{"id":136,"date":"2026-09-17T20:34:12","date_gmt":"2026-09-17T20:34:12","guid":{"rendered":"https:\/\/projects.etc.cmu.edu\/beyond-frame\/?page_id=136"},"modified":"2026-09-25T19:44:05","modified_gmt":"2026-09-25T19:44:05","slug":"week-3","status":"publish","type":"page","link":"https:\/\/projects.etc.cmu.edu\/beyond-frame\/week-3\/","title":{"rendered":"Week 3"},"content":{"rendered":"\n

Week 3: Making the Experience Personal<\/h1>\n\n\n\n

This week, Beyond Frame moved from proving that the core technology works toward a different question:<\/p>\n\n\n\n

What makes entering a painting feel like a personal experience rather than simply an interactive visual effect?<\/strong><\/p>\n\n\n\n

After Quarters and Design Review, we received a wide range of feedback about multiplayer, visibility, throughput, interaction, and scalability. Rather than immediately expanding the project, we spent this week deciding which ideas actually support the core experience we want to create.<\/p>\n\n\n\n

The result was a clearer direction: Beyond Frame should remain a personal, intimate, single-person experience<\/strong> centered on the relationship between one visitor and one artwork.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Returning to the Core Experience<\/h2>\n\n\n\n

One of the most repeated suggestions during Quarters was to explore multiplayer.<\/p>\n\n\n\n

From a practical perspective, allowing multiple visitors into the experience could increase throughput and make the installation more social. However, after discussing this direction with our client and instructors, we decided that multiplayer should not become the priority before Halves.<\/p>\n\n\n\n

The client strongly preferred keeping the experience centered on one visitor at a time.<\/p>\n\n\n\n

A single-person experience allows visitors to behave more naturally, gives them space to explore the artwork at their own pace, and preserves the reflective quality that originally motivated the project.<\/p>\n\n\n\n

Rather than turning the installation into a group photo opportunity, we want the experience to feel more like a temporary private encounter between:<\/p>\n\n\n\n

visitor + artwork<\/strong><\/p>\n\n\n\n

For now, single-person interaction will remain our core deliverable, while a two-person mode may become a stretch goal later in the semester.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n


Designing a More Personal Journey<\/h2>\n\n\n\n

Keeping the experience single-user does not automatically make it personal.<\/p>\n\n\n\n

This week, we began thinking more carefully about how different visitors might have different experiences depending on where they choose to move inside the painting.<\/p>\n\n\n\n

Our current prototype already allows the visitor to move through depth and appear behind different layers of the artwork. We are now exploring interactions that respond to different regions of the painting.<\/p>\n\n\n\n

For example:<\/p>\n\n\n\n

    \n
  • approaching water could change the environmental sound or create a subtle visual response<\/li>\n\n\n\n
  • moving near a tree or branch could cause it to react<\/li>\n\n\n\n
  • entering a grassy area could affect the ground<\/li>\n\n\n\n
  • approaching a bench or another existing object could create a different moment<\/li>\n<\/ul>\n\n\n\n

    Instead of asking every visitor to perform the same gesture, we want the artwork to respond to the path they naturally choose.<\/p>\n\n\n\n

    The long-term goal is for two visitors to enter the same painting but leave with slightly different memories of it.
    <\/p>\n\n\n\n

    Strengthening the \u201cMagic Moment\u201d<\/h2>\n\n\n\n

    One of the most important areas we identified this week is the moment when the visitor first enters the painting.<\/p>\n\n\n\n

    Technically, the system is already able to detect a person and place them inside the artwork. However, the transition still feels too much like a system activating rather than a magical change of space.<\/p>\n\n\n\n

    Currently, there is a short delay between entering the tracking area and appearing inside the painting. Even a delay of around two seconds can feel surprisingly long when the visitor is waiting for something to happen.<\/p>\n\n\n\n

    We are now thinking about this transition as a designed sequence:<\/p>\n\n\n\n

    Step through frame \u2192 environmental response \u2192 painting activates \u2192 visitor appears<\/strong><\/p>\n\n\n\n

    Lighting and sound could help hide the technical transition while also guiding the visitor into the correct position.<\/p>\n\n\n\n

    The goal is to make entering the artwork feel immediate and intentional rather than like waiting for a camera to recognize you.<\/p>\n\n\n\n

    \"\"<\/figure>\n\n\n\n

    Prototype 0.1<\/h2>\n\n\n\n

    With Halves approaching, we also defined a much clearer target for the next version of the project.<\/p>\n\n\n\n

    Rather than trying to implement every possible interaction, our first complete spatial prototype should focus on making the core experience reliable.<\/p>\n\n\n\n

