I was in charge of the paint job, and I sculpted the cowl.
I made the teeth and the bladder.
I think you created a really great, cohesive character.
I love the paint job on it, and I love the bladder thing.
He's a cool-looking dude.
- Thanks.
- Thank you.
It really feels like a physical manifestation, an embodiment of the language, and that's what this challenge was all about.
Beyond that, I think you just made a really creepy character.
Mel and Kaleb, if you'd please step back.
Thanks, man.
You did awesome.
- Good job, you guys.
- Thank you.
All right, thanks, guys.
If you'd please head back to the makeup room while the judges deliberate.
- Thank you.
- Thank you.
All right, judges, so just a reminder-- you do have that one-time special immunity that you may use if you wish.
So, with that, why don't we talk about your favorites? Let's start with Yvonne and Anna.
Overall, quite an exquisite character.
That beautiful cowl helmet piece that Yvonne sculpted stood out as a gem of the entire makeup.
That works not only on its own, but exceptionally well with the face makeup.
I thought the whole thing all together was beautifully done.
All right, let's move on to Mel and Kaleb.
Well, I think it was incredible that they found time to put a bladder in it because he'd vocalized the language, and I thought that was brilliant.
They had those black lenses in there, and you couldn't see anything but that shiny black.
It tricked the eye into thinking there was a membrane blinking inside there.
It was very creepy.
All right, so let's move on to the makeups that weren't so successful.
Why don't we start with Robert and Johnny? The biggest misstep here is the literalization of a squid as a head.
Not happy with the face that Robert provided.
The biggest mistake, I think, is allowing the beak to be completely visible.
In cephalopods, you don't just roll up on it and see the beaks.
I appreciate that they were inspired by what they heard in the language, but I believe they made the wrong analysis.
All right, and, finally, Njoroge and Ant.
I don't know what they were thinking.
That was just a big old green monster head, like a Halloween mask.
The thing's bulky.
It's asymmetrical.
It's roughly sculpted, and the color, the application of color-- it's some of the worst I've seen on this show.
The cowl, I felt, was subpar to what Njoroge had done with the face.
Even though the face wasn't great, the cowl was terrible.
All right, then, judges, have you made up your minds? - We have.
- Yeah.
Okay, let's bring them back out.
All right, Glenn, tell us about the top teams.
Yvonne and Anna, that sculpted headdress was incredibly well done, and the undead theme, as well as the performance of your character, all very successful.
Mel and Kaleb, you made some superb creative choices in your sculpture that shouldn't have worked, but totally did, and he was the embodiment of your language.
Okay, which team came out on top? The top team tonight is All right, Glenn, which team came out on top? The top team tonight is Yvonne and Anna.
You gave us a very convincing and compelling character that really did showcase your language.
- Nice work.
- Thank you so much.
Thank you.
Yvonne and Anna, fantastic job, but as you know, we can only have one winner.
Glenn? The winner of tonight's challenge is Yvonne.
- What? - Yay.
The headdress you created was absolutely stunning.
It was symmetrical, artistic, and it framed the makeup perfectly.
Thank you so much.
I really can't believe it.
I'm feeling a lot more confident now, especially being bottom looks twice in a row.
I don't want to be down there again.
I want to stay up here.
- Yvonne, congratulations.
- Thank you.
You, Anna, Mel, and Kaleb are all safe this week and can head back to the makeup room.
- Thank you.
- Thank you.
Thank you so much.
All right, guys, that means the rest of you are on the bottom this week, and one of you will be going home.
Please step forward.
All right, Glenn, tell us about the bottom teams.
Njoroge and Ant, we felt that the mouth treatment was cool, but your character suffered from very poor technique and overall execution.
Robert and Johnny, the squid motif could have worked, but you both failed to put any kind of unique spin or signature element into the makeup.
So who's going home tonight? The person going home tonight is Ant.
The broad strokes of your cowl were okay, but it lacked any kind of texture, finesse, or areas of interest.
Ant, I'm so sorry, but you have been eliminated.
That means Njoroge, Robert, and Johnny, you guys are safe this week and can head back to the makeup room.
In the short amount of time that you've been here, one thing is very obvious.
You're incredibly passionate about your work, and that will take you much further.
I'm sure you have a very bright future ahead of you.
Thank you very much.
Ant, it's been so great having you here with us, but if you'd please head back to the makeup room and pack up your kit.
- Thank you.
- Thank you.
- Good luck.
- Good luck.
Good luck, honey.
I didn't make it as far as I wanted to go, but I came here saying I was gonna take risks, and I felt like I did that.
I'm going home.
Aw.
I'm never gonna give up.
I love to do this, and I want to continue to do it.
I'm gonna continue to do makeup the rest of my life.
I was on Face Off, and that's something that I'll be able to tell my kids one day.