The Basics of Clipping Paths and Opacity Masks

Introduction

Opacity Masks and Clipping Paths are two of the most used tools in my workflow. They allow me to easily reveal or hide artwork without deleting any paths. As in all digital arts, it's best to design your workflow to allow for maximum editability. It is inevitable that either myself or the client will change their mind through the process and this technique allows for easy revisions and edits, leading to less stress and happier clients.

First let's define the difference between a Clipping Path and an Opacity Mask:

• Clipping Paths are Binary (on or off) operations applied against all paths/objects within a layer. This can even include sub-layers with separately defined Clipping Paths.

• Opacity Masks are gray-scale Maps applied against individual paths/objects only. The only exception is that an Opacity Mask may be applied against a set of objects if they are Grouped.

It may be easier to understand with this simple example:

To the left is the original art with no opacity or clipping applied.

In the middle I have applied a star shaped Clipping Path to the layer containing the turquoise circle path, shown below. Because Clipping Paths is a yes or no concept, the operation only recognizes if there is or if there is not a path. The circle is revealed where there is a path, and hidden in the absence of that path.

To the right I have applied an Opacity Mask to the turquoise circle path. Because Opacity Masks recognize the full range of black to white, I used a gradient to show the range of values between full opacity and no opacity, something we will do again in just a bit. Of course we can create Opacity Masks of any solid shade of gray to assign different percentages of transparency/opacity. The default settings for Opacity Masks are: white is visible, black invisible, all the grays in-between relate accordingly.

Part 1: Clipping Paths

Clipping Paths are a great tool – I use them for 2 primary reasons:

• Cropping an entire piece of artwork to the Destination. Many times I will have artwork that extends well beyond the dimensions desired for the illustration, but I Clip the artwork to the correct dimensions plus the appropriate bleed.

• Revealing patterns, textures, or backgrounds within an area (and thus excluding it in other areas) without deleting any paths or objects

Step 1

For this demonstration I'm going to Clip the below background to a specific shape. Both the turquoise and the jellyfish are in the same Layer.

Step 2

Now we need to create a path or shape to Clip to. This example is similar to what I might do for a small spot illustration. Rectangles are so boring and predictable, let's do something organic. So that you can easily see it, I've set the shape I want to clip as solid black. I usually draw this path unfilled, with a thin stroke so that I can see beneath it for accuracy.

Step 3

If the Path you want to clip the layer to is not at the top of the layer set, move it there and click on the Make/Release Clipping Mask button at the bottom of the Layers panel. The Icon shows an outlined circle and square with their union shaded in. Be sure to select the layer that you want to apply the Clipping Path to, in this example it is "Layer 2," not the path itself.

Now once the Clipping Path is applied, you can see the results. Only the artwork directly beneath the Path is revealed.

At any point you can always grab the Path and move it around if you want. Many times your Clipping Path may not be perfectly aligned so it's nice to have the ability to nudge stuff around. Even the shape itself isn't permanent - you can edit the individual control points! You can release the Clipping Path by selecting the Clipping Path and clicking on the same icon that created it in the Layers panel, or to completely remove it you can drag the path into the Trashcan in the Layers panel.

Part 2: Opacity Masks

Step 1

I've placed a simple JellyFish character in front of our freshly Clipped background. We are going to add some spots to the Jellyfish that will fade as they near his eyes and mouth. I've outlined the spots here at first so you can see where they overlap the white background.

Step 2

Now I have selected the body of the Jellyfish and copied it and Pasted in Front. I then applied a simple gradient through the Gradient panel. You can see this shape below, we are going to use this as the Opacity Mask.

Step 3

I then Cut the new gradient shape to remove it from the artwork, keeping it in the Clipboard for use in just a minute. After selecting the white dots and Grouping them, I move to the Transparency panel and double-click in the blank area next to Thumbnail of the dots.

With the path/object/group that you want to apply the Opacity Mask to selected, double-clic in the Transparency panel to activate the Mask Layer, as shown below.

Step 4

Now that I have told Illustrator to apply an Opacity Mask to the Group of dots, I Paste in Front again (Paste in Front/Back are nice commands as they take the copied/cut paths and place them in the exact location where they came from) in this Opacity Mask area. Command + F is Paste in Front and Command + B is Paste in Back.

