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Filling and stroking a mask

From: Illustrator CS4 One-on-One: Advanced

Video: Filling and stroking a mask

All right, so much for blending. Now we are going to switch to the topic of masking inside of Illustrator and you might think, "Hey Deke, you already showed us masking, we took that rectangle and we put it in front of that other stuff and we chose the Clipping Mask Make Command and Bob's your Uncle, it's done," right? Yes, it's true. Bob's your Uncle. But we do have some more things to look at where masking is concerned. It's quite a deep feature and I want to show you everything about it. I have gone ahead and saved my progress as Shooting star.ai. I'm going to go ahead and twirl close Shoot star and lock it down and I'm going to unlock this Ball layer right there, near the top of the stack. I'm going to go ahead and scroll down and we are going to zoom in on the ball. Now you may recall, we already addressed the ball, when we discussed Pathfinder Operations at the outset of this portion of the series, but here is the deal, masking is more powerful where this ball is concerned. So, I want to sort of compare and contrast with the Pathfinder Operations we saw earlier because the Clipping Mask is both more powerful as I say and it's a little more problematic. So, it's a peskier, so that you can pick and choose which approach you want to take.

Filling and stroking a mask

All right, so much for blending. Now we are going to switch to the topic of masking inside of Illustrator and you might think, "Hey Deke, you already showed us masking, we took that rectangle and we put it in front of that other stuff and we chose the Clipping Mask Make Command and Bob's your Uncle, it's done," right? Yes, it's true. Bob's your Uncle. But we do have some more things to look at where masking is concerned. It's quite a deep feature and I want to show you everything about it. I have gone ahead and saved my progress as Shooting star.ai. I'm going to go ahead and twirl close Shoot star and lock it down and I'm going to unlock this Ball layer right there, near the top of the stack. I'm going to go ahead and scroll down and we are going to zoom in on the ball. Now you may recall, we already addressed the ball, when we discussed Pathfinder Operations at the outset of this portion of the series, but here is the deal, masking is more powerful where this ball is concerned. So, I want to sort of compare and contrast with the Pathfinder Operations we saw earlier because the Clipping Mask is both more powerful as I say and it's a little more problematic. So, it's a peskier, so that you can pick and choose which approach you want to take.

All right, so I'm going to twirl open the Ball layer and you can see that I have gone ahead and fussily labeled all of the items here, these are the tacks right at these locations, this is the front thing that is over here. Here are the back things that are over on this side and this side and then we all these edges that are the objects that belong inside the ball. So, the ball needs to move in front because the items that's masking is always in front of the items that it's going to mask, then we need to select all these objects. So, meatball the ball and then Shift meatball the edges like so and then you go on to the Object menu and you choose Clipping Mask and you choose Make or you press Ctrl+7 or Command+7 on the Mac and you get this effect here which is to say that I have successfully masked the items that go inside the ball, but we loss the Fill and Stroke attributes that were formerly associated with the ball. So go ahead and twirl open this group because it is the mask and the masked object is right there. You will see that the ball is in front and sure enough it's masking the edges. It's all good and you may even go so far as to say well, "Deke, you can't have the Fill and the Stroke, because if you did, they would cover up the edges." Not so.

Let me show you how it works, I'm going to go ahead and meatball the Ball, so that only the mask is selected, then I'm going to press the I key to get the Eyedropper. Now, in the past I have been able to just like click on this guy in order the load it's Fill and Stroke attributes, because it's filled with white and stroked with black. But if I click on the stroke, then I just filled the ball with black, I'll go ahead and undo that and if I click in the white fill, then I just fill the ball with white and I don't lift the stroke. So, I'm not sure what's going on there frankly, if I move my cursor outside the mask and I click on this ball right there, then I'll go ahead and lift both the Fill and Stroke attributes like so.

Notice even though I have applied a white fill to the ball and a black stroke in a ball is in front of the edges. It doesn't cover up the edges because it's integrated into a single masked unit. Now, I ask you why doesn't Illustrator just go ahead and do that naturally is such a pain in the caboose that I have to come back here and reinstate these Stroke and Fill attributes, but unless I do. Anyway, we have got some other things going on inside of this ball we have got these edges that's are overlapping each other, notice that. So, let's go ahead and twirl open the edges thusly and I'm going to take this path and move it below to the bottom of this little group right here.

