Previously, on "Face Off".
12 talented special effects makeup artists
came to Los Angeles to compete to join the world's elite.
Your first competition starts right now.
Frank: I'm just about done, so you guys can just
take your time on the rest of that hour.
Wow, this guy is really full of...
- [balloon pops] - You're gonna have to create
a half-human, half-animal hybrid.
- [trumpets] - Man: There can only be one winner.
Conor.
McKenzie: Who is going home tonight?
Glenn: Jessica.
And tonight on "Face Off"...
Everybody, drop 'em.
It is birthday suits as far as the eye can see.
Oh, that's awesome.
To make it to the top, they'll have to impress
our award-winning panel of judges...
Ve Neill, legendary makeup artist,
whose work includes "Edward Scissorhands",
"Beetlejuice", and the "Pirates of the Caribbean" films;
Glenn Hetrick, cutting-edge makeup effects artist on "Heroes",
"Legion", and "Buffy The Vampire Slayer";
and Patrick Tatopoulus, visionary creature designer
for "Independence Day", "Godzilla",
and director of "Underworld: Rise of the Lycans".
I'm a very, very big fan of your work.
- I'm blown away. - I love this challenge.
Who will be the next great name in movie magic
and earn $100,000 dollars
and a year's worth of makeup from Alcone?
Get read for "Face Off".
We couldn't hear a word anybody was saying.
Like, what happened?
Well, I mean, we were up on the chopping block,
and they just pretty much slaughtered us, and told us that our makeup
wasn't even good enough for, like, a child's television show.
Being on the chopping block during the first competition,
that is rough.
When Jessica's name got brought up,
They called all four of us out, they dismissed me,
and said "Next time, you have another chance to prove to us what you can do.
I suggest you use your time wisely."
But they, like, each took a turn tearing it down.
I grew up with people tearing me down,
and I know how to build myself back from that,
and I'm ready to prove those judges wrong.
When Jess came back through the curtain,
I don't really know if it was the right choice.
Dude, I was shocked.
Sergio: Everything here has been like going on a roller coaster.
It's very hard to think about what's going to be next,
but that makes it fun.
Hey, everybody.
Welcome to your next Foundation Challenge.
Now, as you all know, the winner of the Foundation Challenge
gains some sort of perk or advantage going into the Spotlight Challenge.
But today's challenge is all about...
tattoos.
We're doing tattoos. That excites me.
A good makeup artist can create, design,
and apply a tattoo onto an actor that looks very realistic,
and can also help tell a story.
So today, you will have two hours
to design and apply an original tattoo
that has some sort of personal significance to your model.
But you will be your own models.
I love to draw,
but drawing on myself upside down?
It is extremely difficult.
And to judge today's challenge, we have an expert with us.
Please welcome world-famous tattoo artist Thomas Pendelton.
Gage: The pressure's on because Thomas
is a world-famous tattoo artist, everybody knows of him,
and I know that it takes a lot of discipline to get good,
because working on the skin is a totally different medium
than paper or canvas, so I have a tremendous
amount of respect for Thomas.
All right, what are you going to be looking for in some of their work?
I'm looking for something that means something to you guys.
You know, something that is a legitimate tattoo
that would last the test of time.
I'm nervous. I'm hoping that I can show the judges
that I do deserve to be here.
Your materials are already at your stations.
So let's start tattooing.
There are several different ways to do a tattoo makeup.
I mean, some people like to use transfer paper,
some people like to use tattoo pens,
some people like to use acrylic paints.
Every artist has their own method.
Frank: I have two tattoos, which is what
I'm kind of going over right now,
and both of my tattoos are in black light ink,
so I can't even see 'em to even know how they look.
Tracing tattoos, tracing in general,
it's cheating.
Tate: I came up with this cool concept. I'd never tried it before.
But I drew the outline on a piece of clear plastic,
and then I let it dry, and then I spritzed it with alcohol,
and I pushed it on to myself to transfer.
The happy accident about that
was the alcohol grabbed up the ink,
and it spread out, so it instantly
created shading for me. It was great.
