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Illustrator CS4 Beyond the Basics
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Using the Live Paint Selection tool


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Illustrator CS4 Beyond the Basics

with Mordy Golding

Video: Using the Live Paint Selection tool

I believe that the Live Paint feature inside of Illustrator really brings a whole new exciting dimension to working with vector graphics inside of Illustrator. But one of the key reasons why I believe that is because of the feature I'm about to show you. We've already seen that when working with Live Paint groups, I have the ability to apply paint attributes to regions that appear inside of my screen that are not necessarily physical objects. That these regions of color don't even need to be completely closed. There can be gaps. And they can be made of either close paths, open paths or a combination of that.
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  1. 2m 4s
    1. Welcome
      1m 41s
    2. Using the exercise files
      23s
  2. 33m 20s
    1. Introducing Live Paint
      38s
    2. Drawing in Illustrator
      4m 21s
    3. Creating a Live Paint group
      2m 54s
    4. Using the Live Paint Bucket tool
      3m 17s
    5. Using Live Paint with open paths
      2m 29s
    6. Detecting gaps in Live Paint groups
      4m 17s
    7. Adding paths to a Live Paint group
      3m 41s
    8. Using the Live Paint Selection tool
      5m 44s
    9. Releasing and expanding Live Paint groups
      2m 55s
    10. Understanding how Live Paint groups work
      3m 4s
  3. 49m 36s
    1. Introducing the trace options
      39s
    2. Setting expectations: Live Trace
      2m 26s
    3. Using the Live Trace feature
      1m 51s
    4. Understanding how Live Trace works
      5m 41s
    5. Making raster-based adjustments
      5m 52s
    6. Tracing with fills, strokes, or both
      2m 55s
    7. Making vector-based adjustments
      6m 12s
    8. Adjusting colors in Live Trace
      4m 39s
    9. Using Photoshop with Live Trace
      5m 22s
    10. Releasing and expanding Live Trace artwork
      2m 58s
    11. Saving and exporting Live Trace presets
      2m 36s
    12. Tracing in Batch mode with Adobe Bridge
      1m 35s
    13. Turning an image into mosaic tiles
      2m 28s
    14. Tracing an image manually
      4m 22s
  4. 1h 24m
    1. Introducing 3D
      33s
    2. Setting expectations: 3D in Illustrator
      2m 53s
    3. How fills and strokes affect 3D artwork
      4m 43s
    4. Applying the 3D Extrude & Bevel effect
      6m 25s
    5. Applying a bevel
      5m 40s
    6. Showing the hidden faces of a 3D object
      4m 49s
    7. Applying the 3D Revolve effect
      5m 22s
    8. Visualizing the revolve axis
      3m 5s
    9. Applying the 3D Rotate effect
      1m 35s
    10. Adjusting surface settings
      9m 33s
    11. Understanding the importance of 3D and groups
      3m 24s
    12. Preparing art for mapping
      10m 19s
    13. Mapping artwork to a 3D surface
      14m 21s
    14. Hiding geometry with 3D artwork mapping
      4m 0s
    15. Extending the use of 3D in Illustrator
      8m 7s
  5. 44m 37s
    1. Introducing transformations and effects
      32s
    2. Using the Transform panel
      12m 37s
    3. Repeating transformations
      5m 23s
    4. Using the Transform Each function
      3m 48s
    5. Using the Convert to Shape effects
      5m 49s
    6. Using the Distort & Transform effects
      5m 12s
    7. Using the Path effects
      6m 58s
    8. Using the Pathfinder effects
      4m 18s
  6. 28m 23s
    1. Introducing graphic styles
      33s
    2. Applying graphic styles
      10m 8s
    3. Defining graphic styles
      8m 46s
    4. Previewing graphic styles
      2m 10s
    5. Modifying graphic styles
      3m 30s
    6. Understanding graphic styles for text
      3m 16s
  7. 22m 49s
    1. Introducing advanced masking techniques
      32s
    2. Understanding clipping masks
      7m 15s
    3. Using layer clipping masks
      6m 30s
    4. Creating opacity masks
      8m 32s
  8. 1h 6m
    1. Introducing color
      40s
    2. Considering three types of color swatches
      7m 7s
    3. Managing color groups
      2m 58s
    4. Understanding the HSB color wheel
      3m 57s
    5. Understanding color harmonies
      2m 57s
    6. Using the color guide
      3m 54s
    7. Limiting the color guide
      3m 17s
    8. Modifying color with the Recolor Artwork feature
      6m 25s
    9. Using the Edit tab to adjust color
      5m 44s
    10. Using the Assign tab to replace colors
      8m 37s
    11. Making global color adjustments
      2m 17s
    12. Using Recolor options
      7m 3s
    13. Converting artwork to grayscale
      3m 23s
    14. Simulating artwork on different devices
      3m 18s
    15. Accessing Kuler directly from Illustrator
      2m 7s
    16. Ensuring high contrast for color-blind people
      2m 42s
  9. 53m 19s
    1. Introducing transparency
      40s
    2. Understanding transparency flattening
      2m 31s
    3. Exercising the two rules of transparency flattening
      10m 53s
    4. Understanding complex regions in transparency flattening
      4m 50s
    5. Exploring the transparency flattener settings
      8m 37s
    6. Using transparency flattening and object stacking order
      6m 39s
    7. Using the Flattener Preview panel
      6m 31s
    8. Creating and sharing Transparency Flattener presets
      2m 25s
    9. Working within an EPS workflow
      5m 3s
    10. Understanding the Illustrator and InDesign workflow
      5m 10s
  10. 50m 1s
    1. Introducing prepress and output
      23s
    2. Understanding resolutions
      8m 27s
    3. Discovering RGB and CMYK "gotchas"
      5m 42s
    4. Using Overprints and Overprint Preview
      7m 43s
    5. Understanding "book color" and proofing spot colors
      8m 1s
    6. Collecting vital information with Document Info
      2m 28s
    7. Previewing color separations onscreen
      1m 12s
    8. Making 3D artwork look good
      2m 16s
    9. Seeing white lines and knowing what to do about them
      2m 41s
    10. Creating "bulletproof" press-ready PDF files
      3m 45s
    11. Protecting content with secure PDFs
      2m 48s
    12. Using PDF presets
      2m 47s
    13. Moving forward: The Adobe PDF Print Engine
      1m 48s
  11. 35m 43s
    1. Introducing distortions
      27s
    2. Using the Warp effect
      4m 20s
    3. The Warp effect vs. envelope distortion
      3m 48s
    4. Applying the Make with Warp envelope distortion
      2m 45s
    5. Applying the Make with Mesh envelope distortion
      2m 41s
    6. Applying the Make with Top Object envelope distortion
      3m 45s
    7. Editing envelopes
      5m 0s
    8. Adjusting envelope settings
      4m 2s
    9. Releasing and expanding envelope distortions
      1m 44s
    10. Applying envelope distortions to text
      1m 27s
    11. Using the liquify distortion tools
      3m 5s
    12. Customizing the liquify tools
      2m 39s
  12. 28m 56s
    1. Introducing blends
      32s
    2. Blending two objects
      6m 18s
    3. Adjusting blend options
      5m 47s
    4. Blending anchor points
      5m 36s
    5. Blending three or more objects
      2m 9s
    6. Replacing the spine of a blend
      4m 32s
    7. Reversing the direction of a blend
      2m 15s
    8. Releasing and expanding a blend
      1m 47s
  13. 46m 54s
    1. Introducing charts and graphs
      35s
    2. Setting expectations: Graphs in Illustrator
      3m 19s
    3. Creating a chart
      8m 2s
    4. Importing data
      3m 34s
    5. Formatting data
      5m 1s
    6. Customizing a chart
      10m 21s
    7. Combining chart types
      2m 40s
    8. Creating graph designs
      6m 0s
    9. Styling and updating graphs
      5m 33s
    10. Ungrouping graphs
      1m 49s
  14. 26m 36s
    1. Introducing Gradient Mesh
      23s
    2. Understanding the Gradient Mesh feature
      9m 34s
    3. Using Gradient Mesh to add contoured shading
      6m 14s
    4. Using Gradient Mesh to create photorealistic effects
      10m 25s
  15. 8m 18s
    1. Introducing flare effects
      25s
    2. Drawing a lens flare
      3m 28s
    3. Modifying a lens flare
      1m 27s
    4. Using a mask with lens flares
      2m 58s
  16. 29s
    1. Goodbye
      29s

