Face Off (2011) s03e07 Episode Script

Previously on Face Off The artists created disproportioned characters for the video game Dishonored.
Derek's towering thug earned him a win, and Tommy was sent home.
Now, six artists remain, and tonight Today's challenge could potentially change someone's life.
- They face a monstrous twist.
- Oh, my God! - Each of you will work with an emerging artist.
- I knew it! Oh-ho-ho.
I can't believe who comes through the door.
Time, everyone.
That's it! I'm screwed on this challenge.
My costume is iffy.
It's falling apart.
We are of massively differing opinions this week.
I don't know what to say, I love it.
I'm not a fan today, honey.
Could be in huge trouble.
In the end, only one will win the opportunity to be a guest lecturer at Make Up Forever's academies in New York and Paris, a new 2012 Toyota Prius V, and $100,000.
And for the first time ever, America, your voice will be heard in selecting the winner.
Only one will win Face Off.
I came to win.
I've been saved twice, and the rest of the time I've been on top, but I haven't been on the very top, so, I just want that sense of accomplishment that comes with doing a good job.
So we head for the next challenge, and we head to Olvera Street.
As we get closer, we all recognize instantly Yay.
and Mexican cultural marketplace located in the oldest part of downtown Los Angeles.
Before we get into today's challenge, please welcome back a very familiar face and the judge of today's foundation challenge, Patrick Tatopoulos.
Patrick is back, and I'm happy to see him because I really admire him as a conceptual designer.
Good to see you guys.
I'm very, very excited to be back.
Welcome back.
As we know, you've been hard at work on the set of the new 300 film, Rise Of An Empire, so thank you for flying all the way from Bulgaria to be here today.
Well, I'm a little jet-lagged but I'm really, really happy to see you again, guys.
All right, let's get down to business because today's challenge could potentially change someone's life But there is just one thing.
You guys will not be competing today.
They will.
Who's they? - They're back! They're back! - Oh, my God.
Oh, my God.
Yay.
All of a sudden, we realized that everybody else is back.
- Yay! - Hi, guys! Oh, my God.
And I see my brother, and I was, like, super excited.
Welcome back, guys.
It's good to see you.
You ready for a shot at redemption? - Yes! - We're ready to go! Good, because the winner of today's foundation challenge will rejoin the cast and earn another chance at winning our grand prize.
- Oh, my God! Yes! - Wow.
I do wanna get back on this show as bad as possible.
It is great to see everybody again, but I have a little bit of mixed emotion about it, really.
You know, some have missed two, three, four challenges, so, I'm not really sure how I feel about that at this point.
Olvera Street is home to many Mexican cultural festivals, but none is bigger or more popular than the Dia de los Muertos, or Day of Dead, a celebration of the lives of those who have passed on.
So your foundation challenge today is to create an original day of the dead-themed makeup.
So Patrick, in your opinion, what makes a great Day of the Dead makeup? Well, you know, although the tradition depicts skeletons and things like that.
I'm looking for someone who's gonna push a little further.
That's super important.
I'm ready for this.
I've never been more ready, and if I make it, I'm going to the end.
Today, your makeups must include items and wardrobe sourced from in and around the area.
Good luck, guys, because your time starts now.
- Woo! - Good luck, guys! - Thank you! - Go.
I'm looking around.
I do get my eyes on a suit, a mariachi suit with a hat.
I think that would bring my makeup together.
I'm trying to figure out how I can stay with the tradition but make it different.
I saw shoes somewhere.
Shoes, shoes.
I'm trying to wrap my head around this idea.
What else can I do that's day of the dead that's not the typical sugar skull that everyone thinks? I'm thinking mariachi guy.
The first thing I'm gonna do is I'm gonna draw out the shapes that I want and then go into the color.
I wanna make sure that it's colorful and festive.
I put a prosthetic skull nose on her face, but I'm still not sure about all the detailed parts.
I definitely don't wanna do just face painting kind of a makeup, so I grab items that I can glue onto her and make it a 3D look.
I grab a prosthetic, and it's this generic vampire brown, and I'm like, "okay, well, it's still kind of day of the dead-y.