Funny thing is, this is the exact tattoo
that I designed and planned to have right here.
I'm a proud New Yorker.
I basically wanted to incorporate
parts of New York that were in my life.
My grandfather had a, like, from the 1920s,
a really old, like, you know, tattoo, like, just like this.
Oh, cool.
Him and my grandma passed away just recently,
so I figured I'd put them together with this tattoo.
Sergio's still drawing on the transfer.
He's doesn't understand time management.
That's gonna be a problem for him.
I'm creating a stylized portrait that's representative of my mother.
The side portrait of a woman is something
that's often replicated in tattoo artwork.
I'm done, guys. I'm gonna take a nap.
Let's see it.
Frank: I've done what the challenge is,
to make tattoos, and make them look believable.
So I just sit around, put my feet up, just relax. What else am I gonna do?
I'm not gonna start making up other things that I don't want as tattoos.
You have 15 minutes.
I thought, "Well, I've been away from my girlfriend, I kind of miss her."
So I chose to do the words "Till death do us part".
Frank: Tom, do you realize
that your tattoo is backwards?
'Cause you're doing it in the mirror, it's backwards.
[chuckles] I do now.
I'm [bleep].
Tom: But I got a chance to look at Sergio's.
We had two hours, and he had a crooked anchor with upside down letters.
Sergio: I sprayed the wrong side, and it kind of melted away
the whole design that I had just spent
tons of time working on, so that wasn't good.
Time's up, everybody. Time to stop working.
And I look over, and I see Jo,
and she just has tears welling up on her face.
I told her, you gotta keep going. You have to keep going.
- Hi. - Hey, Jo. Tell us about this.
This is just a shadow of this flame stack that we had in this town
that I went to special effects school, and it means a lot to me.
I think it's cool, it's just placed a little weird.
Like, it's... It's kinda at an angle up here,
and you're hitting your knee right here.
I like tribal tattoos. Werewolves were my inspiration
for getting into the business in the first place,
so I decided to try and do a werewolf tribal design.
I mean, the goal here is to make it look like you're an actor
- that's tattooed, right? - Mm-hmm.
The problem with this thing is it looks like you scarred up your talent.
I'm from New York city, so I incorporated Manhattan,
Bronx, Queens, Brooklyn, Staten Island,
the skyline of New York City with the World Trade Center in it.
I think it looks cool.
This is my deer skull.
Some of my fondest memories are camping and hunting with my father.
Everybody's done theirs facing them.
Why did you choose to do it this way?
I felt that it flowed with my anatomy better,
and it gives me more options if I wanted to go with a sleeve.
You thought out your placement, which is really important.
It's sort of a representation of my mother.
It looks like a traditional tattoo.
It definitely has that flavor.
It looks good. You did a nice job.
So, what you got going on here?
I got my broken leg, which I actually have tattooed in black light ink,
and then I have "Send more paramedics",
which I actually have tattooed in black light ink,
and then this is where I broke my wrist.
You just recreated tattoos you already have?
Okay.
It seems to me, as an artist, that you would have really dug deep.
I mean, this just looks like you're clumsy.
I look around the room, and everyone's tattoos are great.
It wasn't hard at all, I think, for the other guys to come up with ideas.
So, Thomas, what did you think about some of the work today?
I thought some of it was good and some of it was... was tough.
Who do you think fell short of today's challenge?
I think Sergio's anchor was a little tough.
It seemed, like you got lost in that piece.
It definitely could have been a lot better had it been finished.
Frank's bones tattoo.
It seemed like you didn't even want to do this challenge, brother.
I saw you reading a book for about an hour, so...
I had no idea he was gonna judge me on the bottom with Sergio.
Well, is this a show about your personal taste in tattoos,
or is this about whether or not our tattoos
are competently done as makeup artists?
Competently as a makeup artist? I don't think it was either.
It looked like a kid drew on your leg. Sorry, brother.
Who were some of your favorites?
I think Tate's tattoo was done really well.
I think you thought about the layout,
you thought about the piece.
I think Anthony's tattoo, as far as an onscreen piece,
I think it would have the most dramatic effect.
