Illustrator CS5 One-on-One: Advanced
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Stroking with the Live Paint Bucket tool


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Illustrator CS5 One-on-One: Advanced

with Deke McClelland

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Video: Stroking with the Live Paint Bucket tool

In this exercise, I am going to show you how to stroke the sub paths associated with the Live Paint object. I've saved my progress as Live paint object.ai. I have got my Black Arrow tool selected. I'll go ahead and click on any one of these circles to select the entire Live Paint Group over here inside the layers panel, and then I will switch over to the Live Paint Bucket which allows you to change the fills and strokes of your object. But you wouldn't know that at first glance because notice, if I hover over one of the fills, I get this big thick red outline to show me that this is the active fill and then obviously, if I advance to a different swatch, such as yellow, let's say, and click in the fill, it changes.
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  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

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Watch the Online Video Course Illustrator CS5 One-on-One: Advanced
14h 53m Intermediate Nov 30, 2010

Viewers: in countries Watching now:

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.

Topics include:
  • Tracing a pixel-based image
  • Sketching and drawing for Illustrator
  • Creating and editing gradients
  • Creating multi-colored blends
  • Creating seamlessly repeating tile patterns
  • Creating interlocking artwork with Live Paint
  • Designing advanced type effects
  • Recoloring artwork with color harmonies
  • Making the most of symbols
  • Integrating Illustrator with Photoshop
  • Using transparency, blend modes, and opacity masks
Subject:
Design
Software:
Illustrator
Author:
Deke McClelland

Stroking with the Live Paint Bucket tool

In this exercise, I am going to show you how to stroke the sub paths associated with the Live Paint object. I've saved my progress as Live paint object.ai. I have got my Black Arrow tool selected. I'll go ahead and click on any one of these circles to select the entire Live Paint Group over here inside the layers panel, and then I will switch over to the Live Paint Bucket which allows you to change the fills and strokes of your object. But you wouldn't know that at first glance because notice, if I hover over one of the fills, I get this big thick red outline to show me that this is the active fill and then obviously, if I advance to a different swatch, such as yellow, let's say, and click in the fill, it changes.

So, no surprise is there. I'll go ahead and undo that change. If I hover over the green area, it becomes highlighted as well. However, if I hover over the stroke, I still have a highlighted fill and if I try to click on that stroke, I am going to change that highlighted fill. How do I change that stroke? Well, I'll go ahead and undo that change by pressing Ctrl+Z or Command+Z. There are two ways to work. One is you press the Shift key and notice as soon as you press Shift, your cursor changes from a Paint Bucket, which tells you that you're going to change a fill color; it changes to a brush cursor, and that tells you that you're going to change a stroke.

So then with the Shift key down, you hover over the stroke that you want to change and you click on it. In my case, I get this very tiny little stroke right there. That's not what I want at all, but I will show you how to change that in just a moment. Also, something else you should notice is as soon as I press the Shift key, I get a totally different group of swatches. What's going on? Notice those three swatches above my cursor there. Don't match the swatch order of the swatches inside the Swatches panel. So they go white, black and then a dark shade of gray as opposed to here inside the Swatches panel, we see white, rich black, and then deep cyan. So what gives? Well, Illustrator for some reason is confused, and I gather it's because I don't have a swatch selected as a stroke color.

So, what I need to do is go up to my Stroke color here in the Control panel and I'll click on it and then I'll switch to a swatch by clicking on rich black, for example. That does not change the strokes that are already assigned to my objects. In fact, I could switch over to orange just so that you can see that that doesn't change anything. Now, if I go ahead and press the Enter key or the Return key to accept that modification, and I press the Shift key, I can now see that my Stroke color is set to orange and I can see all of the swatches or at least three swatches in the exact same order that they appear here inside the Swatches panel.

So that's a great thing. I could also, by the way, change my Line Weight. So currently, it's set to 1 point, that's the line weight I will apply with this tool, and I am going to raise it to something like, let's say, 16 points. Press the Enter key or the Return key on the Mac in order to accept that change. Now, if I dropdown here and press the Shift key and click on this stroke, it changes to orange, and I've got a 16-point line weight as well. Right, so that's one way to work. I don't really find that to be the best way to work; I am all for the keyboard tricks, but it's better just to set up the tools, so it works on strokes in my opinion.

You do that by double-clicking on the bucket here inside the toolbox and that brings up the Live Paint Bucket Options dialog box. Notice Paint Fills is turned on, but Paint Strokes, for some reason, by default, is turned off. I guess Adobe feels like there is a good chance you are going to be sloppy and you're going to accidentally click on strokes when you don't want to. I don't really believe that. I think you can be more careful than all of that. So go ahead and turn Paint Strokes on. You can also fuss around with these other options if you want to; you could turn off that Swatch Preview that appears above the cursor, and you can turn off the Highlight if you don't want it and you can change the color of that Highlight to something other than Red.

You can change the Width value as well. I am going to change this actually to Green, because this bright shade of green doesn't appear anywhere inside my illustration. Let's say, I go with something that's less thick than 4 points. Let's try two points instead, and then click OK in order to accept those modifications and notice, now I get these green highlights and thinner highlights as well. So it doesn't really block my view of what's going on. But also notice, this is more important; if I hover over a stroke, I don't have to press the Shift key. I automatically get my little brush cursor to tell me that yes, indeed, I am going to apply a new stroke at this location.

So, I will go ahead and click and set orange there. I don't really want orange. I want something that's going to show up better. Why don't we go with yellow? So, I went ahead and advance to my yellow swatch. I'll click on this stroke, this one, this guy is well right here. You just need to keep an eye off of your cursor, because if you see the Paint Bucket, and you click, no matter where your cursor is, you are going to change the fill. All right, so I will undo that modification for this exercise anyway; I want to always be seeing that little brush cursor. So, I'll go ahead and change all of these strokes like so, inside of the intersecting areas.

I can change the big strokes too if I want to, but I don't want it. All right! So I'll undo that guy. Now then, this is still a live dynamic interaction. So if I switch back to my Black Arrow tool and then I meatball one of these objects here inside the layers panel, so I've got the normal layer expanded, I've twirled open Live Paint Group. I can see cyan, magenta, and orange inside of there. I could click on the meatball for magenta to select it, and you do see that that object is selected; the circle is selected that is at here in the Document window. Now, I can drag it to a new location, and all of those stroke interactions keep up with my modifications.

So again, we have this wonderful dynamic interaction. Thanks to the Live Paint Bucket tool. I'll go ahead and undo that change, however, because I don't want to change the location of my circles right now. In the next exercise, I'll introduce you to the Live Paint Selection tool.

Find answers to the most frequently asked questions about Illustrator CS5 One-on-One: Advanced .


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Q: The instructions for installing the dekeKeys don't work on my computer (which is running Mac OS X Lion). Is there an update to these?
A: The dekeKeys distributed with this course will still work for Lion. You just need to add them to a slightly different folder than in previous versions of OS X.

Open a new Finder window and choose Go > Go to Folder. Type the following file path exactly as written below. Copying and pasting may result in an error.

~/Library/Preferences/Adobe Illustrator CS5 Settings/en_US

Move and/or copy/paste the dekeKeys to this folder and follow the rest of the instructions as outlined in the video, "Installing the dekeKeys keyboard shortcuts."
 
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