" All right, guys, you got 30 minutes left.
My heart's racing for them.
That's it! Time's up.
Woo! Wow.
This is, like, super high stress right now.
It's like this is my chance to get back onto Face Off.
- Hi guys.
- Hello, Nicole.
Tell us about your concept.
His dad was in a mariachi band, and so now he's celebrating his dad.
- This is really cool.
- Thank you.
It's very joyful.
It's very beautiful.
Patrick loves what I just did, and I just feel really, really confident right now.
He has very strong features, so I wanted to highlight him and contour him and bring a little bit of that out.
I got to tell you, I was a little worried until you put the costume and everything together.
I say, "where is she going?" So you actually kind of put it back together in a good place at the end.
Love it.
All right, CC, thank you very much.
Good work.
I went more of a stylized route.
I did lay down this prosthetic.
There's some great stuff in here.
I like people that don't get stuck with the expected, so I give you a point for that.
I wanted to keep it from being a-- just a face paint, so I wanted to go 3D kind of a thing to it.
Your shading is really impressive because even from here, I feel this dimension.
It came out really lovely.
I did a skull face, but I wanted to do, you know, the jewels and glitter to kind of make it a little prettier.
You got into a good direction because you actually used a lot of color on the face, but I almost wish you'd-- you'd pursue it even further.
All right, Patrick, how'd they do overall? You guys did great.
I was very impressed today.
Great work.
And who created your favorite looks? Nicole, for original and very well-executed design, and Eric for the very incredible shading.
- I think you really scored.
- Thanks.
All right, well, there is a lot on the line today, so who is the winner of today's foundation challenge? I'm already feeling like I won.
I'm pretty sure I got this.
I can't breathe.
And I'm freaking out.
Like, my heart is pounding.
Please be me.
The winner is Nicole.
Oh, my God.
I'm back! Oh, my God.
My heart drops.
It definitely sucks to have to go back home for a second time.
I really thought I had this.
You both did an amazing job.
It was very difficult for me to pick.
The reason you won, Nicole, is because you pulled enough out of the tradition, yet you never compromised the design.
Thank you so much.
Nicole, congratulations.
You get to rejoin the cast of Face Off.
Go ahead and get over there.
- Come on--come on over here.
Come on.
You guys, you all did great work.
Thanks, guys.
- Thank you.
- Bye.
I love you! - Good luck.
- See you guys! I will see you all tomorrow for your next spotlight challenge.
- Bye.
- Bye, guys.
Oh, my God.
You guys! We walk into the lab before our spotlight challenge, and we see picture frames on the wall.
They're covered, so we have no idea what we're gonna have to do.
In Hollywood, makeup effects artists work with all types of clients.
Sometimes, it's an established director or a producer.
Other times, it's an inspiring visionary.
Today, each of you will work with an emerging artist and bring their works to life.
First, let me introduce you.
Come on out! Oh-ho-ho.
Wow.
I can't believe who comes through the door.
Coming up I don't know if I can get these eyes to work.
I gotta make another one.
Fuck.
I might just pull this off.
There's almost nothing I like about this.
I'm worried I'm going home tonight.
Today, each of you will work with an emerging art artist and bring their works to life.
That's really cool.
First, let me introduce you.
Come on out! Oh-ho-ho.
We look over, and then we look down, and there's, like, all these little baby kids that come out.
Hi, guys! - Hi! - This is gonna be awesome.
Oh, this is gonna be cool.
Children, if you would please show us your work.
Oh, cool.
There's some really interesting pictures up there.
There's like a green thing which has multiple eyes, one that looks like a spider.
Then there's one that's got every color in the rainbow.
So, we've partnered with City Hearts -- kids say yes to the arts, which has offered free classes to kids in Los Angeles for over 27 years.
- Wow.
- Each one of these budding young talents has created their own unique monster sketch.
So your spotlight challenge this week is to turn one of those sketches into a bona fide movie monster makeup.
- Wow.
Cool.
- That's beautiful.
Now, just like in the real world, you don't pick the client.
They get to pick you.
Oh, wow.
I'm so excited.
