Face Off (2011) s08e07 Episode Script
Queen Bees
I think you did an astounding job.
I just don't get it.
Love it, and I love how you're thinking.
Thank you.
Previously on Face Off Jamie's wooden bridge troll earned her her first win, but Anthony stumbled, and Team Rayce suffered their second loss in a row.
Now ten artists remain, and tonight all bets are off.
Models, come on out.
Ooh.
I've never body-painted before in my life.
I don't need this now.
Changing it halfway through isn't helping.
I'm not comfortable changing my entire paint job.
You will be the one going home.
It looks like a little kid's painting at a county fair.
In the end, only one will win a VIP trip from Kryolan Professional Make-Up to one of their a brand-new 2015 Fiat 500, and $100,000.
This is Face Off.
Oh, well, here we go.
This is so weird.
Beautiful.
We walk into the lab, I see all these different hats, and I am pumped.
The hats are wild and very inspiring, so I'm really excited to hear what the challenge is.
Hey, guys.
Hi.
Well, as you can tell, this is gonna be a fun one, so let's get to it.
Some of Hollywood's most unforgettable characters, like The Cat in the Hat and Davy Jones, they're not only known for the roles they play, but also their singular hats.
In this Foundation Challenge, you will select one of these hats and use it to inspire an original character of your own.
This is really cool.
Before we get started, I'd like to introduce you to today's special guest judge.
Last season, she joined the Face Off family when she filled in for Ve on the judges' panel.
Please give a warm welcome back to Oscar-winning makeup artist Lois Burwell.
Lois Burwell, makeup legend and judge from season seven.
She's known for her work with Steven Spielberg and her realism.
I'm really stoked that she's gonna be judging our Foundation Challenge.
- What a great hat.
- Thank you very much.
It would be rude not to, wouldn't it, on a hat challenge? All right, well, you've seen it all in your storied career, and you've brought so many incredible characters to life.
So what is it about a hat that can make a character stand out? Well, the wonderful thing about a hat is that it frames the face.
So the hat complements the makeup, the character.
Be inspired by the hat.
What are you gonna be looking for in today's final makeups? Not only technique and skill, but more importantly, a clean makeup.
All right, we started this season with 15 of you.
Now only 10 of you are left.
So winning today's challenge and its prize of immunity means more than ever.
Immunity would be fantastic.
With me being in bottom looks last challenge, it gives me the ability to try things that I would never try before.
Your models and your makeup stations have been randomly assigned, and on Lois's go, I want you to grab a hat and get to work.
You have two hours for this Foundation Challenge.
Ready, set Go.
- This one.
- Shit, this is heavy.
Hey, let's see if this fits.
I grab the poofy dandelion hat.
It's fluffy.
I immediately think Dr.
Seuss, so I'm thinking cute, like, Whoville-style character.
Yay.
Okay, let's go with that.
Let's see how this fits you first.
Ridiculous.
I end up picking a ship hat.
I thought I would make a pirate.
But no ship's captain would wear a hat that looked like a ship on his head.
It's a silly hat.
So I don't know what I'm doing.
I guess I'll just make a dead ship's captain.
Arrgh.
- I'm gonna make you all wood.
- Okay.
A wooden boy.
I have the top hat, and I'm really excited, because my kids will like my concept, which is a dark version of Pinocchio.
Geppetto didn't save Pinocchio, and he's still trying to find his father after all these years.
This is if you stayed in the whale longer than expected.
I am creating this asymmetric goddess-style character in a tin-foil dress.
I picked a really big, busy hat.
It's full of metal and rhinestones It's gonna get uncomfortable kind of fast.
So I start gluing crushed rhinestones on my model.
I want it to be more sparkly and gold and silver, and on the other side, I want it to be more blue and purple.
Oh, gosh.
Give me your whimsical face.
My hat is this cool toy, tinker, metal, old-school hat.
It's just obnoxious.
It's great.
A little trim-trim.
My character is, like, the Willy Wonka of the toy world.
You look so good.
Five minutes, you guys! You got five minutes left! Time's up.
Brushes down.
Yay.
All right, so tell us about what you created today.
So I wanted to go with a smaller hat.
I just made, like, an evil Victorian queenlike figure.
When you do a lip line, you will find if you just put a finger here, and then work like that Hmm, oh.
you can gauge the movement of the actor, and you'll get a finer line.
- It's a nice makeup.
- Thank you.
I thought, "What if Pinocchio wasn't saved? What if he was lost at sea?" It's an amazing backstory.
- Thank you.
- Yeah.
This section here, I think, is the area that works best.
But if you just added some highlights going through, it would've made the whole thing feel more three-dimensional.
- Yeah, I agree 100%.
- It's a very nice makeup.
Thank you very much.
So she is the emperor's daughter, and she has two sides to her-- a dark side, and then the other side, she's more serene.
This is a huge amount of work.
I like very much the use and understanding of color and the transition from one color to the other.
- It's very well done.
- Thank you.
So I've created a nomadic warrior.
I wouldn't have used so many pieces.
I would have concentrated doing one thing extremely well.
- But it is a good makeup.
- Okay.
Thanks.
Looking around the lab is really cool, because people went in a lot of different directions with this one.
The hats were so different, and there's some really interesting makeups.
I don't know who's gonna win.
Okay, Lois.
So how did they do today? Everyone did exceptionally well.
I'm really impressed.
- Thank you.
- Thanks.
All right, who created your favorite looks, then? Rob, I thought the work said something about the simplicity of the hat being translated into a simple makeup.
- Thank you.
- Emily you achieved a huge amount of work and translated the hat into that makeup superbly well.
Thank you.
Who is the winner of this challenge? The winner this week is Emily.
You have an understanding of color, form, and shape.
- Very well done.
- Thank you.
Emily, congratulations.
As the winner of today's Foundation Challenge, you have earned immunity in the next Spotlight Challenge.
How's that feel? It feels really good.
Doesn't it? I bet.
I'm thrilled.
It's exciting because who knows what the next challenge could be? They're getting more difficult.
Lois, thank you so much for being here today.
It was a pleasure.
Oh, thank you for having me.
It's a delight to be back.
Nice work today, you guys.
I will see you tomorrow for your next Spotlight Challenge.
- Bye.
- Bye.
- Thanks.
- Night-night.
We arrive out to Canyon Ranch, and I am not much of a nature boy.
I'm not a happy camper.
So I am looking out for rattlesnakes, bugs, any of God's creatures that could kill me.
So I'm really looking forward to going back to the lab.
Does McKenzie always hang out in the woods? Hey, guys.
Hi.
Welcome to Canyon Ranch.
This beautiful wooded landscape has been featured in a variety of television shows and feature films, including The Office, Sons of Anarchy, and my personal favorite, True Blood.
All right, let's talk about your next Spotlight Challenge.
Mankind continues to be fascinated by royalty.
Now, while royals rule over humans, nature shows us that this social stratum actually exists in other species that represents more than half of all known living organisms.
In fact, you may even have a few by your feet at this very moment insects.
Oh.
I'm feeling really pumped.
I'm thinking about sculpting little appendages and just nasty, like, awesomeness.
Deep in these woods, you will find several elaborate habitats, along with an image of a unique insect.
Working in teams of two, you will select an insect and habitat to inspire a beautiful insect queen and her companion.
All right, why don't you go ahead and select a teammate? Did you just-- What's up, brother? Now, before you can get started, there is a big part of this challenge that I haven't told you about.
Oh.
You're not gonna be working in the lab this week.
In fact, this entire Spotlight Challenge will take place right here in the woods.
- What? - What? Are we camping here? I don't really understand what that means.
So are we sculpting in the forest? Models, come on out.
Oh, God.
Um Oh, God! Shit.
Models, come on out.
