First right click and 'Save Picture As' to your hard-drive (Desktop is a convenient location). When that initial step is finished; open up your Photoshop program (I'm a big fan of PSCS). When the program has finished loading; choose 'File/Open', and browse to that image location (Desktop, for example) to open it. Notice in the 'Layers Palette', the image thumbnail indicates its an 'Index' image (in this case a quick way to tell that this image is a .gif file.) You'll also, notice, its locked. To correct this, simply go to 'Image/Mode/RGB Color' to revert the locked layer to a 'Background' Layer. Optionally, double click the 'Background' Layer in the Layers Palette to convert it into an edit able layer. ( in my case I label the image something like Mini_Cooper_01 or something quick like 'theimage'). Take note that the quality of the picture you're using reflects on the final vector of your car.

Lets start by creating a solid outline of the whole car.
Set the foreground color by choosing the 'Eyedropper Tool (I)' to sample the darkest area of the image. In this case it's close to black.

Next select the 'Pen Tool' from the toolbar. And up on the 'Options Toolbar', make sure the 'Shape Layers' option is selected as I have captured (in orange outline).



Then just start adding 'Anchor Points' at areas where you think they will require some adjustments.

TIP: Ctrl + (Plus Sign Key) to zoom in and Ctrl + (Minus Sign Key to zoom out on areas that need special detail. I do this a lot to achieve greater detail.

NOTE: By having the 'theimage copy' layer on top, the path outlines show through without disrupting the view of my next anchor point. Throughout this tutorial, I will be toggling visibility of this layer a lot.



After making your way around the mini car, connect to the first Anchor Point to create a solid shape. Then hide the 'theimage copy' layer to see what it looks like. (As I have captured.) Then lets start manipulating those anchor points to wrap/fit the mini car properly.



This is what the 'Layers Palette' now looks like, with the new Vector Shape Layer highlighted in blue. Also, if you click on the 'Paths' tab of the layers palette you can see the 'Paths' version of that layer.



Now turn visibility mode of the 'theimage copy' layer back on.
Select the 'Convert Anchor Point' tool and begin wrapping those areas that need curvature to the image.

Make sure the 'Shape 2' layer is selected, in the 'Layers Palette'.

With the 'Convert Anchor Point' tool, I started on the foreground wheel, click the 'Anchor Point', and drag in the direction of my (black) arrow unto it starts fitting the underlying layer.

TIP: 'Convert Anchor Point' creates two bezier handler points, for further curvature control.



Begin to get comfortable with the 'Convert Anchor Point' tool and work your way around the shape path, trying to get a close a wrap as possible.



TIP: After converting some anchor points, you'll realize that some of the original anchor points were not necessary at all. In fact the fewer the anchor points the smoother the curvature! Use the 'Delete Anchor Point' tool to eliminate unwanted anchors.

Here's my final shape after applying as much of the 'Convert Anchor Point' tool as possible.
We'll use this for the base (darkest under layer).



Next I duplicated the 'Shape 2' layer (to get 'Shape 2 copy') and manipulated its anchor points to wrap the dominant color of the image, primarily the blue (body) of the car. Click on the Thumbnail Preview of that layer to get the 'Color Picker', and change the black to blue #3672BD.



Now this is what the body of the car looks like.



Next lets work on the windows.
Toggle the 'theimage copy' (black one) back on and hide 'Shape 2 copy' layer (the blue one).

Select the 'Pen Tool (P)' again, and up on the 'Options Bar' make sure 'Subtract from area shape(-)' is turned on (outlined in orange)



Hide 'Shape 2 copy' layer in the 'Layers Palette'.
Select 'Shape 2' layer in the 'Layers Palette'.
Then start tracing in the areas of the window that are on the opposite side of the car.



Toggle the 'theimage copy' visibility mode to off, to see whats happening.
Your subtracting from the same shape layer, giving the illusion of transparency.




To apply the same affect on the other two windows without adding a new layer, simply hold Ctrl + Alt, then click and drag that subtraction path to duplicate. (Do this twice.) Then place the duplicate shapes into place.
Use the 'Convert Anchor Point' tool again to define the corners to wrap in the right positions.







Note: After the above process, revert the modifier options to its normal state. (Create New Shape Layer)

Apply the same technique to the 'Shape 2 copy' layer, except trace along the foreground windows to get a final image as I have captured.(All the while, have 'Shape 2' visibility off.)



