New Feature: Playlist Center! Pick a topic and let our playlists guide the way.

Easy-to-follow video tutorials help you learn software, creative, and business skills.Become a member

Introducing Live Paint

From: Illustrator CS5 One-on-One: Advanced

Video: Introducing Live Paint

In this exercise, I am going to introduce you to Live Paint in the context of this boring old Venn diagram. In fact, the name of this illustration is Venn diagram.ai. In case you are not familiar with what a Venn diagram is, it's a way of visually representing topics, and what happens when those topics overlap with each other. We are going to end up working through a more exciting project. I don't want you to think this is the be-all and end-all here. Ultimately, before we are done with this chapter, we are going to create this Celtic knot pattern in which these various objects are winding through each other.

Introducing Live Paint

In this exercise, I am going to introduce you to Live Paint in the context of this boring old Venn diagram. In fact, the name of this illustration is Venn diagram.ai. In case you are not familiar with what a Venn diagram is, it's a way of visually representing topics, and what happens when those topics overlap with each other. We are going to end up working through a more exciting project. I don't want you to think this is the be-all and end-all here. Ultimately, before we are done with this chapter, we are going to create this Celtic knot pattern in which these various objects are winding through each other.

In fact, we've got a single object; the screen object here that's winding through itself, something that you can't do just by sending things forward and backward without breaking up the objects. But you can do it and keep the objects totally intact using Live Paint. Anyway, let's get our feet wet inside this illustration. Notice that I've got a total of three circles, that's all, that are interacting with each other here. So I have got a cyan circle, a magenta one, and an orange one, and they are interacting currently using a Blend mode. Let me show you how that looks.

I will go ahead and undo the movement of those circles. I'll select the top two circles because this orange circle is in back. It's the base object, don't have to apply a Blend mode to it, and then I will go up to the Opacity option here in the Control panel, and notice that this Blend mode in the upper left-hand corner of the dropdown panel is set to Multiply. By default, it would be set to Normal so that you have a bunch of opaque objects like this. However, if you choose one of the other blend modes, then you are going to get some sort of blending interaction, and we'll be running through the blend modes in a lot of detail in the transparency chapter at the end of this very series.

But in the meantime, if you are working along with me, just go ahead and choose Multiply and what that does is it treats each one of these objects as if they are printed on an independent transparency, and then we are layering the transparencies on top of each other on, say, an overhead projector or a light table. That creates a uniform darkening effect. So, wherever the objects overlap each other, then we get a darker mix of those two colors. I love blend modes; they are absolutely awesome, they are parametric meaning they're based on a parameter, you can change your mind anytime you like.

However, let's say, I want one more control. For example, I'd like this red area here to be darker, so that it looks quite a bit different than magenta circle next to it. The green is fine, the blue wants to be a little darker and this area around my brain wants to be white, not this drab gray. Then finally, I want to take all these strokes inside this intersecting area, and I want to make them thinner, and that's something that you can do with Live Paint. So Live Paint gives you a vast degree of control over these intersecting fills and stroke areas, and it keeps all the objects independent of each other as we'll see.

So, what I am going to do is switch over here to the layers panel and I am going to turn off this bottom layer, which is called Multiply after the Multiply blend mode. I will turn it off and then I will turn on Normal, and these are those very same circles set to the Normal blend mode. You need to make sure that if you are working along with me, you turn off the Multiply layer and then turn on Normal to get the same results that I am getting. Then go ahead and marquee the three circles, just the circles; you don't want to select any of the text. After having done that, we are going to select a Live Paint tool. Now if you're familiar with previous versions of Illustrator, you may wonder where in the world the Live Paint Bucket went.

It's actually inside of this group right here; you go to the Shape Builder tool, click and hold on it, and then you get this flyout menu that includes the Live Paint Bucket. You'll also have the keyboard shortcut of K and once you select the Live Paint Bucket, you should see this little bucket cursor with a triad, so in other words, three swatches above it so three little color swatches. If you don't, it means that you have some non-color swatch active. So for example, if I were to dial in a different color inside the Color panel here, I'll just dial in 50, 50, 50 for Cyan, Magenta and Yellow and then press the Enter key or the Return key on the Mac.

That does not correspond to any of the swatches in my Swatches panel and then I'll just see a single color above that Paint Bucket cursor. Something else I want you to notice is that even though all these objects are selected here and the Fill is currently active, I didn't change the fill of my selected objects. That's because I have the Live Paint Bucket tool selected and Illustrator knows that I am not going to apply any attribute, Fill or Stroke, until I do so by clicking with this cursor. All right, but this is a problem that I can only see a single swatch above the cursor that's not what I want at all.

