Win, onder aan de Toolbox kun je schakelen tussen Vulling en Lijn en de kleur instellen voor een van beide of beide. Als je met alleen Stroke begint, zie je de foto eronder, en dan kun je overschakelen naar de zwarte vulling om het Samengesteld pad te voltooien door de buitenste delen van de foto te bedekken.   Ik heb alleen de rode en blauwe lijn gebruikt om de rechthoek en het ovaal duidelijk weer te geven. ... View more

直子、   日本語フォーラムで質問することもできます。 https://community.adobe.com/t5/illustrator%E3%83%95%E3%82%A9%E3%83%BC%E3%83%A9%E3%83%A0/bd-p/illustrator-jp?page=1&sort=latest_replies&filter=all ... View more

Indeed, Ton, but Wim recognized the (repeated) riverhorse images as exactly what he wanted, and they only make sense with the method resulting in the black Compound Path (Samengesteld pad) that covers the unwanted parts of the photo, because that is what they show; they contradict the Clipping Mask (Knipmasker) method which can cause confusion.   ... View more

Wim, Ton,   Mijn suggestie is het tegenovergestelde:   1) Maak een rechthoek boven op de foto, met een (rode) lijn en geen vulling zodat je kunt zien wat je doet. 2) Maak een ovaal over het deel van de foto dat je wilt laten zien, met een (blauwe) lijn en geen vulling zodat je kunt zien wat je doet.. 3) Selecteer de rechthoek en het ovaal, houd Ctrl ingedrukt en druk op 8 of Kies uit het Object > Samengesteld pad > Maken. 4) Verander de lijn naar een zwarte vulling.   Dan zal de zwarte Samengesteld pad de ongewenste delen van de foto bedekken.   Je kunt de stappen op de afbeeldingen zien.   ... View more

Wim,   In stap 3) maak je met het ovaal een gat in de rechthoek waar je het gewenste deel van de foto doorheen kunt zien.   In stap 4) geef je de rechthoek met het gat een zwarte vulling.   Hier is een Help-pagina in het Nederlands die uitlegt en laat zien hoe je stap 3) kunt maken met een Samengesteld Pad: https://helpx.adobe.com/nl//illustrator/using/combining-objects.html#compound_paths   Hier is een Help-pagina in het Nederlands die uitlegt en laat zien hoe je stap 3) kunt maken metet Pathfinder-effecten: https://helpx.adobe.com/nl//illustrator/using/combining-objects.html#pathfinder   ... View more

Wim,   I posted it just before the first post with the images.   Here are both explanation and images together:   In your case, here is a hopefully improved version:   1) Create a stroke/no fill rectangle the size of the photo, 2) Create a stroke/no fill oval as desired, 3) Select 1) and 2), then hold Ctrl and press 8, or use the Object dropdown and click Compound Path and click Make, which is the same as using the Pathfinder dropdown and click Minus front, which is another way that always works; sometimes the former way requires some adjustment to work, 4) Change the Compound Path in 3) from having a stroke to having a black fill, 5) Select everything (also the photo beneath) and Ctrl/Cmd+G to Group, so everything is kept together as one object (when you move or copy it or somnething like that).   I hope the English is understandable, and the terms close enough to be recognized, you can also try to use the Translate button; I could see your writing in Dutch.     Here are images, showing the rectangle from 1) with a red stroke, and the oval from 2) shown with a blue stroke in the first one, then the Compound Path from 3) shown with a red stroke in the second one, then the Compound Path changed from stroke to a black fill from 4) in the third one:     Click to get closer, Click again to get closer still   ... View more

Wim,   Ben ik goed of fout door te geloven dat het gewenste resulterende uiterlijk het beeld rechts is, zoals hier getoond (en boven met de uitleg)?   (Am I right or wrong in believing that the desired resulting appearance is the image to the right, as shown here (and above with the explanation)?)     Click to get closer, Click again to get closer still ... View more

