Tooning #2

[Randall Farhy]

This is my 2nd session learning to use and modify the pencil sketch technique outlined here: http://www.photoshopessentials.com/p...oto-to-sketch/

This image contains close to 40 layers, each one created to address a specific area, effect or color range as well as contrast and detail control. Mostly, they are repeats of the outlined technique, some with filters or distortions applied and blended in different modes and opacities. Puppet warp and twist applied, the former offers a lot of control but requires thinking about and visualizing how each local adjustment will affect the entire image. This will take some time for me to get comfortable with. The last steps were in LR5, high amount of sharps (+80 @2.8pix) and NR (+85 lum and +60 color) were used to create the sketched watercolor effect.

I could've chosen a more dynamic image to work with but this one struck me for the details and colors on the car.

C&C welcome and appreciated.

[Hazel Grant]

40 layers! Wow. Yes, not quite as dramatic as the previous post, but then you are still working on the technique and so I think this was a perfect choice. Very clear and open so you could really learn as you worked. Anxious to see more. thanks for the link. I'll check it out.

[Anita Bower]

Good job! I think this style works very well for these racing photos. I really like the look of the racing surface, the railing, the bg, and, of course, the car. Nice, gritty effect. What would you think of having the front of the car going a bit up instead of a bit down? I look forward to more of these.

[Dennis Bishop]

When I look at the flow of the guardrail, I agree with Anita's suggestion about the front of the car.

I don't recall if you mentioned the connection between the distortion of the car(s) and the rest of the image when you posted the earlier one, but I'd wondered about that. If you work on a masked layer of the car, can you distort it without affecting the rest of the image and still get what you want?

[Randall Farhy]

Thx Hazel Anita and Dennis- Appreciated. Considering the comments re the distortion of the car relative to the scene, I may have chosen the wrong technique or scene-not sure which. This spot on the track sees the guardrail flow to the right, away from the scene because it is actually starting to go uphill along the exit ramp, while the track is flowing left into the third turn. The car is actually pitching downward and to the left as the driver is on the brake heading toward the bottom of the track. (note suspension travel of the rear vs the front wheel well). I did do a version with the nose of the car pulled higher-it caused a ripple in the track and didn't flow the scene so I ditched the layer. Dennis- I haven't tried using a mask for distortion control, yet. I did try puppet warp on selections, it seems to "tear" the image, revealing the layer underneath, creating artifacts that didn't look right for the desired effect. I will attempt a mask on the next session and see how that goes. Thanks for the idea!

[Cheryl Slechta]

Randall, I think this is a perfect technique for these car racing scenes. I like the grittiness, the effect of speed on the background and the slight distortions. I like the way the colors of the car stand out against the monochrome background.

[Diane Miller]

I love the car but find the trees a little on the heavy side. Lower contrast there, or less grittiness?? Or crop the top half of them?

[Judy Howle]

I like the whole effect, very cool and grungy. It works well on your racing images. Thanks for the link.

[Randall Farhy]

Cheryl, Diane, Anita-thanks!

Diane, I see what you're talking about. The crop would work but I really want to keep the green light in the scene as it was a challenge to capture in a decent spot relative to the car and scene. (required a low, uncomfortable shooting position which sort of blinded me to approaching cars as barricades and rescue vehicles blocked the view. I'll try reducing contrast to push the trees back some, I have shots processed in a more traditional manner and they're not as dominant.

Judy, YW.