Um This is new.
So obviously, this is a nude body painting challenge.
Yeah.
Okay.
I don't body-paint.
I don't need this now.
- Rob, you all right? - I'm all right.
All right, thank you, models.
Why don't you go ahead and take your places in your habitats? All right, now, I know body-painting is a difficult task and requires a very specific skill set.
So I brought in an expert to give you some advice.
He's an award-winning body-painter whose work has appeared in Playboy and Fangoria.
You may also recognize him from season two of Face Off.
Please give a warm welcome to Nix Herrera.
Nix knows body-painting so well.
I'm super excited that he's gonna be giving advice.
- How are you? Good to see you.
- Good.
All right, so tell these guys what you've been up to lately.
I have a brush line coming out for body-painters, and I'm getting ready to do some work in Hong Kong.
Well, for a lot of special-effects makeup artists, body-painting is way out of their comfort zone.
So what advice do you have for these guys to make a beautiful body-painting? I think the first thing is just remember, you have a full body as your canvas.
Take advantage of this opportunity.
And insects have a lot of colors.
Have fun with it.
As a reminder, one of your characters must be a queen, but the other could be anything that you'd like, even a blend, where your model completely disappears into the landscape.
All right, guys, you'll have Your coaches will be by soon to see how you're doing, and Nix here will also check in with you in a couple of hours to make sure that you're all on the right track.
All right, on "Go," you'll select your habitat.
Make sure that you choose wisely, as your final makeups will be photographed presiding over their kingdoms for the judges to see on the reveal stage.
So, Nix, would you like to do the honors? I would love to.
Your time starts now.
We all start running through the woods like crazy people looking at the different insect habitats.
Jamie, you okay with this? - I'm okay with the honey bee.
- Cool.
- You want ladybug? - Let's do it.
You want to do this, European hornet? - Yeah, or - We're doing it.
Don't have time to think about it.
- Let's just grab it.
- Okay.
Darla and me pick the jewel beetle because its back is metallic-y greens and blacks and blues, and I'm seeing pinks and oranges on its stomach.
This could be something really, really, like, elegant.
I'm Darla.
Our models come over, so we meet them, and we just start kind of looking around at our habitat.
So we'll just paint him not to specifically disappear, but to match the wood.
Our concept is to create a insect queen using our female model and then use our male model to create a burned log.
I think that'll look really nice.
Liberating walking around in the nude, isn't it? _ If you were to ask me to devise a challenge that was my worst nightmare, it would be nude body-painting in the forest, 'cause I've never body-painted before Um and I'm gonna have to explain all this to my wife.
We're gonna make you up in probably those colors.
We end up getting the cuckoo wasp, and it has a very unique color scheme to it.
It's got greens and blues.
It also has red in the abdomen.
She's the queen protecting the larvae.
You'll be embedded in the sand.
It's really important that this looks good on photo, because that's all the judges are gonna see.
So we really have to make sure that we plan this out perfectly.
Something I was thinking of is painting, like, his back, so that it's, like, the back of her.
We choose the European hornet.
I have this concept that I really love-- making the female the thorax and the head of the queen and making the male model the abdomen.
Well, I want to blend him right into the background.
I've seen really nice blends, and now that I finally have the opportunity of doing something like that myself, I'm gonna try my hand at it.
If he's going to be blending into the background, my piece is gonna be the main focus, so she's got to be pretty freakin' badass.
And maybe turn a little bit more other way.
So how I'm gonna pose her is having the back showing this wonderful thorax-- just reds and blacks.
I'm not as in love with it as I was my original concept, but I'm still gonna make this work.
So it's the queen of the ladybugs coming out of the leaves, but then she's giving life to you, and it's all these larvae returning to the earth.
I picked the ladybug because it's an insect that we can make read as a ladybug easily.
I come up with this take on the famous image of God and Adam touching fingers from the Sistine Chapel.
You're gonna see it, and you're gonna know exactly what it is.
Do you want me to start blocking her out? Yeah, go ahead.
I'm just gonna start laying down the dirt tones on him.
I'm going to take the male model and do the blend work for the ground and the larvae, and he's gonna start blocking out for the ladybug.
I definitely got to bring my game to this one, because I was in bottom looks last time, and I really need to step it up.
- Hello.
- Oh, hi.
- Hi.
- Hey.
Laura and Anthony come over to see what Jamie and I are working on.
- So you're doing the honey bee? - Yes.
We're gonna take our female model, and we're going to make her into the queen bee, and then we're gonna take our male model and make him into a drone.
We're gonna just really enhance their natural curves and bring it into the honey bee pattern, then coloring.
Have you guys thought about your poses? - Yes, we have a picture.
- Oh, okay.
They are going for the feel of a honey bee with high contrasts of black and yellow and white.
It's a little bit more abstract, which is the smart way to go.
Ooh, what do y'all got? Did y'all already position them? Yep.
We're going to have him as actually a larva with sand.
So larva, as in worm? Yeah, with some kind of pattern on his back.
Do you have a picture of the worm? - No, we don't.
- You're just gonna wing it? We were planning to.
You may want to think about the concept a little bit more.
I don't want you going up there and having to explain to the judges, where they're gonna be like, "What is that?" Like, "Oh, that's a larva.
" "What does a larva look like?" "Oh, we didn't have pictures, so we made it up.
" Okay.
I'd rather not change our concept right now, but she does actually open my eyes to other possibilities.
Could turn him into the thorax.
Or you could turn him into the thorax.
That would be pretty clever.
The abdomen of this bug is in stark contrast to the upper part of the body.
I think it would be cool if we put them together to create one bug.
We'll start butt-to-butt.
_ Something like that.
What do you guys think? - I think we're good.
- All right.
I like that.
It's very straightforward.
A lot of people are doing some really creative things.
I think you guys are the only ones that are doing - just a straight blend.
- Yeah.
If the blend falls short, you will probably be the one that could be - Going home? - going home.
I'm really worried for Ben and Kelly, especially after seeing everybody else's concept.
The posing that they're trying to do doesn't really tell any story, and their characters don't interact.
I want this composition to be really beautiful, you know? Well, let's figure out how those two need to be put together so we can keep moving.
I'm not really comfortable completely changing my entire paint job.
I just don't want to see you guys in trouble.
No, I didn't either, but-- Well, changing it halfway through isn't helping, so let's figure something out.
I just-- I just don't want to see you guys in trouble.
Well, changing it halfway through isn't helping.
Kelly's making a queen European hornet, while I'm working on the camouflage that I want to do, and then Anthony walks in, worried about the direction we're going in.
And I think just shifting a little slightly creates a better composition.
All I can really do is try to rotate them around the tree so it's still utilizing the forms that Ben had already painted, but also make it just slightly more interesting.
That is more interesting, 'cause at least it shows some depth.
What do you think? I have no idea, man.
We got three hours left.
I'm not completely comfortable with moving these models right now.
Hopefully, that doesn't bite me in the long run.
Just looking out, guys.
I'm just a little concerned about them getting everything finished in time.
I don't want the members of my team on bottom.
I don't want them going anywhere because of a boring concept.
Thank you.
How are you brushing? Are you patting? I'm doing a mixture of both.
- You are? - Patting seems to work.
We're really excited 'cause we both feel a lot better about this concept than the original one.
At this point, it's just on how we execute it.
Being that neither of us have actually body-painted, we still are a little bit worried about pulling this off.
Yeah, I brush it, and then I pat what needs a little more.
So, making him a log and leaves and branches, that's a lot of work.
Stephanie and Darla's concept is beautiful, but camouflage makeups are extremely difficult.
Have you tried different positions, or is this the first one you tried? I mean, that was the first one that we got to that made sense.
_ Mm-hmm.
