Illustrator CS5 One-on-One: Advanced

Placing one mask inside another


Illustrator CS5 One-on-One: Advanced

with Deke McClelland

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Video: Placing one mask inside another

In this exercise I am going to show you how to modify two blends at the same time and then we are going to take them and place them inside of a mask, and then we are going to take that mask and put it inside yet another mask. I have saved my progress as Menacing, and I am going to zoom out here so that we can take in the face of the sarcophagus right here. Notice that I've got these extreme paths at the top and the bottom on both sides of the sarcophagus and I want to blend between them in order to create a kind of ribbing effect. Now I would like to go and select these objects, but for me they're on a locked layer.
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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
    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
    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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Watch the Online Video Course 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
Deke McClelland

Placing one mask inside another

In this exercise I am going to show you how to modify two blends at the same time and then we are going to take them and place them inside of a mask, and then we are going to take that mask and put it inside yet another mask. I have saved my progress as Menacing, and I am going to zoom out here so that we can take in the face of the sarcophagus right here. Notice that I've got these extreme paths at the top and the bottom on both sides of the sarcophagus and I want to blend between them in order to create a kind of ribbing effect. Now I would like to go and select these objects, but for me they're on a locked layer.

So I am going to unlock this shield & ribs layer by clicking on the lock icon to turn it off and then I will click on this top path here and the bottom path. And this time around, because we have done it so many times, so I am just going to press the keyboard shortcut Ctrl+Alt+B or Cmd+Option+B on a Mac. Because those two paths sport identical strokes and no fills, Illustrator gives us a single step in between. All right, that's fine, we'll come back to it. I will click on this path outline and this one in order to select both of them. Press Ctrl+Alt+B or Cmd+Option+B again in order to blend between those two paths.

Now I want to modify the steps associated with these two blends at the same time. So with this one selected I will Shift+ Click on this guy to select it as well, and because I have the Black Arrow tool active I go ahead and select the entire blend, because it's part of a single blend object. So I have both blends selected. Now I will go over to the Blend tool and double-click on it to bring up the Blend Options dialog box. I will switch Spacing from Smooth Color to Specified Steps. I'll see that I have a single step and nothing more.

I want that steps value, just based on experience here, I want it to be 15. And then I will press the Tab key and I fill in the ribs, like so. They need to be clipped, as well, inside of this sort of a accordion shape right there. So I will go ahead and click OK to accept my changes and I want to grab this shape. However, I got to Switch tools. So I will press the V key to get my Black Arrow tool. I will click on this path outline to select it. It needs to be in front of the blends in order to mask him. So I will press Ctrl+X or Cmd+X on a Mac to cut that shape.

Then I'll select both of the blends. It's important that you select both of them, so that you can don't end up pasting between the two. So click on one, Shift+Click on the other, and press Ctrl+F or Cmd+F on the Mac in order to paste that shape into place. Now the reason we can see through it, is because it contains a translucent gradient. Now here is the thing. This is, I don't know if it is the most complex gradient on earth. I will go ahead and bring up my Gradient panel so I can see. Apparently, I'm blending from a shade of brown right here to that exact same shade of brown, I believe.

Well, actually it does change a little bit here inside the Color panel. So the color stops are a little bit different from each other, but one is 100% opaque, the first one is. You will see the Opacity value there is 100%, and if I click on that second color stop, its Opacity value is 0%. So I have a translucent gradient, in other words, and that's why I can see through this shape. However, here's the deal. Any time you convert a shape to a clipping mask, you lose its Fill and Stroke attributes. You can reinstate them, but initially you lose them. This has been the way it is since Illustrator '88.

It's a shame a shame that Illustrator hasn't fixed this problem by now. You should be able to retain those Fill and Stroke attributes. However, what you do upfront if you know you are going to lose them and you want to be able to reinstate them more easily than having to write down all these settings and reapply them manually. Go ahead and select the shape as I have done so that you are telling Illustrator here is the Fill and Stroke attributes I want to work with and then just grab something like the Rectangle tool, any tool will do, and just go ahead and draw a shape.

