Indonesia memastikan satu tiket ke putaran final Piala AFC U-19 2014 di Myanmar, setelah mampu menjadi juara Grup G dengan raihan sembilan poin dari tiga pertandingan kualifikasi yang dijalani.
Anak asuh Indra Sjafri itu dipastikan lolos ke putaran final setelah mengalahkan Timnas Korea Selatan dengan dramatis yang berakhir 3-2 di Stadion Utama Gelora Bung Karno Jakarta, Sabtu malam.
Lolosnya Indonesia ke putaran final langsung disambut dengan gembira oleh pelatih, pemain, official serta seluruh pendukung setia timnas yang memadati stadion terbesar di Indonesia itu.
Bahkan, Indra Sjafri langsung melakukan sujud syukur. "Kita bersyukur dengan kemenangan ini. Kalau kita siap, semuanya bisa kita lawan. Tidak hanya menang, kita juga main-mainkan Korea. Kita kolongin mereka," kata Indra Sjafri setelah pertandingan usai.
Menurut dia, dengan memastikan lolos ke Myanmar, pihaknya memberikan kesempatan kepada pemain untuk menikmati kemenangan yang diraih, apalagi putaran final Piala AFC U-19 masih jauh.
Saat ini, kata dia, pihaknya masih menunggu arahan dari federasi yang dalam hal ini PSSI dalam menyikapi hasil Timnas Indonesia U-19, karena format dari federasi akan dijadikan acuan untuk persiapan ke tahap berikutnya.
Perjuangan Tim Garuda Muda untuk lolos ke putaran final Piala AFC U-19 terbilang sempurna. Dari tiga pertandingan yang dilalui, semuanya dimenangkan oleh Evan Dimas dan kawan-kawan, bahkan Indonesia hanya kebobolan dua gol dan mampu memasukkan sembilan gol.
Pada pertandingan pertama, juara Piala AFF U-19 itu mampu mengandaskan Laos dengan skor telak 4-0. Selanjutnya, di pertandingan kedua mampu mengalahkan Filipina dengan skor 2-0. Dalam pertandingan terakhir menang atas Korea Selatan dengan skor 3-2.
Sementara itu, kapten Timnas Indonesia U-19 Evan Dimas Darmono mengaku sangat bersyukur dengan hasil yang diraih. Kemenangan atas Korea Selatan merupakan bentuk kerja keras dari semua pemain dan jajaran pelatih.
"Terima kasih atas dukungan semua masyarakat Indonesia. Motivasi kami terbangun karena dukungan dari semuanya. Tapi perjalanan masih panjang dan banyak yang perlu diperbaiki," katanya usai pertandingan.
Saat menghadapi Korea Selatan, Evan Dimas Darmono dinilai menjadi pemain terbaik setelah mampu menciptakan tiga gol bagi Indonesia.
Bahkan, pemain asal Surabaya itu mampu memimpin teman-temannya untuk meraih kemenangan yang ditunggu-tunggu masyarakat Indonesia ini.
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Recently, I had the opportunity to chat with Helena Perminger, a freelance retoucher from Stockholm, Sweden. In this interview, we talked about several topics ranging from her experience as a student, to how to build a great team, to some common mistakes that retouchers make, and much more. Let’s take a look!
QHi Helena, thanks for taking the time to talk with us today. Can you begin by telling us a bit about your background? Where are you from? How did you get your start as a retoucher?
My name is Helena and I am a 26-year-old retoucher living and working in Stockholm, Sweden. I work with photographers in many different fields, which has given me wide experience, and a lot of joy!
I have always expressed myself creatively through different channels. When I got my first camera, it was the perfect fit. I brought it everywhere; I always documented big events in pictures. The photos always brought back more than just color and contrast, sounds and smells were all connected in that rectangular shaped diary of my life.
I started using Photoshop when I was around 12 for photomontages and self-portraits. When it came to picking what direction to choose in school I decided for two; Photography and Graphic Communication, which for me mostly meant Adobe Photoshop and working in the dark room. It was perfect!
