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Reinstating the colors of a clipping path

From: Illustrator CS6 One-on-One: Advanced

Video: Reinstating the colors of a clipping path

In this movie I'll show you how to restore the Fill and Stroke associated with the clipping path, and along the way we'll transform this radial gradient that's assigned to the grass down here at the bottom of the artwork to this custom blended gradient that you see here. So I'm going to start things off by selecting the grass path, and I'll do so by clicking on its outline with the Black Arrow tool; that doesn't work however, because the grass layer at the top of Layers panel is locked. So I'll unlock that grass layer and then I'll go ahead and scroll down, and I'll lock the sky layer, and that will just make it easier to select the objects inside my illustration.

Reinstating the colors of a clipping path

In this movie I'll show you how to restore the Fill and Stroke associated with the clipping path, and along the way we'll transform this radial gradient that's assigned to the grass down here at the bottom of the artwork to this custom blended gradient that you see here. So I'm going to start things off by selecting the grass path, and I'll do so by clicking on its outline with the Black Arrow tool; that doesn't work however, because the grass layer at the top of Layers panel is locked. So I'll unlock that grass layer and then I'll go ahead and scroll down, and I'll lock the sky layer, and that will just make it easier to select the objects inside my illustration.

All right, now I'm going to zoom out a click here and scroll down as well, and I'll go ahead and scroll back up the Layers panel until I see that grass layer, and now I'll click on that grass outline again in order to select it, and you'll see here inside the Gradient panel that I have a three color gradient. So it starts off with this bright green at the beginning here; the Cyan value is 50% and the Yellow value is 100%. Then we have this medium shade of green and finally we have very dark green. And if you add up these values, C65, M30, Y85, and K80, you end up getting 260%.

And I mention that because there's this thing called the total ink limit, and that's the amount of ink that the paper can absorb without the ink running on the page, and this is once again specifically applicable to commercial printing. And it's typically 270% or less. So because I've got my values set so they add up to 260%, I'm okay. You don't want to go beyond 300%, and you certainly don't want to go as high as 400%, except for special effects, as I'll discuss in future chapters. But anyway, just make a mental note of these values, because we're going to have to come back to them.

So let's say instead of this very basic elliptical gradient, and if you want to see what it looks like just press the G key in order to switch to the Gradient tool, and then hover over the Gradient Annotator, and you'll see that its shape is very elliptical; meaning that it's not very tall and it is very wide. Let's say I want something different, I want something more organic. I'm going to start off with three ellipses. So I'll twirl open my grass layer so that I can see its contents here, and I'll go ahead and turn on these ellipses here. And you can see that we've got a dark green one at the back.

And I'll go ahead and press the V key to switch to the Black Arrow tool, and click on that ellipse to select it. And there are my exact same values; C65, M30, Y85, and K80. And then I'll click on the middle one, those are the same values that I'd assigned to the middle color stop inside of that green radial gradient. And then this is my bright green right there in the center. And as you can see it's 50% Cyan and 100% Yellow, so the exact same colors we had before. And the colors are arranged pretty similarly to how they are arranged inside the radial gradient, although there is a lot more real estate associated with the bright green.

All right, let's say we want to put these ellipses inside of the grass path. Then I'll go ahead and scroll down my Layers panel a little bit and I'll grab that path at the bottom, which represents the grass, and I'll drag it and drop it on top of the forward ellipse. So underneath the Grass Group right there-- which is a group of stroked path outlines-- but on top of the ellipses. All right! Now I'll go ahead and meatball this grass path to select it, and now let's assign a totally different color so that we can keep track of it.

My Fill is active, as you can see here, so I'll go ahead and click in the CMYK spectrum bar on a bright shade of yellow, right there in the middle. That is the vertical middle of the bar. And so now the path is filled with orange and it's stroked with black. Now I'm going to select all these paths here by marqueeing around them. So I've managed to select the three ellipses, which are filled with various shades of green, as well as the orange grass path in front. You don't want to select any of this group of stroked outlines here. And notice that I didn't select the sky in the background, even though it appears to have this red outline around it.

That's merely a function of the bleed; that's not part of the red that's assigned to this layer. Anyway, I've just managed to select the grass and not the sky, because the sky is locked The next thing I want to do is go up to the Object menu, choose Clipping Mask, and choose Make--or you can press Ctrl+7 or Command+7 on the Mac, and that goes ahead and masks the green ellipses inside of that grass path. Problem is, I never got around blending the ellipses, so they don't look like a gradient at all. Fortunately that's a very easy problem to take care of.

What you want to do is go up to the Control panel--you can see we now have a Clip Group-- and then move over from Edit Clipping Path to Edit Contents. So click on the second icon in, in order to select those three ellipses. Now to blend them; go up to the Object menu, choose Blend, and choose the Make command, or press Ctrl+Alt+B or Command+Option+B on the Mac and you end up getting this smooth gradient. All right! I'm going to press Ctrl+Shift+A or Command+Shift +A on the Mac, to deselect everything. And then I'll go ahead and zoom in, and I want you to see that we've got a problem right there, which is the tips of the grass blades have been cut off. And that's because if I click on the outline for this clipping path once again, you can see that its Fill and Stroke are totally gone.