I thought Sam's traditional tattoo was beautiful.
I think it looked like a legit tattoo.
You would think it was definitely real.
So, who is the winner of this challenge?
The winner of this challenge is...
Tate.
Thank you. Very much.
I'm glad he got it. I thought the tattoo looked great,
and I'm usually my biggest critic.
Congratulations, Tate.
You have won this Foundation Challenge,
which is going to give you a big advantage
going into tomorrow's Spotlight Challenge.
So, with that, I will see you all later.
Oh, man, this is gonna be a crazy day.
Frank seems like he's, like, digging himself a hole.
If it's a strategy, I don't think it's a good one.
Frank obviously has mad skill,
but he's kicking his feet up every chance he gets.
Well, whatever the Spotlight Challenge is,
if he really rocks it out, he can bring himself back.
Tate: How much you wanna bet he finishes an hour early
and reads a book, though?
Megan: We walk in the lab today,
and we see these big canvases,
and each one of them are different pictures.
Welcome to your next Spotlight Challenge.
First, let's meet the models.
Gage: Our models all walk out in a single file line,
and line up in front of the backdrops,
so we don't quite know what's going on.
Wow.
Before we go any further...
Everybody, drop 'em.
Megan: Oh, my God. What are we gonna do?
Tom: The models walk out, and they're in robes.
That's kind of odd. What the heck are we doing?
- Wow. - Before we go any further...
Everybody, drop 'em.
Megan: Oh, my God. What are we gonna do?
It is birthday suits as far as the eye can see.
Okay.
Tate: What do you know? Robes come off,
nothing but boobs and wieners all around the room.
You guys doing okay?
Guys, it's just a wiener. It's just some boobs, you know?
Well, I hope that you're ready to transform these lovely people
into actual living pieces of art,
because that's what this challenge is all about.
Nude body painting.
It's a shocker. I've never painted anybody, naked, clothed, either way.
As you can see, each of the models is in front of a different backdrop.
It's up to you to figure out how you want to incorporate your model
into the background, whether you paint them in an outfit,
or you blend them in. Whatever you want to do.
Your final look needs to be worthy of a magazine cover.
You'll be judged on creativity, technique,
and the overall presentation of your final photo.
Okay, models, I think they get the idea. You can cover up.
Now, I've brought in an expert to help judge this challenge.
Would you please all welcome one of the world's
premier body painters Filippo Ioco.
- Hi, Filippo. - Hi, McKenzie.
- Thanks for having me. - Thank you so much for being here.
I've seen some of Filippo's work before.
It's amazing stuff. It's really cool.
I was glad that he was there as a judge for it.
Filippo, can you tell them, what does it take
to make a great cover shot?
I think what makes a great cover shot
is using the power of your imagination to the fullest,
making sure you have your detail down,
your color, because at the end of the day,
this cover is gonna be seen by everybody.
It really breaks out from the whole,
"I'm a special effects artist. All I do is blood and guts and monster movies."
Let's get this underway.
Tate, as the winner of the Foundation Challenge,
you get to choose your backdrop and your model first.
Tate: I look down the line, and the first backdrop
that grabs me is the rainforest.
Then I see that the model in front of it
has this big afro, and I'm, like, lion's mane.
Next up, Tom.
Tom: I don't think I was as shocked at the nudity
because I was looking at the backgrounds, trying to decide,
"What am I gonna do with this project?"
I think I'll go with this one.
Sergio.
As each name is being drawn, I think all the guys
are just kind of hoping that they get a chance to pick a girl.
I did, too, but I think I got a better image in my head
of what I wanted art-wise with tornado.
So, I'm trying to narrow down, "Okay, if I get this one,
this is what I'm gonna do," and they keep picking names, they keep picking names.
Jo.
Anthony.
Frank: I'm just getting crankier and crankier.
Gage.
- Okay. How's it going? - How you doin'?
Aw, crap.
I was gonna take that one.
- Marcel. - Awesome.
Go ahead and make your pick.
- I'm gonna go with you. - Nice to meet you.