Then I'm going to meatball this path, which is this one -- oh! That's wrong one, I want this one right here, I'll go ahead and meatball him and let's go ahead and assign a white fill to this path. Let's see if I may be able to do it just by clicking in this path like so and that worked, good, not sure why but now it's all hunky-dory, so that's great. The wonderful thing about this is it's so flexible, right. I didn't have to do like remember back when we use Pathfinder operations, I had to do three separate intersection operations and that was a lot of work. So, even though this did require some additional manipulation, it wasn't as much work as before. So, that's good news.

All right, so if I got my Direct Selection tool I can move this guy to a different location and you will see that it just gets masked on a fly so it's an incredibly flexible solution here inside of the Illustrator. So, that's one application of masking. In the next exercise, I'm going to show you how to turn both of these shoes into a single mask that masks these laces, which are actually both blends. I'll show you how it works.

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This video is part of

Image for Illustrator CS4 One-on-One: Advanced
Illustrator CS4 One-on-One: Advanced

149 video lessons · 21607 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 28m 41s
    1. Welcome
      1m 7s
    2. Installing the dekeKeys keyboard shortcuts
      8m 59s
    3. Resetting the Function keys on a Mac
      4m 47s
    4. Installing the CS4 color settings
      4m 20s
    5. Loading the CS4 color settings in Illustrator
      6m 3s
    6. Loading the CS4 color settings in Bridge CS4
      3m 25s
  2. 1h 53m
    1. From the simple emerges the complex
      42s
    2. Introducing Pathfinder operations
      4m 17s
    3. Editing a compound shape
      4m 39s
    4. Adding to a compound shape
      3m 11s
    5. Inserting a subpath into a compound shape
      3m 56s
    6. Expanding a compound shape
      4m 53s
    7. Assembling primitives
      4m 42s
    8. Preparing a template in Photoshop
      7m 0s
    9. Uniting paths permanently
      5m 40s
    10. Minus Front vs. Minus Back
      1m 55s
    11. Working with compound paths
      6m 49s
    12. When in doubt, divide
      3m 54s
    13. Divide and Unite
      3m 2s
    14. Open path pitfalls
      5m 35s
    15. Strokes bad, fills good
      4m 38s
    16. Advanced Divide and Unite
      8m 59s
    17. Using the Crop operation
      8m 30s
    18. Expert Divide and Unite
      8m 45s
    19. "Ghosting" shapes with Fill Opacity
      6m 45s
    20. Anticipating and troubleshooting
      8m 16s
    21. Exclude and Intersect
      7m 24s
  3. 44m 59s
    1. Familiar one moment, different the next
      1m 3s
    2. Snapping to anchor points
      5m 41s
    3. Aligning a group to the artboard
      3m 34s
    4. Distributing objects on the artboard
      4m 16s
    5. Setting the key object
      4m 54s
    6. Distributing objects by space
      3m 6s
    7. Distributing objects by selections
      3m 19s
    8. Aligning point text
      6m 7s
    9. Aligning live text vs. using outlines
      4m 58s
    10. Aligning key letters
      3m 35s
    11. Aligning to key objects
      4m 26s
  4. 1h 4m
    1. CS4’s gradient renaissance
      1m 7s
    2. Applying a gradient
      6m 0s
    3. Dragging and dropping color swatches
      2m 55s
    4. Using the Gradient palette
      6m 27s
    5. Designing a shaded gradient
      5m 9s
    6. Saving a gradient swatch and adding a texture
      4m 2s
    7. Introducing the new Gradient tool
      4m 39s
    8. Editing color stops inside a shape
      3m 26s
    9. Setting multiple gradients to the same angle
      5m 0s
    10. Adding and adjusting radial gradients
      7m 20s
    11. Making a transparent gradient
      7m 6s
    12. Adding drop shadows (a kind of gradient)
      6m 28s
    13. Blends vs. blend modes
      4m 38s
  5. 1h 17m
    1. Creating freeform color flows
      1m 0s
    2. The power of CS4's transparent gradients
      10m 25s
    3. Creating a gradient mesh
      4m 30s
    4. Expanding a gradient to a gradient mesh
      7m 40s
    5. Adding and deleting rows and columns
      6m 13s
    6. Selecting and coloring points
      6m 5s
    7. Assigning colors with the Eyedropper tool
      7m 42s
    8. Cool mesh editing techniques
      3m 56s
    9. Warping and puckering a mesh
      7m 24s
    10. Applying precise finishing touches
      5m 48s
    11. Gradient strokes
      9m 45s
    12. Gradient text
