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Illustrator CS5 One-on-One: Advanced
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Adding a clipping mask and page curl


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Illustrator CS5 One-on-One: Advanced

with Deke McClelland

Video: Adding a clipping mask and page curl

I've saved my modifications as Monochromatic effect.ai found inside the 21_photoshop folder and in this exercise, I am going to show you how to place this image inside of a clipping mask and I will also show you have add a page curl effect. We are actually going to create a double image effect this time. So we will end up with two copies of the image, one sitting on top of the other and we'll see how efficiently Illustrator handles that as long as we're working with a linked graphic. So I am going to start things off by going to the layers panel, twirling open top story, that top story layer, scrolling all the way to the bottom of the stack and I am going to meatball Spanishtown dinosaurs.
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  1. 38m 35s
    1. Welcome
      1m 48s
    2. Linking AI and EPS files to Illustrator
      6m 48s
    3. Installing the dekeKeys keyboard shortcuts
      7m 43s
    4. Remapping Mac OS shortcuts
      6m 56s
    5. Installing the Best Workflow color settings
      4m 54s
    6. The color settings explained
      7m 4s
    7. Preserve Numbers vs. embedded profiles
      3m 22s
  2. 1h 40m
    1. Converting pixels to vectors
      1m 2s
    2. Tracing an imported image
      6m 17s
    3. Other ways to trace
      3m 17s
    4. Raster and vector previews
      7m 2s
    5. Threshold, Min Area, and Max Colors
      5m 27s
    6. Tracing options: The raster functions
      8m 2s
    7. Using the Ignore White option
      5m 3s
    8. Tracing options: The vector functions
      6m 40s
    9. Expanding traced artwork
      5m 6s
    10. Sketching and drawing for Illustrator
      6m 24s
    11. Editing scanned line art
      9m 23s
    12. Adding contrast and color
      10m 32s
    13. Live Trace and resolution
      9m 8s
    14. Expanding and separating paths
      8m 43s
    15. Scaling and editing traced art
      8m 4s
  3. 1h 8m
    1. Gradients are good
      1m 15s
    2. Assigning a gradient fill
      6m 9s
    3. Using the gradient annotator
      7m 31s
    4. Editing multiple gradients
      4m 37s
    5. Establishing symmetrical gradients
      5m 28s
    6. Creating a radial gradient
      5m 46s
    7. Adjusting the midpoint skew
      3m 23s
    8. Mixing gradients with blend modes
      6m 11s
    9. Making a transparent gradient
      6m 42s
    10. Drop shadows and dynamic effects
      5m 58s
    11. Assigning a gradient to editable text
      5m 42s
    12. Editing text that includes dynamic effects
      2m 56s
    13. Assigning a gradient to a stroke
      6m 46s
  4. 1h 37m
    1. The earliest dynamic functions
      1m 10s
    2. The gradient-intensive illustration
      5m 26s
    3. Creating a multi-color blend
      7m 39s
    4. Establishing a clipping mask
      3m 34s
    5. Reinstating the mask colors
      9m 7s
    6. Editing blended paths
      6m 50s
    7. Adjusting the number of blended steps
      6m 49s
    8. Using the Blend tool
      4m 33s
    9. Blending between levels of opacity
      7m 32s
    10. Editing the path of the blend
      6m 22s
    11. Adding a custom path of the blend
      5m 4s
    12. Placing one mask inside another
      8m 33s
    13. Blending groups and adjusting the speed
      6m 1s
    14. Rotating objects in 3D space
      10m 21s
    15. Creating custom perspective guides
      8m 31s
  5. 1h 37m
    1. What was old is new again
      39s
    2. Introducing tile patterns
      6m 11s
    3. Determining the points of intersection
      6m 51s
    4. Extending paths from the intersections
      5m 40s
    5. Crafting symmetrical subpaths
      5m 38s
    6. The final flawed subpaths
      5m 52s
    7. Reconciling misaligned paths
      5m 34s
    8. Completing the core path outline
      6m 14s
    9. Making a symmetrical modification
      6m 47s
    10. Adjusting the interior elements
      8m 26s
    11. Coloring paths and testing the interlock
      9m 29s
    12. Establishing a rectangular tile
      6m 22s
    13. Defining a tile pattern
      3m 43s
    14. Creating a few color variations
      8m 50s
    15. Protecting patterns from transformations
      6m 9s
    16. Transforming patterns without paths
      5m 30s
  6. 1h 12m
    1. Filling and stroking virtual areas
      44s
    2. Introducing Live Paint
      7m 57s
    3. Stroking with the Live Paint Bucket tool
