Illustrator CS4 One-on-One: Advanced

Nesting one clipping mask inside another


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Illustrator CS4 One-on-One: Advanced

with Deke McClelland

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Video: Nesting one clipping mask inside another

In this exercise I'm going to show you how to work with one Clipping Mask nested inside of another and this is a real mind bender, my friends, which is why I have gone ahead and saved my updated document as Mind blender.ai. And I'm going to go ahead and twirl close the Feet as I so often do and lock them down and unlock the Body, my friends. And let's go ahead and twirl it open and the body, let's go ahead and zoom in on the body, why don't we? The body includes the smock of course, which I'm calling Smock and it includes grill lines and the nifty thing about the grill lines, if I were to click on them, you can see that it is another arch and a slightly rotated version of that same arc and then I'm blending between the two using a Blend of course.
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  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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Watch the Online Video Course Illustrator CS4 One-on-One: Advanced
12h 54m Intermediate Jul 09, 2009

Viewers: in countries Watching now:

Knowing the fundamentals of drawing and reshaping paths is only part of the story. In Illustrator CS4 One-on-One: Advanced, the second of the popular One-on-One series, computer graphics expert Deke McClelland covers some of Illustrator's most powerful and least understood features. He shows how to merge simple shapes to create complex ones with the Pathfinder palette, as well as align paths to create schematic illustrations. Deke explains how to paint fluid, multicolor fills with blends, and the new and improved gradient tool. He explores seamlessly repeating tile patterns, blobs and brushes, and imported images. He also dives into one of the deepest features in all of Illustrator, transparency. Exercise files accompany the tutorial.

Recommended prerequisite: Illustrator CS4 One-on-One: Fundamentals.

Download Deke's customized keyboard layouts and color settings for Illustrator from the Exercise Files tab.

Topics include:
  • Working with compound shapes in the Pathfinder palette
  • Ghosting shapes with Fill Opacity
  • Understanding gradients and the gradient tools
  • Cloning and coloring a blended path
  • Saving tile patterns and applying them to a shape
  • Importing and linking images from other applications
Subject:
Design
Software:
Illustrator
Author:
Deke McClelland

Nesting one clipping mask inside another

In this exercise I'm going to show you how to work with one Clipping Mask nested inside of another and this is a real mind bender, my friends, which is why I have gone ahead and saved my updated document as Mind blender.ai. And I'm going to go ahead and twirl close the Feet as I so often do and lock them down and unlock the Body, my friends. And let's go ahead and twirl it open and the body, let's go ahead and zoom in on the body, why don't we? The body includes the smock of course, which I'm calling Smock and it includes grill lines and the nifty thing about the grill lines, if I were to click on them, you can see that it is another arch and a slightly rotated version of that same arc and then I'm blending between the two using a Blend of course.

So, we really have two paths that are being blended together and that's it. Now, we also have the cape right there and what I want to do is I want to take the grill and mask it inside the cape and I don't have to do any of that stuff we did with Pathfinder operations where we convert the various lines into filled objects and go that route, not necessary at all. This what we do instead. With cape in front, so everything is good to go where that is concerned. I'll go ahead and Shift meatball the cape because the grill is already selected. So, we have got both of these guys selected right ready to go.

And then I'll go onto the Object menu, I'll choose Clipping Mask and I'll choose Make or press Ctrl+7, Command+7 on the Mac and I go ahead and Mask these lines which are a blend inside of the cape. Now, I just lost the Stroke attributes that were formally associated with that cape. So, I'm going to twirl open the group and by the way the group is a mask, so we might as well just go ahead and name it that. We have got the cape right there. We have got the grill. Let's go ahead and meatball the cape by itself. I'll get my Eyedropper tool by pressing the I key and I'll just go ahead and click on this line right there in order to lift the Fill and Strokes attributes and for some darn reason, I just got a Gradient Fill. That's not one that is expected at all.

Is this guy filled with a gradient? What in the world? I'm getting some very different results, when I'm clicking on objects that are inside the mask, very different then what expected. So, I'm going to undo that modification. Let's try this object that is outside of the mask right there and that worked out just fine. Interesting. Anyway notice that we now have this open path that has got a stroke on it and Illustrator is completely unfazed by that. It is like, "Sure, yeah, I'll use that as a mask, no problem whatsoever." And so, I could go ahead and get my White Arrow tool and then I could click off the shapes in order to deselect them, click on this anchor point right there, move it to a different location and everything updates dynamically, completely amazing. Of course I was very happy with where it was. So, I'll go ahead and press Ctrl+Z or Command+Z a couple of times in a row to reinstate the original position. All right, then now the cape here has to go inside of the smock, does it not? Yes, it does.

So, we are going to take advantage of a nested Clipping Mask at this point, one Clipping Mask inside of another. So, we already have one of them right ready to go. Let's grab the other one. That would be the smock right here, the larger shape, and the interesting thing about the smock is that it includes not only the outside body shape, but also this heart that is cutting a hole and that heart that's cutting a hole by virtue of the fact that all we are seeing is a single path that's not twirlable. We can't expand it. It must be a compound path and we can confirm that by going up to the Object menu, choosing Compound Path and notice Release is available to us. If I were to choose a release command, sure enough we get the heart as a separate object. So, we have heart and smock as two separate paths. Now, of course we don't want that. We want the heart to cut a hole in his chest because that's part of his sadness that he has a hole where its heart should be.

So, we can reinstate it either just by choosing the Undo command of course or by choosing Compound Path, Make in order to turn that guy into a hole. All right, so we have got a Compound Path we can see it right there. I'm going to rename it smock and then, what I'm going to do? Now, just because, remember before you ever make a Clipping Mask that you are going to lose your Fill and Stroke attributes right. And if your Fill and Stroke attributes are sufficiently complicated. In our case, we have a Gradient that we might not want to have to completely redo because then we have got to figure out what the angle the Gradient is and everything and if get my Gradient tool, I can see that it is not terribly complicated, but I would have to remember that it starts inside the heart and then goes down to this third line right there and that seems more effort than it is worth frankly.

So, why not just copy the smock, paste it in front of the Mask and then allow the Fill and Stroke attributes to go their merry way. Let me show you what I'm talking about. I'll switch back to the Black Arrow tool so that I'm not seeing the Gradient line there. Then I'll go up to the Edit menu and I'll choose the Copy command or press Ctrl+C, Command+C on the Mac. Then I'm going to meatball the Mask item right there, so that I have the cape selected and I'll go up to the Edit menu and I'll choose Paste in Front or press Ctrl+F, Command+F on the Mac to paste a copy of that smock in front. Now, let's Shift meatball the Mask because the smock is already selected right there and then I'll just press Ctrl+7 because we have seen that keyboard shortcut so many times, Command+7 on the Mac and we get this effect.

Now, I did indeed by the way lose my -- where the heck is it? I lost my Fill and Stroke attributes where this smock is concerned, but that doesn't matter because this smock down here is filling in. So, we still have the Fill and Stroke attributes for it. So, we can still see it just fine. All right, so this is it folks. I'm going to double click on that guy and call him like ubermask or something along those lines so that we know it is the mask that contains the mask and click OK.

In the next exercise we are going to take this Smock and the various elements in his torso here and we are going to make him translucent just like his head and that will finish off our illustration.

Find answers to the most frequently asked questions about Illustrator CS4 One-on-One: Advanced .


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Q: In the lesson on pressure sensitivity, exactly what kind of Wacom tablet is the instructor using?
A: The instructor is using a Wacom Intuos 3 tablet
 
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