Now that we have the crust of the vector shape in place, the rest is simply adding new shapes, lines, and some textures. We'll fill in those windows later! Giving it depth

Next apply the same techniques as we did creating the base shape layer to the (white) roof of the car. Using the 'Pen Tool (P)' to add Anchor Points, then 'Convert Anchor Point Tool' to create curvature.



Next, with the 'Ellipse Tool (U)' on the toolbar, draw the back hub cap, then hold the 'Shift' key and draw in a second ellipse(the foreground hub cap).

To position accurately, Ctrl + click on the new ellipse, then right click on a single ellipse and choose 'Free Transform Path'. Right click again, and choose 'Distort'. Tweak the corner bounding points until in the position as the hubs in the image. Repeat for the other hub.

I also started on the headlights (on a new layer) using the same technique. (Ellipse Tool ~ Free Transform ~ Distort ~ fanagel into position)



Since new layers are being added and they could pile up, its sensible to name them appropriately. (Thought it is possible here to use as few layers as possible, as I did with the main body)



Next I started adding the bumper. Again, use the 'Pen Tool (P) to trace the area, 'Convert Anchor Point Tool' to wrap perfectly to the original image source. (It's all routine now, right!!)




I then applied a layer style to the bumper to give it a somewhat chrome effect.
Right, click on the 'bumper' layer and choose 'Blending Modes' to apply the following three captures.









Next I'll begin to add some of the fine lines that comprise of the doors and other areas.
Select the 'Pen Tool (P)' again, except, this time, up on the 'Options Bar' select 'Paths', as I have captured.



Create a new layer, and call it 'Lines'. This layer should be positioned uppermost in order for them to show.
So, Toolbar - Pen Tool selected, Options Bar - Paths selected, begin clicking/adding Anchor Points in the direction that comprises of the main passenger door.



Next set the foreground color to black (hit the D key), hit the (B) key to select the 'Brush Tool (B)' from the 'Toolbar', then up on the 'Options Bar', select the 'Brush Preset Picker' and choose a small, soft edge brush, like 3. But alter the Master Diameter to 2 (try 1 also), since 3 may be too thick.



Hit the (P) key to re-select the 'Pen Tool', then mouse over the path you created in the 'Lines' layer, right-click and choose 'Stroke Path' option.



You'll be prompted to choose from a 'Tool Preset' to use to create the new stroke. Select, 'Brush' from the drop down list, then hit 'OK' command.



I then reduce the 'Opacity' of the line layer to 54% to soften it.



I then went ahead (using the same above Pen Tool/Paths/Stroke Path technique on other lines.
I also added the front grill and applied the same style as the bumper above.
Added the mirror the window wipers and the mini logo crest at the front.
HINT: For areas that are too small to be manipulated with the 'Pen Tool (P), use the 'Polygonal Lasso Tool (L)' using the same click and add anchor points as the Pen Tool, then when complete, right click on the selection and choose either 'Make Work Path' or 'Fill' options.



For textures such as the highlights, lets use the 'Polygonal Lasso Tool (L) to trace around those areas that require it, right click and 'Fill', with a soft blue color (I used #86A9D7).



After tracing as much as I can I applied a 'Filter/Blur/Gaussian Blur of 1.1 pixels' (respectively) and reduced the 'Opacity' of the layer to 30%.



On a new layer I did the same Polygon Lasso effect for the darker areas, using #2A579C. Then applied a 'Filter/Blur/Gaussian Blur of 1.1 pixels' and reduced the 'Opacity' of the layer to 30%.





Next I'll add the windows.
For this all we have to do is reuse our original 'Shape 2' for the background windows, and the 'Shape 2 copy' for the foreground windows.
First duplicate the original 'Shape 2' layer and call it 'backgroundwindows'.



Once its duplicated drag it below the original 'Shape 2' layer in the 'Layers Palette', as I have captured.



Then hit the 'A' key to select the 'Direct Select Tool' from the 'Toolbar', then hold the 'Shift' key and select the background windows individually.

Go to the 'Options Bar' and change the 'Subtract from shape area (-)' to 'Add to shape area (+) as I have encased in orange.