      5m 30s
    4. Using the Live Paint Selection tool
      7m 18s
    5. Adding a path to a Live Paint group
      4m 33s
    6. Building a classic Celtic knot
      8m 28s
    7. Constructing the base objects
      5m 31s
    8. Weaving one object into another
      6m 13s
    9. Creating a path that overlaps itself
      7m 15s
    10. Painting a path that overlaps itself
      5m 34s
    11. Creating knots inside knots
      5m 2s
    12. Adding gradients and depth
      8m 22s
  7. 1h 4m
    1. Dynamic effects and OpenType
      1m 12s
    2. Applying a dynamic effect to type
      5m 43s
    3. Creating a basic bevel effect
      4m 12s
    4. Building up a multi-stroke effect
      4m 49s
    5. Best practices for 3D type
      6m 34s
    6. Applying a "path wiggler" to type
      6m 14s
    7. Drop shadows and Raster Effects settings
      4m 52s
    8. Duplicating attributes and effects
      7m 8s
    9. Editing type with dynamic effects
      7m 27s
    10. Ligatures, swashes, ordinals, and fractions
      5m 45s
    11. Small caps and the Glyphs panel
      4m 25s
    12. Warping text and increasing resolution
      6m 9s
  8. 1h 44m
    1. A world of colors at your beck and call
      1m 32s
    2. Customizing a letterform to make a logo
      8m 37s
    3. Creating a custom drop shadow effect
      6m 26s
    4. Introducing the Color Guide panel
      9m 3s
    5. Harmonies and Color Guide settings
      5m 39s
    6. Lifting harmony rules from color groups
      7m 21s
    7. Harmony layouts and the Lab color wheel
      8m 15s
    8. Working inside the Edit Color dialog box
      6m 36s
    9. Limiting a color group to spot colors
      5m 47s
    10. Recoloring selected artwork
      5m 50s
    11. Recoloring with custom color groups
      6m 1s
    12. Swapping colors with the Color Bars feature
      5m 18s
    13. Using the options in the Assign panel
      8m 41s
    14. Moving color groups between documents
      7m 17s
    15. Distilling your artwork to one spot-color ink
      7m 45s
    16. Recoloring artwork that contains gradients
      4m 17s
  9. 1h 21m
    1. How symbols work
      1m 2s
    2. The power of symbols
      5m 1s
    3. Creating new symbols
      6m 0s
    4. Enabling the new 9-slice scaling
      4m 24s
    5. Adjusting your 9-slice scaling guides
      6m 54s
    6. Previewing and acquiring symbols
      4m 12s
    7. Finding a symbol and creating an instance
      4m 13s
    8. Duplicating and replacing instances
      4m 19s
    9. Breaking a symbol link and envelope fidelity
      5m 26s
    10. Distorting and expanding a symbol
      4m 54s
    11. Updating an existing symbol definition
      3m 40s
    12. Recoloring a symbol definition
      4m 13s
    13. Applying a basic "local" color adjustment
      5m 20s
    14. Applying a more elaborate local color adjustment
      5m 4s
    15. Laying down a random symbol set
      5m 35s
    16. The eight symbolism tools
      6m 55s
    17. Editing selected instances
      4m 11s
  10. 1h 32m
    1. Illustrator needs Photoshop
      1m 1s
    2. Two ways to place a pixel-based image
      6m 6s
    3. Working with linked images
      6m 6s
    4. Linking versus embedding
      9m 38s
    5. Stroking and blending an image
      6m 16s
    6. Adding a clipping mask and page curl
      6m 51s
    7. Creating a blended border effect
      7m 10s
    8. Rasterizing your artwork in Photoshop
      8m 0s
    9. Saving a flat raster file from Photoshop
      4m 58s
    10. Restoring cropped border elements
      5m 39s
    11. Copying and pasting into Photoshop
      6m 27s
    12. Working with Photoshop Smart Objects
      5m 26s
    13. Adding a pixel-based layer effect
      4m 12s
    14. Editing a Vector Smart Object in Illustrator
      7m 20s
    15. Creating and placing a transparent image
      7m 1s
  11. 1h 15m
    1. The many forms of transparency
      1m 29s
    2. Real-world blending modes
      7m 57s
    3. Exporting transparency from Illustrator
      6m 24s
    4. Opacity and blending modes
      6m 18s
    5. The Darken and Lighten modes
      7m 17s
    6. The Contrast, Inversion, and HSL modes
      6m 12s
    7. Blending modes in action
      5m 11s
    8. Creating a knockout group
      6m 14s
    9. Confirming the viability of your artwork
      6m 8s
    10. Introducing the opacity mask
      4m 6s
    11. Making an opacity mask
      5m 25s
    12. Drawing inside an opacity mask
      3m 34s
    13. Creating a gradient opacity mask
      5m 29s
    14. Adding an opacity mask to a single object
      3m 22s
  12. 1m 13s
    1. Until next time
      1m 13s