After a few years of working part time as photographer, taking a part time class in photography and traveling with my camera, I settled down and worked very hard to get into a Digital Imaging Editing School.
QYou mentioned that you went to a school that may be the first full-time professional program for Digital Imaging in the world. Can you tell us a bit more about the school? What did you study there? How has it helped you?
Yes, as far as I know, the 2-year full-time program for Digital Image Editing at Stockholm School of Photography may be the only digital image postproduction education in the world. The program consists of modern professional education focused on today’s workflow in close collaboration with the industry. We studied the ways of fine art-printing, color management, prepress and the art of retouching with some of the most highly renowned teachers in the business.
What I learned most was the importance of control in all steps in the digital post process to get the most out of every production. So many people are self-taught in the photography business and only know one way to get results. More and more people are coming to me who can deal with problems from more than one angle and therefore get the job done both smoother and better.
I also learned not to loose your creativity when turning your long-loved hobby into your profession. It has been very important for me to keep time and mind open for new inspirational projects.
QWhat are your favorite type of projects to work on, and why?
I wish to work with inspirational people with amazing ideas. It could be as basic as shooting a project on film or as big as a photographer’s life-long project. I strive to be a part of bringing creative people’s amazing projects to life.
But if I were to choose, I would say projects with humans or animals, like fashion, lifestyle, and most of all portraits, are the ones that fascinate me the most. But as long as there is a burning soul in the project, I’m all in!
QWhat projects do you find to be the most challenging?
The most challenging, and at the same time thrilling, are those projects with quick late changes.
Communication is absolutely vital when working with people. The whole project’s outcome depends on a good working relationship. If there is good communication, the biggest of challenges can be overcome much more smoothly. In this business there always seem to be late changes and if you can’t handle them professionally and keep your stress level low, a project can fall apart.
QYou said that you loved to work on fashion projects. Why do you like to work on fashion projects so much? Are there any fashion projects that you have worked on that you are especially proud of?
When fashion projects come my way, they often come with a great visionary idea. This puts a lot of creative pressure on the retoucher, especially when there are skin tones to take into account. Fashion pushes itself to break new ground, and to make something where you don’t have just one solution. This has always intrigued me.
I prefer to work with living subjects as opposed to in animate objects. I have always gotten a great deal of satisfaction from retouching skin. The industry has changed a lot over the last few years. In the past, everyone wanted photos to look retouched. Now, if a retoucher has done a good job the picture should not look digitally enhanced at all.
This has created problems for the retouchers here in Sweden where retouching is seen as something bad and usually we don’t even get our byline with a work that has been published. That makes it very hard to get recognition for your work, especially in the fashion business. But when more and more photographers can’t handle the post process and come to us for help, everyone will hopefully start realizing how much we are needed.
Photo Credit: Shahab Salehi.
QWhen you look at the work of people who are just getting started as a retoucher? What mistakes do you see them make the most? How would you advise them to correct those mistakes?
First of all, there is big gap between being creative with Photoshop and working as a retoucher. When I started playing around in Photoshop, I really went all the way. I over-used brushes to create "cool" effects like scratches and dirt and I can’t say now I’m that proud of what I created. But all that creativity without boundaries pushed me forward to keep on going and learn more.
When it comes to building a career as a retoucher, there is so much more to know than just how to use different tools and effects in Photoshop. A retoucher needs to know the entire postproduction process to be able to deliver high-quality work. You also have to be able to appreciate the basic importance of how light falls; you need what I would call a visual eye. I see way too many people in the business that don’t know how to enhance an image for different media or just don’t know how to retouch skin without leaving it totally smudged.
Something else many people don’t know about, is the importance of a light controlled workspace. While it is important for a retoucher to have a perfectly calibrated monitor, it is also important to control the light in and around your workspace so that none of the ambient light in your office doesn’t interfere with the colors being projected from your monitor.
The easiest advice I can give would be to get experience, take a drawing class and look over the basics of a proper workstation. But most important thing you can do is to discuss your work with others, the best way of going forward in a creative field is to be open to other people’s opinions, after all; those are the ones you’ll be showing your work to in the end anyway.