This is such a wonderful opportunity to work with these little baby nuggets and make something of theirs come true.
Bridget, you get to pick first.
Reed, you're next.
- Hi.
- Jonathan.
- Hi.
- Lola, you're next.
- Hi.
- I like your hair.
- Thanks.
- Nolberto.
What's up, man? Ty-yana And Sofia.
So you have 30 minutes to consult with your clients on the final design.
Have fun, everybody.
All right, you can sit up here.
My client's name is Lola, and she is just fabulous.
There is no time to waste, so we immediately get started on our design.
You want one big eye and one little eye for sure? Well, I like a big eye, but the small eye - I kind of did on accident.
- Uh-huh.
I'm really trying to work with the direction that she wants to go while also bringing my aesthetic to her vision.
What about, like, a tooth, like, right there? So, one tooth, one eye, a bunch of different nostrils.
I love that.
I love one tooth.
He's good at seeing.
He can see like this way, this way, and this eye that sees straight, and instead of our eyes blinking, they end up blinking to the side like that.
Oh, okay, so he blinks to the sides.
Okay.
Do you have a name for him? Sweetie? I kinda like that.
She has this vision in her head, but she doesn't know the technical aspect of everything.
So I have to guide her through the process.
But he can still have this shape, that doll shape.
- Yeah.
- Yeah? Okay.
My concept is an alien from another planet, and he eats people.
So, why is this one bigger than all of the others? 'Cause it's the only one that's actually purple.
Bridget tells me that this is a half-vampire, half-dragon, and it's a baby.
He can have a fluffy tail like that, okay? Hopefully, I can get it all done in time.
So this was a regular alien girl from the planet Luna, and then, one day, she turned into this.
Sofia has a lot of creativity, and it's fantastic, and it is non-stop.
Like-- there was like lots of eyes on its face.
When she's in her sleep, they blink.
- Long legs - Mm-hmm.
Like a snake's.
That's the front of her face but then it's like wo-o-oo.
It has octo-unicorn tentacles.
All the dots are eyes.
I don't remember half of it.
I have to refer to my notes.
All right, kids.
Time is up.
Come on over.
I'll see you soon.
Good luck, and I will see you tomorrow.
Once we choose our models, I automatically get my stuff and start sculpting.
So I'm really aware of how bad my arm is and how much I can push myself on what's gonna be a big sculpt to begin with.
I've done a couple of big head makeups before and I am a little concerned about showing another one, but this is Sofia's design, and it is my goal to bring that to life.
Immediately, I start sculpting the head, and I think I ended up using about three bags of clay.
Reed wanted his monster to have blinkin' eyes, so I decided to go with a cable control over animatronic head.
I know I have to have an underskull to mount all my mechanics on and to build off of, so I decided to go with a back end form piece.
When I'm finished with this, the under skull is gonna hold all the mechanics, and then the skin will fit on top of that.
The description for my guy is an ex-human, cave-dwelling, bat-like, alien demon creature.
So I sculpt this thing out, like, pretty quick.
It's like boom, done, ready to go.
I'm just gonna start molding.
You make a mold by covering everything in stone.
Once your mold has hardened, you pour your film in there which becomes the prosthetic.
Roy, can you see how much time is left? My advice to you is to speed up.
At this point, my wrist is killing me.
All right.
It's time, everybody.
I can't move any faster.
There's a lot to do tomorrow.
I really like it.
Why did I have to make such a big piece? And I've got a really busy day ahead of me.
I've also got all those mechanics to figure out, eyeballs to make.
There is just a lot to get done today.
Hey, everybody.
Hey, guys.
Brought Neville with me, and we're gonna take a look at what you're doing.
I'm debating whether to like gouge all of this extra foam out and then try to stick that in there.
You should be able to just use this, though, as a surface.
It's pretty good.
And if you just do the epoxy next, that should-- should do it.
This is a tickle monster, and he was very specific that he wanted the eyes to blink.
Be cautious about your mechanisms.
You've got three eyes that one person is controlling.
I'm also thinking about having just the one control - for all three eyes.
- Oh, okay.
It's gonna have wings.
