For the banner on the back, I used Marvelous Designer
to create fast, easy and natural drapery. Nothing fancy in the settings; I just created the basic shape of the banner, used Pin to hold the top side, and then clicked Simulate. What a software.
Creating the drapes with Marvelous Designer
I chose MARI
as my main texturing tool. I set the texture size to 8,000 with a 16-bit color depth. 8,000 allowed me to put a lot of detail into the textures, and 16-bit gave me more freedom in the texture adjustment ? though you need to keep in mind that this setting can easily become very heavy. Caching layers is one option for distressed GPUs, so when you think one layer is done editing, it's good to cache it. If it keeps getting harder to handle on your machine, you can always merge layers, change the depth a bit, or decrease the texture size.
Texturing in MARI is very much like sculpting. You need to apply a broad color base, then apply the mid color break-up, and finally apply the small details.
Tileable textures are a great option for making the base texture map. Photo projection gives you a great level of detail, and it's a key technique in MARI. Layering ambient occlusion maps also makes a very good starting point, and matches with geometry as well. Having a procedural layer is another great, easy way to break up the texture details.
The texturing process in MARI
is a great fur/hair plug-in for Maya, and is a relatively new software in the industry.
Setting up hair with Yeti was a little different to using other hair plug-ins. It's a node-based tool that generates hairs from hair-dots which can be freely moved around on a mesh surface. Each dot can be paintable, within a value range of 0 ? 1. Most of the hair attributes supports this paintable value for its own input. The viewport hair preview is also pretty accurate as well. Overall, it's a great tool that offers a visually-intuitive hair-creation method.
Creating a fur test on the boots
The node graphs in the creation of the fur
A shot showing the fur in the scene