_ _ I've already got the base all laid out, but I know I'm not a strong body-painter.
Laura is really great with concept design, so I decide to go with Laura's suggestion.
She's down.
He's still back here doing this.
So our new concept is that we're going to use our male model to create the wingspan of the beetle.
We have leaves that we can use.
- Okay.
- Cool.
I get the look of it, but I'm a little bit nervous about the fact that these are dark, green, opaque leaves, and we're trying to make translucent wings.
- What's your plan? - I'm doing this.
And then I'm gonna stipple tinted latex over it so that I can get the translucency appearance.
Look straight, hon.
I love the honeycomb pattern.
I think that it would be really neat to incorporate that pattern onto my queen.
It's risky, because if it's not done right, it looks ridiculous 'cause it's so geometric.
I'm nervous, but I feel like I need to make her more interesting, so I'm gonna try it.
I don't body-paint, so I'm glad we have Nix as our guest mentor.
- Nice to meet you.
- Nice to meet you.
So what do you guys have going on? So we picked the ladybug, and we were inspired by classic art.
I love it.
It's a great concept.
Thank you.
With your stuff, you're getting to the point now where I think it's getting a little busy.
So I think if you crispen up a couple of spots, so there's a little bit of depth, so it's not so muddy.
Cool.
Keep it up.
You guys are doing awesome.
- All right, thank you so much.
- Keep it up.
What are you guys going for here? We're gonna do a queen bee and a drone bee.
I love the colors that you have going on.
One thing that I found for making the color pop is paint it with white and then airbrush yellow over it.
That'll give it more dimension.
- Thanks, Nix.
- Good luck, have fun.
Thank you.
All right, so the head is her head.
- Is that right? - Yep.
I like it, and then for all of the shimmery, reflective parts of it, I'm trying to figure out a way to get that to translate into it, whether or not it's airbrushing or brighter color, so that it has depth, 'cause right now it's just a little-- - It's flat.
- Yeah, a little flat.
Okay.
And you have the European hornet? - Yeah.
- You're doing the camouflage.
I think I just want to make him disappear as much as possible.
One of the things that's gonna be challenging is, because the sun is constantly moving, it's gonna change the colors of your background.
Every once in a while, come back to your spot, photograph it.
_ Yeah, I'm not gonna keep you much longer, 'cause you have one of the hardest ones to do.
- Kelly? - Hey.
- Hi, how you doing? - Great.
You are covered in body paint.
Well, it happens.
- The hair looks awesome.
- Thank you.
I think the only thing I'm a little worried about is how much actual paint you have on the body.
- Good luck.
- Thank you.
He's actually going to be her wings.
Is the color from her gonna translate into him? Mm-hmm.
We want to use metallic airbrush colors just to give it a shimmer.
Yeah, try to pop those colors.
- There's iridescent powders.
- Okay.
- Good luck.
- Thanks.
- Yeah, thank you.
- Yeah, keep at it.
I'm gonna head out.
Good luck, guys.
Thank you.
Just give me a basic shape to work with.
I got you.
I got you.
Adam and I decided to switch off, so I'm going to add the Kryolan aquacolors to the face, while he's adding the texture of the larva on the male model.
What color lips we going, Adam? White for the lips.
Okay.
Have you airbrushed the shiny spots? I want to make sure Rob and Adam both paint the larva correctly.
To make those larvae pop, you have to create a little bit more contrast, and add shiny highlights to make 'em feel like some kind of larva bug.
So it's kind of a dance back and forth where you can see how it starts to look more wormlike.
Mm-hmm.
Darla's still working on the wings that we're gonna put with our male model, and I continue painting our female model, and we're both frantic, trying to finish our makeups.
- You doing okay? - Yeah, I'm just tired.
It's a rough challenge.
Because we spent so much time working on our first concept, I don't know if we're gonna have enough time to finish.
I'm just worried that literally just his arms are showing, and we're gonna get killed for that.
- That's not good.
- Yeah.
And it would be me going home.
I'm not a body painter.
This isn't what I do.
To know that I could go home for this is really, really frustrating.
Literally, just his arms are showing, and we're gonna get killed for that.
Okay, let me start airbrushing.
Yeah.
I think it's time to airbrush.
Because we spent so much time working on our first concept, I don't know if we're gonna have enough time to finish.
But I've spent too much time on these wings, so it's too late to go back.
Just need some highlights.
Yeah, and then I need to paint the fuck out of these wings.
One hour, guys.
This is Last Looks.
Good luck.
See you mañana.
Good luck, dude.
This is looking really nice.
- All right, good luck, guys.
- Thanks.
I got a lot of shit to do.
I want to go in with some more reds and yellows, get cream foundation around the eyes, and just make sure everything is painted.
- More yellow? - Yeah.
That line-- Yeah, right there.
It's too harsh compared to the rest.
We don't have much to do.
We're just gonna add a little bit more feathering.
Jamie and I feel really good about this.
That looks cool.
I've never done hair.
I've seen my wife do it.
That's about it.
Hey, we can just do this.
So I hold my tablet up as a mirror.
Thank God for our model to do this to her hair, or we would've been screwed.
We're running out of time here.
Ten minutes, everybody! You have ten minutes left! All right, guys, time is up! I can't wait to see your work onstage tomorrow.
Go get some rest.
We're gonna get some time to work with the photographer to make sure our models are positioned correctly, but unfortunately, we don't get to see the photos, and I'm really concerned that our male model in underutilized.
So we're just keeping our fingers crossed that everything looks good, and tomorrow at the reveal stage, we'll find out.
Welcome to the Face Off reveal stage.
As you know, one of you will be going home tonight.
But before we see your creations, say hello to our series judges.
Owner of Optic Nerve Makeup Effects Studio, Glenn Hetrick.
- Good evening.
- Hello.
Three-time Oscar-winning makeup artist Ve Neill.
- Hey, everybody.
- Hey, Ve.
And creature and concept designer Neville Page.
- Hi, guys.
- Hey, Neville.
All right, guys, so this week, I changed things up a little bit on you.
Your Spotlight Challenge was to create two body-painted characters-- an insect queen and a companion character of your choice.
Your creations were photographed in their habitats yesterday, so let's take a look at the final images.
I've lost two contestants in a row, but I still have Adam, Logan, and Rob, and I think all three of these guys have the chops to take it all the way.
So I just hope their images stand out onstage.
This definitely looks like a complete insect, regal, queenlike character.
You almost can't tell Armando's a person under there.
I think it looks fantastic.
There's definitely some issues with the position of the models.
It looks like the wings are coming out of the female's neck, instead of back.
I'm really hoping that we'll be safe.
The light isn't hitting it right.
It looks just like a flat image, and the earth tones that I put on there are really muddy-looking.
I'm really worried about this one.
We're so happy.
Like, it just looks the way we wanted it to, so we hope that the judges like it as well.
I'm starting to notice that there needs to be more darks in certain areas and lights in other areas.
I'm worried about this one.
All right, judges, why don't you take a closer look at the photos? This is really clever the way they used that second body, I think.
So smart.
The whole thing is one big illustration.
There's a lot of attention paid to creating a false light source, and it makes everything pop.
Yeah.
So I guess their second person must be the wings, 'cause I can see the hand on the outside.
Right.
It just feels like it's an underutilization of that body.
I'm really scared because the wings may look just a little bit too high up, or they're gonna think that we should've utilized the male model more.
_ Oh, don't be too harsh.
It's my first time body-painting.
Ugh.
This is not good.
Tell us who made your favorite body-painting tonight on Twitter, using #FaceOff So I guess their second person must be the wings.
I'm worried because the judges are gonna think that we should've utilized the male model a little bit more.
I like the way the wings are painted.
I'm not as crazy about the body paint on the featured performer.
