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I have saved my progress as Orange & green.ai. And in this exercise we are going to take these various path outlines. Altogether we've got one Compound path, which is the orange path and then we've got two others static path outlines, one that's filled with white and one that's filled with green, they kind of overlap each other, but we are going to set things up so they absolutely overlap each other. So that the orange path weaves in and out of the green one, and the green one weaves in and out of itself. Now if I switch to the Celtic knot.ai file, which is the final version of this illustration, I want you to notice, one key thing here, which is the paths continually alternately weave in front of and then in back of each other.
So first we are in front, then we are in back, then we are in front, then we are in back, then were in front and in back, and in front, and in back, and so on. And if you keep that in mind, you're going to have an easier time deciding what to fill and what to stroke using that Live Paint Bucket tool. All right, I am going to switch back to Orange & green.ai, once again, I will select all these paths by marqueeing across them using a black arrow tool, and notice that all three paths are now selected here inside the Live Paint # 2 layer. Now I will grab my Live Paint Bucket tool, because after all we need to construct a new live paint object, and I can get that tool by pressing the K key of course.
And now I'm going to advance my fill to green like so, and I'm going to click right there. Now having decided that's the point in would green is going to overlap, why then green definitely needs to be in back at this location, and so on. Obviously, I need to go and fill these guys. So I will go and click in those regions, and I will work my way down here. I would move over to, by the way, to this location click, move over to again to this location and click in order to fill in the proper regions. And you know something else I need to figure out.
Is this area here white or is it transparent? It should be transparent, those white areas. So I'm going go ahead and zoom out, and I am going to create a background object, just so I can tell what's going on. I will grab my Rectangle tool and I will Alt+Drag or Option+Drag from the center point, like so. And I'm also pressing the shift key as I drag so I have both a shift and alt keys down to draw a square from the center outward. This would be Shift+Option on the Mac. And I'll go and take his big old square and I'll fill it, assuming my fill is active, which I believe it is, with violet grad here in the Swatches panel.
And I get this effect here. And now I'll press Ctrl+Shift+[ or Command+Shift +[ on the Mac in order to send that shape to back. And sure enough I can now see that those regions here are filled with white and they should be filled with transparency. So I'm going to press the K key in order to switch back to my Live Paint Bucket tool here. And then I will advance my color swatch by pressing the left arrow key. I will go ahead and retreat back to transparency back to the none swatch, and then I will click in these areas in order to fill them with none, like so.
So you can make some pretty rapid changes there. Now I need to grab the strokes. And this becomes a little more complicated, a little more cumbersome. But let's go ahead and add in the strokes that were missing for starters. I will go ahead and hover over one of the strokes and black is selected, my rich black, so that's good. So I will just click here, and I will click here. You need to make sure by the way that your line weight is set to two points up here in the Control panel. Before you start, because otherwise you are just wasting your time. All right, so I will go ahead and click on these strokes as you see me doing, and you are better off filling in all the strokes before you start setting some of the strokes to none, because once you set a stroke to none, then Illustrator will forgets your line weight setting, and then you have to reset it to 2 points, and it's just a big pain in the neck.
Anyway, I now have more strokes than I need. I definitely have all the strokes that I need in place anyway. And now we set about getting rid of the strokes we don't want. So I'll hover over one of these strokes I want to get rid of, I will press the left arrow key twice to go to none. My little none swatch is up above the cursor, and I will click there, and I will click there to get rid of the strokes. And now from this point on, you are just figuring out, okay, this was in front, so now it needs to go on back of this line. And so, these strokes need to come away, so that we have a continuous region right there, that is a continuous thoroughfare like a little highway going through this knot, then we will go up here and know this area needs to be on top.
So I will get rid of the interfering strokes and then it goes in back and then it goes back and front again, like so. And then it goes and back. So these guys need to go away. And then it goes in front, that's fine, goes in back; that looks great, it goes in front again. So these two need to come out and then it goes in back and then it goes in front and my job is done. This is just amazing. In my opinion that you can do this, because now check it out. I will go ahead and grab my white arrow tool and I will alt drag or option drag around the segments that are associated with this green path right there.
And now I can move it to a different location, and you can see that that interaction persists, as long as you don't go too far. If you drag this guy down beyond the edge of the circle, Illustrator is not really going to know what to do with this intersection and things are going to get a little messy. But you can move within certain restrictions here, within certain limitations, you can move this guy all over the place. All right. So I will go ahead and press Ctrl+Z or Command+Z on the Mac in order to restore it to its original position. And we have this combination of objects. Two objects that interact with each other and one object that weaves in and out of itself.
Thanks to the amazing power of Live Paint, here inside of Illustrator.
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