He wanted them to be fur, but I'm thinking of latex.
Somehow, that little tiny beak just turns it into a parakeet versus a massive bird of prey hybrid.
You're gonna want a bigger statement there - like you have.
- My girl is Lola, and she wanted one eye and a big head and a bunch of nostrils.
The whole nostril thing is great.
I might caution you to have the nose not look like a human nose.
She's very specific that this creature breathes through the mouth but eats through her nose.
- Wow.
- Lordy.
It's a little reminiscent of some of your past work.
You know what? The child with the big head creature picked me.
I didn't pick the child with the big head.
I think there's a couple things here that if you have the time to maybe address, I would strongly encourage you to change your sculpt.
What are your thoughts now at this stage? I feel very positive.
They're crazy ideas.
All right, so let's start with Laura.
I think she's doing a great job.
I think her biggest challenge is gonna be that eyeball.
Right.
Let's move on to Roy.
He's so ambitious.
He's having blinks because he wants to communicate the life behind it.
Yeah, he really thinks it through.
He's a smart guy.
So what do you think about Alana? I did not like the nose then having other noses.
- Yeah.
- Do something to disguise the nose.
I don't know if she's gonna have time.
Okay, and then Rod.
Rod concerns me because the guy's so talented - I know.
- But is he being creatively challenging to himself? And I would say that this makeup, - it's not a creative answer.
- No.
Hope he listens to what you said.
Okay, everybody, we're heading out.
- Good luck.
- Bye.
Neville seems to think I should change my design, and it's just making me be a little bit more aware of how to spend my time.
I could have gone and done something completely different, but I really wanna honor what she has drawn and not force an agenda on a nine-year-old.
Neville points out that they don't wanna see another big head makeup.
I mean, I could have gone and done something completely different, but this is her design, so I'm doing it.
Hopefully, the judges can see that this is the right thing to do.
So, I have to make some sort of a round costume and then paint that giant headpiece.
I think it'll evoke a certain monster-ness that my client is looking for.
What do-- what do you think about these horns? Like this way, or like this? There is all kinds of different stuff going on in the shop.
Some of us are going more cartoon-y.
There's fun fur, and there's these big giant heads.
It's crazy.
It has almost like a demonic-- Yeah, well, that's what I'm going for.
I keep thinking, like, should I have gone in, like, the Monsters, Inc.
way? But I'm like "no.
" I don't want cartoon-y.
I don't want cute.
I want scary.
I'm gonna keep going on my path.
You're amazing.
Thanks.
I still have to do the wings.
- The wings? - Yeah.
Dude, don't waste your time doing that.
You can do that fucking tomorrow.
- I know.
- Do the wings now.
I know.
I'm worried about the wings, I've never made any kind of costume before.
I don't know how to sew or anything, so I'm just gonna wing it.
I'm making a cookie for the monster.
He's also gonna have all kinds of icing and cake toppings and things drooling out.
He's a bit messy.
I love this cookie.
Thanks.
I'm really happy with how it looks.
It started out as a four-inch square foam piece.
I think it's really fun.
It's almost the end of the day, and I don't have my hands and feet done at all.
I definitely don't have time to experiment.
This is a one shot deal.
- It worked.
- Yay.
Now I gotta make another one.
I love your whole life.
Does it look like red velvet with frosting? Yes, it does.
He's awesome.
It still ain't working right yet.
- They won't blink? - They will.
It just takes too much pressure to do it.
My eyes are not moving properly.
They're real stiff because what I didn't account for is that whenever I put the foam on the underskull, it created more tension, so I'm kind of really strained to get my eyes to move.
The whole eye mechanism is what really has me worried because this is really a basic, very simple sculpt and makeup.
Time, everyone.
That's it.
Let's all go home.
The reason I wanted to do all the movement in it is to give it that wow factor, so if I can't get those eyes to blink properly in the four hours that I have tomorrow, then I'm screwed on this challenge.
Okay.
So today is application day.
We have four hours for application and then one hour in last looks.
This thing is stuck.
Peel slowly.
Good morning.
Hey! You are in for lots of stuff today.