I got one of my top two picks,
which was the moss waterfall one, so I was happy.
Conor.
- How you doing? - Let's do this.
Frank: It's me and Megan,
and there's an abstract painting,
and a picture of an elevator,
and I'm just praying "Do not give me the elevator."
All right, two left.
Let's see who it is.
- Yes. - Megan, go ahead.
Hey, girl, what's up?
Yeah. We're gonna have fun.
Cranky Franky's pretty much in full force at this point.
I was obnoxiously annoyed at the fact that I was last to pick again.
So now that you all have your backdrops and your models,
you'll have six hours until the photo shoot to complete your body paint.
Good luck, because this challenge starts now.
Jessica, I'm Megan.
- Nice to meet you. - Nice to meet you.
I'm very nervous about this project because I've never
done the body paint on a model before.
Get your body aligned with your hips.
Okay, knees in just a little bit.
I'm not a fan of being that close to naked people.
So, yeah. Not my challenge.
Sorry, I don't really know the protocol of working with naked models.
- This is a first time for me. - It's okay. No, I do it all the time.
I want to actually turn you into a fish.
This is gonna be interesting because I didn't do too well on the last challenge,
so I really have to show off this time.
I'm just going off of my own imagination to make this fish lady.
What I'm going to start off with is maybe something that is...
like you're holding a book, standing a little bit to the side.
I had a definite idea of what I want to do with the bookcase.
I wanted to jump at that chance to give somebody painted clothes.
All right, I'm gonna have you go ahead and try another pose.
Bring your head up a little bit more.
That could be cool.
The actual challenge is to create a photograph
that's going to be shown to the judges,
so that was really important for me to get that pose right.
There'll be a lot of me thinking.
Maybe I'll bounce ideas off of you or something.
I actually thought this was a Venice backdrop,
and not a New Orleans, but we're gonna do a statue anyway.
I may not have the backdrop I want,
but I'm still a competent makeup artist.
It's like painting by numbers.
Tate: I felt really bad for Frank's model
because he seemed like a nice guy, and he was obviously there
to help Frank achieve something, and Frank just completely disregarded him.
My artist hasn't even introduced himself to me. I don't know his name.
He had his back to me the whole time.
Frank: Just having a bad day, FYI.
My name is, uh, Jeantel, by the way.
Yeah.
I'm sitting at my desk, and I'm looking at a blank sketchpad,
and I have no idea what to do.
And I'm like, "You know what? I'm just gonna forfeit this."
Frank: Our challenge is a body painting.
I'm looking at a blank sketchpad, and I have no idea what to do.
And I'm, like, "You know what? I'm just gonna forfeit this."
Conor: Dude...
Huh?
I don't know, I haven't decided yet.
I was talking to Conor, and then it just clicked.
It's, like, I can't do that. I can't throw in the towel, not on something like this.
It's... That's not the way I am.
I have to, at least, make it into the safe zone.
So I decide that I'm gonna just paint him into the picture,
Everyone's doing a really great job.
I'm actually pretty intimidated by what they're doing.
I'm feeling great about this. It's coming together exactly how I envisioned.
She's gonna be the cobblestone road
beneath the base of these stairs.
This is gonna be like weeds coming out of the cracks in the road.
Anthony: I'm basically gonna camouflage this girl into the painting.
The whole thing is petrified wood.
When a forest burns down, it gets rid of the dead weight and rebuilds,
so I started coming up with this idea of her peeling off the bark.
You can actually bring it down just a little bit so we're covering the cooch.
Cover the cooch?
Marcel: I'm doing a living wallpaper,
so I'm gonna blend him completely into the picture.
I have painted a nude person, but I've never done
where you try and blend them into a wall.
My model was a male, and he played with his penis a lot.
He's constantly, like, adjusting himself.
I was uncomfortable, and other people noticed it to.
I was, like, "Just quit playing with yourself, and we'll get going."
Tom: Oh, that's awesome.
I see what you're doing. That's awesome.
I wanted my model to have boots because I think that, painted on,
if you do it just right, it can look amazing.
I cut out these two little wooden blocks
so that she looks like she's wearing high heels.
