It's absolutely spectacular.
It was just a mess visually.
I thought it was very successful.
Previously on Face Off...
Ben's stunning sculpture wowed the judges,
and the bottom four artists received some unexpected news.
No one is going home.
- Oh, my God. - What?
And tonight they'll head into uncharted waters.
Hey, guys, want to go for a ride?
- This is so exciting! - I am terrified.
Shit.
_
But not everyone can handle pressure.
Seriously, like, what am I gonna do?
- Should I give up? - Oh, this mold's fucked.
I really love this thing.
You messed it up.
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.
Sync and corrections by n17t01 www.addic7ed.com
- This is so rad. - It is pretty awesome.
We're all feeling really good this morning 'cause,
hey, we're all safe,
and it's a beautiful sunny day,
and in the distance we see this huge ship.
We see McKenzie standing there.
Oh, boy, here we go.
Hey, guys, want to go for a ride?
- Yeah. - Definitely.
All right, come on board
the US Coast Guard Cutter George Cobb.
This is just awesome
because the Coast Guard protects our borders,
and for them to have us on this ship with them is an honor.
- Oh, man. - This is so exciting!
What is this ship's general purpose?
It's, uh, ATON. It aids navigation.
Whoa.
Does that mean we're taking off?
- Yes. - Awesome.
Take it away, Cutter George Cobb.
We are underway at this time.
Ready, set...
Good-bye, LA. Bye.
Good-bye, coastline.
What is that?
- Is that-- I don't know. - A lighthouse.
It's pretty surreal to just be hanging out on a boat.
I'm looking out in front of the boat.
I make my way to the back of the boat,
and before I know it, I don't see land anymore.
- Hey, guys. - Hey.
- You having fun? - Yeah.
Well, are you ready to learn about your next challenge?
- Yes. - All right, come with me.
Okay, guys.
The United States Coast Guard does a phenomenal job
protecting our nation's maritime interests all around the globe.
This year, they're celebrating their 225th anniversary.
We are very lucky to have them,
but, in ancient Greek and Roman times,
mariners like Jason and his Argonauts
had to fend for themselves, battling all manner
of sea creatures to complete their epic quests,
and perhaps the most deadly of them all
was also the most beautiful...
The Sirens.
I love sirens.
I love that sexy, edgy, but full of glitter kind of character,
so I'm super excited.
It was said that sirens used their incredible beauty
and alluring songs to lure mariners in,
leading them to a watery grave.
So, for this week's spotlight challenge,
you will be working in teams of two
to create your very own beautiful and deadly siren.
Oh, my God.
I am terrified about the challenge
because beauty is not my forte.
Do you guys mind helping me out?
Of course.
Oh, nice.
So these are the names
of some of the ocean's most beautiful yet deadly creatures,
and you'll be using them as inspiration for your creations.
But, before you pick, your randomly assigned teams
are Sidney and Omar, Brittany and Nora,
Evan and Jason, Ricky and Ben...
Yeah, buddy.
Scott and Stevie, Kevon and Meg,
Missy and Libby, Jordan and Jasmine.
Go ahead and stand with your new teammates, please.
- Okay. - What's up?
Omar and Sidney, you're up first.
All right, guys, it's time to start designing your sirens.
Remember, your sirens need to be both beautiful and deadly.
Good luck. I can't wait.
- Whoo! - Thank you.
The coloring is what's gonna be so important on this.
Yeah.
We got the Peacock Mantis Shrimp,
and with the way the coloring is and the fact
that there's a little bit of white around its eyes,
we lean towards geisha.
Also it has a strike similar to the force
of a .22 caliber pistol,
so we think, "Assassin!"
Something that draws you in, and, with one strike,
it takes you out.
Dagger hands.
All right, here's our textile cone snail.
The concept for our siren is there's a beautiful thing
that's coming out of something that resembles a shell.
She is going to have flutes on the end of her fingers,
and she's gonna play some kind of instrument,
and that's gonna release pheromones into the air,
and after our siren lures men into her midst,
she's going to reveal nasty, sharp teeth
that she can sink into her victims.
I think we really got a good shot with this.
We picked the Flabellina Nudibranch just 'cause
we have no idea what it is.
We're on Face Off.
We're living on the edge.
Sexy, but deadly.
