It sounds like, in Illustrator terms, what you really want to do is create an entirely new graphic, one which makes use of an image you downloaded from the Internet. In order to understand why it isn't letting you do this right off the bat, you should understand the philosophy behind Illustrator's intended use, which is that instead of modifying an image like you would a raster-based (pixel) graphic in Photoshop or GIMP, Illustrator is intended for actually creating brand new graphics and designs which can be rendered into images. It sounds like your goal is to use Illustrator's vector-based drawing to modify an image. You can also turn your raster layer invisible easily to check how your vector is progressing. This is very handy for those who work/trace on top of placed raster art: you lock the sub-layer with the raster (I prefer to move it to a separate bottom layer altogether), and you work with your vector brushes and pens and whatever in other layers. Notice that, in the Layers panel, when you drop down the image layer, you'll see that your Brush-drawn object is now a separate sub-layer. Click on the arrow in the corner of the “Brushes” box, and select “Open brush library.” Pick a style, which will show up as a tab in the box, and your brush will work. If it’s empty, you haven’t chosen a calligraphic style for your brush. Go to the menu and select Window –> Brushes to open the little “Brushes” window. The solution I found on TopBrushes went like this: I found some solution elsewhere so I'll share it. I use the Pen tool 99% of the time and it works fine, so I haven't noticed this issue until recently, when I went searching for solutions and found this post. And, like you said, when you open a raster image in Illustrator, the Brush tool is deactivated. So I need to place vector on top of my raster image. However, I myself often use raster scans, typically JPG, as drafts for my vector illustrations. That will be covered in a future tutorial.As others have said, Illustrator is not the right tool for editing "images from the internet" (which are normally raster). The drawing can be further refined by adding arrows or text to illustrate different features of the building, and more photo-real scenery or structure elements can be added in via Photoshop, as seen below.
Below are some examples using this technique.Ī section with a grey toned for the cut area.Ī higher detailed section to imply materials and depth.
And since we have all of the linework in the layer above, the thickness, stroke type, or color can easily be adjusted to enhance the drawing. I will usually paint the area being cut through in my drawings a light grey to improve the readability, but any color or pattern can be used. Now click on the live paint bucket and paint away (Shortcut: K). Optional: Lock the layer to ensure none of the lines are accidentally moved while live painting the group below. Set the visibility of the original linework layer to on. The best way I found to do this is by double clicking the live paint group to isolate the objects, select all of the lines, and then set the line color to none. That’s all good and done, but since we’re using another layer for the linework which we may be editing layer, it’s best to hide the lines in the live paint group. Go up to the object menu > live paint > make. Turn off the layer with the original linework and then select everything that is left on the artboard (the lines for the live paint group). One with all the original linework, and a second to be used to make a live paint group.
The image to the right shows how I have my layers set up.
But since we want to be able to edit the linework later, we’ll make a copy to use for our live paint group. The first step is to make a live paint group out of the linework of the drawing.