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Illustrator CS4 Beyond the Basics
9h 42m Intermediate Apr 03, 2009

Viewers: in countries Watching now:

Covering a wide range of topics, from advanced masking to chart creation, Illustrator CS4 Beyond the Basics reveals a whole new level of power, creativity, and efficiency with Illustrator. Instructor Mordy Golding explores how to work with Live Paint groups, get the most out of the Live Trace feature, and take advantage of Illustrator’s wide range of effects. He also discusses advanced transformation techniques, powerful 3D functionality, and important color concepts. Exercise files accompany the course.

Topics include:
  • Tracing artwork both automatically and manually
  • Mapping artwork to complex 3D surfaces
  • Using pressure-sensitive distortion tools
  • Recoloring artwork across a document
  • Using Excel data to create charts and graphs
  • Understanding how transparency really works
  • Creating high-quality, press-ready PDFs
  • Building efficient files with graphic styles
Subject:
Design
Software:
Illustrator
Author:
Mordy Golding

Using the Live Paint Selection tool

I believe that the Live Paint feature inside of Illustrator really brings a whole new exciting dimension to working with vector graphics inside of Illustrator. But one of the key reasons why I believe that is because of the feature I'm about to show you. We've already seen that when working with Live Paint groups, I have the ability to apply paint attributes to regions that appear inside of my screen that are not necessarily physical objects. That these regions of color don't even need to be completely closed. There can be gaps. And they can be made of either close paths, open paths or a combination of that.

