I made the teeth later in 3ds Max using box modelling (Fig.08).
For the hair, native 3ds Max Hair and Fur rendered with Scanline in a separate file did the trick.
With both of the characters modelled, I was now able to focus on the environment. I was cautious with the elements because I didn't want anything that wouldn't make sense appearing in the scene. Some tools on his table, shelves full of gadgets and machinery based on a locomotive fitted into Geppetto's workshop. I didn't pay much attention to detail, since it was in the background and I didn't want it to call too much attention (Fig.09).
The UV mapping was quite easy. With Geppetto I used regular unwrapping tools and for the rest of the scene, including Pinocchio, I used simple UV mapping coordinates like UV box and UV cylinder.
I collected some dirty metal maps, wood, gauges, fabric and made some mixes in Photoshop to make the textures. Some of these maps I downloaded from CG Textures. For the background I repeated some textures, since they would be blurry. The main idea here was to make an environment that wasn't very clean, but that wasn't too dirty either. In all stages of the process I was worried about balance and simplicity. I knew that the final result had to be easy to understand.
Fig.10 is a walkthrough off how I did all of Geppetto's diffuse maps. At first I made a base map for the skin by mixing procedural maps. I took the green channel of a normal map on his face and set it to multiply to add volume. Then I added more contrast to increase the volume further and finished by adding the dirt layer.
Geppetto is in a tight and warm room, so he should look sweaty. To do this, I added a specular map in his material and set a higher specular intensity. After that, I masked the dirty layer at the face's diffuse map with this specular map. This way, where the sweat drains on his face, his skin looks cleaner, as if it's washed his face a little (Fig.11). I also turned the shirt's diffuse map darker under his armpits and on his back to give the shirt a sweaty look too.
Geppetto's face material can be seen in Fig.12.
When I was almost losing my mind trying to figure out how would I model the hose attached to Pinocchio, I came up with the idea of using a normal map, which worked out better than I expected. I generated a procedural fabric map from Maya and used the Nvidia plugin for Photoshop to make the normal map (Fig.13).
I used Mental Ray with Final Gather to render, and used one single omni light to illuminate the scene (Fig.14).