You guys understand what we're looking at there with the second body? I don't know what that second body is.
Her left thigh is gorgeous.
You just don't see it on the rest of the body.
- Yeah.
- You don't.
Unfortunately, I think the ladybug is dreadful.
_ Wow.
This is really pretty.
Look at the striations in her legs.
I love the additional texture on her shoulders and chest too.
The camouflage is successful, but it doesn't complement the main figure.
I love the colors, but I feel the fact that they put that black muzzle on her is kind of not a good idea.
All right, guys, the judges would like to speak with each of you to find out more about your work.
Logan and Julian, please step forward.
Tell me how your chosen insect inspired you to create this body makeup.
I observed that the abdomen had a starkly different color scheme from the upper part of the body and it would be a good opportunity to incorporate the second model in that part of the bug.
We had some guidance from the coaches, Laura in particular.
I fabricated the wings and mainly painted the male model.
I predominately took on the female model.
I think you were incredibly successful.
Thank you very much.
This is a brilliant use of the two human forms.
I love the paint job.
I love the coloration, the iridescence in the legs, so I have to commend you on that.
- Thank you very much.
- Thank you.
I think it's really a very smart choice, the combination of the bodies, getting that inverse leg with his elbow.
Really, really good.
- Thank you very much.
- Thank you.
Logan and Julian, if you please step back.
Thanks.
Darla and Stephanie, you're next.
Would you please tell us what insect you had and who did what on the character? We had the jewel beetle.
I was focusing primarily on the male model.
I fabricated the wings and applied them and painted them.
I did most of the painting on the female.
I think you made a big mistake by not camouflaging your model's breasts.
They're accentuated, which gives her a more human form than it does an insect form.
The jarring thing is really the wing placement, because it starts to feel like it's more connected to her head, but the graphic design feels good.
It's just some missed opportunities.
Thank you.
Please step back.
All right, let's talk to Rob and Adam.
Tell us how your insect inspired this design.
I thought it would be a fun play on visuals to do the Sistine Chapel's God and Adam.
I did the ladybug queen.
I outlined the face.
Rob came in and did some hard lines on the face.
And then I laid the base coat down for the larva itself.
The ladybug doesn't feel elegant or queenlike.
I just can't get away from the face.
It has almost a Cowardly Lion, kabuki hybrid going on, and that's a big problem.
So have either one of you been to a county fair? Not in a while.
Okay, well, you could've fooled me, because the face on the ladybug looks like a little kid's painting at a county fair.
She's a queen.
You should've made her beautiful.
This is not working for me.
Rob and Adam, please step back.
Emily and Jamie, please come forward.
Tell me about the insect you had and how it inspired your makeups.
So our insect is a honey bee, and our story behind our queen bee is that one of the drones have fallen in love with her, but she's kind of giving him-- The buzz-off? Yeah.
And division of labor? Emily focused mainly on the female, and I focused on the male.
I think you guys did a great job.
The way that you created an insect-y feeling with the broken-up panels, it's a stunning final image.
Thank you.
Emily, I have to compliment you on this queen.
The face makeup is one of the prettiest paint jobs I've seen on this show.
Really well done.
Congratulations.
Thank you.
Emily and Jamie, you can step back.
Ben and Kelly, you're up.
Tell us what insect you had and how it inspired your creations.
We had the European hornet.
My original concept was to integrate the second model to be the abdomen, but Ben was very driven to blend the second model into the background.
Now, Ben, how do you think they are as two characters together? I don't think they go together.
I really wanted to do a camouflage pattern.
I felt strongly about it.
I have problems with your female.
Her face looks very animalistic.
It looks more like a muzzle than it is insect-looking.
Did you guys work well together on this one? We pretty much just worked on our own, for the most part.
'Cause it definitely feels like you guys were doing two separate things that ultimately work independently, but as a unit, I just find it boring.
I hate it as an overall image.
I think there's some good work within it, but here's the thing about a team challenge-- it requires teamwork to succeed.
Thank you.
You can step down.
All right, please head back to the makeup room while the judges deliberate.
Let's talk about this week's makeups.
Why don't we start with Logan and Julian? I love the makeup.
Really good integration of the second character, using it as the abdomen for the wasp.
I think Logan's paint job was absolutely gorgeous on that.
They knocked it out of the park for me.
The thing that impressed me the most was the fact that they had addressed every square inch on both bodies.
It actually looked like exoskeleton plating.
All right, judges, let's move on to Darla and Stephanie.
This is in the middle for me, because it just didn't quite get there, but it is not a total failure.
I actually think that the painting on the wings is superb.
I felt that they didn't take advantage of their second model.
I saw it as lost opportunity.
They highlighted the whole bosom area, which was a mistake, because that said human right there.
All right, let's move on to Emily and Jamie.
It's the graphic design of this that makes it so beautiful.
I really like the composition of their photograph, and I like their story.
The queen is gorgeous.
And Jamie's execution felt appropriate for a drone worker bee.
Judges, let's move on to Rob and Adam.
Rob's responsible for that hard line graphic to the face, which is the biggest problem.
And it could have been pretty, but this was just a hokey-dokey paint job.
All right, judges, let's move on to Ben and Kelly.
She painted a black muzzle on this thing, which gave it an animalistic look.
Ben's camouflage is more complex.
I don't know that I needed to see it.
He came into it adamant that he was doing camouflage.
This was not a team challenge for them.
All right, judges, have you made your decisions? Yes, we have.
Okay, let's bring 'em back out.
All right, Glenn, tell us about tonight's top teams.
Logan and Julian, you did a great job with your color palette, and we love the unconventional choice to turn your two models into one.
Emily and Jamie, we thought you achieved some truly beautiful forms, particularly on the queen, and your partnership produced a striking final image.
All right, Glenn, which team came out on top? The top team tonight is So, Glenn, which team came out on top? The top team tonight is Logan and Julian.
The way that you used your models as one is something that could've gone really wrong, but you managed it incredibly well, and you gave us quite a provocative image.
- Well done.
- Thanks very much.
Thank you.
Logan and Julian, excellent work, but as you know, we can only have one winner.
Glenn? The winner of tonight's challenge is Logan.
Good job, buddy.
There was a lot of great stuff going on in your image, but it was the queen that was the standout.
I appreciate it.
I win the body-painting challenge, and I've never done it before in my life.
If I can do a body-painting challenge and win, then I think I can do just about any challenge on the show and win.
All right, Logan, you, Julian, Emily, Jamie, and Darla and Stephanie are all safe and can head back to the makeup room along with the coaches.
- Seriously? - Oh, shit.
Okay.
That means the rest of you are on the bottom this week, and one of you will be going home.
If you'll please step forward.
Glenn, tell us about the bottom teams.
Adam and Rob, we loved some of the finer details, but the broader graphic design was flawed.
Ben and Kelly, there were redeeming elements of your makeups, but your poor teamwork showed in the image presented to us this evening.
So who is going home tonight? The person going home tonight is Rob.
While you didn't do anything horrific, we had a really hard time distinguishing any standout contribution of yours in these creations.
Okay.
Rob, I'm so sorry, but you have been eliminated.
That means Adam, Kelly, and Ben, you guys are all safe this week and can head back to the makeup room.
Rob, I know you guys are better than what you presented us, so I really look forward to seeing what you come up with in the future, and good luck, darling.
Thank you so much.
Rob, 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.
Thanks, guys, really appreciate it.
Good luck, Rob.
Yeah, I'm a little surprised.
You know, for being my first body-paint, I think it was a great job.
- Oh! - No, Rob.
- What? - Yeah.
_ _ My family is my life, and it's hard because I wanted to win it for them, but they're gonna be really proud of me for what I did.
It's been a blast.
I've done a lot of things I'm happy with.