      6m 50s
  6. 55m 35s
    1. The first of the dynamic functions
      1m 4s
    2. Making a blend automatically
      5m 48s
    3. Fixing problem blends
      3m 56s
    4. Making a blend with the Blend tool
      3m 6s
    5. Cloning and coloring a blended path
      4m 37s
    6. Creating a mask
      3m 53s
    7. Blending between translucent shapes
      5m 30s
    8. Blending along a curve
      4m 34s
    9. Adjusting the speed of a blend
      2m 58s
    10. Filling and stroking a mask
      4m 36s
    11. Creating a compound clipping mask
      6m 3s
    12. Nesting one clipping mask inside another
      6m 7s
    13. Ghosting nested masks and blends
      3m 23s
  7. 1h 13m
    1. Patterns that repeat forever and ever
      51s
    2. Introducing tile patterns
      6m 36s
    3. Beginning a core design
      5m 6s
    4. Building an interlocking element
      6m 25s
    5. Achieving precise radial symmetry
      4m 46s
    6. Rotating duplicates around a common center
      3m 10s
    7. Determining how a pattern repeats
      9m 54s
    8. Coloring the core objects
      5m 0s
    9. Identifying the rectangular tile
      7m 14s
    10. Saving tile patterns
      7m 19s
    11. Applying tile patterns to a shape
      3m 25s
    12. Protecting patterns from transformations
      7m 36s
    13. Moving patterns without paths
      5m 51s
  8. 1h 19m
    1. Illustrator gets natural
      1m 15s
    2. Introducing the vector painting tools
      3m 16s
    3. Calligraphic brush options
      4m 3s
    4. Pressure sensitivity
      5m 17s
    5. Editing a calligraphic brush
      5m 53s
    6. Repainting and smoothing paths
      5m 30s
    7. Making the paintbrush behave
      6m 16s
    8. Erasing stroked paths
      3m 17s
    9. Painting with the new Blob brush
      6m 24s
    10. Refining filled paths with the Eraser
      4m 14s
    11. Painting independent paths
      3m 53s
    12. The Selection Limits Merge options
      3m 20s
    13. Applying and scaling an art brush
      6m 23s
    14. Snipping a brushed path
      4m 55s
    15. Colorizing an art brush
      4m 9s
    16. Heaping a stroke on an art brush effect
      4m 32s
    17. Creating a custom art brush
      6m 51s
  9. 1h 44m
    1. The computer art world’s dynamic duo
      1m 7s
    2. Copying and pasting pixels from Photoshop
      7m 21s
    3. Linking is efficient, embedding is not
      2m 47s
    4. Editing an image in Illustrator
      7m 30s
    5. Filtering an image in Photoshop
      6m 34s
    6. Adding a filter mask in Photoshop
      6m 25s
    7. Masking a woman from the background
      3m 49s
    8. Creating a sepia effect
      6m 37s
    9. Adding a second gradient map layer
      2m 13s
    10. Achieving a graphic effect with Levels
      8m 10s
    11. Preparing an image for use in Illustrator
      5m 46s
    12. The importance of image resolution
      9m 40s
    13. Placing and linking images
      4m 43s
    14. Managing linked images
      6m 18s
    15. Integrating an image into a design
      5m 12s
    16. A better way to wrap text
      7m 28s
    17. Previewing the trim size
      4m 25s
    18. Layer comps and editable text
      8m 42s
  10. 2h 11m
    1. Transparency is safe and fun
      1m 27s
    2. Introducing the translucent composition
      4m 39s
    3. Assigning opacity to an Appearance attribute
      3m 41s
    4. Creating a knockout group
      5m 7s
    5. Defining an opacity mask
      7m 15s
    6. Using the Clip checkbox
      2m 41s
    7. Opacity mask tips and tricks
      3m 20s
    8. The Multiply blend mode
      6m 8s
    9. Adding to an existing opacity mask
      7m 53s
    10. Blending between parallel groups
      7m 27s
    11. Creating a gradient opacity mask
      4m 54s
    12. Employing an opposing gradient mask
      7m 57s
    13. Combining Multiply and Screen
      3m 49s
    14. Blend mode roundup
      5m 24s
    15. Mixing blend modes inside a single path
      3m 48s
    16. Blend mode and transparent gradient
      3m 49s
    17. Masking an entire layer
      7m 0s
    18. Combining Screen with 100K Black
      7m 43s
    19. Knocking out a drop shadow
      5m 18s
    20. But will it print?
      3m 8s
    21. Working with the Flattener preview
      8m 44s
    22. Rasterizing an illustration in Photoshop
      9m 16s
    23. Super-rich blacks and raster effects
      3m 35s
    24. Exporting TIFF artwork from Illustrator
      7m 48s
  11. 58s
    1. Until next time
      58s

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