I basically bring in the particular layer of dirt which I wish to apply from my sample photoshop file and use 'brush tool', 'eraser tool' and 'stamp tool' to draw the dirt marks around the texture. With the knowledge I gained from my in-depth research, I have the awareness of painting the patterns with a sense of irregularity in order to prevent obvious repetition, which often provides a fake CG look.
Also from studying the aesthetic of texture painting, I learnt to think about the history and story of the object: Where has it been? Who has owned it? How long has it been? When was it produced? What could have happened on his journey from the production to our set, an old town hall? By answering these questions, I was able to quickly understand which areas of the object may be touched more often and hence retained more damage via different methods, and hence realise how I should paint the texture and what kind of dirt and dust layers I should put on which area to create a more genuine look.
The same principles applied throughout the entire process. This is another layer of small scratching patches and more scratch marks.
Another layer of big scratching patches and chipped marks.
When the scratch marks are done, I decided to put a layer of dust over it. Using the 'fill layer' technique I read from the PDF files, I applied 'grey fill layer' and hand painted out the area, which I think should have less dusts.
I then applied the texture file to the 3D piano model in Maya and rendered the images out at different camera distance. However, I was not very satisfied with the current look. The dust layer was too plain and lack of details.
So I decided to use 3 different images of dust patterns on the Internet in order to add the details I was looking for from the dust layers. Their colours did not match, so I did some simple colour corrections on each image via 'colour balance' and 'curve', I then merged all the images to the same layer, which allows me to access any section of the dust maps and blend them together as I wish. Again I did it very carefully to prevent the pattern repetition. During the working process, I discovered that constant change of 'brush size' and 'hardness', as well as the mirroring point while using 'stamp tool', create the best result.
The front part of the piano is going to be seen more often, so I applied two layers of dust maps on them to add another level of randomness to the texture as both layers contain different levels of detail.
This is the render of the piano with the customised dust layer on. But it didn't look dark enough.
As a result, I repainted the 'grey fill layer' I did previously so it would blend with my customised dust layer and create a more intensified effect.
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