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The EEP Kit

PROJECT TYPE

Self-directed

TOOLS

Arduino

Adobe Illustrator

Adobe Premiere Pro

DURATION

9 months

01 The Problem

“I don't paint because I don't know how to paint.”

There's a common misconception that painting is only for those who are technically trained - that unless you “know how to paint,” you shouldn't even try.

But that couldn't be further from the truth.

02 The Opportunity

A kit is designed to break this barrier

Each tool in the kit is designed to evoke emotion by emphasizing the tactile experience of painting. By focusing on the act of using the tools, the kit encourages deeper engagement with the process itself.

In doing so, the experience becomes more important than the outcome, shifting the focus from results to exploration.

03 Research

Why do people paint?

The EEP Kit began as a personal exploration of my relationship with painting - how I started, my process, how it made me feel, and ultimately, why I stopped.

This reflection led to a broader question:

Why do people paint?

To explore this question, I conducted interviews and protocol analysis sessions. These led me to the concept of flow state, a term coined by Hungarian-American psychologist Mihaly Csikszentmihalyi, describing a mental state of deep focus and immersion in an activity.

The Flow State

A mental state where a person is so immersed in an activity that time seems to disappear. A mental state where a person is so immersed in an activity that time seems to disappear.

As part of this exploration, a protocol analysis was conducted on me, documenting my thoughts and emotions while painting (figure 1). This process revealed that the sensory aspects - texture, sound, and physical movement - were more engaging than the act of producing a final artwork itself.

Figure 1 : Protocol Analysis on myself

Context Report

As part of this project, I wrote a report detailing my initial research and early experiments, which formed the basis of the entire project. You can red my full report here.

Art Therapy Session

My research led me into the world of art therapy, a field I was previously unfamiliar with. To deepen my understanding, I enrolled in art therapy classes, attended seminars (figure 2), and explored its connections to psychotherapy and mental well-being.

Figure 2 : Goldsmiths' (MA) Art Psychotherapy Taster Evenings

04 Prototyping

Initial Prototypes

Building on my research insights, I began prototyping painting tools designed to engage the senses and create a more immersive experience (figure 3). My experiments included:

• Brushes made from various materials to produce unique sounds and textures
• Alternative tools that encouraged unconventional movements and interactions

Figure 3 : First set of painting tools

First experiment

My primary subject was Carlotta Montella, who experiences occasional panic attacks and uses painting as a form of self-soothing. Without any formal art training, she found peace in painting freely.

I observed her interactions with the prototype tools, noting how various textures and sounds influenced her emotions (figure 4). Through one-on-one discussions and careful observation, I gained valuable insights into how sensory elements can deepen emotional engagement in painting.

Figure 4 : Carlotta testing the tools

Refining Prototypes & Additional Experiments

To further develop the project, I reached out to Dannie Panzid, a certified art psychotherapist based in the UK, who became a mentor and consultant throughout the process.

With her guidance - and building on insights from my initial experiments with Carlotta - I designed a new set of experiments using expanded tools. This included creating finger brushes (figure 5), painting blindfolded (figure 6), painting with enhanced brush sounds (figure 7), all while connecting Carlotta to a heart rate sensor to track her heartbeat while painting.

Figure 5 : Prototype of finger brushes
Figure 6 : Experiment with Carlotta blindfolded
Figure 7 : Experiment with Carlotta painting with enhanced brush sounds

Figure 5 : Prototype of finger brushes
Figure 6 : Experiment with Carlotta blindfolded
Figure 7 : Experiment with Carlotta painting with enhanced brush sounds

Figure 5 : Prototype of finger brushes
Figure 6 : Experiment with Carlotta blindfolded
Figure 7 : Experiment with Carlotta painting with enhanced brush sounds

Figure 5 : Prototype of finger brushes
Figure 6 : Experiment with Carlotta blindfolded
Figure 7 : Experiment with Carlotta painting with enhanced brush sounds

05 Final Designs

The tools were designed to help individuals experience painting as an immersive and therapeutic process, challenging the misconception that painting is only for those with artistic training.

The final kit included:
• Multi-textured brushes that produce distinct sounds (figure 8)
• Finger brushes for direct, tactile engagement (figure 9)
• A sound-enhancing easel that amplifies the sounds of painting tools (figure 10)
• An immersive painting board with headphone-compatible audio feedback (figure 11)

Based on peer feedback, we made several rounds of iteration to address common usability issues. These refinements allowed us to refine the user experience, optimize visual elements, and ensure that the final design was both aligned with the brand's identity and functional - delivering a seamless and engaging experience for the users.

Figure 10 : Sound-enhancing Easel
Figure 8 : Multi-textured brushes
Figure 9 : Finger Brushes
Figure 11 : Painting Board