Those window areas will now be filled in with your foreground color, in my case black.
Next, with the 'Direct Selection Tool (A)' still active & still on 'backgroundwindows' layer, click on the outside path line as I have captured and hit the 'Delete' key on your keyboard. Now all we ahve are the windows, which is our goal here. Certainly saves a lot of time drawing them in again.



Now lets customize the windows with a a white tint. Do this simply by clicking on the 'Layer Thumbnail' as I have captured. And change the color to white (#ffffff) in the 'Color Picker' dialogue box. Then set that layers opacity level to about 23%.



Apply the same technique to the original 'Shape 2 copy' layer.
Duplicate, drag below the original, 'Direct Select Tool' and Shift + click to select the foreground windows, 'Options Bar' and switch to 'Add to shape area', then delete the outer path so that the foreground windows remain.
Click on that 'Layer Thumbnail' and change color to white, reduce opacity to about 43%.



All that remains now are fine details, amount is up to you. Below is the final image after adding detail to the hubs, lights, other highlights. Hope you enjoyed this tutorial. All that's left is to add details that'll make this Mini Cooper pop and impress your friends. Remember, it's the little things/details that make the people say "Oh snap". I first learned to vector on Corel but have sinced moved onto Photoshop. I feel that Photoshop allows me to organize my layers better and do other effects that make digital art pieces more impressive. This wasroughout the online art just a basic tutorial, when you get better with practice you can start doing those amazing vectors & vexels you see throughout the online art communities. I'd like to thank Webifex Magazine and the numerous members of deviantART.com for helping me to compile this tutorial. Again, i hope you enjoyed the tutorial and I hope we here at thetunersource.com have learned ya'll something. Peace...


~Ronski

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My friend has succumbed to the dark side. He has now traded in his passion for fun cars for a motocycle. He has turned to the dark side and I can do nothing to stop him. At first I was in denial about his purchase of a vintage Honda motorcycle, his new found obsession led into him buying a brand new 2008 Ducati Monster 695. I nice bike indeed. Of course there were other issues of why I didn't want him to get a bike, I don't want to see my friend as a vegetable. So the discussion of helmets began.



So our discussion began as to what is the difference between a motorcycle and automotive racing helmet was. He said that motorcycle helmets were made of a material that would melt on your face if you get trapped in a burning car. Man that would suck. To be like the racing version of DarkMan? Kinda cool, but not really. So here is my attempt to report what I have found out on both these styles of head wear, and not that kind you pervert.

So in the helmet world there is a governing body of called Snell. They surpass DOT by lightyears. Snell is kind of similar to that "uL" stamp on many of your home electronics. What Snell does is that they take samples of helmets and test them in their controlled laboratories.

Helmets are broken down for two different applications. Naturally they are "A" for auto racing and "M" for motorcycle use.



Auto Racing helmet.




Motorcycle helmet.


These are key difference of the "A" and "M" helmets.

1.SA standard requires flammability test while the M standard does not;
2.SA standard allows narrower visual field than M standard (Some SA helmets may not be street legal);
3.SA standard has rollbar impact test while M standard does not.

The latest revision code for SA helmets is the SA2005, which is the highest standard available, designated in year 2005.

The key differences between two helmets usually is the inner liner for motorcycles to reduce low frequency noises on the road and air vents. Other than that, they are identical.

It is very critical withdoing any type of racing that the racing venue accepts the standard helmet that you are using.

So make sure you're using the right helmet with Snell approval. Its your noggin!



CAT scan of a fractured skull.

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Alright, I know some of us here like to write about intricate crazy things, but me, Mr. Philthy, would like the newcomers to feel welcome and explain a few simple concepts to them.

Now everyone wants to turbo their car, well for the most part. I know some guys like to scream about naturally aspirated systems but hey, lets face it, big power, cheap cost, turbo is the only way to go.

So here are some turbo basics for the masses...



Now I took this image from TurboByGarrett.com because it is a great example of a turbo system.

Now, one by one we will go over these parts just as indicated.




1. Basically, #1 is where an air filter would go. It all starts right here. Air is first introduced to the system right here!




2. The Turbo itself compresses the air and channels it through the piping. Compressed air increases the air's density. In short, more oxygen molecules in the air!

3. Now this is what everyone sees! The wonderful intercooler that just tells the world that you're turbo'd right? Well it does much more than that, standard science tells us that compressed air heats right? Well we have to cool it down some how! In short, a radiator for air! Cooler air is denser air!