Nora and I discussed that we want to do a face piece
and a chest piece.
We decide to put e-wire through the hair
to illuminate our creature a little bit.
We also want to do some cool nails
just to keep that beauty aspect,
but also make them pointy so that they're a little deadly.
I'm gonna need to just
mold up my fingers with her finger measurements.
I saw this. You hold this.
- You block up the clay and-- - You make the thing, and then--
You do dental acrylic!
Everything's very elongated.
The Yellow Boxfish secretes poison from its skin,
so our siren is poisonous to the touch.
Jordan sketches out this beautiful shape
around the head that gives it a box-like effect
but with more rounded edges.
We also want to give it a slightly bondage look
to give it that dangerous effect.
All right, guys, time's up.
We got to head back. I need to get you to the lab.
All right.
Snailed it.
Hanging out on a ship was really cool,
but we are ready to get into the lab.
I think we're gonna have really cool makeup on our hands.
It's time to choose our models and start sculpting.
You can go about this far if you wanted to.
All right.
We picked the Blue Sea Slug.
It has a lot of ridges where the tendrils are,
so Ben's gonna sculpt a cowl piece
that has a lot of those ridges,
and I'm gonna do a chest piece
that incorporates a lot of that into a bustier kind of look.
- What about a purple fishnet? - No.
It's a little too tongue in cheek I think.
It is. It is.
Well, I want to be able to cover the bald cap
even if we bring it, like, here.
We picked a Portuguese Man O'War,
and we come up with this warrior princess concept.
We do know we have to keep her beautiful,
so we don't want to go overboard by doing too many prosthetics.
So, Omar's in charge of the cowl,
and because this is a jellyfish-like character,
I think it'd be really cool to do some nernies.
Nernies are latex brushed on a table, and when it dries,
you roll it up to give these cool tentacles.
Should I sculpt this with a safety just in case
- that doesn't work? - Okay, yeah.
We picked the Blue Ring Octopus.
She is beautiful enough to get them close but then
is deadly enough to keep them there,
so our design incorporates a cowl,
octopus-like suckers on the appendages,
but it has to be a beautiful creature,
so we're gonna make the cowl
and other additions secondary to her beauty.
Hey, guys, we're here to come check on you.
- Hey, what's up? - Hi!
We want to do a Japanese assassin.
And we're gonna do a hairpiece
that kind of looks like chopsticks.
In this area here, extend that whole thing.
Give it a little bit more fantasy.
Awesome.
So we've got Flabellina Nudibranch.
What are you gonna do there on that piece?
This pattern's gonna continue up
and fade into the chest piece,
and we're gonna have chiffon fabric hanging on her shoulders.
Is it gonna be so subtle it's not even worth doing?
That's what I was wondering.
It's gonna be more trouble to glue this sucker down
if you don't make it a little thicker.
What you've created there is a giant blender,
so make it into something that actually is part
of your character.
We got the Surgeonfish.
We're gonna have these shapes kind of going throughout.
What are you doing there, now?
These are nice and soft as they're going up,
and then all of a sudden on your chest piece,
it's like all these little accents
that you have everywhere.
So we should mimic the cowl
and bring it around here?
- Yeah. - Okay.
We chose the Yellow Boxfish.
Our main concern was how boxy the head was.
To me, because you've rounded it all off,
this looks like you've put a cap on somebody.
I would beef this up back here and maybe
put your point back up in here, 'cause it-- it could
wind up looking like a bathing cap.
Yeah.
We chose the Textile Cone Snail,
and we don't want to distract from the human form too much.
With the face, it looks like
the person had an accident.
I think that's where I'm having the problem.
It's just the face.
They hate it.
The face is either going to keep you or lose you,
and the way you've done the nose and those cheek bones,
you're gonna lose the beauty part of it.
I'm feeling kind of slapped here,
but I see it 100% that it definitely looks not pretty.
For another challenge, great.
I'm not feeling so good.
It looks like we're gonna have to
start the face over from square one,
and that is really scary.
To mee the face looks like the person had an accident
they're recovering from.
Mr. Westmore drops the bomb that he hates my face piece.
I wouldn't waste your time with anything from there down.
I'm not feeling so good about it.
There's no way to use what we've already done.
Take this off, make this into a forehead,
possibly, that comes down to here,
and do a nice beauty makeup, a really nice beauty makeup...