Thank you very much for the new knowledge, Ton.   This really corresponds to English, the other word taken from Greek meaning exactly the same; and then there is/was water horse (obsolete).   ... View more

Wimaw,   My suggestion is a simple Compound Path on top of the photo, here with a river horse (what is a river horse called in Dutch?).   Here are images, showing the rectangle from 1) with a red stroke, and the oval from 2) shown with a blue stroke in the first one, then the Compound Path from 3) shown with a red stroke in the second one, then the Compound Path changed from stroke to a black fill from 4) in the third one:     Click to get closer, Click again to get closer still   ... View more

Wimaw,   Have you tried the improved version I posted?   ... View more

Wimaw,   Cmd is just the Mac equivalent to Ctrl, mentioned as an alternative.   When I write Ctrl/Cmd+8, it means Hold the Ctrl (or the Cmd) key and also press 8 (the number key). Similarly for G.   In your case, here is a hopefully improved version:   1) Create a stroke/no fill rectangle the size of the photo, 2) Create a stroke/no fill oval as desired, 3) Select 1) and 2), then hold Ctrl and press 8, or use the Object dropdown and click Compound Path and click Make, which is the same as using the Pathfinder dropdown and click Minus front, which is another way that always works; sometimes the former way requires some adjustment to work, 4) Change the Compound Path in 3) from having a stroke to having a black fill, 5) Select everything (also the photo beneath) and Ctrl/Cmd+G to Group, so everything is kept together as one object (when you move or copy it or somnething like that).   I hope the English is understandable, and the terms close enough to be recognized, you can also try to use the Translate button; I could see your writing in Dutch.   ... View more

Wimaw,   As I (mis)understand it, one simple way is to:   1) Create a stroke/no fill rectangle the size of the photo, 2) Create a stroke/no fill oval as desired, 3) Select 1) and 2), then use Ctrl/Cmd+8 (Object>Compound Path>Make, or Pathfinder Minus front, the latter working even if the former fails, 4) Change from stroke to fill with black, 5) Select everything and Ctrl/Cmd+G to Group.   This ought to create a Group including the black filled Compound Path and the photo visible within the oval cutout.   ... View more

lukert,   Has your Epson Workforce 3640 has (and in this case uses) a Postscript (emulating) driver (PS),  orwhat happens if you Save a Copy of the document as PDF and print from Acrobat?   ... View more

lukert,   A few questions.   Which Color Mode are you using (vibrant RGB colours will be disappointing when printed in CMYK), and which have you started your document in?   Which colour management are you using?   Is there any kind of colour management performed by the printer (to be avoided)?   Other helpers may ask others.     Edit: And the questions Monika has just asked, within a minute before mine.   ... View more

Catie,   I for one am uncertain:   From your description you have a (compound path) rectangle with a red line that is 2" by 2" (2 inches by 2 inches) but the rectangle shape is 2' by 2' (2 feet by 2 feet = 24" by 24"), in other words 12 times the red image, which seems to be inconsistent with the image. Correspondingly, 4' by 4' (4 feet by 4 feet = 48" by 48") is 24 times the 2" by 2".   The image could be (mis)interpretated to show a compound path with a red fill and with the inner and outer boundaries coinciding the inner and outer paths forming the compound path, all on a paler and more greyish background; but the dimensions of the outer path are less than 20% greater than those of the inner path.   The image could be (mis)interpretated to show a red stroked path on top of a paler and more greyish filled path, but then there seems to be no compound path.   I have a feeling that it is neither.   Can you elaborate?   ... View more

Thank you, Jane; I only came across this now.   ... View more

Most intriguing contrasts, Brad.   ... View more

Thank you very much, Dave.   ... View more

    Click to get closer, Click again to get closer still ... View more

Michael, Tina, so we are looking at an SFTW > STSW crossover? ... View more

                                       The SFTW Euro Pallet Fork     Click to get closer, Click again to get closer still   ... View more

