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- [Instructor] In this

movie, we're going to put



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an opacity mask into actual use



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and once again, we're

going to get the stripes



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off the model's nose and

we're going to create



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these soft transitions

over here on the left



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and right hand sides of the face.



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All right, I'll switch back

to my document in progress,



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which I've reverted to its save state



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and so the first thing I'm going to do



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is press the A key to switch

to my white arrow tool



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and that will allow me to gain access



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to these shapes that are

trapped inside the group.



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So I want to select these

two big circles right here,



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as well as this shape

and if you click inside



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that shape, you're going

to select everything



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in a compound path, which

is not what we want.



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So if that happens to you,



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shift-click again in order to deselect



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the shapes and then you

want to press and hold



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the alt key or the option key on a Mac.



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So I have both the

shift and alt keys down,



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again, that's shift and option on the Mac,



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and then carefully click on the outline



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of that shape, like so.



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Now what I want you to do,



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is press control-C or command-C on a Mac,



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to copy those shapes.



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Then press the V key to switch

to the black arrow tool.



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Press ctrl-shift-A or

command-shift-A on a Mac,



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to deselect those shapes

and then press ctrl-F



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or command-F on a Mac, in order to paste



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the shapes in front.



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What that's going to do, is ensure



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that we don't paste the

shapes back into the group,



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which is not what we want.



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Alright, now we want to make sure



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that all the shapes are

independent of each other.



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So go up to the object

menu, choose compound path,



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and choose release, just to be sure.



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Alright, now just go

ahead and press control-X



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or command-X on a Mac, in order to cut



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those shapes to the clipboard.



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I'm doing that because this time



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we're going to take a different approach



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to creating an opacity mask.



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Instead of letting illustrator



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put everything inside of a group,



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we're going to assign the

opacity mask to an entire layer



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by targeting the layer, by

clicking on its meatball



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over here inside the layers panel.



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Then you want to go up to

the transparency panel.



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You can click make mask if you want to,



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but there's a shortcut

which is to double click



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on this right-hand thumbnail



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and that's going to create an opacity mask



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and take you right into it.



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Then press ctrl-F or command-F on a Mac,



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in order to paste those shapes.



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Now I want you to see

something that amuses me.



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Notice over here inside this thumbnail,



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we're seeing the original colors



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but over in the document

window, we're seeing gray.



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In reality, opacity masks

do not support colors.



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They are shades of gray.



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So what you're seeing in the

document is more accurate.



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Alright, now we want to use these shapes



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to reveal the glasses

and so we need to change



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all the colors to white as well

as get rid of any blending.



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So I'm going to go up here

to the transparency panel.



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Notice that the blend

mode popup menu is blank



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and that's because the

rectangle is set to normal



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and the circles are set to multiply.



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So I'm going to go

ahead and select normal,



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in order to override that multiply



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and then we need to make the shapes white



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by going up here to the fill swatch,



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the very first swatch

in the control panel,



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and selecting white from

that list of swatches.



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Alright, now it's not going

to do us very much good



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to see things white on white like this.



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So I'm going to bring back

the actual illustration



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by alt or option clicking on

that right-hand thumbnail.



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Now I need to scale this

rectangle right here.



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So that it better fits my

desired contours for the glasses



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and I'm going to do that

using the bounding box.



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So I'll press ctrl-shift-B

or command-shift-B on a Mac,



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to bring up that bounding box.



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I'll click off the paths

and then I'll just click



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on a rectangle to select it independently



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of everything else.



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Now its bottom edge

happens to be at exactly



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the right location but its

top edge needs to come upward.



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So I'm going to go up to the view menu



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and choose smart guides,

in order to turn them on.



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I generally leave them

off because they end up



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making everything flash on screen.



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Then I'll drag this top handle upward



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until it snaps into alignment with the top



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of the circles and then

I'll drag this edge



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until it snaps into

alignment with the center



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of the circle and I'll

drag the left-hand edge



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so it snaps into alignment as well.



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We end up with this effect here.



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So far, we could have done

everything using a clipping mask.



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There is the one advantage,



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that we're able to work with a bunch



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of different path outlines

where the mask is concerned



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but where the real power comes in,



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is when you start applying

things like dynamic effects.



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So I'm going to select

both of the circles here.



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I don't want to see that bounding box,



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so I'll press control-shift-B

or command-shift-B on a Mac



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and then I'll go up to the effect menu,



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choose blur and choose Gaussian blur



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and I'll turn on the preview checkbox,



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so I can just see how

things are going to look.



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I'm going to once again

take that radius value



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down to five pixels and click OK.



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Alright, now I want to

expose more of the glasses.



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I want to actually grow

them outward a little bit



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and so I'll return to the effect menu,



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choose distort and transform



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and choose the transform command



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or if you loaded D keys, you

have that keyboard shortcut



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of ctrl-E or command-E on the Mac.