You're gonna have a very easy morning.
Okay.
You're gonna apply everything last hour? Yeah, but I'm gonna get him in a fair amount of costume before we go.
My plan is to make sure that everything is completely painted before I get anything glued down.
I decided before I even start painting to fix my eye mechanisms, try to get 'em working better And I rearrange and actually reconstruct my device.
Shit I'm running behind schedule, and I still have tentacles, four horns, spine.
I'm like really freaking out at this point because I really have to win, especially since I was already sent home.
Extend them a little bit.
It is really hard to get this wing design down on him, and I want it to look like a flying squirrel, but I'm not liking how it's turning out.
Open.
Now I'm starting to color you with a base coat.
I'm gonna use the color scheme that Sofia laid out for me, but I'm gonna do it in multiple techniques.
I'm doing airbrushing, I'm doing spatter techniques, and I'm doing hand painting.
I truly am feeling like this is what I set out to create.
All right, you can let go, hon.
One minute.
So, at the end of the day, I go, "oh, no.
" It finally hits me.
All right, that's it! Time's up! Brushes down.
I have to apply my entire makeup, fix my edges, and get all that on in one hour.
If I have any problems, I could be in huge trouble because there's not enough time to fix anything.
- Coming up - The costume is iffy.
I'm worried about it falling apart on stage.
We are of massively differing opinions this week.
You did your same old paint job on it.
I just hope that nothing's falling off at this point.
We have one hour of last looks at the stage.
It's go time from the second I'm in there.
I have to apply my entire makeup.
If I have any problems, I would potentially have a piece without any makeup on.
Hands, her arms.
Go like this Let's find these arms.
I'm really being hyper-cautious because I know that they're gonna pick up and poke and lift every little detail.
I'm gonna push here for just a second, okay? - Mm-hmm.
- Ready? I'm surprised at how quickly I get everything glued down, and I still need to do my last touches with the sprinkles and the slime, and gluing down the big chocolate chunk.
Ten minutes, everyone.
That's ten minutes.
Lift up your arms.
That's time, everybody.
Oh, I love it! Welcome to the Face Off reveal stage.
Tonight, one of you will be eliminated.
First, say hello to your judges.
Owner of Optic Nerve Makeup Effects Studio, Glenn Hetrick.
- Good evening.
- Three-time Oscar-winning - makeup artist, Ve Neill.
- Hi, everybody.
Creature and concept designer Neville Page.
- Hello.
- Hey, there So guys, this week, your spotlight challenge was to create an original movie monster based on your client's artwork.
Your clients happen to be kids from City Hearts -- Say Yes to the Arts program.
Let's see what you've come up with.
I love my monster.
I'm very happy with him.
He's a little doofy, which is exactly what we wanted.
I'm really feeling like I have one of the stronger looks, but I'm hoping that the judges are not looking for some mascot boogity thing, 'cause that's not what I've done here.
To be back here on the stage just feels really, really good.
It's also very nerve-racking, but I think I gave the client what he wanted, so I'm proud of it.
I like my paint job.
The chest piece looks awesome, but the costume is iffy.
I'm worried about it falling apart on stage.
I think I'm gonna make Bridget happy.
I got everything done that I promised that I would, and I just hope she loves it as much as I do.
I can see that in a kids' movie, something that hopped out of the closet and tickled you until you cheer up.
I'm pleased with how things are looking.
It's what I set out to do.
I could only hope Sofia likes it.
Judges, why don't you take a closer look? Red velvet cupcakes.
Nice.
Oh, look at that filthy muck in the teeth.
May I? Oh, man! Yeah.
The paint job is so random.
Instead of accentuating the structure, - it's confusing it.
- Yeah, that's camouflaging it.
I wish she would've done some coloring on the teeth.
There's some fun choices here.
Yeah, yeah.
Can you turn around for us? This is a lot of work.
- Yeah.
- Yeah.
This little back piece.
Oh, God.
I'm worried.
I didn't just come back to just have, like, one more shot and then go home.
We wanna know what you think of tonight's transformations.
Tell us on Twitter using hash tag #FaceOff.
I don't like the horns.