So what you need to do is switch over to a swatch. So go to the Swatches panel and click on, in our case, one of the early swatches is the way you want to go, and I have set up all of the swatches that we are going to use right here at the beginning of the Swatches panel. That's a good practice, by the way, to get your swatches in order before you start applying them with the Live Paint Bucket tool. Of course, you can always rearrange swatches later, change your mind as you're working with the tool. But I am going to go ahead and click on something like deep orange for now, just to get something active. Now notice, that the three colors above my cursor are not only deep orange right there in the center, but also the two neighboring swatches that you see in the Swatches panel.

If you want to advance and retreat between swatches, then you press the Right Arrow key to move forward through the swatches, and you can see it happening not only above the Paint Bucket, but also over there in the Swatches panel in the upper-right corner of the screen, or you can press the Left Arrow cursor to move backward through your swatches. All right! So what I want to do is I want to fill this area between Illustrator and Photoshop with the dark blue, so I will advance to that dark blue; it happens after the green, so right there between green and yellow and I will click in order to fill that area. That's all it takes.

Now immediately, you have done two things; first of all, you fill this area that intersecting area with that color that you've selected. You've also gone ahead and converted those objects. If I twirl open the normal layer, you'll see that in addition to this heart shape that's currently turned off, I've got a new Live Paint Group. So, this is what things looked like before. I'll press Ctrl+Z, or Command+Z on the Mac. I have three separate objects called cyan, magenta and orange after their colors, and then if I press Ctrl+Shift+Z, or Command+Shift+Z on the Mac, as soon as I click with the Live Paint Bucket, I've created a Live Paint Group and that's a special kind of object inside of Illustrator.

All right, now I am going to move back. I am going to press the Left Arrow key a couple of times in a row to move back to this deep red, and I'll click in this layout area and then I will move forward by pressing the Right Arrow key, I just happened to know where these swatches are located. That advances me to green and I will go ahead and click in this intersecting area in order to fill it. Then finally, I need to fill this area around my brain with white. So I'll retreat several swatches. So I will press the Left Arrow key a few times in a row until I get white selected, there above my bucket cursor, and I will click inside of this intersecting area. All right! Obviously, we have some work that we need to do on the strokes, but in the meantime, I want to show you what's going on here.

I am going to go ahead and grab my Black Arrow tool and if I were to click on this object with the Black Arrow tool, I'd select the entire thing. That is I'd select the entire Live Paint Group. You can select individual objects if you want to use in the White Arrow tool or I'll just go ahead and twirl open this Live Paint Group and I can see each of my objects. Notice that you have no fills now, here inside the layers panel, because that's all being done magically on the fly inside the context of the Live Paint Group, but I can grab one of these objects by meatballing it. So, just go ahead and click on the meatball; it won't show up as having a heavier circle around it.

I don't know why but that's not the way the layers panel responds when you are working inside of a Live Paint Group. But if you do just identify that one object by clicking on its meatball, then you'll see that that one circle and only that circle is selected here inside the Document window. Now, if I drag this circle around, why then, I have these live interactions between these various objects. So, this is an absolutely dynamic feature inside of Illustrator, hence Live Paint, of course. I will go ahead and press Ctrl+Z or Command+Z on the Mac to undo that movement. In the next exercise, I will show you how to paint the strokes.

Show transcript

This video is part of

Image for Illustrator CS5 One-on-One: Advanced
Illustrator CS5 One-on-One: Advanced

