Paint bucket displayed

I've got a GUI vi that is display an odd phenomena that I haven't run into before. On a display tab that happens to have some picture controls that display different .PNG images based on runtime program settings. Over these picture controls are some user controls. The weird behavior I am seeing is that when the operator mouses over the user controls, if the cursor moves to an area that is over the picture control, but not over one of the user controls, the cursor changes from the "finger" or "text bar" to the little "paint bucket", like the one in the icon editor (but not the "ink bottle" from paint). It is annoying/distracting, and actually takes a finite moment to switch back to the appropriate "tool" image when it mouses over something that is actually editable. Any thoughts as to the cause or cure?
Thanks,
Putnam
Certified LabVIEW Developer
Senior Test Engineer
Currently using LV 6.1-LabVIEW 2012, RT8.5
LabVIEW Champion
Solved!
Go to Solution.

Well, here is a simple example with a .png picture. Mousing over the image portion gives me the paint bucket, and this is being run on different machine, leading me to believe it is inherent in LabVIEW, at least at this version.
Putnam
Certified LabVIEW Developer
Senior Test Engineer
Currently using LV 6.1-LabVIEW 2012, RT8.5
LabVIEW Champion
Attachments:
Paint tool demo_LV2010.zip ‏153 KB

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package
import PNGEncoder;
import flash.display.MovieClip;
import flash.display.Shape;
import flash.display.DisplayObject;
import flash.text.TextField;
import flash.text.TextFormat;
import flash.text.TextFieldType;
import flash.text.TextFieldAutoSize;
import flash.display.BitmapData;
import flash.geom.ColorTransform;
import flash.events.MouseEvent;
import flash.events.Event;
import flash.utils.ByteArray;
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public class Main extends MovieClip
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var textformat:TextFormat = new TextFormat();
/* Colors */
var colorsBmd:BitmapData;
var pixelValue:uint;
var activeColor:uint = 0x000000;
/* Save dialog instance */
var saveDialog:SaveDialog;
/* Active var, to check wich tool is active */
var active:String;
/* Shape size color */
var ct:ColorTransform = new ColorTransform();
public function Main():void
textformat.font = "Arial";
textformat.bold = true;
textformat.size = 24;
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addListeners();
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pencil.visible = false;
hideTools(eraser, txt);
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/* Quit active tool */
quitActiveTool();
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board.addEventListener(MouseEvent.MOUSE_UP, stopPencilTool);
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highlightTool(pencil);
hideTools(eraser, txt);
ct.color = activeColor;
shapeSize.transform.colorTransform = ct;
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pencilDraw = new Shape();
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pencilDraw.graphics.lineStyle(shapeSize.width, activeColor);
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private function EraserTool(e:MouseEvent):void
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removeChild(saveDialog);
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any1?

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The Reset Preferences "three-finger salute" is for Windows. Press and hold all there, BEFORE you launch PS. Keep holding them down THROUGH the ENTIRE loading process.
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Darlene,
Another way is to use the Replace Color Tool. The Hue/Saturation method is probably easier, but I thought I'd mention Replace Color for your information.
http://www.pixentral.com/show.php?picture=18IBCKnJchzoxfLEaw7Bu93j9W5jS
In my example I changed the 3rd label in your picture to red.
1. Roughly select the label using the Lasso tools.
2. Enchance>Adjust Color>Replace Color.
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4. Play with the 3 Transform sliders to get the desired result.
In this next example I changed the top of the lighthouse from red to green (why I would want to do that, I don't know!).
http://www.pixentral.com/show.php?picture=1XhqCAvgc0zVWReJDkUB2OLDQChSy
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Live Paint Bucket in CS5

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Live Paint Bucket tool Question

Hello Illustrators.
Its been a while since I've used this tool. But I'm facing an issue I cannot understand.
I'm seeing some tutorials and as I try to follow along I cannot have the same functions of the tool as demonstrated.
My live paint bucket tool does not have the same options as the tutor. He can swipe his arrow keys and get the colours from the colour pallet, while I only have one colour available.
I have to continuously have to go to my colour pallet and choose a colour in order for my shapes to be filled. But when it comes to colouring a stroke of my shape then no problems I can swipe and get my colour
selection. Id like to be able to use it for my fill colour as well to be swipe my arrow keys and see the colours available if it makes sense.
Top Image is what Id like to achieve.
The bottom image is what I have in my art board document. as seeing only one colour is available, and that I have to click on my colour pallet to get a colour. No swiping with arrow keys is available.
Thank you.

Hello Craig!
yes it is! Its the 1st time I'm coming across this problem, I'm getting frustrated not being able to work this issue out...
As you can see everything is checked.
And also as you can see, like I was stating in my original post, the option to swipe with arrow keys only applies to the stroke of the shape, and not the fill.

When do we use Pentool, live paint bucket or brush?