So I will draw it out here in this sort of empty area in the background. Just in order to save those Fill and Stroke attributes for later. Now I don't have any stroke attributes, but I do go ahead and save my Gradient Fill. Now having done that I will switch back to Black Arrow tool by pressing the V key, and I'll click on the path outline to select it, and then I will Shift+Click on each of the two blends in order to select them as well. Now anytime you're creating a clipping mask, the top path outline is going to clip everything else. So now I will go up to the Object menu and I'll choose Clipping Mask and I will choose Make or press Ctrl+7, Cmd+7 on a Mac.

Sure enough, I go ahead and mask those blends. Sure enough, I also loose my Fill and Stroke attributes, that are assigned to the clipping mask at any rate. Now I will press the I key to get my eyedropper and I'll click anywhere inside of this little rectangle I created. So I will click like so and that goes ahead and assigns that fill to the blends, which is not what I want at all. So the blend must be selected in addition to the clipping mask, what do I do? Well, of course you press Ctrl+Z, Cmd +Z on a Mac, because this is a mistake.

I will go ahead and twirl open shields & ribs and then I will scroll down and try to find the selected group. There it is! I will twirl it open, and there is the clipping mask. So I could select this path outline independently of the others using White Arrow tool. That's one way to work, because I want to select into a group. Another ways is to find it here inside the layers panel. That's the way I prefer to work. Then meatball that clipping path, the item that's called clipping path, which is the mask, independently of everything else. I still have my Eyedropper selected. So I will click inside of that gradient in order reassign that Fill to the clipping mask.

So that's one clipping mask, what about the other one? Well, I want to go ahead and place this larger sort of accordion shape inside of the face of the sarcophagus. So I'll switch to my Black Arrow tool by pressing the V key. I will click on this outer sort of rectangular shape right there in order to select it, that is this prospective rectangle. I will press Ctrl+X, Cmd+X on the Mac in order to cut it, because I've got to place it in front once again so that it's at the front of the stack. Then I'll click on this object to select the whole group, mind you, not just the clipping path even though only the clipping mask is showing up onscreen, everything is selected.

Then I will press Ctrl+F or Cmd+F on the Mac in order to paste it in front. Now it's obscuring everything behind it. So I have got to dig into the layers panel again. Luckily, I am scrolled to the right location here inside of the panel. Let's go ahead and hide that Gradient panel. Actually, this reminds me I need to make sure to back up that gradient. This is an even more complex gradient, because it contains three different color stops. I am not even going to bother to check out exactly what those color stops are. Instead, I am going to press the M key to switch to my Rectangle tool.

Again, it doesn't matter what shape you draw, just any shape will do. With this larger path outline selected go ahead and draw a rectangle that will automatically fill with that same gradient, because it's active, and then, here inside the Layers panel you need to click on the path outline. That's it right there, that's below this sort of shield group right there. Go ahead and click on it, that is meatball it, in order to select it and then Shift+Meatball the group underneath which represents the clipping mask and its content. Now we are going to mask them together by going up to the Object menu, choosing Clipping Mask once again, and choosing Make.

So you can place a clipping mask inside of another clipping mask as deep as you want to go. So you can nest as many clipping masks as you like, and I am going to do that by choosing the command or pressing Ctrl+7, Cmd+7 on a Mac. It goes ahead and clips just like I wanted to, however, of course we lose the Fill and Stroke attributes. I don't want to assign this fill here to everything that's selected. So I need to twirl open that group right there. It gets a little complicated, but you've just got to be systematic in terms of your approach. Go head and twirl open that group. Meatball that top clipping path, because that's the one that we want to refill and then I will press the I key in order to my Eyedropper and I'll click inside of that rectangle. That goes ahead and reassigns the gradient.

You can even see it here inside the thumbnail in the Layers panel. That reinstates that gradient fill to that clipping mask, and, by the way, it also reassigns the stroke. There was a stroke associated with that path originally, and we get this effect here. Now I'll switch to the Black Arrow tool by pressing the V key. Then I will go ahead and click on one of these path outlines, these rectangles that I no longer need. I will click on one, Shift+Click on the other so that they are both selected. I will press Backspace key or the Delete key on the Mac in order to get rid of them and this is the effect that we ultimately achieve.

Two blends inside of one clipping mask that we then place inside of another clipping mask, without losing our Fill or Stroke attributes, contrary to the way that Illustrator normally works, thanks to the fact that we took a systematic approach to the entire process.

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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