    Prototype 0.1<\/h3>\n\n\n\n

    The visitor should be able to:<\/p>\n\n\n\n

    enter the frame \u2192 appear inside the painting \u2192 move through depth \u2192 pass behind painting layers \u2192 experience at least one additional environmental interaction \u2192 reach a clear ending<\/strong><\/p>\n\n\n\n

    The prototype will be installed and tested in ETC Room 3306<\/strong>.<\/p>\n\n\n\n

    This gives us a controlled space where we can begin testing the experience as an installation rather than only as a technical demo.<\/p>\n\n\n\n

    At this stage, depth and hiding remain the strongest interaction we have.<\/p>\n\n\n\n

    The forest painting works particularly well because trees naturally create clear foreground and background relationships. The second painting may require a different interaction so that the experience does not rely on the same visual trick every time.<\/p>\n\n\n\n

    If possible, we also want to introduce one additional interaction verb before Halves, such as moving a branch, disturbing grass or water, or subtly affecting another existing part of the painting.<\/p>\n\n\n\n

    Choosing the Right Paintings<\/h2>\n\n\n\n

    Earlier in the semester, we explored a relatively large number of paintings.<\/p>\n\n\n\n

    This week, we began deliberately reducing that list.<\/p>\n\n\n\n

    Instead of continuing to search for more possibilities, we are now focusing on the two strongest paintings<\/strong>, with a third remaining optional.<\/p>\n\n\n\n

    The selection is based on several factors:<\/p>\n\n\n\n

      \n
    • depth and layering<\/li>\n\n\n\n
    • quality of element separation<\/li>\n\n\n\n
    • style-transfer results<\/li>\n\n\n\n
    • visual atmosphere<\/li>\n\n\n\n
    • potential interaction opportunities<\/li>\n\n\n\n
    • space for the visitor to exist naturally inside the composition<\/li>\n<\/ul>\n\n\n\n

      This is also helping us understand that different paintings may need different types of interaction.<\/p>\n\n\n\n

      The goal is not to create one interaction system and force every artwork into it. Instead, the structure should remain repeatable while still allowing each painting to behave differently.<\/p>\n\n\n\n

      Improving Visual Integration<\/h2>\n\n\n\n

      We also continued testing style-transfer strength.<\/p>\n\n\n\n

      Previously, we were cautious about making the visitor too stylized because we wanted them to remain recognizable.<\/p>\n\n\n\n

      This week, the client responded positively to stronger stylization. The visitor can still remain identifiable while becoming more visually integrated into the painting.<\/p>\n\n\n\n

      This gives us more confidence to push beyond the appearance of a photographed person placed on top of an artwork.<\/p>\n\n\n\n

      We are continuing to test each painting separately because the ideal level of stylization may depend on the visual language of the original work.<\/p>\n\n\n\n

      \"\"<\/figure>\n\n\n\n

      Designing the Capture Moment<\/h2>\n\n\n\n

      The personalized print remains one of the most important parts of Beyond Frame.<\/p>\n\n\n\n

      However, the moment when the image is captured still needs to be designed carefully.<\/p>\n\n\n\n

      We want the visitor to understand that a photograph has been taken, but we do not want the experience to suddenly turn into a selfie booth.<\/p>\n\n\n\n

      One promising direction from Quarters was to freeze the visitor inside the painting at the moment of capture<\/strong>.<\/p>\n\n\n\n

      A possible sequence is:<\/p>\n\n\n\n

      Explore for approximately 45 seconds \u2192 capture occurs \u2192 visitor freezes inside the artwork \u2192 final composition remains visible briefly \u2192 experience fades out<\/strong><\/p>\n\n\n\n

      This could solve several problems at once.<\/p>\n\n\n\n

      The freeze clearly communicates that the image has been captured, gives the visitor time to see the final composition, and creates a natural ending to the experience.<\/p>\n\n\n\n

      We can reinforce this moment with a subtle lighting, sound, or visual cue without requiring obvious interface elements.<\/p>\n\n\n\n

      \"\"<\/figure>\n\n\n\n

      From Screenshot to Postcard<\/h2>\n\n\n\n

      We also continued thinking about what happens after the digital experience ends.<\/p>\n\n\n\n

      The final output should not simply be a screenshot printed on paper.<\/p>\n\n\n\n

      We are developing it as a real postcard that connects the personalized image back to the original artwork and museum context.<\/p>\n\n\n\n

      The front can contain the visitor’s captured moment, while the back could include information such as:<\/p>\n\n\n\n

        \n
      • painting title<\/li>\n\n\n\n
      • artist<\/li>\n\n\n\n
      • museum<\/li>\n\n\n\n
      • artwork information or provenance<\/li>\n\n\n\n
      • project information<\/li>\n\n\n\n
      • date<\/li>\n\n\n\n
      • space for a message and address<\/li>\n<\/ul>\n\n\n\n