4. So here is where the power happens, this piping channels the cooler, denser, air into the intake valves and into the cylinders! Now we're going to need more fuel to match the increase in air! Like a fire, in order for a bigger flame, we need two things! More fuel (wood) and more air (fanning the air usual helps right?)

5. Now this piping takes that hot exhaust that was burned up in the firing process and takes it back to the turbo! More importantly, it takes it to the turbine!

6. The turbine spins which also spins the compressor wheel, compressing the air on the other side. The turbine spins from the backpressure created, efficiency is amazing right?

7. Now off the air goes into our respective downpipes and out through the exhaust! The freer the air flows, the faster the compressor spins, the faster you create boost! Thus, bigger exhaust pipes can greatly increase the efficiency of the turbo!

Now those are the basics!

Some accessories that are necessary!




Boost controllers - regulate the amount of compressed, boosted air will enter the cylinders! Regulates the air by manipulating the wastegate!




Wastegate - regulates, and bleeds off excess air! Allowing only a certain amount of air to enter the cylinders!




Blow off valve - now when the compressed air is sitting in #4, and you take your foot off the gas, the air has nowhere to go and will slam right back into the turbo compressor. This irregular flow of air causes additional stress on the motor so a blow off valve bleeds the excess compressed air that has no where to go when the throttle body closes!

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I know someone of you might be asking, "Why write an article about something that happened in 2004. Two reasons: 1) I own a Scion xB 2) I DJ. So there. I have been djing now for about 8 years now, and as fellow dj's can agree, hauling all of your equipment back and forth to venues is tedious work. But what if you had a car that has all of your dj needs built inside!

In 2004 @ SEMA, Scion introduced a mobile DJ concept car. Because Scion is known for catering to the young and hip demographic, they teamed up with Pioneer to make a car attractable to music fans. The Scion used was a 2004 xB, custom painted in candy orange

Inside, Pioneer's REV series component speakers are mounted on the doors. The backdoors are motorized to open revealing four sets of the Pioneer TS-C160R REV speakers on each side, all with custom enclosure. And remember the days in highschool when we would vamp our Civics and Accords and get two W12's and just cruise to school bumping bass to full blast? lol. The Scion concept car had four Pioneer TS-W12PRS 12-inch subwoofers. So whatever party you roll up to, it was for certain everyone was going to hear what you were playing.





Now for the fun part. In the back of the concept car, instead of the back trunk opening up, It is programmed to slide out revealing a custom "dj station" containing; (2) Pioneer CDJ-1000's (CD turntables) and a Pioneer DJM 600 Mixer. A custom built coffin motorises up from the back and a standing dock is present for any dj to get on and get down. Also present is a television screen to provide visual entertainment and two AVD-W8000 8-inch monitors for the dj to cue his music.





As of late, I have been djing digitally and think there are definite pros in going "digital." I have been a fan and will always be a fan of using Technics 1200 turntables because of the asthetics and early hip-hop appeal, but with some turntables being old and non-calibrated, sometimes mixing can be off and not clean. With going digital, everything is exact and mixing can be perfected. Especially, with electronic music making a comeback, dj's can't afford to have their music not sound perfect. Dj's such as JUSTICE, Daft Punk, Paul Oakenfold, etc. all have converted to digital. With the Pioneer CDJ and DJM you are working with top of the line DJ products. Not only that, you have some W12's which will make any girl's skirt fly off.



For more information definitely check out: www.pioneerprodj.com


- THAI SPYCE

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All right hopefully after reading this you all will be more familiar of the history and truths about carbon fiber. Upon researching for this informational article, I learn that the
history of carbon fiber dates back to approximately the late 1800s. It’s documented that our beloved and renowned
inventor, Thomas Edison, used carbon fibers (circa 1879) as filaments for his early light bulbs. The reason for Edison using carbon fibers as filaments for light bulbs was because
of their high tolerance to heat, which made them ideal for conducting electricity. Back then these carbon fibers lacked the tensile strength of the carbon fibers that we’re used to today.