Dave, he is very modest, but he still insists on payment in kind or in monies bearing the likeness of George III or earlier, ever since his long service at Kellynch Hall, the home of Anne Elliot from birth till her final Persuation.   ... View more

bluebrad, others,   I believe the key to a successful search, also for own posts, is to use a customized search such as this one for this forum, where you can search both by author (first) if applicable and by wording as you remember it; you can try different wordings until you hopefully get the desired hit:   https://community.adobe.com/t5/forums/searchpage/tab/message?filter=location,authorId&q=knockout%20transparent&noSynonym=false&advanced=true&location=forum-board:illustrator&sort_by=-date&author_id=9827131&collapse_discussion=true&search_type=message&search_page_size=50   As you can see, the first hit is this thread, and the second and last one seems to  be the missing one, even though my guess was a wee bit off, both in choice of wording and in assumed spelling.   ... View more

                                           THE GREEN REAPER     Click to get closer, Click again to get closer still ... View more

Michael,   You can use the following elaborated version of the steps mentioned:   1) Create a set of 8 (7 + 1 temporary surplus) frames with an even spacing, you can create the first one and then use Object>Transform>Move (in the Object dropdown click Transform and then click Move) and set the Horizontal value to twice the frame width and tick Copy to get the first copy; after that you can apply Ctrl/Cmd+D (hold Ctrl/Cmd and press D) six times so you have 7 copies, 8 frames in total evely spaced; 2) Skip the step mentioned because you keep the frame size; 3) The contains the following parts: 3A) Select all the frames and use use Object>Blend>Blend Options and set Spacing to Specified Steps inserting  the value 1, and keeping/setting the Orientation to Align to Page, then use Object>Blend>Make which will make it look like 15 frames close together; 3B) Select the ellipse/oval and cut it with the Scissors Tool at the top Anchor Point where you wish to have a frame (this will turn it into an open path starting and ending there), then use Object>Path>Add Anchor Points a couple of times (used to shorten the path segments because it is an ellipse/oval rather than a circle), to prepare the ellipse/oval to its being used as the Spine; 3D) Select both the Blend and the ellipse/oval and use Object>Blend>Replace Spine which will make it look like 14 frames close together round the (only 14 because the first and last frame will be on top of each other at the very top), to be followed by the cleanup; 3E) Use Object>Blend>Expand (which will turn the Blend into a Group of 15 frames) and use Shift+Ctrl/Cmd+G to Ungroup, to prepare for the cleanup; 3F) ShiftClick every second frame round the ellipse/oval starting with the bottom one and press Delete which will make it look like 7 frames, then Click the (topmost) frame at the very top and press Delete which will leave only the 7 frames, then select them all and press Ctrl/Cmd to Group them (optional, but a safe way to keep them together).   ... View more

Michael,   Judging by the image, which only shows 5 rather than 7 golden frames, you wish to have them at (slightly) different sizes/scaling and arranged with an even spacing all the way round an ellipse/oval, where you can try combinations of different sizes of frames and ellipse/oval (maybe also different ellipse/oval shapes) in a manageable way until you are satisfied?   If that is the case, you can do it with three simple steps, the first step done only once and being a simple horizontal alignment to obtain an even spacing of the frames without worrying about the actual/right/final distances, the second step being repeated and being the resizing of individual/all frames, the third step following each resizing of frames and being the creation of a temporary blend created and applied to the possibly resized/reshaped ellipse/oval and then expanded.   ... View more