153 video lessons · 28017 viewers

Deke McClelland
Author

 
Expand all | Collapse all
  1. 38m 35s
    1. Welcome
      1m 48s
    2. Linking AI and EPS files to Illustrator
      6m 48s
    3. Installing the dekeKeys keyboard shortcuts
      7m 43s
    4. Remapping Mac OS shortcuts
      6m 56s
    5. Installing the Best Workflow color settings
      4m 54s
    6. The color settings explained
      7m 4s
    7. Preserve Numbers vs. embedded profiles
      3m 22s
  2. 1h 40m
    1. Converting pixels to vectors
      1m 2s
    2. Tracing an imported image
      6m 17s
    3. Other ways to trace
      3m 17s
    4. Raster and vector previews
      7m 2s
    5. Threshold, Min Area, and Max Colors
      5m 27s
    6. Tracing options: The raster functions
      8m 2s
    7. Using the Ignore White option
      5m 3s
    8. Tracing options: The vector functions
      6m 40s
    9. Expanding traced artwork
      5m 6s
    10. Sketching and drawing for Illustrator
      6m 24s
    11. Editing scanned line art
      9m 23s
    12. Adding contrast and color
      10m 32s
    13. Live Trace and resolution
      9m 8s
    14. Expanding and separating paths
      8m 43s
    15. Scaling and editing traced art
      8m 4s
  3. 1h 8m
    1. Gradients are good
      1m 15s
    2. Assigning a gradient fill
      6m 9s
    3. Using the gradient annotator
      7m 31s
    4. Editing multiple gradients
      4m 37s
    5. Establishing symmetrical gradients
      5m 28s
    6. Creating a radial gradient
      5m 46s
    7. Adjusting the midpoint skew
      3m 23s
    8. Mixing gradients with blend modes
      6m 11s
    9. Making a transparent gradient
      6m 42s
    10. Drop shadows and dynamic effects
      5m 58s
    11. Assigning a gradient to editable text
      5m 42s
    12. Editing text that includes dynamic effects
      2m 56s
    13. Assigning a gradient to a stroke
      6m 46s
  4. 1h 37m
    1. The earliest dynamic functions
      1m 10s
    2. The gradient-intensive illustration
      5m 26s
    3. Creating a multi-color blend
      7m 39s
    4. Establishing a clipping mask
      3m 34s
    5. Reinstating the mask colors
      9m 7s
    6. Editing blended paths
      6m 50s
    7. Adjusting the number of blended steps
      6m 49s
    8. Using the Blend tool
      4m 33s
    9. Blending between levels of opacity
      7m 32s
    10. Editing the path of the blend
      6m 22s
    11. Adding a custom path of the blend
      5m 4s
    12. Placing one mask inside another
      8m 33s
    13. Blending groups and adjusting the speed
      6m 1s
    14. Rotating objects in 3D space
      10m 21s
    15. Creating custom perspective guides
      8m 31s
  5. 1h 37m
    1. What was old is new again
      39s
    2. Introducing tile patterns
      6m 11s
    3. Determining the points of intersection
      6m 51s
    4. Extending paths from the intersections
      5m 40s
    5. Crafting symmetrical subpaths
      5m 38s
    6. The final flawed subpaths
      5m 52s
    7. Reconciling misaligned paths
      5m 34s
    8. Completing the core path outline
      6m 14s
    9. Making a symmetrical modification
      6m 47s
    10. Adjusting the interior elements
      8m 26s
    11. Coloring paths and testing the interlock
      9m 29s
    12. Establishing a rectangular tile
      6m 22s
    13. Defining a tile pattern
      3m 43s
    14. Creating a few color variations
      8m 50s
    15. Protecting patterns from transformations
      6m 9s
    16. Transforming patterns without paths
      5m 30s
  6. 1h 12m
    1. Filling and stroking virtual areas
      44s
    2. Introducing Live Paint
      7m 57s
    3. Stroking with the Live Paint Bucket tool
      5m 30s
    4. Using the Live Paint Selection tool
      7m 18s
    5. Adding a path to a Live Paint group
      4m 33s
    6. Building a classic Celtic knot
      8m 28s
    7. Constructing the base objects
      5m 31s
    8. Weaving one object into another
      6m 13s
    9. Creating a path that overlaps itself
      7m 15s
    10. Painting a path that overlaps itself
      5m 34s
    11. Creating knots inside knots
      5m 2s
    12. Adding gradients and depth
      8m 22s
  7. 1h 4m
    1. Dynamic effects and OpenType
      1m 12s
    2. Applying a dynamic effect to type
      5m 43s
    3. Creating a basic bevel effect
      4m 12s
    4. Building up a multi-stroke effect
      4m 49s
    5. Best practices for 3D type
      6m 34s
    6. Applying a "path wiggler" to type
      6m 14s
    7. Drop shadows and Raster Effects settings
      4m 52s
    8. Duplicating attributes and effects
      7m 8s
    9. Editing type with dynamic effects
      7m 27s
    10. Ligatures, swashes, ordinals, and fractions
      5m 45s
    11. Small caps and the Glyphs panel
      4m 25s
    12. Warping text and increasing resolution
      6m 9s
  8. 1h 44m
    1. A world of colors at your beck and call
      1m 32s
    2. Customizing a letterform to make a logo
      8m 37s
    3. Creating a custom drop shadow effect
      6m 26s
    4. Introducing the Color Guide panel
      9m 3s
    5. Harmonies and Color Guide settings
      5m 39s
    6. Lifting harmony rules from color groups
      7m 21s
    7. Harmony layouts and the Lab color wheel
      8m 15s
    8. Working inside the Edit Color dialog box
      6m 36s
    9. Limiting a color group to spot colors
      5m 47s
    10. Recoloring selected artwork
      5m 50s
    11. Recoloring with custom color groups
      6m 1s
    12. Swapping colors with the Color Bars feature
      5m 18s
    13. Using the options in the Assign panel
      8m 41s
    14. Moving color groups between documents
      7m 17s
    15. Distilling your artwork to one spot-color ink
      7m 45s
    16. Recoloring artwork that contains gradients
      4m 17s
  9. 1h 21m
    1. How symbols work
      1m 2s
    2. The power of symbols
      5m 1s
    3. Creating new symbols
      6m 0s
    4. Enabling the new 9-slice scaling
      4m 24s
    5. Adjusting your 9-slice scaling guides
      6m 54s
    6. Previewing and acquiring symbols
      4m 12s
    7. Finding a symbol and creating an instance
      4m 13s
    8. Duplicating and replacing instances
      4m 19s
    9. Breaking a symbol link and envelope fidelity
      5m 26s
    10. Distorting and expanding a symbol
      4m 54s
    11. Updating an existing symbol definition
      3m 40s
    12. Recoloring a symbol definition
      4m 13s
    13. Applying a basic "local" color adjustment
      5m 20s
    14. Applying a more elaborate local color adjustment
      5m 4s
    15. Laying down a random symbol set
      5m 35s
    16. The eight symbolism tools
      6m 55s
    17. Editing selected instances
      4m 11s
  10. 1h 32m
    1. Illustrator needs Photoshop
      1m 1s
    2. Two ways to place a pixel-based image
      6m 6s
    3. Working with linked images
      6m 6s
    4. Linking versus embedding
      9m 38s
    5. Stroking and blending an image
      6m 16s
    6. Adding a clipping mask and page curl
      6m 51s
    7. Creating a blended border effect
      7m 10s
    8. Rasterizing your artwork in Photoshop
      8m 0s
    9. Saving a flat raster file from Photoshop
      4m 58s
    10. Restoring cropped border elements
      5m 39s
    11. Copying and pasting into Photoshop
      6m 27s
    12. Working with Photoshop Smart Objects
      5m 26s
    13. Adding a pixel-based layer effect
      4m 12s
    14. Editing a Vector Smart Object in Illustrator
      7m 20s
    15. Creating and placing a transparent image
      7m 1s
  11. 1h 15m
    1. The many forms of transparency
      1m 29s
    2. Real-world blending modes
      7m 57s
    3. Exporting transparency from Illustrator
      6m 24s
    4. Opacity and blending modes
      6m 18s
    5. The Darken and Lighten modes
      7m 17s
    6. The Contrast, Inversion, and HSL modes
      6m 12s
    7. Blending modes in action
      5m 11s
    8. Creating a knockout group
      6m 14s
    9. Confirming the viability of your artwork
      6m 8s
    10. Introducing the opacity mask
      4m 6s
    11. Making an opacity mask
      5m 25s
    12. Drawing inside an opacity mask
      3m 34s
    13. Creating a gradient opacity mask
      5m 29s
    14. Adding an opacity mask to a single object
      3m 22s
  12. 1m 13s
    1. Until next time
      1m 13s

