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With our particles now created and being pulled into our water fountain by means of a Gravity space warp, let's switch our attention to making a few materials. We'll begin with the water material that we'll have at the bottom of our fountain. Using a file named Water Fountain02 that we've carried over from the last video, let's see if we can do. Now our material will be applied to an object that we currently have hidden from view. Let's first get that geometry back into play by simply right-clicking and choosing Unhide All.
You'll now see the geometry being displayed in a dark blue wireframe color. Let's go and select that from one of our views. It's named Water Surface. Once we've done that, we'll go ahead and open the Material Editor. Let's go ahead and assign one of the clean gray sample spheres to our object, and then name the material Bottom Water. We're going to be aiming to give the water a dark grayish blue color. For that, we'll jump up on the Diffuse Color swatch and type in a few numbers.
Up in the top three color ramps in the right, we'll do this. We'll take our Red to 45, our Green to 55, and our Blue to 65. Once we've done that, we'll copy the Diffuse swatch over to the Ambient, then darken that slightly. You can do that by merely pulling out some of the colors value. For our Specular Color swatch, let's make sure that's pure white. We'll again simply take the sixth ramp down on the right value and rip it to the right.
As far as the actual Specular Highlight, let's do this. We'll take the Specular Level to 100 and the Glossiness to 60. Then in the Opacity setting, directly to the right of that, we'll change that to 30. That will give us a 70% transparency. Let's also open up the Extended Parameters tab and adjust the Filter color. That will give us a little extra tint to our transparency. Let's steal the color of our Diffuse Color Swatch, using it also for our Filter color. To make that grab, we'll simple right-click on the Diffuse Color swatch and choose Copy.
We'll then put our mouse on the Filter Color swatch, right-clicking, and choosing Paste. There we go. Now with those in place, let's go ahead and render. Now we are going to want there to be a little texture on our water. So let's go ahead and add a Noise map in our Bump channel. On our Noise settings, we'll take the Type of Noise to Turbulence and the Size down to 10.0. Let's also throw a little refraction into the look of the water. We'll go to our parent, then on the Refraction branch we'll go to Raytrace.
With that in place, let's render again. So heading back to the Material Editor, we'll change the Amount of Refraction down to 40. We've got a subtle difference, but a better look. With our Super Spray coming back down, and making contact with our Bottom Water, our fountain effect will turn out a little more realistic if we apply a little movement to that Bottom Water material. We'll do that by animating a couple of different settings on our Noise, the Coordinate Offset and the Phase. Let's go ahead and close our render and turn on Auto Key.
Okay, let's start with the Noise Offset. We'll jump back up on the Bump branch and get to work. You'll find the Offset settings about halfway down over in the left-hand side. We're going to be working specifically with the Z Offset. At our first frame, we're going to want to make sure that Offset in the Z direction is set to 0.0. We'll then go to the end of our animation at frame 150, changing the Z Offset to 15.0. Now once you've locked that in, you should see red brackets around each of the three Offset spinners. For the Phase value directly above the color swatches and over to the right, we'll leave it set to 0.0 until we get to the last frame of our animation.
Now at the end, at frame 150, we'll change the Phase to 1.0. Again, look for the red spinner brackets indicating a key at that frame. Scrub the Timeline back-and-forth and you'll see the change in the material taking place. We're looking pretty good. Let's turn off the Auto Key, then render our scene. We've got the bottom fountain water now taking shape. Let's also lighten the Bump effect just a tad. Back in the Material Editor, we'll take that Bump amount down to 20.
Let's see how that looks once rendered. So, that gives us a little less texture, why don't we also try the Bump Amount at 15? That's going to do it for the water in the bottom of our fountain. Let's save our file up as Fountain Water03, and we'll move to the next video where we'll then build the material for our Super Spray particles.
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