I've met a lot of great people, and I don't regret a thing.
I just don't get it.
Love it, and I love how you're thinking.
Thank you.
Previously on Face Off Jamie's wooden bridge troll earned her her first win, but Anthony stumbled, and Team Rayce suffered their second loss in a row.
Now ten artists remain, and tonight all bets are off.
Models, come on out.
Ooh.
I've never body-painted before in my life.
I don't need this now.
Changing it halfway through isn't helping.
I'm not comfortable changing my entire paint job.
You will be the one going home.
It looks like a little kid's painting at a county fair.
In the end, only one will win a VIP trip from Kryolan Professional Make-Up to one of their a brand-new 2015 Fiat 500, and $100,000.
This is Face Off.
Oh, well, here we go.
This is so weird.
Beautiful.
We walk into the lab, I see all these different hats, and I am pumped.
The hats are wild and very inspiring, so I'm really excited to hear what the challenge is.
Hey, guys.
Hi.
Well, as you can tell, this is gonna be a fun one, so let's get to it.
Some of Hollywood's most unforgettable characters, like The Cat in the Hat and Davy Jones, they're not only known for the roles they play, but also their singular hats.
In this Foundation Challenge, you will select one of these hats and use it to inspire an original character of your own.
This is really cool.
Before we get started, I'd like to introduce you to today's special guest judge.
Last season, she joined the Face Off family when she filled in for Ve on the judges' panel.
Please give a warm welcome back to Oscar-winning makeup artist Lois Burwell.
Lois Burwell, makeup legend and judge from season seven.
She's known for her work with Steven Spielberg and her realism.
I'm really stoked that she's gonna be judging our Foundation Challenge.
- What a great hat.
- Thank you very much.
It would be rude not to, wouldn't it, on a hat challenge? All right, well, you've seen it all in your storied career, and you've brought so many incredible characters to life.
So what is it about a hat that can make a character stand out? Well, the wonderful thing about a hat is that it frames the face.
So the hat complements the makeup, the character.
Be inspired by the hat.
What are you gonna be looking for in today's final makeups? Not only technique and skill, but more importantly, a clean makeup.
All right, we started this season with 15 of you.
Now only 10 of you are left.
So winning today's challenge and its prize of immunity means more than ever.
Immunity would be fantastic.
With me being in bottom looks last challenge, it gives me the ability to try things that I would never try before.
Your models and your makeup stations have been randomly assigned, and on Lois's go, I want you to grab a hat and get to work.
You have two hours for this Foundation Challenge.
Ready, set Go.
- This one.
- Shit, this is heavy.
Hey, let's see if this fits.
I grab the poofy dandelion hat.
It's fluffy.
I immediately think Dr.
Seuss, so I'm thinking cute, like, Whoville-style character.
Yay.
Okay, let's go with that.
Let's see how this fits you first.
Ridiculous.
I end up picking a ship hat.
I thought I would make a pirate.
But no ship's captain would wear a hat that looked like a ship on his head.
It's a silly hat.
So I don't know what I'm doing.
I guess I'll just make a dead ship's captain.
Arrgh.
- I'm gonna make you all wood.
- Okay.
A wooden boy.
I have the top hat, and I'm really excited, because my kids will like my concept, which is a dark version of Pinocchio.
Geppetto didn't save Pinocchio, and he's still trying to find his father after all these years.
This is if you stayed in the whale longer than expected.
I am creating this asymmetric goddess-style character in a tin-foil dress.
I picked a really big, busy hat.
It's full of metal and rhinestones It's gonna get uncomfortable kind of fast.
So I start gluing crushed rhinestones on my model.
I want it to be more sparkly and gold and silver, and on the other side, I want it to be more blue and purple.
Oh, gosh.
Give me your whimsical face.
My hat is this cool toy, tinker, metal, old-school hat.
It's just obnoxious.
It's great.
A little trim-trim.
My character is, like, the Willy Wonka of the toy world.
You look so good.
Five minutes, you guys! You got five minutes left! Time's up.
Brushes down.
Yay.
All right, so tell us about what you created today.
So I wanted to go with a smaller hat.
I just made, like, an evil Victorian queenlike figure.
When you do a lip line, you will find if you just put a finger here, and then work like that Hmm, oh.
you can gauge the movement of the actor, and you'll get a finer line.
- It's a nice makeup.
- Thank you.
I thought, "What if Pinocchio wasn't saved? What if he was lost at sea?" It's an amazing backstory.
- Thank you.
- Yeah.
This section here, I think, is the area that works best.
But if you just added some highlights going through, it would've made the whole thing feel more three-dimensional.
- Yeah, I agree 100%.
- It's a very nice makeup.
Thank you very much.
So she is the emperor's daughter, and she has two sides to her-- a dark side, and then the other side, she's more serene.
This is a huge amount of work.
I like very much the use and understanding of color and the transition from one color to the other.
- It's very well done.
- Thank you.
So I've created a nomadic warrior.
I wouldn't have used so many pieces.
I would have concentrated doing one thing extremely well.
- But it is a good makeup.
- Okay.
Thanks.
Looking around the lab is really cool, because people went in a lot of different directions with this one.
The hats were so different, and there's some really interesting makeups.
I don't know who's gonna win.
Okay, Lois.
So how did they do today? Everyone did exceptionally well.
I'm really impressed.
- Thank you.
- Thanks.
All right, who created your favorite looks, then? Rob, I thought the work said something about the simplicity of the hat being translated into a simple makeup.
- Thank you.
- Emily you achieved a huge amount of work and translated the hat into that makeup superbly well.
Thank you.
Who is the winner of this challenge? The winner this week is Emily.
You have an understanding of color, form, and shape.
- Very well done.
- Thank you.
Emily, congratulations.
As the winner of today's Foundation Challenge, you have earned immunity in the next Spotlight Challenge.
How's that feel? It feels really good.
Doesn't it? I bet.
I'm thrilled.
It's exciting because who knows what the next challenge could be? They're getting more difficult.
Lois, thank you so much for being here today.
It was a pleasure.
Oh, thank you for having me.
It's a delight to be back.
Nice work today, you guys.
I will see you tomorrow for your next Spotlight Challenge.
- Bye.
- Bye.
- Thanks.
- Night-night.
We arrive out to Canyon Ranch, and I am not much of a nature boy.
I'm not a happy camper.
So I am looking out for rattlesnakes, bugs, any of God's creatures that could kill me.
So I'm really looking forward to going back to the lab.
Does McKenzie always hang out in the woods? Hey, guys.
Hi.
Welcome to Canyon Ranch.
This beautiful wooded landscape has been featured in a variety of television shows and feature films, including The Office, Sons of Anarchy, and my personal favorite, True Blood.
All right, let's talk about your next Spotlight Challenge.
Mankind continues to be fascinated by royalty.
Now, while royals rule over humans, nature shows us that this social stratum actually exists in other species that represents more than half of all known living organisms.
In fact, you may even have a few by your feet at this very moment insects.
Oh.
I'm feeling really pumped.
I'm thinking about sculpting little appendages and just nasty, like, awesomeness.
Deep in these woods, you will find several elaborate habitats, along with an image of a unique insect.
Working in teams of two, you will select an insect and habitat to inspire a beautiful insect queen and her companion.
All right, why don't you go ahead and select a teammate? Did you just-- What's up, brother? Now, before you can get started, there is a big part of this challenge that I haven't told you about.
Oh.
You're not gonna be working in the lab this week.
In fact, this entire Spotlight Challenge will take place right here in the woods.
- What? - What? Are we camping here? I don't really understand what that means.
So are we sculpting in the forest? Models, come on out.
Oh, God.
Um Oh, God! Shit.
Models, come on out.
Um This is new.
So obviously, this is a nude body painting challenge.