Okay. Sure.
...that ties in with your colors and everything.
Time to start over.
- Good luck. - You'll get it.
- You got a lot of work to do. - Thank you.
All right, guys, we're heading out.
- Can't wait to see your sirens. - Bye.
- See you guys later. - Thank you.
The second Mr. Westmore walks away,
I start just tearing that clay off
and starting over.
I start incorporating
these beautiful, kind of fluted shapes
that come down very organically,
just like the end of the fluting on our reference photo,
and I'm feeling really, really good about it,
way better than I was feeling 20 seconds ago.
My goal, personally, is to make the cowl
as beautiful as possible.
So I decided to take Mr. Westmore's advice
and add a little bit more clay
to make up for the size of the wig.
I'm feeling good about what we've done,
and it's just a matter of cranking out the mold tomorrow.
It's almost the end of day one,
and I'm struggling a little bit.
I'm nowhere near finished with this cowl.
It's looking too much like a dinosaur head.
That's time, everybody!
Time's up.
So since I'm not gonna have a finished sculpt today,
we're not gonna be able to do any pre-painting on this cowl.
It is very risky because we only have one shot
to get this right, and since we only have one piece,
this has to be perfect.
I'm looking at the torso shell,
and I'm starting to doubt myself.
I don't know how I can make this shell feminine.
This has to be sexy
and covering up a woman's torso is not sexy,
so forget about it.
I get a new one, and I start sculpting on it.
Instead of having a big, thick shell,
I'm going to create the soft, feminine fluting
that kind of matches the mollusk part of the snail.
So what do you think of this form here?
What do I think of that form?
- Yes. - I think it's beautiful.
We have absolutely no time to waste.
We have got to work fast today.
Today, I have to finish sculpting that cowl,
and overnight, I thought,
"Why not make the fins fade into the back of the head?"
I feel that is a very good idea
because I don't need to start over.
I just need to redesign a little bit
and cut away some of the extra clay.
I'm trying to decorate the bodice
so it's not just, like, a flat piece,
and I see these feathers
and I'm like, oh, you know what?
They would actually kind of make a cool little fish bone,
and maybe that would help incorporate the deadly aspect.
So I take these feathers,
and I start stripping them down,
and I think they're looking pretty cool.
I'm liking the chest piece.
It seems to be matching up with Nora's face piece.
So we take them both into the mold room to start to mold.
- Yep. - Cool.
I'm a little concerned
because if the tips of the tentacles
get stuck in the mold,
they're just gonna break off,
but hopefully it'll be nice and clean and quick,
and we'll have time
to make sure everything gets applied correctly.
I finally get a good hold on this sculpture,
and I think it looks great.
So it's time to get it molded.
- Do it like that, man. - Okay. You got it?
- Yep, yep. - Cool, cool.
So while Sidney's getting the mold prepped,
I start fabricating the staff.
We're using a piece of foam that I shaped,
and then I hit it with some acetone to dissolve it
and it gives it a nice coral look,
and then I give it a basecoat with black acrylic paint.
Scott and I decided to make the suckers out of silicone.
I make a plate mold to sculpt out
all of the suckers, block them out,
and fill that up so that tomorrow,
I can keep making several castings of those.
The siren's song is so, so integral to the siren lore
that I'd feel it would be inappropriate
to ignore the mythos of it,
so I am fabricating an instrument.
- Do you like it? - Yeah, it looks good.
_
I go to open the cowl mold,
and it is just not gonna move.
It's locking up.
Shit.
_
Okay.
I'm basically thinking to myself "This could be it."
I mean, this could totally ruin everything.
_
This is the crème de la crème of our make up
and seriously, like, what am I gonna do?
Should I give up?
- Ugh. - We're gonna have to bust this.
I panic, and I break it to get it out.
_
- Okay, hold, you want to wreck it? - Yeah, yeah.
Oh, this mold's fucked.
We're gonna have to bust this.
Trying to get this mold unlocked is just wasting a lot of time.
I panic, and I realize I got to break it and get it out.
I'm feeling terrible because I have to destroy this thing.
Oh, damn it.
Look at how bad that is.
The damage is pretty severe.
It's cracked in about three or four places,
and it's the key to the makeup,
and I just am pretty sad about it.