All this asked, I still push my boundaries and play around on my free time!
QIn retouching, it can be important to work with a really good team of photographers, stylists, make up artists, etc. Can you give our readers some advice on how to build a great team?
That is one of the most interesting aspects of it all! I find that when working with someone new, it’s always best to communicate your ideas and thoughts early on. The faster you get to know each other, the faster you’ll start creating amazing things.
I always try to get the opportunity to be there at the photo shoot, to be able to get all the information I need before I start my part of the process. I try to be as open and thorough as possible when getting the whole vision of the project, the best way for this is to talk to everyone involved. It’s the process of working towards same vision and goal that binds a team together, so I would say find people that fill the gaps in those areas where you lack strengths, and who share, challenge and take your visions further.
This would be my preferred way of collaborating, but it’s usually not the case. I often get called in when the photos have already been taken and I just communicate with the photographer. This usually makes things easier although I would prefer being a bigger part of the creative process from the beginning.
But when it comes to personal projects, which I do in close collaboration with, for example, a photographer, I usually do it because of a similar interest or vision that brings us together from the start. This is something I love and I’m always up for finding new inspirational projects!
I love my job and the great energy it gives me to work with amazing people and get the confidence of taking their work to the next level.
QAre you working on or have you worked on any exciting projects that you would like to share with our readers?
This summer I worked together with Max Modén, a great Swedish photographer, on two very special and beautiful projects.
One of the projects I am working on is a series of portraits taken of young boys in homage to great photographers like Irving Penn and Richard Avedon. The other one is of young girls where I was given a bit more creative freedom in the retouch. Both series are black and white and with high-end styling. I delicately worked with enhancing these already beautiful images, together with Max, to create to two great stories. These stories will be published in the magazine La Petite later this year.
QThanks so much for taking the time to talk with us today. Any last minute advice that you would like to share?
Thank you, this was a lot of fun! Advice I can give those who are looking to freelance as a retoucher; It is a harsh business where you need to work hard to get what you want. Being social and open to constructive criticism will get you far!
Dated Released : 26 July 2013 Quality : 720p WEB-DL Info : imdb.com/title/tt1727388 IMDB Rating : 7.7 (12,078 users) Star : Steve Carell, Toni Collette, Allison Janney Genre : Comedy | Drama ----------------------------------------
Shy 14-year-old Duncan goes on summer vacation with his mother, her overbearing boyfriend, and her boyfriend's daughter. Having a rough time fitting in, Duncan finds an unexpected friend in Owen, manager of the Water Wizz water park.
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Dated Released : 26 September 2013 Quality : BRRip 720p Info : imdb.com/title/tt1662293 IMDB Rating : 4.4 (327 users) Star : Clancy Brown, Anne Heche, Jennifer Stone Genre : Horror ----------------------------------------
By: icinema3satu
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Dated Released : 14 March 2013 Quality : BRRip 720p Info : imdb.com/title/tt2418558 IMDB Rating : 5.7 (1,245 users) Star : Maria Ehrich, Jannis Niewöhner, Veronica F Genre : Drama | Fantasy | Mystery ----------------------------------------
By: icinema3satu
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Gwendolyn Shepherd is actually a very normal 16-year-old teen. What's annoying is that her family definitely has a tad too many secrets. They all have to do with the time-travel gene that is passed down in the family. Everyone is certain that Gwen's cousin Charlotte has the gene, and so everything is all Charlotte, all the time. Until the day Gwen, out of the clear blue sky, suddenly finds herself in London at the end of the 19th century. She knows right away that she, and not Charlotte, was born to be a time traveler - even if she could certainly do without it.
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With over 25 years of experience teaching, Robert Farrell has been a trusted instructor for individuals and companies who want to improve their Adobe skills.
As the fall approaches in many parts of the world, designers and illustrators might already be thinking about the upcoming Halloween holiday, especially those that are based in the U.S. In this tutorial, we will show you how to illustrate a cute and scary children’s illustration using techniques that you could easily incorporate into your own Halloween artwork. Let’s get started!
