The clothing draft modeling was made with Maya's cloth simulation. I simply threw rectangle cloth objects on the character that was acting as the passive object, until I could get interesting shapes.

Texturing went well - this is my field of expertise. I created most of the patterns using green and beige tones I borrowed from the Oriental paintings. (Have a look back at the tiling and plaster in Fig.03a – 03b). I used Photoshop for all textures and Unfold 3D for unwrapping the most complicated objects. Every object has its own textures, including a Diffuse map, Reflection map and Normal map at the very least. As example, Fig.09 shows all the textures used for the Moroccan leather pouf.


The last challenge I had was not as arduous as I thought it would be: vegetation. I had an idea about what I wanted to create, but could not picture myself modeling trees and plants and flowers for hours. So I used Maya's Painteffect program. It turned out to be easy and it worked just fine for my needs. Again, this became the basis for my further painting (Fig.10).

Paintings and Color Corrections

The last step was painting. The most painted areas are, of course, the characters. But then the rest had to match in style, so I retouched areas I already thought were done, just to have an overall sense of unity.

Fig.11a shows the straight render, before any painting or color correction.