She can't stand on them, but she'll have to tiptoe.
Gage: I'm turning my model into a statue.
He's in a museum, according to the backdrop.
What I've done is I've gone in with wet clay,
which is a really easy, sculptable clay.
I can go in, work with it quickly, get that texture in his hair.
I am super-focused, but I'm looking around, of course.
Frank still hasn't really done much.
No, this wasn't my first choice.
Didn't particularly feel like painting wieners.
Tate: Frank makes his guy face the wall
because he didn't want a penis in his face.
I understand the concept, but, you know, you have to make exceptions.
Frank: I can't figure out any way to incorporate his hair.
Gage: Frank's telling his model to face the wall.
He also put a lampshade on his head.
It lowers your model's self-esteem a bit.
Frank is just... He's done.
Yeah, if he's in the bottom,
I don't care who wins. He needs to go.
It's not about the personality.
He slept through the [bleep] bar challenge,
he slept through the tattoo challenge, he slept on your bug.
I don't think he's used to this kind of pressure.
He might be able to handle a shop, but, I mean,
this isn't a shop. This is madness.
Well, my concept is a bronze statue.
I'm gonna start doing patinas
to make it look like he's been out in the weather,
exposed to the elements for a period of years.
Tate: If Sergio doesn't get his stuff together,
this will likely be the end of him.
We're like four hours into the competition,
and his model's still just standing there nude.
I'm, like, you know, the same reason our piece failed the first time,
the same reason the tattoo... his piece failed in the tattoo challenge,
is exactly what's about to happen.
I'm, like, dude, get with it. Like, start doing more.
Time? I'm actually not very anxious.
I've done body painting before, so I'm feeling pretty confident about this one.
How's everything working out?
Well, look at this paint.
I grab white paint. I thought it was body paint.
Turns out to be acrylic paint.
Yeah, that's what I realize now, after...
yeah, putting it on her.
I was really panicking at that point.
I'm extremely apologetic about that,
'cause I know that it's an uncomfortable paint to have on your body.
Poor Jo is, like, really scared, I think.
She thought it was body paint,
but it was actually just regular acrylic,
so that ends up, as it sticks,
it ends up like kind of peeling and cracking.
Jo: I'm thinking that I'm gonna have to peel
every piece of this acrylic paint off of her, and completely start over,
and that I'm not gonna pull it together by the end of the challenge.
I'm gonna be on the chopping block.
They're gonna rip me to pieces again in front of America.
McKenzie: Coming up...
I'm panicking. Do I even get a chance to have one photo?
Glenn: A very striking image.
I think you should push it much further.
You bit off more than you could chew.
Megan: I'm looking around the room,
and I see Jo used acrylic paints,
and her fish is cracking.
So what are you gonna try and do?
I'm gonna have to just go with it.
Jo: At this point, I don't have time to turn back.
I have to just go with it.
I have to seal her and hope that the sealer
is strong enough to hold the acrylic paint together.
Anthony: It's not just the makeup.
We're not bringing the models on stage.
The judges are gonna see photos,
so it's not just what it looks like
in front of you in real life. It's gotta read on camera.
McKenzie: That's time!
- How are you? - How's it going?
- I'm Travis. - Nice to meet you. Marcel.
Marcel: Travis the photographer comes out,
and we each have 10 minutes to take the pictures,
which is scary because trying to line up someone
to match a background can take 10 minutes alone.
Ah, I need white!
Just a little bit this way.
- Great. - Let's go with our marks.
Travis: Yeah.
You know, he's maybe coming back from the well,
and he's getting this huge sandstorm right behind him.
Your whole concept has to come through in one shot,
so it was really important for me to get that pose right.
Oops.
Did he just hit him with a tumbleweed?
- That's good. - Yeah, there you go. There you go.
Perfect.
Yeah, keep it going, man.
Sam: I was afraid for Sergio.
When I saw his model, I thought, "He's naked.
That is a naked man." [laughs]
That is a naked man with a headband,
and that was just six hours of work.
Conor: My models' having a hard time balancing,
so I'm trying to be there for him.