Speed Painting Video
1. Before You Begin
Before we begin, I would like to discuss some things about the process that I will use. For this illustration I will only use a basic Round Brush, using the settings below.
1-In Brush Tip Shape you can choose between the brushes you have loaded, change the size, hardness or spacing (this last one will leave it to 0). 2-In Shape Dynamics, select Control: Pen Pressure to activate the pen pressure. 3-In transfer, select Control: Pen Pressure to control the flow of paint from the pen pressure. 4-You can combine all of these features along with brush Opacity to get the stroke you want. Whether to make precise lines or soft and smooth color transitions.
Broadly speaking, what you see in the picture above, is what we will do during the whole process. The important thing is to define where the light comes to create the volume.
2. Create the Document
Step 1
Create a New File by going to File > New (CMD/CTRL + N). In Preset select International paper and set the size as in the image below.
3. Create the Sketch
Step 1
For sketching the character, add a new layer (Shift + CMD/CTRL + N) and start drawing the basic shapes to define the composition. Use as many layers as you feel necessary. When finished you can combine them using Merge (Select the layers and press CMD/CTRL + E). Finally, lower the opacity of the layer.
Step 2
Add two layers below the sketch: in the first, paint in gray with the Paint Bucket (G). In the second one, make a white circular gradient as seen in the image, using the Radial Gradient Tool (G).
4. Blocking
Step 1
In different layers, paint each element separately. The legs and horns you can paint once and then duplicate and flip (CMD/CTRL + T or Right click and Flip horizontal).
Step 2
Add the water below and then create the moon with the Ellipse Tool (U).
Step 3
Add a darker gradient under the water.
Step 4
Use a hard round brush to roughly paint the clouds and add a little light gray gradient in the water layer.
Step 5
Paint the shadow under the girl. Use the Eraser Tool (E) to soften.
5. Painting the Girl
Step 1
To make a base shadow, use the same gray as the skin in a Multiply mode layer. In order to use the shape layer as a Clipping mask, just press Alt while click in between both layers.
Step 2
Paint the face. To save time, in this step, you can paint half of the face and then duplicate and merge the layers and flip. At this stage you do not need much detail. The important thing is to define the volumes.
Step 3
Continue with the cloth. Define the ripples of the dress. When you paint on a clipping mask, you will see that in the base layer may have small holes unpainted. Take advantage of the occasion to correct it.
Step 4
Let’s move on with the legs. Don’t forget to use the Eraser Tool to help you soften the shadows.
Step 5
Start making the arms and some ornaments on the collar. .
Step 6
If you didn’t before, add a layer below and paint the back of the hair.
Step 7
For the hair, use a light and a dark gray to make strands. You can use a hard brush and then a soft one to blend a little.
Step 8
Let’s paint the little creature. Remember to just set up the volume, details will come later.
Step 9
Add shadows to the horn. Then use the Smudge Tool with a hard, small brush to make these “roots” at the base as seen in the image.
Step 10
To make the hair of the creature, first select all the layers, duplicate them and merge (CMD/CTRL + E). Use the Smudge Tool to create each strand, follow the direction of the shape. Finally, add some shadows below. .
Step 11
Add a layer above all and make some strands across the forehead. Also do locks of the back.
Step 12
Start detailing the hosiery with small circular movements.
Step 13
Make the pattern of the dress, use a Multiply or Overlay mode layer (depending on the shade of gray) so that the texture is integrated into the volume. You can make lines, dots, flowers or whatever you like, just keep in mind that the texture should follow the shape of the fabric. .
Step 14
Start detailing the boots.
Step 15
Paint the back of the dress.
Step 16
Let’s go back to the creature, define the eye adding details and some lights. Also put a hard shadow where it meets the arm.
Step 17
Add more definition to facial features. Use glossiness to enhance the feeling of volume. Smooth transitions that look rough.
6. Background and finishing touches
Step 1
Draw concentric waves around the girl. Then add a layer in Multiply mode and paint slightly random stripes in various shades of gray.