Glenn starts hitting the horns, and I'm like, "oh, God.
" I just hope that nothing's falling off at this point.
I'm worried.
I don't wanna go home.
This whole thing's off.
You see that? I can't guess what they're saying, but it doesn't look good.
Oh, boy.
I think this is a really good choice using all these iridescent color on there.
Okay, do your blink? Yeah I kind of see that it failed, though.
Oh, yeah.
Can you turn around so we can see the back? It needs texture desperately, I think.
- That's confusing.
- It is.
Thanks.
Well, the judges have scored your creations.
Let's find out what they thought.
Nicole Sarah You are both safe and can head back - to the makeup room.
- Good job, guys.
Thank you, guys.
So the rest of you were the best and the worst looks of the week.
The judges would like to speak with each of you to learn more about your work.
Alana, please step up.
I'll tell you guys right now, we are of massively differing opinions this week on all of your creations, more so than we have ever been before, so Alana, could you begin by explaining the concept? Really, there isn't much of a backstory to this character but we definitely agreed on things aesthetically.
I actually really liked this makeup this week, and I love the way that everything fits under the top hat very naturally when the hat comes on and off.
It doesn't feel like the hat is just sort of plopped on top of the makeup.
I see a lot of forethought in the overall design here.
I have to disagree with Glenn.
You did your same old paint job on it, which is so uninteresting.
The tooth looks like a cigarette from here.
I'm not a fan today, honey.
Sorry.
The nose doesn't quite work visually, and I think it's mainly because the third set of nostrils going up look like they are eyeholes versus noseholes, but the paint job is what is killing you.
This is where you really gotta pay some attention.
- Alana, please step back.
- Thank you.
Rod, step forward.
Rod, how do you think you did working with your young protege? It is a big head character, but this is what the client really was looking for.
I actually liked the whole design of this.
I love the costume.
I love the colors on the face, and I find it very enchanting up close.
I think you did a great job.
Thank you.
I'm at the opposite end of the spectrum.
There's almost nothing I like about this.
I think that the sculpt is feeling too much like the other sculpts you've done.
That's one thing that you need to work on is all the faces seem to be of the same family.
I implore you to start thinking about trying to do things that are thin or wispy or hyper-realistic.
I don't think you're a terrible sculptor.
I just think that you continue to rely upon this particular style.
I'm just really unhappy with what I see here.
Rod, if you'd please step back.
Laura, step forward.
Tell us about the inspiration.
She described to me a dragon vampire baby that throws rocks at people when they come up, so I attempted to give everything that I possibly could to make the client happy.
I think you did a fabulous job because you addressed everything.
The palette works for me.
It stands out, which really helps.
I think he's very cute.
I-- it's so much fun to see all this color and I think he's very sweet, so congratulations.
- I like him.
- Thank you.
Laura, could you please step back? You did a good job.
Roy, you're up.
It looks like you spent a lot of time trying to mech those eyes out, and they're not working for you - really well, are they? - Whenever I applied the foam skin to it, it created tension on the hinges.
I still wanted to try my best to give the client what he asked for.
You have a lot of discordant colors and shapes, and I'm confused about how it's supposed to all work together.
Okay, I don't know what the hell he's talking about, but I love all the crazy colors.
I love the face in the hand.
I love the mouth.
I even like the side mouth over here.
Thank you.
Your sculpt looked dangerously horrific and morbid, and somehow with these colors, it's a happy-- I don't know what to say, I love it.
- I really do.
- Thank you guys very much.
Roy, thank you.
You can step back.
Derek, if you'll please step forward.
Okay, Derek.
Tell us about your concept for your creature.
Uh, my client told me he's an alien from another planet that's come to Earth and he eats people.
I'm kind of disappointed in this because your sculpt is not the quality that you normally do.
There's no texture in this.
The bat wings, I'm not sure that you made the best use - of that dental dam.
- It was pretty challenging.
I definitely stepped out of my box with costuming, and-- There's a lot of stuff where I think, "Eh, it's just-- it's not quite finished.
It's not polished enough.