If you visually see the gradient on the Artboard after you paste, it means you aren't working in the Opacity Mask area. In the Transparency panel you will notice a slight outline around either the left or right square. The left square is your Artboard artwork, the right is the Mask. It's easy to forget if you are working on the Opacity Mask or the Artboard so make sure you are working on the correct one. When you paste into the Opacity Mask you won't see it on the Artboard, but a preview of the shape(s) will show up in the Transparency panel, as shown below.

You will notice an icon of a Chain Link in between the two. This means if you move the artwork the Mask moves with it. If they are unlocked (by clicking on the icon) you can move the artwork independently of the Mask. This is useful if for instance you have an Opacity Mask in the shape of a shirt, but the pattern isn't lined up correctly, you can move the pattern and the shirt stays still.

Also, notice I clicked Invert Mask in the Transparency panel. This simply changes whether black or white acts as the transparent or visible end of the spectrum and vice-versa.

Conclusion

I move back to the Artboard and added some bright white highlights with no Mask to make the Jellyfish pop as well as toning down the background and adding a bit of gradient to the tentacles.

And here's the finished product! Opacity Mask and Clipping Paths can free up a lot of time for an artist or designer, learn them well and they will be some of your best tools.

• Author: Daniel Swartz

How to Create Your Own Stylized, Vector Badge

Step 1

I went over to stock.xchng and picked a photo that I thought would suit an illustration for a face. The guy had such a cool look on his face that I couldn't pass. Let's start with placing the image into a new Illustrator document.

Step 2

Lock the image layer and create a new layer. Then start tracing the face with the Pen Tool (P). I chose a gray since I am going for a black and white look.

Step 3

Start tracing the eyebrow with a black fill. Be as easy going about it as possible. We are not going for a photo realistic look, but rather for a stylized one.

Step 4

Trace the other eyebrow too, as shown below.

Step 5

Then move on to the eyes themselves. Start by simply tracing the outline.

Step 6

I filled the eye outline shape with a light gray. Then add the eye details. Simple but effective. Just add a shape filled with a darker gray.

Step 7

Then add the pupil as a half moon black filled shape.

Step 8

Add some highlights to bring the eyes to life. You can do that by simply adding two small white circles and place them into the pupil.

Step 9

Next we need some eyelashes. Take the Pen Tool (P), and start tracing an eyelash, then duplicate it several times and place them around the eye.

Step 10

Next we will trace the lips. Again, keep the shapes simple, just trace in easy shapes with the Pen Tool (P). Remember, the Pen Tool is your best friend. Now fill the shapes with a red color and a black stroke, and fill the upper lip with a darker red. This will give the face a dramatic look, since we kept the other shapes black and white.

Step 11

Start tracing the hair. Since the photo cuts of the rest of his head, we need to get a little creative. Just imagine the hair and add as many points and loops you need. Fill it with black.

Step 12

Don't forget the nose. Trace it and then fill it with a gray gradient, linear or radial, it depends on how it will blend in with his face color.

Step 13

Here is the finished face. I went ahead and stylized it some more, sliced it up, and filled each shape with a different gray or black.

Step 14

Let's move on to the pin button. Create a circle and fill it with a white to black radial gradient, then add a Drop Shadow. Set the Layer Mode to Multiply.

Step 15

Make two copies of the circle, scale one down and set the Layer Mode to Normal. Now add a gray Stroke of 6pt to the inside. Select both and Divide them via the Pathfinder palette.

Step 16

Delete the inner part with the Direct Selection Tool (A) and place the circle shape on top of the other.

Step 17

Duplicate the first circle in Step 14 and scale it down a bit and place it on top.

Step 18

Create a small rectangle (M) and fill it with a black to white to black linear gradient. Apply rounded corners (Effect > Stylize > Rounded Corners) and a Drop Shadow.

Step 19

Repeat Step 18 and create another rectangle, but don't apply the rounded corners, just a Drop Shadow.

Step 20

Next, create a needle shape with the Pen Tool (P) and fill it again with a linear gradient, then add a Drop Shadow.

Step 21

Create another small rectangle (M). Add rounded corners, a Drop Shadow, and set the Layer Mode to Color Burn.

Step 22

Create another rectangle, but cut out the middle, just like you see below. Also, add a Drop Shadow.

Step 23

Let's move on the top part of the pin button. Create a circle that is the same size as the back part of the pin button. Fill it with white and add a Drop Shadow.

Step 24

Create a sickle like shape by simply dividing two circles via the Pathfinder palette. Fill it with black and set the Layer Mode to Multiply.