Step 2
Select all the layers of the leg, duplicate them and merge. Flip vertically and use Levels (CMD/CTRL + L) to make them darker, the use the Eraser Tool to soften below.
Step 3
Select the layer with darker strips and flatten on top, duplicate the layer and place it above. Merge both layers and make a gradient from top to bottom with the Eraser Tool. Flatten the circles layer slightly too. Make a dark gradient from bottom to top. That will complete the shadow of the girl. .
Step 4
Use a big brush to define the clouds.
Step 5
This is how I made the moon but keep in mind that I will remove the moon at a later step. Double click on the layer to get the Layer Styles panel and set as seen in the image.
Step 6
To paint the highlights in the water make a triangle and then distort it with the Smudge Tool. Then, soften the sides with the Eraser Tool. Add a slight white gradient on top of the water.
Step 7
Reinforce the shadows and highlights on the girl, uses layers in Multiply and Overlay mode with a soft brush.
Step 8
Finish detailing the eye of the creature and add some highlights on the horns.
Step 9
Paint the hair ribbon and add the fabric of the knot from behind.
Step 10
Blur the horizon line of the sea using the Blur Tool.
7. Color
Step 1
Go to Image > Mode > RGB Color. Place all layers in a group and add a new group on top for the color.
Step 2
Create an Adjustment Layer > Photo Filter, choose Sepia and set as in the image.
Step 3
Add a Color mode layer and make a blue and violet linear gradient. Lower the opacity as seen in the image.
Step 4
Paint each part on a separate Color mode layer. You simply select the forms and fill with color. I do it this way because it is easier to change a color, if necessary.
Step 5
To add color shades, use layers in multiply mode with very low opacity. For example, in this case I used purple and yellow eyes, pink for the cheeks, nose and arm joints.
Step 6
For the shadows, use the same or a bit darker color of the base in multiply mode with low opacity. For lighting, use light colors, you can try effects using Overlay, Soft Light mode etc…
Step 7
As seen in the image, enhance the volume of the face with a soft shadow all around. Also, add the shadows cast by the hair. Use some colors to make the hair look less flat, like yellow and violet very faint on the horns or yellow in the hair tips.
Step 8
Go back to the background and add a red gradient from below in Overlay mode with low opacity.
Step 9
Change the color of the girl’s bangs (hair). Just duplicate the layer and use Hue/Saturation (CMD/CTRL + U) then set as in the image..
Step 10
For the eyelashes, add some highlights as you see in the image to give it more life. Also in the hair.
Step 11
Now paint some highlights on the shoes and add the details. Finally, duplicate and merge all the leg layers and use Hue/Saturation to change the color.
Step 12
Paint a bow at the waist.
Step 13
Use black in a layer as you see in the picture to shade the girl in front. And then use white for the contours, this will add a little backlight.
Step 14
Now paint a white soft halo around the girl.
8. Ghosts
Step 1
First, paint the silhouettes of the ghosts.
Step 2
Lower the opacity to 0%, double click to get the Layer Style panel and set as in the image.
Step 3
Paint some highlights and soften with the Eraser Tool.
Step 4
Use the image below as reference to make the skulls. Finally, lower the opacity of them and place the layer under the silhouettes.
9. Last Steps
Step 1
Add an Adjustment Layer > Photo Filter and set as in the image.
Step 2
Go back to the clouds and add some color to them. I have used pink and yellow. Make some reflections of the colors in the water as well.
Step 3
If you feel like it, change the color of the hair. This is also a good time to change any color you do not like. Also, I have changed the background gradient as seen in the image.
Step 4
Paint some striped branches floating on water. The procedure is the same as the one we’ve used all along. Do not forget to add the shadow and reflection in the water.
Step 5
I decided to delete the two ghosts below. Instead I painted some dark red mountains. Use the Eraser Tool to soften. Make the reflection on the water.
Step 6
Finally, delete the moon layer. There is a big bright spot in that place that will work fine. So add a few lens flares as in the image, and we are done.
Final Image
In this tutorial, we showed you several techniques that you can use to help create your own character illustrations. We hope that you have learned something from this tutorial and can apply these techniques to your own artwork.
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