- I have to go back in. - Oh, yeah.
Just go, man. I got it.
When we run the foam, I'm thinking we're gonna
have a pile of torn-up, shredded cowl,
and I just hope that it comes out.
Her hair might be brighter than the lights.
I need to test the e-wire
and make sure that everything is in working order.
This will really make our siren glow
and pull in our inspiration from the Flabellina Nudibranch.
So I'm taking four strands
and putting them at different places throughout the wig,
that way it's nice and comfortable,
and nothing's gonna move anywhere.
Here we go.
The shell piece on the head is going to be pretty big,
so I'm gonna have to cast that in poly foam.
Poly foam is a lot more beneficial
in this case because it is a lot more durable.
It's a lot lighter,
and it'll hold its shape better,
but I can't get that done today.
All right, guys, time!
We're gonna figure it out. Come on.
All right.
Whew.
I hate when I have to run poly foam the day of application.
That's always risky because if something goes wrong,
that's time I can't afford,
but I have no choice, so I'm just gonna hope for the best.
Are you serious?
Somehow there is the cowl standing there in front of us.
This is not the prettiest cowl,
but it is still way better than we expected.
That's not bad.
- How are we looking, Brit? - Not so hot.
What's going on?
- We lost all the tips. - How's the headpiece looking?
We got those tips, but it's majorly cracked.
Fuck.
All of our tips on our chest piece are not there.
So we got to get some makeup sponges
and make ourselves some tips.
- Yeah. - Let's just get right on that.
Rather than trying to refabricate the tips,
it's gonna be a lot quicker for us to take
some white makeup sponges
and cut them down into fine points.
It's a small setback,
but I'm fairly confident that this'll work.
First thing I'm gonna do is cast up that poly foam shell.
So I grab all this poly foam,
and I mix up a lot, 'cause it's a pretty big shell.
Shh...
And I look over, and these magnificent wings
are about to get swallowed
by this big-ass volcano of poly foam.
Fucking shit.
_
Fortunately, I catch it before it ruins all of them.
I think I'm just gonna suggest to Ricky
that we put the one with the poly foam on the legs.
Hello, how are you, Rachel?
Geisha assassin.
And you're gonna be like that,
and then do what you do.
The edges look horrendous.
The seams in the cutting edge on this cowl are terrible,
so I'm just gonna start seaming this thing.
This is probably the best it's gonna get.
This is the last thing that we needed right now,
because we don't have a lot of pieces,
and the ones that we do have need to be really good.
Soon as I finish this patch we're working on,
you're gonna be able to tell.
It's gonna be fine.
Luckily, the patchwork hasn't taken us too long,
so everything looks great,
and we both start applying our pieces.
Get comfy here.
Ben applies a wig cap
and begins applying the cowl piece,
and as he does that,
I begin applying feathers to these fins
so that it creates the shape of the Blue Sea Slug,
like a very flamboyant Vegas drag queen.
They are looking fantastic.
Should I do the black or the teal down the center?
I think black.
I start painting her up with yellows and oranges,
but I have to tone down the orange a bit,
so I start layering a brown-orange on top,
and I think it's looking much better.
- What do you think, Libby? - Yellow's a bit bright.
Cowl's very yellow.
I thought that we were just gonna do it
all black with, like, an orange tip.
At this point, I'm confused
about what's happening with our paint.
It looks like you're covering up the whole paint job.
Oh, I thought we were covering up the paint.
Not everything.
I'm not necessarily a huge fan of the paint job.
I feel like we're going in two different directions.
I think that's good on the orange.
One hour!
While Meg is taking care of the beauty makeup,
I'm in charge of the shell.
I give it a nice, sexy gloss look.
I spray it with glitter.
It's starting to look pretty good.
15 minutes, everybody!
That one is so badass, dude.
Now I'm able to see what everyone else has done.
They have chest pieces, breast pieces, wigs,
and we just have a staff and a cowl.
All right, guys, brushes down! That's time!
- Than you. - Yes! - Whoo!
At this moment, I'm feeling 50/50.
I do like my make-up,
but I don't know what the judges are gonna think.
We get to last looks. We have one hour left.
We have a lot of airbrushing to do,
and we need to get the acrylic rods in her chest,
and I still want to do glitter detail work.
I think we can tag-team this,
and we can get it done.