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*Question from a newbie to illustrator TT_TT*

This is the kind of question I like most to see in drawing software forums and it's increasingly rare. So first, let me commend you for thinking in terms of seeking usual and customary best practice, rather than just assuming every whiz-bang, instant gratification cheap trick feature should be employed willy-nilly without ever a thought toward the elegance of your drawing's structure. It suggests you are serious about maintaining quality in your vector drawing, rather than just assuming anything that "looks good" on your monitor is "quality."
Unfortunately, one could write a whole book on this. So I'll try to keep the following general and reasonably brief. That may make it sound a bit preachy. If you want to talk more specifics, continue the thread conversation.
Vector drawing is, by its nature, an exacting medium. It strains against itself when it pretends to be "painterly."
There is, of course, a balance between a strictly purist mindset and real-world practicality. The way to find your balance is to approach automated effects (especially new ones) with a healthy dose of skepticism. Try them, sure; but closely examine the results, tear them apart, and try to understand what's really going on.
Regarding specific features you mention (Live Paint, Brush, Eraser), try them, examine the results, and consider whether the results are what you would expect if they'd been deliberately and efficently drawn. I find that Live Paint and Shape Builder (much the same thing) usually do a decent job of maintaining true-ness to the original paths, matching abutting edges which should be exactly identical without creation of many unnecessary anchors.
I find much the opposite to be true of features like Offset Path, Outline Stroke, and even moreso of features like Variable Strokes. Basically anything that involves automated enveloping (not just Envelopes, but also things like ArtBrushes) are suspect. I'm certainly not saying never use them, but be as aware as you can of what's going on. I leverage Artbrushes and Pattern Brushes to high advantage for certain things, but I do so knowingly, not willy-nilly. I rarely ever acutally use the Brush or Pencil or Blob Tools. I create the artwork contained in the Brushes as cleanly as possible and apply the Brush to deliberately-drawn paths.
Much has to do with the intended practical uses of the final artwork. For example, overlapping paths is standard fare for artwork destined for print. It's a functional deal-breaker for artwork that wil also be used to drive a cutter/plotter for signage. (Just one reason why proper logo master files should be as cleanly constructed as possible.)
Automated routines--no matter how seemingly "powerful"--do not have human discernment. The poster-child example of this is autotracing. An autotracing feature doesn't know a round iris from a hex bolt. The autotracing features of mainstream drawing programs don't even have any geometric shape recognition. So with infrequent exceptions, autotracing is overused pointless junk. It just trades one kind of raster-based ugliness (pixelation) for another kind of vector-based ugliness (shapeless jaggedness).
I know...you didn't mention autotracing. But I mention it as an extreme case of a principle that you can apply to the features you did mention: Ask yourself what a purely mathematical algorithm with zero aesthetic discernment is going to yield in terms of what you would consider elegant execution.
Again, I'll cite a well-known extreme: Anyone who has ever had to deal with auto-generated 2D DXF exports from CAD/CAE programs is familiar with the ubiquitous problem of dealing with thousands of tiny disjointed straight segments meant to represent a curve. Those tasked with handling such drudgery deal with it routinely. Some of them even devise additonal automated algorithms to make a bad situation marginally better. Yes, it "gets the job done." Yes, today's computer hardware can process the ridiculous amount of geometrically unnecessary data without choking. Yes, at the scale at which it will be printed in the parts catalog, the faceted shape will not be distractingly noticeable. But no self-respecting technical illustrator would ever actually draw the same subject that way from scratch, and his far more elegantly drawn-from-scratch result would be far more versatile and robust for multiple final uses.
Your bush example is not so complex as to make drawing deliberately and directly with the Pen impractical. In fact, doing so is much less work than the second example using a bunch of ellipses and applying boolean operations. But maybe you stylistically desire each edge of each blade to be a portion of a mathematical ellipse or even strictly circular. In that case, using automated boolean operations may be justified. But (especially in Illustrator) I would be sure to carefully examine the results. Illustrator's automated path generation routines (Pathfinders, Offset Path, Outline Stroke) have been notorious at various times (versions) for generating ugly and sometimes functionally problematic artifacts such as needless coincident anchors (for just one example).
Your second example of the "scratchboard" style illustration is a case-in-point of situations where we make value judgements and (hopefully careful) compromise between semi-automation and path-drawing purism. You're trying to emulate an expressly non-geometric aesthetic style. The particular example is a good one, because it's a "borderline" example. That drawing is simple enough that it could be drawn entirely anchor-by-anchor, and I would likely do it that way if, for example, it was going to be cut from sign vinyl enlarged to the scale of a trade show background or a wall hanging in an airport.
But if it were only to serve as a one-time placement as a spot graphic in a magazine, I might, for example, create an ArtBrush for certain portions of it, like the selected sun rays, and "let it go" for practical considerations. (Although I'd not deliver it as such; I'd consider it a matter of due dilligence to expand such semi-automated "live" onstructs and check the paths for reasonable cleanness.)
Bear in mind, Bezier-based drawing has been the mainstream for three decades now. We're not "fooling anyone" anymore. There now exists a new aesthetic discernment. Even our audiences are well aware that digital emulations of the randomness of so-called "natural media" are just that; contrived digital emulations. Our audiences view our artwork with a certain skepticism.
And when you put something in print, there's (hopefully, although I often wonder) still the matter of professional pride which bears in mind that our artwork will be viewed not by just the "unsuspecting public" but also by our peers; our colleagues. So you want to avoid any "dead giveaways" of execution by "cheap tricks" which "hurt the eyes" of other vector illustrators. At the scale viewed on this computer in this forum, there are details in that drawing which look like (whether they are or not) the kind of unintentional artifacts commonly generated by path operations and such. Such artifacts don't read as "natural randomness" of the emulated medium (again, we're no longer fooling anyone). They break the stylistic consistency of detail of the overall drawing and therefore look like unintentional but disregarded results of some automated feature.
So anytime you employ an automated path-generating feature, consider it normal to perform some cleanup on the result. Again, an extreme-case common situation exemplifies the principle. I put 3D Effect to use, but I would never deliver the raw results of it as final deliverable vector artwork. Automated features can be used as a rough-out tool; a means to an end, not the final end itself.
JET

Paint bucket displayed

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