When I was done laying the UVs I tried to pack them by material. Doing this helps me adjust the colors and make major-minor changes in Photoshop later on when I start rendering. You can see some of the texture maps in Fig.05.
I wanted the fabric, the chair and basically the whole scene to look worn but not very old. I also wanted her skin to look aged. Since I was playing around with colors on the shaders in the meantime I had an idea about which colors to use as base colors for the desired look. There are a lot of different maps for the piece so I will not explain the whole process one by one, but I will try to explain the workflow instead.
For the wood, iron and leather materials I used high resolution images to use for projection in Mudbox (Fig.06 - 07). Before painting the base textures I had to bring the displacement maps into Mudbox, so I could paint on the high detailed mesh instead of the base mesh. To bring your displacement maps into Mudbox you can go to Maps > Sculpt Using Map > New Operation. In the new window that pops up, select the related mesh and path to the displacement file.
In both the hand-painting and projection approaches I always paint a base texture first. After painting the base I start adding some color variety and detail to the texture using the Mudbox layers. If you've sculpted detail on a certain mesh or area in ZBrush (Fig.08), you can export a cavity map and apply it on top of your texture layers in Mudbox to get some detail fast. I also like to separate certain things with layers to be able to tweak them further when I export all of the layers into Photoshop. The main reason I use Mudbox for texturing is because it is fast and it has layers that I can export for Photoshop.
When I start working on the textures in Photoshop I export a couple of maps and apply them to the related mesh to see how it looks in render. Sometimes, especially with subsurface scattering, the texture maps do not look like you painted them when you render, so I go back and forth between Maya and Photoshop to adjust the colors and layers I kept separate earlier until I feel happy with the results.
As I mentioned before, I start working on the shaders at the early stages of the whole process. I also keep tweaking them while I work on the textures. Here are some of the shaders used for this image.
Fabric / Velvet
When creating the shader for clothes I used the additive (shellac) mode of the VrayBlendMaterial (Fig.09). To blend I created two VrayMtls, one for the pattern and the specs and the other one for the velvet effect (Fig.10).
Fig. 09 - Click to Enlarge
I used the fabric shader to procedurally tile the pattern. To be able to do that I created a seamless pattern in Photoshop first. Then I adjusted the color and plugged the files outColor value to the shader's diffuse channel. I also included the reflections in this shader as well. For the reflections I created a samplerInfo node and plugged its facingRatio to the uCoord and vCoord of a ramp. Using the ramp's values I adjusted the reflection on the surface.
For the velvet shader I used pretty much the same trick, but this time I adjusted the diffuse of the material instead of the reflection using a samplerInfo node and a ramp.
If you are using mental ray, you could try using Puppet Shaders to get this effect. p_MegaTK has a pretty decent fabric / velvet preset.