I'm just thinking get the pose right,
and, you know, let's get some good pictures.
Lay down.
Tony: I definitely saw some strange looks
from the other contestants when they noticed
that I put a weed growing from my model's rear end.
To me, in the image, it made sense.
I wasn't trying to be silly.
Looks really cool.
The idea is that she's picking her bark apart.
I wanted everything to be balanced perfectly,
because whether it's a photo, whether it's for film,
you have to envision your makeups as a whole.
Okay, good luck, man. That was awesome.
Didn't need my ten minutes!
Frank was, like, "All right, I'm done with five minutes to spare."
Then he left his model standing there.
We were supposed to take our models and walk with them.
Tom: He doesn't know you're done.
... take your lampshade off. I'm sorry, dude.
It was sad. I felt so bad for his model.
Okay. Let's have you stand up there.
Megan's turn comes up, and she has ten minutes.
For the first seven minutes,
the only thing she's doing is touch ups.
Time is flying, and she's still painting.
Megan, go.
Gage: She's not hearing us. Something is amiss.
She could be eliminated for not having a photo of her work.
Oh, my God. Oh, my God.
I failed to realize
that we only have ten minutes
to do touchups and take the photos.
Two minutes, Megan. Less.
Oh, really?
So, I was, like, "Oh, my God, no!"
I'm panicking. Do I even get a chance to have one photo?
Welcome everybody, to the "Face Off" reveal stage.
Tonight, one of you will be eliminated.
Say hello to our panel of judges.
Owner of Optic Nerve makeup effects studio,
- Glenn Hetrick. - Hey, guys.
Three-time Oscar-winning makeup artist Ve Neill.
Welcome back, everybody.
Creature designer and director Patrick Tatopoulus.
Good to see you again, guys.
- Okay, Patrick. - Good to see you.
And this week, special guest judge
renowned body painter Filippo Ioco.
- Hi there, guys. - Hey.
This week, your Spotlight Challenge
was to do a head to toe body painting
on a nude model for a magazine cover.
So let's get started.
Tate: My whole strategy in this was to show
how much I can do in a little amount of time,
and I painted the [bleep] out of that girl.
I put leaves, flowers, butterflies, and rocks.
That's my golden ticket.
Jo: They can say, "Your execution
was horrible, you used acrylic paint."
You know, I'm hoping that they just say, "You may leave."
I do not want to be on that middle circle.
Frank: I wasn't super-duper impressed with my shot.
My lampshade wasn't anything special,
but if it was an IKEA catalog, maybe.
Tom: I was very impressed with my photo
because it looked exactly to me how it looked in person.
It came out how I envisioned it,
and it represents me as an artist.
Sergio: I think it definitely represents what I was going for.
I'm still just worried about whether or not
the judges will know how much work went into it.
Gage: I'm feeling really good. I'm, like, see that, judges?
I can do it. I can do it all.
'Cause I really wanted to prove myself.
Marcel: I felt like if I'd had more time
to, like, really line him up perfect, it could've been better.
But for what it was and the time I had,
I feel like it turned out really, really well.
Tate: Marcel's, the color match is impeccable.
So he blew me away.
Sam: When the challenge is done, I'm able to finally
step back a little bit, and I'm just blown away.
I think I did a great job on it.
Conor: I was satisfied. He's chiseled,
he's a perfect bronze statue. I'm now thinking I'm safe.
Anthony: I look at the picture, I'm just like,
"I don't know, Anthony, maybe you're not too sure of yourself anymore."
And good, 'cause if I get a little too cocky,
then I'm just as bad as Frank.
Megan: I love my work, but I'm my harshest critic.
I felt that it could have been better.
McKenzie: The judges have scored your final shots.
Sam...
Gage...
Megan...
Marcel... and Frank.
Frank: Standing up there, whether you're on the chopping block or not,
man, is it a lot of stress.
You're all safe. Congratulations.
Please, head back to the makeup room.
Frank: Can I just say, thanks sweet baby [bleep]?
I know, I was surprised at you, Frank.
The rest of you were the best and the worst of the week.
