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- [Instructor] In this movie,



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I'll show you how to limit your blending



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within the confines of a group or layer



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using the isolate blending option,



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and along the way we'll give

our model some striped glasses.



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All right, so I'll go ahead



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and switch over to my

document in process here.



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And notice this glasses layer.



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I'll go ahead and turn it on.



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And you can see that it

contains a bunch of rectangles



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and circles.



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Now, I've gone ahead and

combined the rectangles



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and each pair of circles

into a compound path,



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and I did that just by selecting them



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and then going up to the Object menu,



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choosing Compound Path,



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and choosing Make.



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And while that is not

the least bit necessary,



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you don't have to do that,



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it is going to make this exercise

a little more convenient.



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All right, so at this point,



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the rectangles are in the proper location,



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and I'm going to start



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by aligning the rose-colored

circles to them.



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So I'll Shift + click

on the circles, like so,



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and then, just so the

rectangles don't move,



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I'll click on them again



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in order to turn them into the key object.



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And now I'll click on the word Align



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up here in the control panel



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and select horizontal align center.



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Now, at this point,



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it looks as if the rectangles

are no longer the key object,



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but that's just an interface bug.



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Everything's working just fine.



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And so all you need to do now

is click vertical align center



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and you will get the

alignment we're looking for.



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All right, now these

white circles may prove



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to be a little bit distracting,



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so I'm going to twirl

open the glasses layer



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and turn them off,



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at which point you can see, sure enough,



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those rectangles remain the key object.



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All right, now I'm going

to zoom in on them,



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and I'm going to click off

the artwork to deselect it.



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Now, these circles happen to

be on top of the rectangles.



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You can see that's the case

here inside the layers panel.



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And so what I want to do is blend them,



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along with the rectangles,



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to create a kind of stripe effect.



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And I'm going to do that by

clicking on the word Normal



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up here in the transparency panel



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and changing the blend mode to multiply,



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and I end up with this effect here.



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And while it works great where

the stripes are concerned,



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you can see that we are getting

some nice stripe action,



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I'm also multiplying

through to the model's eyes,



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and that is not what I want.



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And so to limit that blending,



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I'm going to go ahead and

Shift + click on the rectangles



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so that both the circles and

the rectangles are selected,



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and then I'll go up to the Object menu



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and choose the Group command,



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or of course you can

just press Control + G



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or Command + G on the Mac.



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Now, in and of itself,



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that doesn't do anything,



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and that's because blend

modes naturally travel



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outside of groups and layers



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to all the various objects behind them.



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And so what you need to do

with that group targeted,



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so make sure you're seeing a double circle



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around the meatball over there



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on the right-hand side of the panel.



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Then go up to the transparency panel.



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If necessary, expand it

all the way, like so,



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and then turn on the

Isolate Blending checkbox,



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and that is going to limit the blending,



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as we're seeing right there.



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So all of the blending is now

happening inside the group



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and none of it is escaping.



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All right, now we need to

bring in the white circles,



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so I'll go ahead and turn them on.



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And they're located down here, by the way.



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I need to align them,



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so I'll go ahead and Shift + click



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on that group right there,



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and I'll click on it again

to make it the key object.



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And then I'll click on the word Align



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up here in the control panel,



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I'll select horizontal align center,



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and despite what we're seeing,



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that group is still the key object,



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so I'll select vertical

align center, as well.



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All right, now just so I can give you



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a better sense of what's going on,



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I'm going to hide the group



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so we can just focus on the white circles.



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And I decided to turn them into lenses



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by first grabbing the eyedropper,



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which you can get by pressing the I key,



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and I want to lift a shade of

purple from the background.



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Now, if I just click in that background,



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I'm going to load those

shapes with the gradient,



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which is not really what I want to do.



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I just want to grab a single flat color.



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So I'll undo that change.



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And your fill needs to

be active, by the way,



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for this to work.



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And then I will Shift + click

on the purple background,



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and that will load that

specific color under my cursor.



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And so it could be anything.



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I could Shift + click on

her face, for example,



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in order to load something

resembling that shade of rose



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that I'm using for the stripes.



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But I want purple,



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so I'll Shift + click back here.



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And then I decided to change

the blend mode to different



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just to see what would happen,



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and I ended up getting

a pretty cool effect.



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The problem is that the

transitions are too harsh.



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In which case,



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as I was telling you earlier,



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if you kind of like difference,



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but it's not quite what

you're looking for,



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then you can switch to exclusion.



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And in our case,



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that gives us a much smoother effect,



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and it's analogous to screen once again.



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Screen's going to give you a

totally different color scheme,



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but it is going to give you

similarly smooth color transitions.



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All right, now I'll just press the B key



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to switch back to my black arrow tool



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and I'll turn on the group.



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And which point you may notice



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that we're no longer highlighting the eyes



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because these stripes

are getting in the way.



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Now, I want you to notice

something about the group.



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I'm going to go ahead and meatball it here



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in the layers panel,



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and I want you to notice

this knockout group checkbox.



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It has a dash in it.



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So it's currently set

to its neutral setting.



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And I want you to remember that



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because it makes a big difference.



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Now what I'm going to do is

meatball the glasses layer,



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and I'm going to turn on

the knockout group checkbox,



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and watch what happens.



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We reveal those eyes in the background.



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So blend modes penetrate just as surely



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as reduced opacity values.



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The problem is I've lost any

interaction in the group,



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and let me show you why that is.



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I'll click off those

items to deselect them,



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and then I'll select the grouped objects,



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and notice our knockout

group is still set to dash,



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which means because it's neutral,



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it's accepting the knockout group setting



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assigned to the layer.



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Because after all,



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because the layer contains the group,



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it's the dominant container.



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So what you need to do

is select the group,



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and then now notice for some reason



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that the knockout group checkbox is on.



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What you want to do is turn it off.



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And so you'll need to click that checkbox.



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It appears a couple of times,



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but make sure the group has

isolate blending turned on



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but knockout group turned off.



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And we end up with this effect right here.



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And that's how you limit your blending



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within the confines of

a single group or layer



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using the isolate blending checkbox,



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as well as how you create a playful design



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using a combination of two

knockout group settings,



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one turned on and the other turned off.