I know they're gonna check your palms.
We have to finish the beauty makeup,
finish our paint job,
apply the nails, change up some of the wardrobe.
We have a whole bunch to do.
I go to apply the shell,
and I am using Velcro to stick it on there.
Dude, you can see all this Velcro.
And then I got a big strap exposed,
so I have to find the filler.
I start stuffing seaweed into this thing.
So I'll make this seaweed a little more purposeful.
If I can freaking line these lips.
Killing me.
So Sidney's trying to do a beauty makeup,
and he's having a little bit of trouble.
- No, I can do that. - You can do that?
Thank God our model was stepping in,
and she's getting it done very well.
I think it looks fantastic.
The paint job looks muddy, so I'm putting more black in it
to get it to pop a little bit, but at this point
we strayed very far away from the inspiration.
Ten minutes!
Evan's cutting in with the airbrush
while I try really hard to make that wig look pretty,
but I know beauty makeup,
and this is not gonna be the prettiest thing.
It would have looked really cool, but we don't have time.
That's time, everybody!
There you go.
I'm feeling like we missed the mark on making it beautiful,
and I'm like, "Well, hope for the best."
Welcome to the Face Off Reveal Stage.
You know our incredible series judges.
Owner of Optic Nerve Makeup Effects Studio, Glenn Hetrick.
Good evening.
Oscar and Emmy award-winning makeup artist Ve Neill.
- Hello, everyone. - Evening.
And creature and conpt designer, Neville Page.
Hi, guys.
Now before we see your make-ups,
there's something very important that I have to tell you.
Two of you will be going home.
My stress level is going through the roof,
'cause it's like, now my chances of going home have doubled.
Okay, guys, this week your Spotlight Challenge
was to choose a sea creature
and use it as inspiration
for your very own beautiful but deadly siren.
Let's take a look at your final creations.
I don't feel safe.
We just have a staff and a cowl.
I don't know if this is gonna be enough for the judges.
She's definitely beautiful,
and she definitely looks deadly at the same time.
I think we've got a good chance to be in top looks tonight.
The way our model dances is just gorgeous.
I could not be more happy with that.
The paint job is muddier than I thought.
If I'm on the bottom again, I will be going home.
I think she looks good.
She is really terrifying,
and she definitely has that kind of Greek look to her.
I just hope we're safe
because it's my first time using such crazy colors.
She's not as beautiful as we want her to be.
When those judgeget up close,
I have no idea what they're gonna think.
I don't know what to think at this point.
We're the only ones that didn't do a cowl,
and two people are going home.
Okay, judges, go ahead and take a closer look.
The silicone is over tainted.
There's no translucency.
I'm having problems with these forms.
They're so random.
The paint job is random.
None of this is highlighting their sculpting at all.
Yeah.
I really like the way that they're forcing us
to focus on the face,
but all of these shapes fight the model's anatomy.
These are weird.
- I like it. - Okay.
It's kind of a stay-away feature.
That's why I don't like it.
Such a confused set of forms.
It doesn't represent the reference material at all.
The paintjob is muddy.
The cowl does not look amazing.
Beautiful little details and textures,
but it disappears with the paint.
I'm afraid that they're gonna fucking crucify us.
All right, guys, it's time to get on Twitter and tell us
who made your favorite siren using #FaceOff
This framing face is-- a bad choice.
It looks like two people working against each other.
I'm very, very worried
because they're gonna look at that cowl, see that it sucks,
and send me home.
I kind of like the shapes, especially in profile,
but the transitions, ugh, it's a travesty.
Gorgeous blends.
You can't see where one thing starts and the other stops.
Yeah, I love this chest piece,
the look of motion that it has.
Incredibly unique.
I've never seen anything like this before.
This is a mess, you guys.
So sloppy in its application.
It looks like she's been shot with a paintball gun.
These shapes are leaning towards such a unique vision.
I've never seen anything quite like this.
Yeah, well, that's... the Flabellina.
They really captured sculpturally what the forms are.
All right, guys, the judges have scored your creations,
so let's find out what they thought.
Jason and Evan,
Jordan and Jasmine,
Ricky and Ben,
Scott and Stevie.
Congratulations, because you are all safe
and can head back to the makeup room.
The rest of you were the best and the worst this week.