Now, the judges would like to have a word with each of you
to learn more about your work.
Jo, please step forward.
There's so many things that they could say.
"No, no, that's not right. Your execution was horrible"
There's many things that they could eat me alive with.
Jo, please step forward.
I have no idea what they're gonna think of it,
if they're thinking it's too childish,
if they don't think that my skills are up to par.
There's many things that they can eat me alive with.
Is this the first time that you've body painted?
Oh, yeah?
It's the third time I've ever really picked up an airbrush in my life.
Well, I would like to congratulate you on a terrific job.
- Thank you. - Because I love, love all the detail.
The imagination that you put into it,
you accentuated her body, you brought her beautiful features out.
Glenn: I think you did a great job.
Very striking image all together.
- It's bold. I really, really like it. - Thank you.
I love the fact that you painted her entire body.
Your paint scheme is gorgeous.
It's beautiful. Congratulations.
- It's awesome. - Thank you.
I can see in this image that it was very thought out.
I couldn't be happier because it looks like
what we talked about last week is reflected on your work this week.
- Congratulations. - Thank you.
I feel good about what I've done,
and I do feel redeemed after the first challenge.
[whispers] Thank you.
All right, Tate. You're up next. Please come forward.
Hi, everybody.
Unfortunately, Tate, this did not go well for you.
As an image, it's just sort of too monotone.
I think you could have succeeded by bringing
those lighter colors in, and punching up the contrast.
I do agree. I had some trouble with some of the colors.
I couldn't get the vibrancy that I wanted.
Regardless, I do agree.
Well, great. That's good that you know what went wrong.
- Absolutely. - The picture has this big detail,
and you did a whole bunch of small detail.
If your detail would have been the same size as the backdrop,
I think it would have looked really cool.
You bit off more than you could chew.
Okay, I appreciate your criticisms.
Thank you. Thank you, guys.
Sergio, please come forward.
Okay, what is your concept here, Sergio?
I looked at all the backgrounds, and I saw this big tornado,
and so I got an image real quick about somebody
from a very indigenous area in like South Africa or something like that,
to get some food for his family.
Uh-huh.
Boy, that's a long story for a very short makeup.
I don't really see all that much on him except for some white paint
and a little bit of jewelry that you've painted on him.
What did you do with your six hours?
Well, he was a lot lighter, actually.
I mixed up three different shades
of darker skin tone so I could darken him up a lot.
Anybody can do body makeup like that.
You could have done so much more.
You should have spent your time
developing that jewelry that you painted on him.
Your not making really good choices, Sergio.
I do like the image, maybe more than most of us here.
I think the tones are very warm, there's a great intensity,
the character's amazing,
but you didn't challenge yourself.
I think you should push it much further.
Glenn: I have to agree with everyone else.
I'm not happy with this piece of work.
I think that because of your decision making, it's a failure.
I really appreciate all your input.
Thank you, guys.
McKenzie: Anthony, please take a step forward.
Ve Neill: Can I just say one thing?
This was awesome.
- Thank you. - If you hadn't have had those open spaces,
I think it would have been very difficult
to pick out where your person was.
It's like she ripped a piece of her body off, and is screaming.
I just really love it.
Coming from you, that is an honor. Thank you.
When I first look at the image,
I loved the orange as being such a strong statement.
It looks like the rocks are getting lighter
as they come to her body, so you bring all the attention
to that center orange spot. It's very, very powerful.
I gotta give you a lot of credit for making this decision
and sticking with it, because it is difficult, and if it didn't work out,
it would have really not worked out.
It would have just been someone with gray paint
standing in front of a rock. Congratulations.
Thank you, sir. Thank you again.
Tom, please take a step forward.
I really like this. Very, very cool, very well done,
and you're demonstrating proficient skill with the airbrush.
There's a lot of different techniques, and I see all the things
that went into it and it's pretty impressive.
Thank you.
I think this is terrific. I just love it.
And I love the way that you turned her hair into the little weed patch.
The other weed patch...
Well, we all know that's her derriere,
so I think maybe you could have chosen to move it over just a smidge.