Fast forward to about 1958 where a, Dr. Roger Bacon (no relation to Kevin Bacon…I think) created the first high performance carbon fibers (the precursors to today’s carbon fibers) at the Parma Technical Center outside near Cleveland, Ohio. The fibers created by Dr. Bacon were first manufactured by heating strands of rayon until they carbonized. This initial process proved to be inefficient, as the resulting fibers contained only about 20% carbon and had low strength and stiffness properties.

During the early 1960s, a new version of carbon fiber was developed along with a new process using oxidation and thermal pyrolysis (heating in the absence of oxygen). The process developed used a different raw material called polyacrylonitrile (the “acrylic” found in most knitted clothing) as the base. The new material and the new process produced a carbon fiber that contained about 55% carbon and had much better tensile strength and stiffness properties. The polyacrylonitrile material and the newly developed process quickly became the primary method for producing carbon fibers. With modern technology as it is today, that same polyacrylonitrile material as well as newer raw materials like petroleum pitch and that same process is now used to make carbon fibers that now contain over 93% carbon…again resulting in better tensile strength and stiffness and even flexural strength. On a quick note: carbon fibers are similar to asbestos, and it’s more than likely that continuous exposure/inhalation to carbon fibers may cause mesothelioma or other respiratory disabilities…the atomic structure of carbon fiber is similar to that of graphite. And on a final note: Currently, the United States of America uses nearly 60% of the world production of carbon fibers and the Japanese account for almost 50% of the world capacity for production. The largest producer of this fiber is Toray Industries of Japan.

Now comes my favorite part of this article. I’m going teach you, our loyal readers, how to make carbon fiber…on Adobe Photoshop. I know you can find this on any ‘photoshop how to site’, now you can find it here as well. Enjoy…

Part 1.
Open your Adobe Photoshop program (any version will be fine). When the program has fully opened go to: File > New > Set Width & Height as 4 pixels by 8 pixels. After following these steps, select the colors and fill accordingly. Take note that the colors I’m using are of my preference…feel free to experiment with this.



Part 2.
After completion of the steps on Part 1 go to: Edit > Define Pattern > Name it however you wish, when you’re finished naming the pattern, click ‘OK’.

Part 3.
To utilize the new pattern in your arsenal; just select the area you would like to have that carbon fiber look, then to: Edit > Fill > Use: Pattern then select the carbon fiber pattern you’ve just made…chutch!!


This in the carbon fiber pattern with fill layer gradient at 50% opacity.


~Ronski

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Campagnolo Bicycle Components Giant and Automotive
Wheel Maker ?

From this ……..


To This. (Ferrari 308, 328, and Mondial Wheel)

My interest in old things have brought me to learning
about vintage and classic automobiles. My love for
these cars are based in the stories that these
vehicles tell. New cars to me do not tell an
interesting tale of a struggle of a new car company
trying to do radical and new designs and concepts. My
love for the “vintage” and classics have transcended
into other interests of my life as well. To me having
the old vintage car is great, but why not all the
other things made in that time? My awareness of
Campagnolo started many years ago, of all places at
the local swap meet. My friend and I were liquidating
a man’s house and he had these “old bikes” that he
wanted to get rid of as well. So surely enough I took
the most unrused bike I could for $50 for myself and
thought nothing of it. Months later I researched the
bike and found that it had Campagnolo components on
it. This research led to my the fact that Campagnolo
made Magnesium wheels for Alfa Romeo, Lamborghini, and
Ferrari.
The more I researched on this bike, the more I
realized that Campagnolo made bicycle parts that were
truly well-crafted and well thought out. The
Automotive wheels that they made were no exception as
well. Now these wheels are sought after to complete
vintage and classic restorations. I will attempt to
document some of the wheels styles that Campagnolo has
made and some examples of cars that came with
Campagnolo wheels OEM stock.



Campagnolo Corsa 13x 7


Fulvia Campagnolo 14 x 6



Pantera Campagnolo Reproduction Wheels


BMW M1 Campagnolo Wheels


Lamborghini Bertone Athon Campagnolo Wheels


Alfa Romeo T33 Stradale Campagnolo Wheels


Alfa Romeo SZ Magnesium Racing Wheels





Ferrari 246 GTS Campagnolo Wheels (Similar to Mugen)


Lamborghini Espada Campagnolo Wheels






Lamborghini Campagnolo Countach and Diablo Wheels

I'm sure there are more. I'm open to suggestions on getting all the Campagnolo information.


Sign up for the The Tuner Source!

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