Start learning today

Get unlimited access to all courses for just $25/month.

Become a member
Sometimes @lynda teaches me how to use a program and sometimes Lynda.com changes my life forever. @JosefShutter
@lynda lynda.com is an absolute life saver when it comes to learning todays software. Definitely recommend it! #higherlearning @Michael_Caraway
@lynda The best thing online! Your database of courses is great! To the mark and very helpful. Thanks! @ru22more
Got to create something yesterday I never thought I could do. #thanks @lynda @Ngventurella
I really do love @lynda as a learning platform. Never stop learning and developing, it’s probably our greatest gift as a species! @soundslikedavid
@lynda just subscribed to lynda.com all I can say its brilliant join now trust me @ButchSamurai
@lynda is an awesome resource. The membership is priceless if you take advantage of it. @diabetic_techie
One of the best decision I made this year. Buy a 1yr subscription to @lynda @cybercaptive
guys lynda.com (@lynda) is the best. So far I’ve learned Java, principles of OO programming, and now learning about MS project @lucasmitchell
Signed back up to @lynda dot com. I’ve missed it!! Proper geeking out right now! #timetolearn #geek @JayGodbold

Are you sure you want to delete this note?

No

Thanks for signing up.

We’ll send you a confirmation email shortly.


Sign up and receive emails about lynda.com and our online training library:

Here’s our privacy policy with more details about how we handle your information.

Keep up with news, tips, and latest courses with emails from lynda.com.

Sign up and receive emails about lynda.com and our online training library:

Here’s our privacy policy with more details about how we handle your information.

   
submit Lightbox submit clicked
Terms and conditions of use

We've updated our terms and conditions (now called terms of service).Go
Review and accept our updated terms of service.