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Now I'll turn on the preview

checkbox here as well.



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I'll click in the horizontal scale value



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and press shift up

arrow a couple of times,



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in order to increase the width

of each one of the ellipses



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and then I'll tab down

to the vertical value



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and do the same, take it up

to 120% as well and click OK.



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Alright, now that's going

to work out pretty well



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for the stripes, except for the

fact that they end too soon.



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So I'm going to take care

of that problem right now.



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I'll click on the left hand thumbnail



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to switch back to the illustration.



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I'm going to lock the image so I don't run



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the risk of messing it up.



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Then I'll press the A key to switch back



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to my white arrow tool and I'll go ahead



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and marquee these edges right here,



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just the right hand

edges of those rectangles



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and I'll press the enter key

or the return key on a Mac,



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to bring up the move dialog box



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and I'll change the horizontal value



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to let's say, a hundred points



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and I'll leave the

vertical value set to zero



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and I'll turn on the preview checkbox



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and you can see, that moves those edges



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way out there, which is great.



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Then I'll click OK.



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Now I'll marque these left-hand

edges and do the same thing.



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I'll press the enter key or

the return key on the Mac,



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to bring up the move dialog box.



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The only difference is I want to change



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the horizontal value to negative 100,



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to move those edges to the left.



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I'll click OK.



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That gives me plenty of room.



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All right, now press ctrl-shift-A



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or command-shift-A on a Mac,

so we can see what we're doing.



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What we will be doing is taking

care of the nose right here.



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Notice that the stripes

are bleeding into the nose.



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That is not what I want.



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So I will once again target the layer,



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the glasses layer, which as you can see,



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now has an underline to show me



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that I've applied an opacity mask.



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Now just go ahead and click

on that right hand thumbnail,



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up here in the transparency

panel, to make that path active.



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Now I don't want these

circles to be selected



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so I'll press ctrl-shift-A or

command-shift-A on the Mac,



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in order to deselect them



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and then I'll click on

this bottom right segment



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in the left hand circle

and I'll shift-click



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on the bottom-left segment

in the right-hand circle,



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in order to select both of

these segments, like so.



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Then I'll press control-C

or command-C on the Mac,



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in order to copy the shapes.



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You may have seen that

little alert message



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that said, shapes expanded.



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I did not actually expand those

shapes, just so as you know.



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All right, now I'll press ctrl-shift-A



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or command-shift-A on the Mac,



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to deselect those shapes

and I'll press ctrl-F



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or command-F on the Mac, in

order to paste them in front.



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Alright, now we want to

join these guys together



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by pressing ctrl-J or

command-J on the Mac,



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two times in a row and we'll end up



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with this effect right here.



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Now I want to mask this stuff away.



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Right now the shape is filled with white,



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which means I'm revealing these stripes.



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Instead, I want to fill

the shape with black,



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in order to create a conceal.



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I don't want that Gaussian blur.



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So I'll switch to my appearance panel,



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which is still available

when you're working



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on an opacity mask and I'll go ahead



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and click and shift-click on

these two dynamic effects.



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Then I'll drop down to the trash icon



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and I'll click on it to get rid of them.



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That gives us a nice sharp border.



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Alright, now notice over here

on the bridge of the nose,



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that I'm getting rid of

too much of this area.



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I don't want to cut into that stripe



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but I can take care of that very easily



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by pressing the V key to switch back



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to my black arrow tool, up

here at the top of the tool box



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and then I'll select the

top rectangle, like so,



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and I'll right-click anywhere

inside the document window.



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Choose a range and choose bring to front



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or you have that keyboard shortcut



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of ctrl-shift-right bracket



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or command-shift-right bracket on the Mac



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and that will result in

this effect right here.



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So the beauty of this is that we can work



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with multiple shapes at a time,



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that have multiple fills and strokes.



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So in our case, we've

got three white shapes



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and one black one and of course



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you can assign dynamic effects.



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Alright, I'm done for now.



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So I'll go ahead and

switch back to the document



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by clicking on the left-hand thumbnail,



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here inside the transparency panel



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and finally I decided

I wanted a little more



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interaction between the

glasses and the face.



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So I'll go ahead and switch

back to the layers panel,



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which once again,

contains all of the layers



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inside the document.



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Notice that the glasses

layer is twirled open



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and so I'm just going to go

ahead and target the group,



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which contains the rose-colored shapes



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and then I'll return to

the transparency panel,



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click normal and choose multiply,



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in order to create this final effect here,



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and then I'll just press ctrl-shift-A



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or command-shift-A on the

Mac, to deselect the artwork.



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That's an example of at least one



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possible real-world deployment



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of an opacity mask,

here inside illustrator.