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In Illustrator CS5 One-on-One: Advanced, author and industry expert Deke McClelland teaches how to take advantage of the wide array of dynamic features in Illustrator CS5. This course demonstrates how to apply these features to paths, groups, and editable text to create professional-quality artwork. The course covers Live Trace, Live Paint, and Live Color, as well as symbols, gradients, exporting, and integration with Photoshop. Exercise files accompany the course.
In this exercise, I am going to show you how to introduce a new path outline into an existing Live Paint object. I have saved my progress as eVenn stroke.ai and what I would like you to do if you're working along with me, is direct your attention to the layers panel, twirl open that normal layer and then turn on that heart object, in order to make it active. Now I can take this heart object, this heart path and I can add it to the Live Paint Group just by dragging it and dropping it on to the group it on to the group just as I can with any group inside of Illustrator and then it becomes part of that Live Paint Group.
If I twirl the group open, I can see that heart is now at the top of the stack and then we have Orange, Cyan and Magenta. Now I am looking at this heart and noticing that its stroke is a weak black and everybody else has these nice rich blacks going on. So I could sit here and laboriously with a Live Selection tool which is active for me right now, I could Click and Shift+Click on every single one of these little intersections here which is a pain in the neck or because it is an actual independent object then I can grab my White Arrow tool, go ahead and selected it and then Alt+Click or Option+Click on that heart in order to select the entire thing and then go to the Swatches panel and then click on black in order to make that stroke black, that is of course assuming that stroke is the active attribute otherwise you'll change the fill.
Now you might look at that and say well why we didn't do that in the previous exercise. Why did we have to select every single one of these little bits and pieces using that Live Selection tool? Why didn't we just use a White Arrow tool? Well that's because they were part of independent objects. There is no way we are going to use White Arrow tool in order to accomplish that same thing. In fact, if I was to Alt+Click or Option+Click on this cyan circle in order to select it, its selects the entire circle. Now if I change it to a different stroke color like so, I will change the entire circle to a different color. Notice though that Illustrator is smart enough to retain my original lineweights.
So I have a thick lineweight around the outside and a thinner one around the inside, which is actually really great. Anyway I am going to press Ctrl+Z, Command+Z on the Mac. So I don't want that, not at all in fact. And now I will go ahead and click off the path in order to deselect it, I am going to switch back from the Live Selection tool, back to the Live Paint Bucket and of course I can do that by pressing the K key as well and now I am going to hover inside of these areas and change their colors. I want this little, sort of cyan subpath, I wanted it to be Magenta and them I am going to change this guy to orange and then I am going to change this guy to cyan.
I am going pretty quickly here. You don't have to do exactly the same thing that I'm doing. You can change them to any colors you want. I just found that this worked out pretty nicely. I will go and switch these guys to lets say green and I will switch this guy to blue and then I will switch this bit of intersection at the top of the heart, I will change it to yellow like so and this is a true Venn diagram by the way because we have unique interactions between all these objects and any two objects actually intersect each other at a point as do any three objects and any four objects. So I am actually subscribing to the real rules. You don't care about that but anyway I am going to twirl close Live Paint Group.
I'm in a turn off my Text layer and I have got this other layer called New Text that better fits inside of my new confines. So the ideas is you can change your mind anytime you like, you can take objects out of a Live Paint Group, you can add them to the Live Paint Group, something else you should notice. I will go ahead and grab my White Arrow tool once again and I will Alt+Click or Option+Click on the outline of that heart and I will drag it around to a different location and notice that Illustrator goes ahead and updates everything on a fly but if you loose one of the fills, it won't come back when you drag the heart to a different location.
Notice I lost my white fill because it just went away and then Illustrator forgot about it and made up a new color once that region came back. So you just had to be careful with your modification. This time I lost orange. So if I move this guy to a different location like so, then orange is gone, up at the top portion of the heart. At least, I still have a little weird spec that's now moved itself into the InDesign circle. Anyway, if you want to get things back you have to press Ctrl+Z or Command+Z a few times in order to reinstate things and you can perform all kinds of modifications.
By the way any transformation works as well. So I can get my Scale tool and I could say, you know what I want my heart to be bigger like that. Well then, make it bigger and you'll keep those interactions as long as they survive. Just remember that when a fill or stroke disappears, it disappears from that point on, you're going to have the reinstated because Illustrator has a poor memory where Live Paint is concerned. Anyway, I am going to undo that modification. This is the end of our Venn diagram example. In the next exercise, we're going to move onto the celtic knot.
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