        This helps the print serve two roles at once:<\/p>\n\n\n\n

        a personal memory of the experience, and a small piece of art interpretation that the visitor can physically take away.
        <\/p>\n\n\n\n

        \"\"<\/figure>\n\n\n\n
        \"\"<\/figure>\n\n\n\n

        Building the Physical Experience<\/h2>\n\n\n\n

        As the digital prototype becomes more stable, the physical installation is becoming increasingly important.<\/p>\n\n\n\n

        This week, we began thinking more seriously about the frame itself\u2014not only as a structural object, but as part of the visual identity and visitor experience.<\/p>\n\n\n\n

        The frame needs to be:<\/p>\n\n\n\n

        safe, stable, visually intentional, and clearly inviting.<\/strong><\/p>\n\n\n\n

        This connects directly to our Design Review feedback.<\/p>\n\n\n\n

        The frame should feel like something the visitor wants to enter, rather than something broken, threatening, or disruptive.<\/p>\n\n\n\n

        Our revised visual direction is therefore moving toward the idea of an opening frame<\/strong> rather than a broken frame.<\/p>\n\n\n\n

        The same concept should eventually connect the physical installation, logo, poster, website, team photo, and printed materials.<\/p>\n\n\n\n

        \n
        \"\"<\/figure>\n\n\n\n
        \"\"<\/figure>\n\n\n\n
        \"\"<\/figure>\n\n\n\n
        \"\"<\/figure>\n<\/div>\n\n\n\n
        \"\"<\/figure>\n\n\n\n

        We are also beginning to work more seriously with lighting and sound.<\/p>\n\n\n\n

        Lighting has to support both the atmosphere of the installation and reliable body\/depth detection. Sound can help create environmental depth, communicate transitions, and make different areas of the painting feel distinct.<\/p>\n\n\n\n

        The challenge is to use both without making the installation feel theatrical or over-designed.<\/p>\n\n\n\n

        Team photo <\/h2>\n\n\n\n
        \n
        \"\"<\/figure>\n\n\n\n
        \"\"<\/figure>\n<\/div>\n\n\n\n

        Looking Toward Halves<\/h2>\n\n\n\n

        This week helped us reduce several uncertainties.<\/p>\n\n\n\n

        The technical pipeline is working well enough that the main challenge is no longer simply:<\/p>\n\n\n\n

        Can we put someone inside a painting?<\/strong><\/p>\n\n\n\n

        The more important questions are becoming:<\/p>\n\n\n\n

        How should entering the painting feel?<\/strong><\/p>\n\n\n\n

        How do we guide visitors without visible UI?<\/strong><\/p>\n\n\n\n

        How do different areas of the artwork create different experiences?<\/strong><\/p>\n\n\n\n

        When does the experience naturally end?<\/strong><\/p>\n\n\n\n

        How does the final print preserve the memory of that moment?<\/strong><\/p>\n\n\n\n

        Before Halves, our priority is to build a polished Prototype 0.1 in Room 3306, strengthen the depth interaction, improve the transition into the painting, begin integrating lighting and sound, and start internal playtesting.<\/p>\n\n\n\n

        The scope is becoming smaller, but the experience is becoming more intentional.<\/p>\n\n\n\n

        And that is probably the most important change this week.<\/p>\n","protected":false},"excerpt":{"rendered":"

        Week 3: Making the Experience Personal This week, Beyond Frame moved from proving that the core technology works toward a different question: What makes entering a painting feel like a personal experience rather than simply an interactive visual effect? After Quarters and Design Review, we received a wide range of feedback about multiplayer, visibility, throughput, […]<\/p>\n","protected":false},"author":4,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-136","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/projects.etc.cmu.edu\/beyond-frame\/wp-json\/wp\/v2\/pages\/136","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/projects.etc.cmu.edu\/beyond-frame\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/projects.etc.cmu.edu\/beyond-frame\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/projects.etc.cmu.edu\/beyond-frame\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/projects.etc.cmu.edu\/beyond-frame\/wp-json\/wp\/v2\/comments?post=136"}],"version-history":[{"count":7,"href":"https:\/\/projects.etc.cmu.edu\/beyond-frame\/wp-json\/wp\/v2\/pages\/136\/revisions"}],"predecessor-version":[{"id":369,"href":"https:\/\/projects.etc.cmu.edu\/beyond-frame\/wp-json\/wp\/v2\/pages\/136\/revisions\/369"}],"wp:attachment":[{"href":"https:\/\/projects.etc.cmu.edu\/beyond-frame\/wp-json\/wp\/v2\/media?parent=136"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}