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Illustrator CS5 One-on-One: Advanced
14h 53m Intermediate Nov 30, 2010

Viewers: in countries Watching now:

In Illustrator CS5 One-on-One: Advanced, author and industry expert Deke McClelland teaches how to take advantage of the wide array of dynamic features in Illustrator CS5. This course demonstrates how to apply these features to paths, groups, and editable text to create professional-quality artwork. The course covers Live Trace, Live Paint, and Live Color, as well as symbols, gradients, exporting, and integration with Photoshop. Exercise files accompany the course.

Topics include:
  • Tracing a pixel-based image
  • Sketching and drawing for Illustrator
  • Creating and editing gradients
  • Creating multi-colored blends
  • Creating seamlessly repeating tile patterns
  • Creating interlocking artwork with Live Paint
  • Designing advanced type effects
  • Recoloring artwork with color harmonies
  • Making the most of symbols
  • Integrating Illustrator with Photoshop
  • Using transparency, blend modes, and opacity masks
Subject:
Design
Software:
Illustrator
Author:
Deke McClelland

Adding a clipping mask and page curl

I've saved my modifications as Monochromatic effect.ai found inside the 21_photoshop folder and in this exercise, I am going to show you how to place this image inside of a clipping mask and I will also show you have add a page curl effect. We are actually going to create a double image effect this time. So we will end up with two copies of the image, one sitting on top of the other and we'll see how efficiently Illustrator handles that as long as we're working with a linked graphic. So I am going to start things off by going to the layers panel, twirling open top story, that top story layer, scrolling all the way to the bottom of the stack and I am going to meatball Spanishtown dinosaurs.

Its name is truncated, but that's because the layers panel is too narrow to accommodate the entire thing. But that's what it's called. I will go ahead and meatball it in order to select it. Then I will go up to the Edit menu and I'll choose the Copy command or you can press Ctrl+C, Command+C on the Mac. Now something to note here. You're not copying the pixels by the way. So if we were in Photoshop we copied the entire image and we had export clipboard turned on, not sure if you're familiar with all the stuff, but then if you were to switch to a different application, it would take a while for the contents of the clipboard to be conveyed to the operating system and then to the other application, because it would be ginormous.

You would have all these pixels that were getting copied. In the case of Illustrator, because this is a linked graphic, all you're doing is copying the link information which is just a few lines of code. So it's very efficient, Ctrl+C, Command+C on a Mac. Now I am going to go ahead and turn off Spanishtown dinosaurs by clicking its eyeball, and I am going to turn on this thing that's called curl container and this is the mask that I want to paste the graphic inside of. So I am going to the click on this path outline in order to select it. Now there is a few different ways a great clipping masks. We've seen them over time.

You could select one object, Shift+Select the other object, and then go up to the Object menu, choose Clipping Mask and choose Make. That works, but then we would lose our attributes. I would loose the stroke that I had assigned here. So I am not inclined to go that route. By the way, I am going to turn the image back on for a moment and meatball it. You might also figure that you can click on this Mask button up here in the Control panel, but as soon as you select the mask itself by Shift+clicking it, the Mask button goes away. So you can't really use the Mask button to mask things and that might seem crazy, but here's what it's for.

The idea is that you select the image and then you turn on mask and then you can stroke the clipping mask. So it just creates a rectangular mask and then you can stroke it. So that's why it exists, but, of course, I showed you a better way to do that in a previous exercise. So you don't need that button. Anyway, here's what you do want to do. Turn off the image, go ahead and meatball curl container right there, or click on its path outline in illustration window. The option I'm looking for is way at the bottom of the toolbox. So I've got to expand my toolbox, like so. So I have a double column toolbox and it's this guy right there, Drawn Inside.

