In this stage, I tested hand-painted, Van Gogh–inspired textures for The Last Harvest. The goal was to make the 3D assets feel “painted” rather than realistically shaded.
I started with two key props—the tractor and the wooden fence—because their clear shapes and large surfaces make it easier to evaluate brushstroke and color style. My process was simple:
1. Block in large color shapes to establish form and lighting.
2. Add directional brushstrokes to emphasize structure (wood grain direction for the fence, surface turns for the tractor).
3. Introduce subtle hue variation (small warm/cool shifts and hints of complementary color) to create a more lively, painterly flow.
After applying the textures to the models, the assets immediately moved away from a realistic look and closer to a soft, expressive “digital oil painting” style, matching the dreamy mood of the project.