Other than that, I think it's just a beautiful job.
Very well done, Tom.
Love this image that you created.
What I liked the most about this image
is that it's so inviting
that you actually want to walk into it,
and I really like that a lot. Congratulations.
Thank you so much.
[whispering] Thank you, thank you.
Conor, you're up next.
I don't know where I stand now. I don't know if I'm safe.
Nothing's making sense to me.
McKenzie: Patrick, why don't you start us off on this one?
I do like the clever idea of the bird dropping,
I think this is very cool, the concept.
I'm not a big fan of the makeup or the way it was shot.
I'm not seeing the bronze in there,
I'm seeing a naked man with dirty patches on his body.
I was disappointed.
Filippo: He should be more weathered.
When there's a bronze statue or a copper statue,
if it's out in the elements, it starts to patina,
get all the green and the blue,
and I think it's really missing that.
Okay. Thank you.
All right, judges. Who's the winner of this challenge?
Well, Anthony's work this week was really fantastic.
Tom's work is very comprehensive.
And Jo, I think that you really showed us
some skills, and could fight back.
All right, Glenn. Who is our winner?
This week, our winner is...
Anthony.
- Congratulations. You deserve it, man. - Thank you, guys.
Thank you so much.
McKenzie: Congratulations, Anthony.
Anthony: That was one of the most happiest moments of my life.
I'm ready to cry. It was... Honestly, that right there
was better than winning any Academy Award.
- Anthony, congratulations. - Thank you very much.
Please step forward, because you have earned the right to consult
with the judges now as to who you feel should be eliminated this week.
Everybody else, if you could please head back to the makeup room.
Well, Anthony, out of Tate...
Sergio...
or Conor...
who do you think should go home this week?
Oh...
I really have a hard time making that decision 'cause...
- Understandably so. Yeah. - It's...
I would like to go up against Tate and Conor in sculpting
and see where we stand there.
That would make me feel better as an artist,
not just taking the easy way out and getting rid of the best man.
- Mm-hmm. - So I'd have to say Sergio.
Okay.
Before you leave, Filippo has been kind enough
to bring in a signed, limited edition copy of one of his body paintings.
Oh, my God.
- Oh, my God. - There you go.
Thank you so much. Thank you again, sir.
Thank you so much. If you would please head back to the makeup room.
Thank you.
All right, judges, let's get started on this.
What are your thoughts on Sergio?
I really think that Sergio lacked
use of imagination on this photo.
He could have used the six hours of painting
a better way than just making somebody
dark skinned, you know, darker.
I'm underwhelmed by Sergio's performance again.
He needs to work on his skills more.
What are your thoughts on Conor?
With the coloring, it just got muddy.
Whatever it was he was trying to do, got lost. He didn't have enough contrast.
He over painted, basically.
I would have been a lot happier
if he would have told me that he wasn't happy with it,
- and that the colors just got away from him. - Yeah, you're right.
And what are your thoughts on Tate?
I see where Tate was going with it,
but I think he kind of... It didn't happen for him.
This image looks like he got cornered into
this stomach piece and forgot the big picture.
All right, judges. Have you come to a decision?
- Yes. - We did.
Yes, we did.
All right, judges. Who is going home tonight?
All right, guys. The judges have made their decision.
Well, Tate, I think it got lost on you.
I think you concentrated on the details
without stepping back and taking a look at the whole thing.
Serge, with the time that you had,
we don't feel like you did very much.
Conor, as you know, we felt that the colors were very muddy,
and I don't feel like you expressed your idea very well.
All right, judges. Who is going home tonight?
The person that's going home tonight is...
Sergio.
Thanks a lot.
Honor being with you guys.
Thank you.
If I may, I just want to say thank you, guys,
very much for your input.
I definitely enjoyed this whole process and all
but this isn't a school. You know, it's a competition.
Group hug.
Bye-bye, man.
It's been a pleasure.
- See ya later. - Bye, bro.
Sergio: I didn't win the competition,
but I'm leaving with tons of new friends,
a lot of things that are way more valuable than $100,000.
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