You'll see this dotted boundary around the corners and then you go up to the Edit menu and you choose Paste in Place, they are new command inside CS5, and that goes ahead and pastes the image into the container so that we automatically have this masked damage. Now I am going to switch back out to the Drawn Normal mode and I am going to return to my single column toolbox. Then I am going to restore the Blend mode to Normal, but I've got to get to the image in order to do that, because if I go up to the Opacity value, well, no, look at that. It says Luminosity.

Let's try switching it back to Normal. That worked. Awesome! I didn't think that was going to work. I thought we are going to have to twirl this open and select the image independently, but apparently, it's already independently selected. That's why it worked, because we pasted inside. We now have this image placed inside of this container. That's awesome. Next what I am going to do is I am going to turn on this page curl. This page curl graphic, by the way, is something that I've created in advance for you. It's pretty simple. It's just is three segment shape here with two straight segments and one curving one.

It matches, of course, the angle of the clipping mask. Then I've gone ahead and filled this image with a gradient. So if you want to check that out, you switch to the Fill, expand your Gradient panel like so, and you can see that it's a linear gradient with a few different color-stops assigned. A little blue infused into the dark colors by the way. Then finally, I went ahead with the Gradient tool and set that gradient to a more or less perpendicular angle as you're seeing right there. Finally, if I go over to the Appearance panel, you'll see I added a drop shadow.

If you wanted check out the drop shadow I assigned, click on it. It's pretty big by the way. The X and Y Offset values are 10 points. The Blur value is 24 point. So a lot of blur assigned, and 100% Opacity, cancel out of there because that's just fine. Finally, I want you to see if I go to the Effect menu and choose Document Raster Effects Settings, because that affects the resolution at which the drop shadow renders, you'll see that I set it to Medium, which I cannot recommend enough. When you're just working with drop shadows inside of an illustration, even if you intend to go to press with this document, Medium is going to work just fine for you.

Anyway, I'm going to cancel out and it also makes the program run a lot more efficiently, especially when you start building up a lot of drop shadows. Anyway, that's it. You can take this page curl and use in your own graphics to your heart's content; that's why I am giving it you. Finally, I am going to switch back to the layers panel. I'm going to go ahead and collapse the Gradient panel and I am going to scroll down the list and turned back on that Spanishtown dinosaurs image that I had hidden previously and I am going to meatball it to make active, and I'm to reduce its Opacity. The Blend mode is already set to Luminosity still.

So we're just blending the luminance information with that background blue color, but I'm to reduce the Opacity value to something like 25%, which is really going to lighten up and we are not going to see too much in the way of detail anymore there, but it creates a pretty nice effect. Now the interesting thing here is we have two versions of the image. If I were to meatball that image was again, and go up to the Linked File option here in the Control panel, and click on it, you'll see two links. They're both linked to the exact same image file. So you would only need to bring one image file with you to the commercial printer.

Then check this out. I am going to switch to the Bridge by clicking on the Go to Bridge icon and here inside the 21_photoshop folder, I've gone ahead and saved this version of the file, the one we were just looking at is Unlikely dinosaur story.ai. I want you to see something. There is the Image in front file 20.22 MB. There is the Unlikely dinosaur file with a lot of additional stuff going on in it including two versions of the placed image 20.42 MB. So it's just couple hundred K larger as opposed to a single version of the image embedded is like 27 MB larger.

So remember linked graphics are your pals. They're going to keep your illustration running effectively and efficiently and you're going to get small file sizes to boot and that is how you use placed images inside Illustrator.

Find answers to the most frequently asked questions about Illustrator CS5 One-on-One: Advanced.


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Q: The instructions for installing the dekeKeys don't work on my computer (which is running Mac OS X Lion). Is there an update to these?
A: The dekeKeys distributed with this course will still work for Lion. You just need to add them to a slightly different folder than in previous versions of OS X.

Open a new Finder window and choose Go > Go to Folder. Type the following file path exactly as written below. Copying and pasting may result in an error.

~/Library/Preferences/Adobe Illustrator CS5 Settings/en_US

Move and/or copy/paste the dekeKeys to this folder and follow the rest of the instructions as outlined in the video, "Installing the dekeKeys keyboard shortcuts."
 
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