The judges would like to find out more about your work.
Kevon and Meg, would you please step up?
Tell us about the concept behind your siren.
We had the Textile Cone Snail,
and our siren is playing her siren song
on this little harp,
and as she plays it, a pheromone is released from her fingertips
that lures people in so that she can get close enough
to bite them and inject them with venom.
I sculpted the front and back here.
I did the shell.
Meg did the face.
She also fabricated the instrument.
What do you think of this finished product?
- I think it's okay. - I like it.
I-- I'd go out with her.
That's a little worrisome to me.
Not only that you would date her,
but the fact that you don't realize how gorgeous that is.
Oh-- oh, I'll-- I'll take that.
Thank you.
There's some really fantastic decision making.
You didn't try to cover the entire body.
You picked exactly the right things to focus on.
I think it's amazing.
- Thank you. - Thank you so much.
She's so creepy and so beautiful at the same time.
I think you guys did a fantastic job.
Thank you.
There's a-- just a hint of beauty makeup in there
which is critical 'cause otherwise,
she would have been very bland and monochrome.
It's a great job with this one.
- Awesome. - Okay. Thank you.
Kevon and Meg, please step back.
Fuck.
Sidney and Omar.
Please tell us how your Portuguese Man O' War
inspired your creation.
We tried to emulate the spine on the Man O' War,
and she lures her pray with a lure on the end of her rod.
The best part of your whole makeup job is your wardrobe.
She really looks like she's wearing a helmet, guys.
She has a ton of hair.
You should have figured out a way to use her hair
and put these spines someplace else on her body.
You messed it up.
How did you guys break down the duties?
Well, I decided I was gonna sculpt the cowl.
I went with, you know, running the silicone,
and then we both worked on the staff.
Both worked on the staff.
When you look at some of the other creations this week,
there's massive amounts of work,
so I'm not sure what the two of you were doing.
The paintjob doesn't feel like patterning or natural.
She does not look like either a siren
or a Portuguese Man O' War inspired character.
Sidney and Omar, you can head back.
Missy and Libby, could you please step to the center?
Tell us about your character and how it was inspired.
We had the Striped Surgeonfish.
We used the inspiration in the cowl, in the back piece,
and in the front piece with these spines.
And who did what?
I sculpted the cowl, the face piece,
and Libby sculpted the arms and the chest piece.
The form and color
don't relate back to your Striped Surgeonfish.
There's a nice silhouette going on,
but the head piece is so out of balance.
For me, that's not the biggest problem.
I really do like the fact that it's out of proportion.
But the transition between the prosthetic,
and the model's face-- I've seen football helmets
that blend more seamlessly onto a player's head.
Yeah, I sculpted the face piece,
and in the mold, it got air pockets--
Ohh.
Basically, so I had to put the cowl,
like, over the face piece.
Okay.
What man is gonna go to that thing?
- Kevon, probably. - She is frightening.
Right over there.
- Right over there. - Maybe.
One of the elements of this challenge
was to create something that can lure men in.
This poor darling doesn't have anything that's alluring.
Missy and Libby, please step back.
Nora and Brittany.
Tell me about your concept for your siren.
Our siren has been wronged by all these different men
who have come into her coastline,
so she has all these bits and pieces of each guy
that she consumed and destroyed.
I sculpted the chest piece.
Nora did the face piece.
I did the wig and all the wiring
and I did a little bit of the costuming.
I really love this thing.
Thank you, Glenn.
You exercised very wise restraint,
and the color throughout the appliance
is extraordinarily cohesive.
- Thank you so much. - Thank you.
The interpretation of the Nudibranch's appendages,
those little tendrils,
are beautifully crafted on the sulders.
Beautiful work.
Thank you so much.
- Thank you so much. - Thank you.
I love the fact that she actually has hair.
It does bring in the coloration of the slug,
and she looks absolutely beautiful.
Thank you. Thank you.
Nora and Brittany, you can step down.
All right, guys, if you'd please head back to the makeup room
while the judges deliberate.
Thank you.
All right, judges, let's talk about the looks
you liked the most tonight.
Why don't we start with Kevon and Meg.
I think that they really hit all the notes
that we were looking for.
It's definitely a siren,
definitely looks like it could be
a creature from Greek mythology,
but it's still beautiful.