Notice over here in the Color panel we have a question mark for Fill and that's because in fact the entire Clipping Group is selected at this point, as we can tell by the meatball over here inside the Layers panel. But I can see that the Stroke is totally gone. So I lost the Fill that was assigned to the clipping path--that is the thing that's doing the clipping, the grass-- and I also lost its stroke. Now, there's a couple of different ways to select this clipping path independently of its blended ellipses, and one way is to switch over to Edit Contents and then switch back to Edit Clipping Path.

And now just the clipping path is selected, as you can see by the fact that both the Fill and the Stroke are set to None. However, the easier way, the way I do it-- just because that doesn't make a heck of a lot of sense that you have to go back and forth between those two icons--is to just twirl open the Clipping Group here inside the Layers panel. It will be called Clip Group by the way. And then presumably the whole thing would be selected like so, and then you'd just meatball the clipping path itself. And you know you have just the clipping path selected when you see the word Path up here in the Control panel on the far left side.

So when you turn a path into a clipping path you lose its Fill and Stroke automatically. In order to reinstate them, here is the easiest way to work. I'm going to go ahead and scroll down my list a little bit here inside the Layers panel, twirl open that Blend Group right there, and meatball the bottom ellipse, because I want to match the color of that ellipse; and that goes ahead and brings up those color value: 65, 30, 85, 80. Then switch back to the clipping path. I know this doesn't necessarily make sense, but this is the easiest way to work, believe it or not. Go ahead and switch back to the clipping paths, so I'll meatball it.

And then notice this little guy right there, Last Color. That's the last color you either applied or you even clicked on that was associated with the last selected shape. So I'll go ahead and click on that color and that reinstates C65, M30, Y85, K80. So I just want you to know that that option is there. Now I'll go up to my Control panel, because I need to reinstate the Stroke as well. I'll click on the Swatch right there, and I'll select Rich Black as my color. That goes ahead and makes the Line Weight value 1.0 by default, which is great.

So I'll go ahead and click on the word Stroke here; the only other change I want to make is to assign a Round Joint, so that we have a slight amount of rounding at all the corner points. And now I'll press Ctrl+Shift+A or Command+Shift +A on the Mac, and you can see now that we have an absolutely smooth transition. But if I go ahead and zoom out by pressing Ctrl+0 or Command+0, we still have--even though the contouring is different--we still have an elliptical shape to this gradient. What I want to do is create a more sculpted gradient like this one here, which is why I show you how to achieve this effect in the very next movie.

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This video is part of

Image for Illustrator CS6 One-on-One: Advanced
Illustrator CS6 One-on-One: Advanced