" I think any director lighting this in EDP would say that we need a little bit of texture to make that surface have a little bit of life.
I think you made a lot of great decisions.
There's things here that could be more detailed, but overall, I'm pretty happy with the design of the thing.
I have to really applaud the decision to separate that nose out, that you didn't just go with this traditional beat.
It's a really cool idea.
Cool.
Thank you.
Derek, thank you very much.
You can step back.
All right, well, the judges have heard what you have to say.
Could you please head back to the makeup room while they make their decisions.
All right, guys.
It seems like there was a lot of debate about tonight.
Why don't we start with Laura? I really like Laura's monster.
If you're just looking at it, the profile, a child's monster, boom, I go right to Laura's.
Yup, it immediately fits the bill of what a kid's cartoon monster would be.
All right, let's move on to Roy.
I loved all the little tricks that he did.
I mean, I loved the multiple-layered hand.
That was really cute.
Then he's got this other little crazy face instead of just having a nothing hand.
I understand he can make stuff move and he can fabricate things quickly, but I don't need to see it every week.
But even a failed attempt at a little bit of a blink gave me a sense that there is some character in there.
Okay, let's move on to Alana.
Her paint jobs are horrific.
She cripples herself with her paint jobs.
Had she done something to obfuscate the eyes within the nostrils so it's not so apparent that the eyeballs are right there-- The fact that she let the nose remain in the normal position was not her best choice.
Okay, let's move on to Rod.
It's the same thing every week.
He could have put the mouth sideways.
We could have done a million interesting things.
Instead, he just went back to big fat baby head, and then put an extra mouth on it.
All right, let's move on to Derek.
The fur work was what it was.
Derek's was a great sketch, but the end result to me was not camera-ready.
I'd say this is the hardest decision - Yeah.
- That we've had thus far.
Okay, let's bring 'em back out.
Glenn, why don't you tell us about the top looks tonight? Roy, we continue to be impressed by how much you take on every week, and we really feel like your final character resembled the original sketch, and Laura, you made a complete character and you also were very diligent in keeping elements from the original sketch in your design.
All right, who is the winner of this challenge? Our winner tonight is All right, Glenn, who is the winner of this challenge? Our winner tonight is Laura.
You got it.
We felt that you best embraced the childlike aspect of this challenge And we were really happy to see you go way outside of your comfort zone.
- Congratulations.
- Thank you.
Really? What? No.
Really? No.
This is a good feeling.
Laura, congratulations.
As the winner of this challenge, Royal & Langnickel will make a donation of art supplies to City Hearts in your honor.
Oh, my God.
I'm just ecstatic that they're donating to the arts and to kids.
My heart is just soaring right now.
Laura, congratulations again.
- Thank you.
- You can head back to the makeup room.
Thank you.
Roy, you are also safe.
Head back to the makeup room.
- Good luck, guys.
- Thanks.
Unfortunately, that means the three of you are on the bottom this week, and one of you will be eliminated.
Please step forward.
Glenn, tell us about the bottom looks.
Rod, we had a love-hate relationship with your work tonight.
We were really at odds about some of your decisions.
Alana, we appreciate the fact that you attempted to do something more realistic with your design, but the paint job was just so poorly executed that it was truly detrimental to your work.
Derek, you had a good idea and an interesting paint scheme, but your sculpture was completely devoid of texture.
All right, Glenn, so who is going home tonight? The person going home tonight is Rod.
We felt that your makeup was really disconnected.
It didn't make a lot of sense.
Plus, we feel like we keep seeing the same things from you.
I've had a blast.
Thank you, thank you, thank you.
Rod, I am so sorry, but you have been eliminated.
The rest of you are safe this week and can head back to the makeup room.
It's good.
Rod, you rock.
I have loved so many of your characters.
I even loved your guy tonight, so - Yeah.
- Go take care of your arm.
Rod, it truly has been great having you here with us.
Please head back to the makeup room and pack up your kit.
- Thank you again.
- Thank you.
- Good luck.
- Good luck.
I'm going home.
This has definitely changed my outlook and view on what's possible, and the fact that these challenges have pushed me as far as they have-- it's been just a great ride.