Yeah.
Okay.
I don't body-paint.
I don't need this now.
- Rob, you all right? - I'm all right.
All right, thank you, models.
Why don't you go ahead and take your places in your habitats? All right, now, I know body-painting is a difficult task and requires a very specific skill set.
So I brought in an expert to give you some advice.
He's an award-winning body-painter whose work has appeared in Playboy and Fangoria.
You may also recognize him from season two of Face Off.
Please give a warm welcome to Nix Herrera.
Nix knows body-painting so well.
I'm super excited that he's gonna be giving advice.
- How are you? Good to see you.
- Good.
All right, so tell these guys what you've been up to lately.
I have a brush line coming out for body-painters, and I'm getting ready to do some work in Hong Kong.
Well, for a lot of special-effects makeup artists, body-painting is way out of their comfort zone.
So what advice do you have for these guys to make a beautiful body-painting? I think the first thing is just remember, you have a full body as your canvas.
Take advantage of this opportunity.
And insects have a lot of colors.
Have fun with it.
As a reminder, one of your characters must be a queen, but the other could be anything that you'd like, even a blend, where your model completely disappears into the landscape.
All right, guys, you'll have Your coaches will be by soon to see how you're doing, and Nix here will also check in with you in a couple of hours to make sure that you're all on the right track.
All right, on "Go," you'll select your habitat.
Make sure that you choose wisely, as your final makeups will be photographed presiding over their kingdoms for the judges to see on the reveal stage.
So, Nix, would you like to do the honors? I would love to.
Your time starts now.
We all start running through the woods like crazy people looking at the different insect habitats.
Jamie, you okay with this? - I'm okay with the honey bee.
- Cool.
- You want ladybug? - Let's do it.
You want to do this, European hornet? - Yeah, or - We're doing it.
Don't have time to think about it.
- Let's just grab it.
- Okay.
Darla and me pick the jewel beetle because its back is metallic-y greens and blacks and blues, and I'm seeing pinks and oranges on its stomach.
This could be something really, really, like, elegant.
I'm Darla.
Our models come over, so we meet them, and we just start kind of looking around at our habitat.
So we'll just paint him not to specifically disappear, but to match the wood.
Our concept is to create a insect queen using our female model and then use our male model to create a burned log.
I think that'll look really nice.
Liberating walking around in the nude, isn't it? _ If you were to ask me to devise a challenge that was my worst nightmare, it would be nude body-painting in the forest, 'cause I've never body-painted before Um and I'm gonna have to explain all this to my wife.
We're gonna make you up in probably those colors.
We end up getting the cuckoo wasp, and it has a very unique color scheme to it.
It's got greens and blues.
It also has red in the abdomen.
She's the queen protecting the larvae.
You'll be embedded in the sand.
It's really important that this looks good on photo, because that's all the judges are gonna see.
So we really have to make sure that we plan this out perfectly.
Something I was thinking of is painting, like, his back, so that it's, like, the back of her.
We choose the European hornet.
I have this concept that I really love-- making the female the thorax and the head of the queen and making the male model the abdomen.
Well, I want to blend him right into the background.
I've seen really nice blends, and now that I finally have the opportunity of doing something like that myself, I'm gonna try my hand at it.
If he's going to be blending into the background, my piece is gonna be the main focus, so she's got to be pretty freakin' badass.
And maybe turn a little bit more other way.
So how I'm gonna pose her is having the back showing this wonderful thorax-- just reds and blacks.
I'm not as in love with it as I was my original concept, but I'm still gonna make this work.
So it's the queen of the ladybugs coming out of the leaves, but then she's giving life to you, and it's all these larvae returning to the earth.
I picked the ladybug because it's an insect that we can make read as a ladybug easily.
I come up with this take on the famous image of God and Adam touching fingers from the Sistine Chapel.
You're gonna see it, and you're gonna know exactly what it is.
Do you want me to start blocking her out? Yeah, go ahead.
I'm just gonna start laying down the dirt tones on him.
I'm going to take the male model and do the blend work for the ground and the larvae, and he's gonna start blocking out for the ladybug.
I definitely got to bring my game to this one, because I was in bottom looks last time, and I really need to step it up.
- Hello.
- Oh, hi.
- Hi.
- Hey.
Laura and Anthony come over to see what Jamie and I are working on.
- So you're doing the honey bee? - Yes.
We're gonna take our female model, and we're going to make her into the queen bee, and then we're gonna take our male model and make him into a drone.
We're gonna just really enhance their natural curves and bring it into the honey bee pattern, then coloring.
Have you guys thought about your poses? - Yes, we have a picture.
- Oh, okay.
They are going for the feel of a honey bee with high contrasts of black and yellow and white.
It's a little bit more abstract, which is the smart way to go.
Ooh, what do y'all got? Did y'all already position them? Yep.
We're going to have him as actually a larva with sand.
So larva, as in worm? Yeah, with some kind of pattern on his back.
Do you have a picture of the worm? - No, we don't.
- You're just gonna wing it? We were planning to.
You may want to think about the concept a little bit more.
I don't want you going up there and having to explain to the judges, where they're gonna be like, "What is that?" Like, "Oh, that's a larva.
" "What does a larva look like?" "Oh, we didn't have pictures, so we made it up.
" Okay.
I'd rather not change our concept right now, but she does actually open my eyes to other possibilities.
Could turn him into the thorax.
Or you could turn him into the thorax.
That would be pretty clever.
The abdomen of this bug is in stark contrast to the upper part of the body.
I think it would be cool if we put them together to create one bug.
We'll start butt-to-butt.
_ Something like that.
What do you guys think? - I think we're good.
- All right.
I like that.
It's very straightforward.
A lot of people are doing some really creative things.
I think you guys are the only ones that are doing - just a straight blend.
- Yeah.
If the blend falls short, you will probably be the one that could be - Going home? - going home.
I'm really worried for Ben and Kelly, especially after seeing everybody else's concept.
The posing that they're trying to do doesn't really tell any story, and their characters don't interact.
I want this composition to be really beautiful, you know? Well, let's figure out how those two need to be put together so we can keep moving.
I'm not really comfortable completely changing my entire paint job.
I just don't want to see you guys in trouble.
No, I didn't either, but-- Well, changing it halfway through isn't helping, so let's figure something out.
I just-- I just don't want to see you guys in trouble.
Well, changing it halfway through isn't helping.
Kelly's making a queen European hornet, while I'm working on the camouflage that I want to do, and then Anthony walks in, worried about the direction we're going in.
And I think just shifting a little slightly creates a better composition.
All I can really do is try to rotate them around the tree so it's still utilizing the forms that Ben had already painted, but also make it just slightly more interesting.
That is more interesting, 'cause at least it shows some depth.
What do you think? I have no idea, man.
We got three hours left.
I'm not completely comfortable with moving these models right now.
Hopefully, that doesn't bite me in the long run.
Just looking out, guys.
I'm just a little concerned about them getting everything finished in time.
I don't want the members of my team on bottom.
I don't want them going anywhere because of a boring concept.
Thank you.
How are you brushing? Are you patting? I'm doing a mixture of both.
- You are? - Patting seems to work.
We're really excited 'cause we both feel a lot better about this concept than the original one.
At this point, it's just on how we execute it.
Being that neither of us have actually body-painted, we still are a little bit worried about pulling this off.
Yeah, I brush it, and then I pat what needs a little more.
So, making him a log and leaves and branches, that's a lot of work.
Stephanie and Darla's concept is beautiful, but camouflage makeups are extremely difficult.
Have you tried different positions, or is this the first one you tried? I mean, that was the first one that we got to that made sense.
_ Mm-hmm.
_ _ I've already got the base all laid out, but I know I'm not a strong body-painter.