118 video lessons · 14583 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 43m 9s
    1. Welcome to One-on-One
      2m 9s
    2. Introducing my custom keyboard shortcuts
      6m 52s
    3. Installing my dekeKeys shortcuts on Windows
      4m 46s
    4. Installing my dekeKeys shortcuts on the Mac
      4m 18s
    5. Remapping your Macintosh OS shortcuts
      3m 10s
    6. Adjusting a few key Preferences settings
      8m 13s
    7. Understanding the color-managed workflow
      6m 51s
    8. Establishing the optimal Color Settings
      6m 50s
  2. 1h 11m
    1. Illustrator's oldest dynamic functions
      1m 28s
    2. Creating a multicolor blend
      7m 12s
    3. Establishing a clipping mask
      5m 40s
    4. Reinstating the colors of a clipping path
      8m 1s
    5. Editing individual blended paths
      4m 44s
    6. Adjusting the number of steps in a blend
      7m 15s
    7. Fixing problems with the Blend tool
      4m 2s
    8. Blending different levels of opacity
      4m 45s
    9. Editing the spine of a blend
      5m 3s
    10. Adding a custom spine to any blend
      5m 5s
    11. Advanced blending and masking techniques
      6m 18s
    12. Blending between entire groups
      3m 2s
    13. Adjusting the speed of a blend
      3m 21s
    14. Rotating objects in 3D space
      5m 36s
  3. 1h 0m
    1. Illustrator's logo-making features
      1m 8s
    2. Customizing a single character of type
      5m 25s
    3. Combining a letterform with a path outline
      7m 48s
    4. Creating logo type along an open path
      5m 3s
    5. Creating logo type around a closed circle
      3m 57s
    6. Vertical alignment, orientation, and spacing
      4m 55s
    7. Warping logo type around a circle
      6m 56s
    8. Creating a classic neon type effect
      5m 39s
    9. Adding random neon brightness fluctuations
      5m 19s
    10. Creating neon "block outs" between letters
      7m 44s
    11. Adding neon blur and bokeh in Photoshop
      6m 16s
  4. 46m 19s
    1. Generating colors using harmony rules
      1m 31s
    2. Introducing the Color Guide panel
      5m 16s
    3. The 23 color harmony rules, diagrammed
      8m 16s
    4. Mixing and matching color harmonies
      5m 59s
    5. Color groups and custom harmony rules
      6m 18s
    6. Working in the Edit Colors dialog box
      7m 4s
    7. Expanding on an existing harmony rule
      6m 51s
    8. Constraining colors to a predefined library
      5m 4s
  5. 32m 44s
    1. Changing lots of colors all at once
      1m 2s
    2. Introducing the Recolor Artwork command
      4m 58s
    3. Recoloring with the help of swatch groups
      4m 35s
    4. Changing the color-assignment order
      6m 44s
    5. Reducing the number of colors in your art
      5m 7s
    6. Applying tints and shades of a single swatch
      5m 37s
    7. Recoloring artwork that contains gradients
      4m 41s
  6. 1h 15m
    1. Painting with path outlines
      1m 24s
    2. Introducing the Brushes panel
      4m 25s
    3. Applying and editing a calligraphic brush
      7m 34s
    4. Applying and scaling an art brush
      6m 12s
    5. Applying and editing a scatter brush
      5m 31s
    6. Formatting and scaling brushed text
      5m 45s
    7. Designing a custom art brush
      7m 35s
    8. Creating (or replacing) an art brush
      6m 42s
    9. Refining a brush to fit ends and corners
      4m 11s
    10. Expanding, filling, and stroking a brush
      7m 4s
    11. Type on a path vs. text as an art brush
      7m 3s
    12. Distorting text with the Width tool
      8m 49s
    13. Infusing your artwork with a tile pattern
      3m 13s
  7. 58m 24s
    1. The many forms of transparency
      1m 38s
    2. Creating translucency with the Opacity value
      4m 21s
    3. Darken, Multiply, and Color Burn
      6m 15s
    4. Lighten, Screen, and Color Dodge
      5m 8s
    5. Overlay, Soft Light, Hard Light, Difference, and Exclusion
      4m 59s
    6. Hue, Saturation, Color, and Luminosity
      5m 12s
    7. Combining the effects of multiple blend modes
      6m 42s
    8. Isolating blending and Knockout Group
      7m 37s
    9. Combining blend modes with dynamic effects
      7m 25s
    10. Exporting transparency from Illustrator
      9m 7s
  8. 1h 39m
    1. The Layers panel for dynamic attributes
      1m 4s
    2. Applying attributes in the Appearance panel
      6m 15s
    3. Creating depth using translucent strokes
      5m 37s
    4. Adding, layering, and offsetting strokes
      6m 12s
    5. Duplicating entire groups of attributes
      7m 55s
    6. Turning stacked strokes into editable paths
      5m 43s
    7. Simplifying a multi-stroke effect
      6m 31s
    8. Applying the Convert to Shape effect
      7m 47s
    9. Adding aligned patterns and shadows
      8m 16s
    10. Drawing with arrowheads and angled strokes
      8m 49s
    11. Employing overlapping gradient strokes
      8m 25s
    12. Drawing circular stroke elements
      10m 13s
    13. Outlining an entire multi-stroke effect
      8m 39s
    14. Creating seamless wood grain in Photoshop
      8m 11s
  9. 1h 12m
    1. The best features in Illustrator
      1m 38s
    2. Repeating a series of transformations
      6m 18s
    3. Adjusting and updating a dynamic effect
      6m 37s
    4. Applying a stroke to an entire layer
      6m 24s
    5. Improving the performance of drop shadows
      5m 40s
    6. Applying a single effect multiple times
      6m 10s
    7. Creating an intricate Spirograph pattern
      7m 10s
    8. Adding scalloped edges with Pucker & Bloat
      4m 40s
    9. Applying a dynamic Pathfinder to a layer
      3m 56s
    10. Creating beveled ornaments
      6m 50s
    11. Creating a sculptural type effect
      5m 59s
    12. Subtracting editable text from a path
      7m 6s
    13. Editing text inside a dynamic effect
      4m 25s
  10. 27m 40s
    1. Never remember anything again, ever
      1m 41s
    2. The pixel-based Effect Gallery
      3m 53s
    3. Copying effects from one layer to another
      4m 44s
    4. Introducing the Graphic Styles panel
      4m 11s
    5. Correcting previews in the Effect Gallery
      4m 36s
    6. Adjusting the resolution of your effects
      4m 0s
    7. Combining and saving graphic styles
      4m 35s
  11. 1h 13m
    1. Two powerful graphics programs combine forces
      1m 5s
    2. Creating a perfectly centered star shape
      6m 52s
    3. Precisely scaling concentric circles
      7m 47s
    4. Adding reflective highlights with the Flare tool
      6m 23s
    5. Two ways to rasterize vector art for Photoshop
      7m 37s
    6. Importing vector art as a Smart Object
      6m 47s
    7. Creating a lens flare effect in Photoshop
      7m 56s
    8. Photographic texture and brushed highlights
      6m 26s
    9. Modifying a vector Smart Object in Illustrator
      6m 33s
    10. Converting Illustrator paths to shape layers
      6m 27s
    11. Assign layer effects to native shape layers
      5m 55s
    12. Completing a work of photorealistic art
      3m 46s
  12. 1m 5s
    1. Until next time
      1m 5s

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