Step 25

Create another circle on top and fill it with a radial black to white gradient. Set the Layer Mode to Multiply.

Step 26

Create two funky shapes, one in black and one in red, then overlap them.

Step 27

Select both and apply the Pucker and Bloat effect (Effect > Distort & Transform > Pucker & Bloat). Apply the settings shown below.

Step 28

This is what it should like with the effect applied to both shapes.

Step 29

Make a copy of the circle for the pin button, remove all effects and fills, then place it on top of the puckered shapes. Select all and apply a Clipping Mask (Command + 7).

Step 30

Place the clipped shape on top of the pin button. Then create a small circle filled with a very light gray to white radial gradient and set the Layer Mode to Overlay.

Step 31

Take the face and group it (Command + G), then place it on top of the pin button and scale it down if necessary.

Conclusion

This is the final result. A stylized pin button with an illustrated face. Of course, you could use your own photo, or even a photo of yourself. Enjoy!

• Author: Simona Pfreundner

Creating a Stencil Bomb in Illustrator

Tutorial Details

• Author: Cody Walker
• Program: Adobe Illustrator
• Version: CS4
• Difficulty: Intermediate
• Estimated Completion Time: 2 hours

Step 1 - Choosing a Good Subject

Clarity is a very important part of stencil art. Choosing a subject with a strong well-defined silhouette makes all the difference. For this tutorial I'm going to create a stylized image of the WW2 atomic (fat man) bomb.

Step 2 - Reference Photo

I started by getting a reference photo from Wikipedia.

Step 3 - Quick Orthographics

From this image I created a quick set of orthographics. I needed a side view and a front view.

Step 4 - SSR

Using the method I discussed in the SSR tutorial, I scaled, sheared, and rotated my orthographics into isometric. I could make the stencil in perspective, but the setup would be more complicated, and I really like the results in isomeric.

Step 5 - Line Up

I use the side view of the bomb to line up the ellipses and created the wireframe of the bomb. Building the stabilizer fins can be a bit tricky, but if you use an ellipse for reference, you can keep them the same size and in line.

Step 6 - Clean Up the Shapes

I started connecting and cleaning up the shapes. Removing the hidden lines and building up an outline.

Step 7 - Thick Outlines

Now that the image is created the next focus is line quality. A big thick outline will give the stencil a clear visual impact and make your life a lot easier when it comes time to cut out the shapes.

Step 8 - Bridges and Islands

This is where a normal illustration becomes a stencil. Since you are cutting out the outlines, any open space that is not connected to the rest of the paper will fall out when you finish cutting (these are called islands). So to keep your inner structure you have to design in some bridges to give the inner elements structure. The tricky part about designing in bridges is to keep them as unobtrusive as possible. You don't want to ruin your silhouette by having a big break in it for no reason. So the best places to make bridges is at the connection points, at corners, or at overlaps.

To start this process select your illustration and go to Object > Expand. Expand both the fill and stroke. This will turn your lines into shapes so it's much easier to cut them apart and join them together. You can't go back to lines after you've expanded everything to shapes so before you start be sure to make a copy of your illustration on a separate layer and lock it.

Below is the line work in outline view.

Below is the line work in outline view after being expanded.

After expanding your lines use the Scissors and Pen Tools to clean up, then adjust the new shapes and build in bridges.

Below is the final image in outline view.

Step 9 - Print it, Cut it Out

You can make stencils out of lots of different materials. The thicker and stronger the material the longer your stencil will last, but the harder it will be to cut out. There are materials you can buy at art stores specifically for making stencils.

Step 10 - Spray it

To get a nice clean images start by spraying the back of your image with a light dusting of spray adhesive. This will keep all parts of the image tight to the wall and hopefully stop any paint from getting in under the edges of your stencil.

There are lots of different ways to spray a stencil. Spray paint is the easiest but not always the best solution depending on the project. Airbrush works just as well, but with less fumes.

You can also print several copies of the same stencil and cut out different parts. Layering your paint with different stencils and different colors can lead to some really cool designs. A simple example of this would be to print off two copies of the stencil. The first cut out the entire images just leaving a silhouette of the bomb. The second stencil cut out the line work. This way you can use the silhouette to lay down a base color, then the line work for details, or off set the line work for a cool effect.

The nice thing about stencils is if you make them out of nice materials and take care of them, you can build up a library and use them for many projects.