The face was just so stunning and so unique.
Even with those teeth,
she still looked appropriately beautiful.
Okay, let's move on to Brittany and Nora.
They nailed the form language,
particularly in the shoulders.
The fact that they figured out
a way to incorporate that bright orange
and that lavendery-blue color was really well done, I thought.
All right, judges, let's move on to the looks
that you didn't like so much this week.
Let's start with Sidney and Omar.
It was one of the biggest disappointments.
- It looked like shells or-- - Cabbage.
Cabbage is never good for a character.
Unless it's like a taco guy, or something.
It's like-- it was like a Cabbage Patch fish.
The shapes were so nebulous.
And this is supposed to be a beautiful siren.
This has to be appealing, has to be luring men to her.
It looked like a little boy with a helmet on.
I don't know what they were doing.
Did they, like, go to a bar for one of the two days
that they had?
All right, let's move on to Missy and Libby.
It was a giant helmet.
And where does that come from, anyway?
Where was that inspiration for that head shape?
I have no idea.
I thought there was some really beautiful
sculptural ideas in the head,
albeit disproportionate,
and I don't think they're appropriate for this challenge,
but I did see promise,
even though it became a muddy pile of confusion.
All right, judges. Have you made your decisions?
- Yes, we have. - Yes.
Let's bring them back out.
All right, Glenn, tell us about tonight's top teams.
Kevon and Meg.
We love the wild shapes and the monochromatic paint job,
and you definitely nailed the deadly beautiful aspect
of this challenge.
Nora and Brittany, the beauty of your makeup
was not only in its general aesthetic,
but in its subtle forms and its flowing color gradients.
All right, Glenn, so which team came out on top?
The top team tonight is...
All right, Glenn, so which team came out on top?
The top team tonight is...
Kevon and Meg.
What a cool character this was
with her beautiful head-to-toe, fleshy paint job
and that super-adventurous chest piece.
- Fine work. - Thank you.
Kevon and Meg, excellent work,
but as you know, we can only have one winner.
Glenn?
The winner of tonight's challenge is...
Meg.
Good job. Good job.
Thank you.
This makeup was all about the face
and finding that perfect balance of beautiful and deadly.
- Very well done. - Thank you.
I win the challenge.
It's an overwhelming feeling.
I'm just really, really proud of what we accomplished.
- Meg, congratulations. - Thank you.
You, Kevon, Nora, and Brittany
are all safe and can head back to the make-up room.
All right, guys, that means that you are on the bottom this week,
and two of you will be going home tonight.
Would you please step forward?
Glenn, tell us about the bottom teams.
Sidney and Omar, you guys struggled to find
a graceful way to integrate your inspiration animal,
and the paint seemed unfinished.
Missy and Libby,
we also saw few signs of your inspirational animal,
and there are just too many disparate ideas
going on for your design to work.
So who is the first person to go home tonight?
The first person going home tonight is...
Sidney.
Your contribution to this makeup seemed very minimal,
and the one piece of yours that we did see
didn't give us a great sense of your future potential.
Sidney, I'm so sorry,
but you have been eliminated.
It's been great having you here with us,
but if you'd please head back to the makeup room
and pack up your kit.
It is really disappointing that I'm going home,
but everybody's so good this season
that you could do a good makeup and get kicked off.
What can I do?
So who is the second person going home tonight?
The second person going home tonight is...
Omar.
Your cowl sculpture sort of resembled a brain
or a cabbage, which is the opposite of beautiful.
Omar, I'm sorry,
but you have also been eliminated.
Missy, Libby, you're both safe this week.
You can head back to the makeup room.
Omar, even though this is the end
of your journey here on Face Off,
tomorrow is the new journey for you, so good luck.
Thank you.
Omar, it's been great having you here with us,
but if you'd please head back to the makeup room
and pack up your kit.
Thank you.
I am disappointed that I'm not
gonna be able to show a lot more of what I can do,
but it's a competition,
and I knew I was gonna be surrounded by amazing artists.
- Aw. - Seriously?
And me.
I've definitely learned a lot about myself.
Okay, all right, guys.
I was only here for a short period of time,
but I was really pushed to my limit.
I've learned that I can do this.
Moving forward, I'm gonna continue doing special effects.
I love it, it's my passion,
and this is not the end of the line for me.
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