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For the textures, I mainly used the 3DTotal Textures, except for the woods.  I focused the texturing on the wall, because I knew that would be the place that everyone would look.
First, I got some concrete textures from the Total Textures: Vol.2 DVD and started duplicating, erasing, cloning and adjusting the colours until I got a nice, seamless and big (2K) texture.  Then I took some dirt maps (Total Textures DVD: Volume 1), colour corrected them using the "Color Balance" tool, changed the colour blend to "Multiply", and played with the opacity (Fig11).

Fig. 11

For the ground I took a wood texture which I already had, and started adding dirt maps to it (Fig12 and Fig13).

Fig. 12

Fig. 13

For the guitar, I first made the UVs in UVLayout and Maya, then I jumped into Photoshop to start cloning and erasing, until I had a big and seamless texture.  The textures for the guitar were kept very, very simple (Fig14).

Fig. 14

I had a little difficulty making the details of the neck, so I decided to go to ZBrush, just to have the ability of painting in 3d mode.  Using the "Projection Master", I was able to project details onto the texture (Fig15).

Fig. 15

For some objects I didn't make serious textures, just solid colours with the same dirt maps from 3DTotal Textures.  I just edited them, colour-corrected them, and added solid colour layers on top.

Lighting & Shading

I wanted to make a realistic render; since my machine is quite slow I decided to render with the engine that I'm more comfortable doing realistic stuff with, so I had to jump into Max again.

After I imported into Max all of the *.obj files that I exported into Maya, I started setting the lighting up in the scene.  I used two Vray lights: one at the top (1) and the other at one side (2).  I also put a plane on the other side to act like a wall and bounce some light (Fig16).

Fig. 16

This is just a basic lighting rig, because I also used a HDR image to help the lighting and reflection of the scene (Fig17).

Fig. 17

The material settings were very simple (Fig18 and Fig19).

Fig. 18

Fig. 19

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