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Using the Live Paint Selection tool

From: Illustrator CS5 One-on-One: Advanced

Video: Using the Live Paint Selection tool

In this exercise, I am going to introduce you to the Live Paint Selection tool. I have gone ahead and saved off my progress as Yellow strokes.ai, and I want you to notice a couple of visual anomalies onscreen here. I am going to zoom in a little bit and see that little dot; right there onscreen. I am circling it with my White Arrow tool, and that dot sort of sticks around. Notice as I scroll inside of the illustration; it moves around with and then it goes to a new location. That's not a speck on your screen, that's not something you couldn't necessarily get rid of unless you quit Illustrator and restart the program.

Using the Live Paint Selection tool

In this exercise, I am going to introduce you to the Live Paint Selection tool. I have gone ahead and saved off my progress as Yellow strokes.ai, and I want you to notice a couple of visual anomalies onscreen here. I am going to zoom in a little bit and see that little dot; right there onscreen. I am circling it with my White Arrow tool, and that dot sort of sticks around. Notice as I scroll inside of the illustration; it moves around with and then it goes to a new location. That's not a speck on your screen, that's not something you couldn't necessarily get rid of unless you quit Illustrator and restart the program.

It's typically just one little dot onscreen that kind of moves around. These thing show up when you start using Live Paint and I have no idea why. This has been a problem for years inside of Illustrator. It's not going to hurt anything, they don't print; of course, they are just little visual anomalies, little screen render problems, and you can safely ignore them. But what I've find myself doing is going to picking at the screen, trying to figure out what's on there. Meanwhile, this is a little bigger problem, because this is real. Notice the way the yellow strokes interact with the black strokes, and you might hope that the yellow strokes would form nice corners inside the black strokes, but that ain't going to happen, and here is why.

What Illustrator does is it cleaves off the stroke at that specific location, and we can really see it happen because we have got these thick line weights, but even if you are working with thinner line weights, these problems would still occur. Basically, what we are seeing is the stacking order of the objects. Because the cyan object is at front, we are seeing its black stroke cleave into the yellow stroke at this location, and then the magenta object is behind it, so it gets covered up by that yellow stroke, and then the orange object is all the way back. If you were to change the stacking order here inside the layers panel, if you were to twirl open normal and then twirl open the Live Paint Group, and grab orange and move it to the top, why then your strokes would cleave differently, which argues, I guess that we shouldn't use this stroke pattern.

We shouldn't use yellow against black. Let's try black against black instead. I am going to do that this time using the Live Paint Selection tool. So this tool, it's available inside the same flyout menu as a Live Paint Bucket. It's located at the bottom of the flyout menu, you can get to it by pressing Shift+L and what it allows you to do is click inside the fills and strokes to select them. So, for example, if I click in this cyan area that's currently highlighted with red once again, because the Live Paint Bucket and the Live Selection tool have their own independent highlight colors.

If I click on it, then I will go ahead and select it, the fill shows up as this kind of dot pattern when it's selected, or I can click on a stroke to select it instead. For some reason, the Live Paint Selection tool is set up by default to allow you to select both fills and strokes, even though the Live Paint Bucket tool isn't set up that way. So if you double-click on this tool icon here inside the toolbox, you will see that Select Fills and Select Strokes are both selected. So, you can grab either, and there is your highlight color. Again, you can change it if you want to, I will switch it to green just so it shows up nicely; switch it 2 points as well, click OK and now I see the new highlight color.

Anyway, what I want to do is I want to select all the strokes, and that means that I'd click and then Shift+click on each one of the strokes which is actually fairly time-consuming as you can see. If you want to save yourself some time, you know that you just want to select the strokes, why then, go ahead and double-click on that tool icon once again, turn off Select Fills, click OK and just remember you've done it because now you can't select fills using the tool. Click OK and then you can just marquee around this area like so, and you will grab all of those strokes that you marqueed around without grabbing the fills, which is a really great way to work in our case, because it allows us to work more quickly inside of this illustration.

Anyway, I will go ahead and Shift+click on the two bottom strokes in order to select them as well, and now I can switch my Stroke attributes here in the Swatches panel, up here in the Stroke area, the Control panel as well. So, for example, the first thing I will do is reduce the Line Weight from 16 to 10 points, and that will change the selected strokes independently the other ones and then I will also change the stroke color to this rich black here inside the Swatches panel, and that does the trick. Now something I want you to notice here is that we still have our orange, cyan and magenta circles at work here.

So if I were to switch back to the Black Arrow tool and then I were to meatball one of these items, let's grab cyan this time around, just by clicking on its meatball. Oops! I missed it, that's a problem and I went ahead and selected the entire darn thing. Well, you know what, I will show you a different way to work here. Let's grab the White Arrow tool and I'll click off the shapes to deselect them, and I'll Alt+click or Option+click on one of these circles. That will select that circle independently as well, and then I'll drag it to a different location, and you can see all of your strokes updating on-the-fly. Now, I seem to have a problem. I seem to have these Rich black strokes with these tepid black strokes around the outside. That's no good. Anyway, let's go ahead and change those, using the Live Stroke Selection tool once again.

I'll press Ctrl+Z, Command+Z on the Mac, to undo that movement. I will go ahead and grab my Live Paint Selection tool, and I'll just click and Shift+click like so, because these are pretty big regions of outline here. I'll set them to Rich black as well, so that we have some uniformity going on. The thing I want you to notice here, let's say that you want these areas of stroke intersection on the inside of the circles to be invisible. You don't want strokes at these locations. One of the things you could do is marquee those guys, and go ahead and Shift+click on the ones that you miss, and by the way, another little meta tip; as you're working with this Live Paint Selection tool, if you want to get rid of the selection artifacts onscreens, so you are not seeing these dot patterns, press Ctrl+H, or Command+H on the Mac, and that will temporarily hide those guys.

Now, one of the things you could do if you want to get rid of them is you could just press the Backspace key or the Delete key on the Mac, but I want you to see what happens here inside the Live Paint Group in the layers panel. We've got orange, cyan, and magenta, and they're all full circles. If I press the Backspace key or the Delete key, they'll switch to path; they'll lose their names for one thing and we also cleave away a bunch of pieces of the circle and we are left with no interactions. I actually got rid of those areas. I made a permanent modification to my objects. I don't want that. I want everything to be dynamic. So I'll press Ctrl+Z, Command+Z on the Mac. What do you do? Well, just switch to None here inside the Swatches panel and nothing is selected.

Oh, I forgot about this. What happens as soon as you press Ctrl+Z or Command+Z on the Mac in order to reinstate those little strokelets, they are no longer selected, and I couldn't tell that because I'd hit the selections, but I'll press Ctrl+H, or Command+H on the Mac, to bring them back, and we are not seeing anything selected because nothing is selected. So I have to laboriously go select everybody again, which is kind of a drag, but the way it works, and by the way I just Shift+marqueed around an area, that's possible as well. Then I will Shift+click until I get everybody selected, then I would switch them to None like so, and the strokes go away.

But that doesn't damage my objects; they still have an orange circle, a cyan circle or magenta, at least that's what they're called here inside the Live Paint Group and they are full circles that I can continue to modify as much as I want. Now, I'll go ahead and click off the strokes in order to deselect them, and you can see that yes, indeed, I did go ahead and get rid of those strokes. Anyway, I'll press Ctrl+Z, Command+Z on the Mac, to reinstate them. This is the effect I am looking for. In the next exercise, I'll show you how to take this heart shape right here and add it to the existing Live Paint Group.

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

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