Michelle,   In addition to what Bobby said:   Over the decades, given the nature and fundamental importance of a logo, some helpers here (including some with the most profound skills within, and knowledge of, the very diverse aspects of graphic design) have suggested to start with simple/regular vector paths in black and white, maybe based on sketches on a piece of paper, in order to build the strongest possible concept which can then be elaborated by developing optimized versions of suitable appearances for any of the vast number of possible end uses and procduction methods at any size and complexity, all versions still being immediately recognized as one and the same logo, and all versions.   Further in terms of colour, it has been suggested to proceed from black/white (depending on background) to solid colour(s) maybe including limited versions to fit certain production methods, and thence to colour transitions.   Even further in terms of colour, if you are using it for both (CMYK) print and web/screen use, in order to consistent colours throughout, it has been suggested to first create the artwork/logo in CMYK Color Mode (starting in that mode to prevent your being haunted by conversion induced issues), because there is a wide range of alluring RGB colours that will wither when converted to CMYK; then you can create a matching RGB version for web/screen use, or work more freely and daringly and extend the colour range.   Further with regard to raster formats in connexion with web/screen use, it has been suggested to use a non lossy format that optimizes crispness.   Even further with regard to resolution issues for web/screen use, it has been suggested to consider the use of the vector format SVG if applicable, or double the resolution one or more times (some screens have 288 PPI, and the number may rise as everything does).   Further with regard to ensuring the safe and satisfactory preservation of the logo artwork throughout transfer/conversion/simplification into other intermediary/final representations/applications/production methods, it has been suggested to stick to simple/regular paths rather than often easier constructs that may fail in connexion with such transfer/conversion/simplification, at least as far as relevant.   Obviously, there is more to say including more detailed suggestions.   And equally obviously, some/much (but not all) of what is mentioned is clearly irrelevant if you can rule out some or most of the possible uses/methods.   At a first glance, your considerations seem to correspond to some of the later steps mentioned above; you may ask yourself the question whether the logo is satisfactory (and consistent) if you go backwards through the suggestions, maybe as far as to the simplest form.     ... View more

JOD-TW,   Unless the label stock is transparent rather than white, you will need the label machine to cut along the outer yellow boundary with its rounded corners as a die cut path as mentioned by Monika. Is that within the capability of the in house label machine?   If the label stock is transparent, you can optimize by using the Preview Bounds as mentioned by Ton.   A further description of the stock and the way the label machine works may help helpers.   ... View more

Leah,   From your description it seems that there are multiple breaks along the perimeter, in other words a number of open paths.   "What I would like to know is, how to detect where the incongruencies are in the path"   I believe you can spot each of them immediately: The straight borders of the fill (of each open path) ends exactly at the end Anchor Points.   Whichever way you choose to create the shape with one full fill, you will need to join the open paths into one closed path for the whole perimeter.   Depending on the actual paths, this can be done with more or less care/accuracy/ease.   In some cases, such as consistent use of deliberately overlapping open paths forming the desired shape if you just get rid of the overlaps, the Shape Builder or Live Paint as suggested by Monika is efficient, accurate, and easy.   In other cases, where the open paths meet, there may be an inaccuray in the form of a gap = end Anchor Points of adjacent paths being a bit apart so there is a gap, or there may be an accurate fit = coinciding end Anchor Points, or there may be an inaccuray in the form of a some kind of overlap = paths crossing with the end Anchor Points being beyond the crossing.   The easy way in such cases is still to use Tools like the Shape Builder or Live Paint, but this will preserve inaccuracy and lead to less desirable artwork, such as unneeded Anchor Points, and corners in rounded shapes; this may call for further mending, maybe without reaching a (fully) desirable artwork.   A more elaborate way in such cases, which can optimize the result (in one go), is to zoom in on each set of open end Anchor Points and use the Direct Selection Tool to select and move one of them to snap to the other or to select both and use the keys Alt/Option+Ctrl/Cmd+J (Object>Path>Average) while remembering to select Both to move them together to snap, and then (with both selected) use Ctrl/Cmd+J (Object>Path>Join) while remembering to select Smooth (or Corner if you wish to have a corner).   This could also be the beginning of a journey further into the creation of fully desirable artwork.   Obviously, it is simpler and better to create the closed path with the desired shape to begin with; but that can be a next step of the journey.   ... View more