Laura is really great with concept design, so I decide to go with Laura's suggestion.
She's down.
He's still back here doing this.
So our new concept is that we're going to use our male model to create the wingspan of the beetle.
We have leaves that we can use.
- Okay.
- Cool.
I get the look of it, but I'm a little bit nervous about the fact that these are dark, green, opaque leaves, and we're trying to make translucent wings.
- What's your plan? - I'm doing this.
And then I'm gonna stipple tinted latex over it so that I can get the translucency appearance.
Look straight, hon.
I love the honeycomb pattern.
I think that it would be really neat to incorporate that pattern onto my queen.
It's risky, because if it's not done right, it looks ridiculous 'cause it's so geometric.
I'm nervous, but I feel like I need to make her more interesting, so I'm gonna try it.
I don't body-paint, so I'm glad we have Nix as our guest mentor.
- Nice to meet you.
- Nice to meet you.
So what do you guys have going on? So we picked the ladybug, and we were inspired by classic art.
I love it.
It's a great concept.
Thank you.
With your stuff, you're getting to the point now where I think it's getting a little busy.
So I think if you crispen up a couple of spots, so there's a little bit of depth, so it's not so muddy.
Cool.
Keep it up.
You guys are doing awesome.
- All right, thank you so much.
- Keep it up.
What are you guys going for here? We're gonna do a queen bee and a drone bee.
I love the colors that you have going on.
One thing that I found for making the color pop is paint it with white and then airbrush yellow over it.
That'll give it more dimension.
- Thanks, Nix.
- Good luck, have fun.
Thank you.
All right, so the head is her head.
- Is that right? - Yep.
I like it, and then for all of the shimmery, reflective parts of it, I'm trying to figure out a way to get that to translate into it, whether or not it's airbrushing or brighter color, so that it has depth, 'cause right now it's just a little-- - It's flat.
- Yeah, a little flat.
Okay.
And you have the European hornet? - Yeah.
- You're doing the camouflage.
I think I just want to make him disappear as much as possible.
One of the things that's gonna be challenging is, because the sun is constantly moving, it's gonna change the colors of your background.
Every once in a while, come back to your spot, photograph it.
_ Yeah, I'm not gonna keep you much longer, 'cause you have one of the hardest ones to do.
- Kelly? - Hey.
- Hi, how you doing? - Great.
You are covered in body paint.
Well, it happens.
- The hair looks awesome.
- Thank you.
I think the only thing I'm a little worried about is how much actual paint you have on the body.
- Good luck.
- Thank you.
He's actually going to be her wings.
Is the color from her gonna translate into him? Mm-hmm.
We want to use metallic airbrush colors just to give it a shimmer.
Yeah, try to pop those colors.
- There's iridescent powders.
- Okay.
- Good luck.
- Thanks.
- Yeah, thank you.
- Yeah, keep at it.
I'm gonna head out.
Good luck, guys.
Thank you.
Just give me a basic shape to work with.
I got you.
I got you.
Adam and I decided to switch off, so I'm going to add the Kryolan aquacolors to the face, while he's adding the texture of the larva on the male model.
What color lips we going, Adam? White for the lips.
Okay.
Have you airbrushed the shiny spots? I want to make sure Rob and Adam both paint the larva correctly.
To make those larvae pop, you have to create a little bit more contrast, and add shiny highlights to make 'em feel like some kind of larva bug.
So it's kind of a dance back and forth where you can see how it starts to look more wormlike.
Mm-hmm.
Darla's still working on the wings that we're gonna put with our male model, and I continue painting our female model, and we're both frantic, trying to finish our makeups.
- You doing okay? - Yeah, I'm just tired.
It's a rough challenge.
Because we spent so much time working on our first concept, I don't know if we're gonna have enough time to finish.
I'm just worried that literally just his arms are showing, and we're gonna get killed for that.
- That's not good.
- Yeah.
And it would be me going home.
I'm not a body painter.
This isn't what I do.
To know that I could go home for this is really, really frustrating.
Literally, just his arms are showing, and we're gonna get killed for that.
Okay, let me start airbrushing.
Yeah.
I think it's time to airbrush.
Because we spent so much time working on our first concept, I don't know if we're gonna have enough time to finish.
But I've spent too much time on these wings, so it's too late to go back.
Just need some highlights.
Yeah, and then I need to paint the fuck out of these wings.
One hour, guys.
This is Last Looks.
Good luck.
See you mañana.
Good luck, dude.
This is looking really nice.
- All right, good luck, guys.
- Thanks.
I got a lot of shit to do.
I want to go in with some more reds and yellows, get cream foundation around the eyes, and just make sure everything is painted.
- More yellow? - Yeah.
That line-- Yeah, right there.
It's too harsh compared to the rest.
We don't have much to do.
We're just gonna add a little bit more feathering.
Jamie and I feel really good about this.
That looks cool.
I've never done hair.
I've seen my wife do it.
That's about it.
Hey, we can just do this.
So I hold my tablet up as a mirror.
Thank God for our model to do this to her hair, or we would've been screwed.
We're running out of time here.
Ten minutes, everybody! You have ten minutes left! All right, guys, time is up! I can't wait to see your work onstage tomorrow.
Go get some rest.
We're gonna get some time to work with the photographer to make sure our models are positioned correctly, but unfortunately, we don't get to see the photos, and I'm really concerned that our male model in underutilized.
So we're just keeping our fingers crossed that everything looks good, and tomorrow at the reveal stage, we'll find out.
Welcome to the Face Off reveal stage.
As you know, one of you will be going home tonight.
But before we see your creations, say hello to our series judges.
Owner of Optic Nerve Makeup Effects Studio, Glenn Hetrick.
- Good evening.
- Hello.
Three-time Oscar-winning makeup artist Ve Neill.
- Hey, everybody.
- Hey, Ve.
And creature and concept designer Neville Page.
- Hi, guys.
- Hey, Neville.
All right, guys, so this week, I changed things up a little bit on you.
Your Spotlight Challenge was to create two body-painted characters-- an insect queen and a companion character of your choice.
Your creations were photographed in their habitats yesterday, so let's take a look at the final images.
I've lost two contestants in a row, but I still have Adam, Logan, and Rob, and I think all three of these guys have the chops to take it all the way.
So I just hope their images stand out onstage.
This definitely looks like a complete insect, regal, queenlike character.
You almost can't tell Armando's a person under there.
I think it looks fantastic.
There's definitely some issues with the position of the models.
It looks like the wings are coming out of the female's neck, instead of back.
I'm really hoping that we'll be safe.
The light isn't hitting it right.
It looks just like a flat image, and the earth tones that I put on there are really muddy-looking.
I'm really worried about this one.
We're so happy.
Like, it just looks the way we wanted it to, so we hope that the judges like it as well.
I'm starting to notice that there needs to be more darks in certain areas and lights in other areas.
I'm worried about this one.
All right, judges, why don't you take a closer look at the photos? This is really clever the way they used that second body, I think.
So smart.
The whole thing is one big illustration.
There's a lot of attention paid to creating a false light source, and it makes everything pop.
Yeah.
So I guess their second person must be the wings, 'cause I can see the hand on the outside.
Right.
It just feels like it's an underutilization of that body.
I'm really scared because the wings may look just a little bit too high up, or they're gonna think that we should've utilized the male model more.
_ Oh, don't be too harsh.
It's my first time body-painting.
Ugh.
This is not good.
Tell us who made your favorite body-painting tonight on Twitter, using #FaceOff So I guess their second person must be the wings.
I'm worried because the judges are gonna think that we should've utilized the male model a little bit more.
I like the way the wings are painted.
I'm not as crazy about the body paint on the featured performer.
You guys understand what we're looking at there with the second body? I don't know what that second body is.