But when you're working inside of Illustrator, applying fill and stroke attributes which is only part of the game. After all, creating those underlying paths is important too. So let's focus on another part of Live Paint that most people don't even realize is inside of Illustrator. I'll create a very simple Live Paint group. I'll draw let's say a circle on my screen, now I'll take two paths and basically cross them to the circle. I'll select all of them and I'll hit Command+Option+X or Ctrl+Alt+X on my keyboard to create a Live Paint group. I'll use the Live Paint Bucket tool to apply some colors to these areas that appear inside of the circle. Now what you're seeing here is really nothing new because you already know how to apply all this. However, let's focus on an aspect that we hadn't really touched on before. Let's focus on one of these paths that kind of go right to the circle itself.

This particular path right there has an anchor point on one end and an anchor point on the other end, yet because this path is part of a Live Paint group, it's able to help me intersect different regions of color inside of the circle. But let's say I don't want to see this particular part of the path that's right here. I don't want to see that part that extends beyond the circle, I just want the path define a boundary for color inside the circle. Now those with traditional Illustrator backgrounds might once again look towards the Pathfinder Filters or maybe use a Scissor tool to cut a particular path right here and then delete this part of the path. But let's take a moment to really understand what a Live Paint group is. Until now, we know that a Live Paint group allows us to make edits or to apply attributes to objects, based on their appearance, not based on the way that those paths were actually built.

So if we can apply attributes to these objects based on how they appear, can we perhaps modify the paths themselves based on how they appear? Is Live Paint powerful enough to do that? And the answer is surprisingly yes. Let's take a look at the toolbar over here and you can see that it has a Live Paint Bucket tool. But just to the right of it is the Live Paint Selection tool. The Live Paint Selection tool allows you to make selections based on the same rules of Live Paint, and those rules are bound by the appearance of objects, not by the underlying path. So I'll select the Live Paint Selection tool, I'll come over to this part of the path and click once on it and you can see that what I've done is I've now selected just this segment of the path. There is no anchor point right over here.

There is one anchor point here and one anchor point at the end. But when you're using Live Paint you don't think about anchor points at all, all you think about is how it looks or appears on your screen. What it looks like here is that the boundary, the circle, creates a separation between this part of the path and the rest of it. Now that I have just this part of this path selected, I can tap the Delete key on my keyboard to actually remove it. So without using any Pen tools or any Scissor tools or any path-cutting functions at all I simply selected a portion of a path that looks like I wanted to remove it and I got rid of it by hitting the Delete key. I can do the same for this area as well. Simply click on it to select it and press Delete to remove it.

But I have other options available to me as well. For example, say I want to keep this path here, for whatever reason. I could simply go ahead and select that portion of the path and change its stroke Color to None. I don't see the path here, but it does exist. What have I done? I've actually taken the path right now that again has one anchor point in this end. The other anchor point that appears in this path is all the way down over here. But on one single path, I was able to have part of the path have a Black attribute and part of the path has a stroke attribute set to None. If you think about it, it's quite incredible. In fact, I'll show you a simple example. I'll take my Line Segment tool and create a simple crisscrossing pattern. I'll select both of these paths and give them the regular default White fill and Black stroke. Let me change the stroke weight here to about 5 points and I'll zoom a little bit so we can see this a little bit closer.

I'll turn this into a Live Paint group again using the keyboard shortcut, Command+Option+X or Ctrl+Alt+X, and now I'll use my Live Paint Selection tool to select just one portion of this path. Again, what's creating the boundary between this area and this area is this path that crisscrosses that area. So with this portion of the path selected, I can actually go to my stroke panel and turn on the Dash Line setting. What I have now basically is one path that is half-dashed and half solid. I can even choose to select this area of the path and change its stroke Color to completely something else.

If I go into Outline Mode, I still see that I have two regular paths that I've created. Yet I've been able to apply different attributes by using the Live Paint Selection tool. I'll go one step further. I'll use the Direct Selection tool to select just this one path right here and I'll change its stroke to None. Now, I can actually see that this particular path that exists, again, one anchor point here, one anchor point here, two stroke attributes applied to that single path and that is simply made possible because of this path right here. If I were to move this path, Live Paint would simply go ahead and update that attribute of that particular stroke.

So many times, if you really think about how Live Paint works, you can create shapes or paths to define geometry that will ultimately allow you to adjust the appearance of that particular object. So at the end of the day, one thing is clear. Live Paint allows completely smashed barriers of how you think about working with Vector artwork inside of Illustrator. Rather than focus on the anchor points and then the line paths, you can ship your focus to the appearance of those paths. All in all, the Live Paint feature inside of Illustrator makes you think completely different about how you draw your graphic. Hopefully, this feature alone will save lots of time and frustration.

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