I used the basic max tools for unfolding the UVs. Good UV mapping is important because it allows me to work with programs in which I could paint the textures directly over 3D models, as well as allows me to use image editors without causing much trouble.
Texturing
I take the pictures as references, so I painted the textures manually using photoshop´s default brushes or new brushes which I created. In this way, I gave my work a personal style. For the broken parts of the cloth, I painted the maps in grayscale for the materials opacity map (strong black gives more definition and is what you see in render).
I used Ambient occlusion map (AO) for making them dirty and the old looking textures of the materials and for giving a sense of depth.
It´s very easy to obtain a good map of AO if you have unfolded the UV coordinates correctly and you have prepared the scenes before. I rendered to texture with each object using Mental ray rendering. These are the steps I follow:
a) I hide all the geometry elements that can affect an AO map improperly, in this case the planes behind the character.
b) I add an activated skylight in the scene without any other light.
c)
I add an Ambient/Reflective Occlusion map from Mental ray in the self-illumination map of a standard blinn material. I use these materials in the "material override" option from the render engine. Final Gather and Global Illumination are deactivated since the default options gave pretty good results.
d) By clicking on "render to texture" I created a map double small size for texturing I was to use, then I rescale it with Photoshop, and finally I added a noise effect.
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