Her left thigh is gorgeous.
You just don't see it on the rest of the body.
- Yeah.
- You don't.
Unfortunately, I think the ladybug is dreadful.
_ Wow.
This is really pretty.
Look at the striations in her legs.
I love the additional texture on her shoulders and chest too.
The camouflage is successful, but it doesn't complement the main figure.
I love the colors, but I feel the fact that they put that black muzzle on her is kind of not a good idea.
All right, guys, the judges would like to speak with each of you to find out more about your work.
Logan and Julian, please step forward.
Tell me how your chosen insect inspired you to create this body makeup.
I observed that the abdomen had a starkly different color scheme from the upper part of the body and it would be a good opportunity to incorporate the second model in that part of the bug.
We had some guidance from the coaches, Laura in particular.
I fabricated the wings and mainly painted the male model.
I predominately took on the female model.
I think you were incredibly successful.
Thank you very much.
This is a brilliant use of the two human forms.
I love the paint job.
I love the coloration, the iridescence in the legs, so I have to commend you on that.
- Thank you very much.
- Thank you.
I think it's really a very smart choice, the combination of the bodies, getting that inverse leg with his elbow.
Really, really good.
- Thank you very much.
- Thank you.
Logan and Julian, if you please step back.
Thanks.
Darla and Stephanie, you're next.
Would you please tell us what insect you had and who did what on the character? We had the jewel beetle.
I was focusing primarily on the male model.
I fabricated the wings and applied them and painted them.
I did most of the painting on the female.
I think you made a big mistake by not camouflaging your model's breasts.
They're accentuated, which gives her a more human form than it does an insect form.
The jarring thing is really the wing placement, because it starts to feel like it's more connected to her head, but the graphic design feels good.
It's just some missed opportunities.
Thank you.
Please step back.
All right, let's talk to Rob and Adam.
Tell us how your insect inspired this design.
I thought it would be a fun play on visuals to do the Sistine Chapel's God and Adam.
I did the ladybug queen.
I outlined the face.
Rob came in and did some hard lines on the face.
And then I laid the base coat down for the larva itself.
The ladybug doesn't feel elegant or queenlike.
I just can't get away from the face.
It has almost a Cowardly Lion, kabuki hybrid going on, and that's a big problem.
So have either one of you been to a county fair? Not in a while.
Okay, well, you could've fooled me, because the face on the ladybug looks like a little kid's painting at a county fair.
She's a queen.
You should've made her beautiful.
This is not working for me.
Rob and Adam, please step back.
Emily and Jamie, please come forward.
Tell me about the insect you had and how it inspired your makeups.
So our insect is a honey bee, and our story behind our queen bee is that one of the drones have fallen in love with her, but she's kind of giving him-- The buzz-off? Yeah.
And division of labor? Emily focused mainly on the female, and I focused on the male.
I think you guys did a great job.
The way that you created an insect-y feeling with the broken-up panels, it's a stunning final image.
Thank you.
Emily, I have to compliment you on this queen.
The face makeup is one of the prettiest paint jobs I've seen on this show.
Really well done.
Congratulations.
Thank you.
Emily and Jamie, you can step back.
Ben and Kelly, you're up.
Tell us what insect you had and how it inspired your creations.
We had the European hornet.
My original concept was to integrate the second model to be the abdomen, but Ben was very driven to blend the second model into the background.
Now, Ben, how do you think they are as two characters together? I don't think they go together.
I really wanted to do a camouflage pattern.
I felt strongly about it.
I have problems with your female.
Her face looks very animalistic.
It looks more like a muzzle than it is insect-looking.
Did you guys work well together on this one? We pretty much just worked on our own, for the most part.
'Cause it definitely feels like you guys were doing two separate things that ultimately work independently, but as a unit, I just find it boring.
I hate it as an overall image.
I think there's some good work within it, but here's the thing about a team challenge-- it requires teamwork to succeed.
Thank you.
You can step down.
All right, please head back to the makeup room while the judges deliberate.
Let's talk about this week's makeups.
Why don't we start with Logan and Julian? I love the makeup.
Really good integration of the second character, using it as the abdomen for the wasp.
I think Logan's paint job was absolutely gorgeous on that.
They knocked it out of the park for me.
The thing that impressed me the most was the fact that they had addressed every square inch on both bodies.
It actually looked like exoskeleton plating.
All right, judges, let's move on to Darla and Stephanie.
This is in the middle for me, because it just didn't quite get there, but it is not a total failure.
I actually think that the painting on the wings is superb.
I felt that they didn't take advantage of their second model.
I saw it as lost opportunity.
They highlighted the whole bosom area, which was a mistake, because that said human right there.
All right, let's move on to Emily and Jamie.
It's the graphic design of this that makes it so beautiful.
I really like the composition of their photograph, and I like their story.
The queen is gorgeous.
And Jamie's execution felt appropriate for a drone worker bee.
Judges, let's move on to Rob and Adam.
Rob's responsible for that hard line graphic to the face, which is the biggest problem.
And it could have been pretty, but this was just a hokey-dokey paint job.
All right, judges, let's move on to Ben and Kelly.
She painted a black muzzle on this thing, which gave it an animalistic look.
Ben's camouflage is more complex.
I don't know that I needed to see it.
He came into it adamant that he was doing camouflage.
This was not a team challenge for them.
All right, judges, have you made your decisions? Yes, we have.
Okay, let's bring 'em back out.
All right, Glenn, tell us about tonight's top teams.
Logan and Julian, you did a great job with your color palette, and we love the unconventional choice to turn your two models into one.
Emily and Jamie, we thought you achieved some truly beautiful forms, particularly on the queen, and your partnership produced a striking final image.
All right, Glenn, which team came out on top? The top team tonight is So, Glenn, which team came out on top? The top team tonight is Logan and Julian.
The way that you used your models as one is something that could've gone really wrong, but you managed it incredibly well, and you gave us quite a provocative image.
- Well done.
- Thanks very much.
Thank you.
Logan and Julian, excellent work, but as you know, we can only have one winner.
Glenn? The winner of tonight's challenge is Logan.
Good job, buddy.
There was a lot of great stuff going on in your image, but it was the queen that was the standout.
I appreciate it.
I win the body-painting challenge, and I've never done it before in my life.
If I can do a body-painting challenge and win, then I think I can do just about any challenge on the show and win.
All right, Logan, you, Julian, Emily, Jamie, and Darla and Stephanie are all safe and can head back to the makeup room along with the coaches.
- Seriously? - Oh, shit.
Okay.
That means the rest of you are on the bottom this week, and one of you will be going home.
If you'll please step forward.
Glenn, tell us about the bottom teams.
Adam and Rob, we loved some of the finer details, but the broader graphic design was flawed.
Ben and Kelly, there were redeeming elements of your makeups, but your poor teamwork showed in the image presented to us this evening.
So who is going home tonight? The person going home tonight is Rob.
While you didn't do anything horrific, we had a really hard time distinguishing any standout contribution of yours in these creations.
Okay.
Rob, I'm so sorry, but you have been eliminated.
That means Adam, Kelly, and Ben, you guys are all safe this week and can head back to the makeup room.
Rob, I know you guys are better than what you presented us, so I really look forward to seeing what you come up with in the future, and good luck, darling.
Thank you so much.
Rob, 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.
Thanks, guys, really appreciate it.
Good luck, Rob.
Yeah, I'm a little surprised.
You know, for being my first body-paint, I think it was a great job.
- Oh! - No, Rob.
- What? - Yeah.
_ _ My family is my life, and it's hard because I wanted to win it for them, but they're gonna be really proud of me for what I did.
It's been a blast.
I've done a lot of things I'm happy with.
I've met a lot of great people, and I don't regret a thing.