Making Water Look Realistic
So one last thing I promised you was that we're going to make this water look realistic coming right out of here and course, we have our water drop right there so we can see that. And this is where we need to go in. And I wouldn't want to make us look very realistic coming out. So I'm just gonna do a quick selection here where I think the water would kind of look most appropriate coming out here now. Like I said, selections air, not on layers. It all depends on what we have selected. Some is going to use my lasso tool here. I can soften that. And what I'd like to do is just go in and basically make this so that it looks like water is actually gonna be pouring out of this right here. So I've done my selection and I'm going to create a new layer here. I call this my water, and I'm going to fill it with white. Just fill it with background, which is can be command delete. And clearly this doesn't look realistic at this point. So I need to go in, and I need to blur this ever so slightly so ...
that I get a softer edge with that, like so and I'm going to put it on top of everything so that it actually looks like I have that as well. And now if I go through with my blending modes, I can go through and I can see how that's actually going to work, to kind of give that effect. And so there's my overlay. There is just my normal effect right there, and I just use some of my blending bodes and see how that's going to work. And I'm not buying any of that in my way of blending modes there. So I'm just going to set the opacity back here and then try my blending modes as well, actually make that work. Yep, Don't like any of that. So turn off that water flow, going to go back to my original where I'm gonna go to my actual bottle here, and I've got my selection. So when I paint inside my selection that isolates what I'm painting, and in order to get that bottle toe look whiter, I'm going to paint on my mask inside that selection, with some black to kind of make that water stand out a little bit. Okay? So I'm actually cutting back or hiding part of the blue of the bottle inside that selection that make the water look realistic. And then I'm also going to go to my cap or my rip right here. I'm going to go in as well, and I'm going Teoh, apply a mask to this. I don't want to have that have that selected. If I go in and I apply a masked in my rip its guts going to go in and it's going to give me just that ripped because it's gonna be what's inside my selection. He invert that selection here. So what I've done is I've mashed out just that area where the water is, so it's actually hiding that portion right there. Okay, so that black on the rip right there is hiding the rip, so I don't see it. So now if I have that, it looks a whole lot more realistic, Like water is coming over now. It wouldn't be completely hidden because water has some clarity to it. So literally, I just put a selection around the water, went to my rip and I put a mask on there to hide that. And this is the perfect place where I can control the density of the mask. So if I double click, I could then move that control the density to make it look like the water flows over that area a bit. And when I see that I'm now more convinced that the water is coming out a little bit better, I could do a little bit better selection to go right along my edges here to make that as well. But you get the idea. So the concept of going in and doing advanced depositing here completely breaks everything that you know about layers on top and behind. All of a sudden, you start working on this multi plane kind of thing where things that are in front and things Aaron back make no sense whatsoever. And I can tell you that a lot of times when I do this I mean, I've used photo shop a long time, but even I have to go through this process back and forth and back and forth because I confused myself. And there's only been one file that I've created that I've actually confused myself so that I couldn't figure it out. And then I'm just like, OK, I have no idea what I did. And the worst thing was is that I actually did it, which is just absolutely shocking and amazing. But this is basically the finished piece right here and now we've got this blue sky. Everything else you know, is this highlight. Correct. Now we could go in there and we could knock that back down. We've got our blue, we've got our sky, You can put other stuff in there as well. But let's take a look at the layers panel so we can figure out what we're doing. We're gonna get rid of all the extra ones that we don't need, so we can actually see what's going on here, and we basically have our white layer. And then we've got our starry night that is masked out. So black hides the area that we don't want to see white shows. Why would that be on the bottom? Because it's behind everything. Then we've got our water bottle that has certain portions mask out to go ahead and hide the clouds and also the water dripping right there and what it's doing is it's showing everything all the way through to the white. And then we have our clouds here, which are not only set to multiply, but they have a mask on them as well. Because they didn't they would just be clouds with this weird little hole in a hat in the middle of it. So we actually have those multiplied with that mask, which kind of knocks them back and scrolling up even further. Here we have the cap is a separate object cause you see what happens when we use our blend. If anything that's white becomes transparent. So that camp needed to be there. And then we've got our water that was set to our blend. If and we've got a very weird mask on it to kind of mask out those areas that we don't need, of course that we then flipped it and we masked out those areas. So we get our reflection at the bottom right there Ever so slight reflection. We had taken our rip and we had put it in there. There's our rip and we had mask out that area of the rip to show the white background through and there we had it