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 underline 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? underline

To explore this question, I conducted interviews (figure 1) and protocol analysis sessions (figure 2). 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.

Figure 1 : Interview with Carlotta Montella (left) and Izzy Pinder (right)

Figure 2 : Protocol Analysis with Carlotta Montella (left) and Tanishaa Cunha (right)

To explore this further, I had someone conducted protocol analysis on me, documenting my thoughts and emotions while painting (figure 3). This helped me realize that the sensory aspects - texture, sound, and physical movement - were more engaging than the act of producing a final artwork itself.

Debbie Lim How painting, in a research experiment called Protocol Analysis

Figure 3 : Protocol Analysis on myself

Context Report

As part of this project, I wrote a report (figure 4) detailing my initial research and early experiments, which formed the basis of the entire project. You can red my full report here.

Screenshot of pages of a report showcasing a woman painting, conducting protocol analysis

Figure 4 : Read my Context Report

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 5), and explored its connections to psychotherapy and mental well-being.

Figure 5 : 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 6). My experiments included:

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

Set of DIY brushes made of different materials

Figure 6 : 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 7). Through one-on-one discussions and careful observation, I gained valuable insights into how sensory elements can deepen emotional engagement in painting.

Figure 7 : 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 8), painting blindfolded (figure 9), painting with enhanced brush sounds (figure 10), all while connecting Carlotta to a heart rate sensor to track her heartbeat while painting.

Prototype of finger brushes made of hair and carboard, glued to finger cots

Figure 8 : Prototype of finger brushes

Figure 9 : Experiment with Carlotta blindfolded

Woman painting while listening to enhanced brush sounds

Figure 10 : Experiment with Carlotta painting with enhanced brush sounds

05 Final Design

After several iterations, the EEP Kit was formed.

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 11)
• Finger brushes for direct, tactile engagement (figure 12)
• A sound-enhancing easel that amplifies the sounds of painting tools (figure 13)
• An immersive painting board with headphone-compatible audio feedback (figure 14)

Eight brushes made of wood as the base, and different materials for the bristles on a purple background

Figure 11 : Multi-textured brushes

Hand with fnger cots on a purple background

Figure 12 : Finger Brushes

Easel with piezoelectric microphones connected to a conduction speaker, on a purple background

Figure 13 : Sound-enhancing Easel

Board made of wood with headphones on a wooden headphone stand, in front of a purple background

Figure 14 : Painting Board