Mixed Reality in Art Education
Regina Bäck* David A. Plecher†
Katholische Universität Eichstätt-Ingolstadt Technical University of Munich
Birgit Dorner§
Katholische Stiftungsfachhochschule Munich
A BSTRACT
In this paper both receptive and productive Augmented Reality
(AR)/Virtual Realty (VR)-Concepts to teach art are presented and
discussed. Receptive means learning about art as an (immersed)
spectator while productive means offering opportunities for own
mixed reality artistic creations. The prototypes presented are pioneer
research in terms of VR and AR, so called Mixed Reality (MR),
informed art education. One of the core aims is to exemplify art ed-
ucational applications by exploring usage of MR beyond traditional.
The three MR based art educational concepts presented here invite
users to experience art in heterogenous spatial contexts. MR is used
here to highlight semantics of historically and art historically rele-
vant spaces offering immersive as well as creative and participatory
ways of learning. Three prototypes of MR informed art education
are presented. First, a AR-based art history city guide is described
with integration of teacher-based evaluation. Art is taught here in an
interdisciplinary approach as situated learning experience visiting
Munich’s art historical sites and architecture. Teachers’ attitudes
towards AR/VR-based art history learning were conducted after trial
of one of the applications. According to the educator’s feedback,
motivation, attention but also spatial imagination and perception
are estimated to be fostered. Next, an AR-based installation of a
missing painting by Franz Marc is presented conveying complex
meanings of both architecture in art historical context as well as the
art work itself. Finally, an immersive VR-art educational concept
integrating two paintings of Caspar David Friedrich is described,
offering sequential ways to inform about the painting’s iconogra-
phy. When it comes to implementing MR-concepts in day-to-day
practice, media competence as well es technology acceptance or
media cultural negotiations are vital aspects beyond the questions of
it-technological equipment and infrastructure.
Index Terms: Virtual Reality—Augmented Reality—Mixed
Reality—Art Education;
1 I NTRODUCTION
How canMixed Reality (MR) contribute to art educational objectives?
Which functions are innovative and go beyond existing ways of
using augmentation and immersion art education? In the following
research project, three usages of mixed reality in art education are
exemplified. Both receptive and productive mixed reality supported
art educational concepts are presented and discussed. The prototypes
presented are part of an interdisciplinary pioneer research in terms
of VR and AR art education in collaboration of three Universities in
Munich (TUM/LMU/KSH) as well as KU Eichstätt-Ingolstadt.
* e-mail:
r.baeck@lmu.de
† e-mail: plecher@in.tum.de
‡ e-mail: rainer.wenrich@ku.de
§ e-mail: birgit.dorner@ksh-m.de
¶ e-mail: klinker@in.tum.de
2019 IEEE Conference on Virtual Reality and
3D User Interfaces
23-27 March, Osaka, Japan
978-1-7281-1377-7/19/$31.00 ©2019 IEEE
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Rainer Wenrich ‡
Katholische Universität Eichstätt-Ingolstadt
Gudrun Klinker¶
Technical University of Munich
2 R ELATED W ORK
Both productive as well as receptive art educational means keep
evolving forms of MR. Museums develop VR-forms of experienc-
ing exhibitions (Modigliani [5], Rijksmuseum [8], and others c.f.
Beck [2]). The development of design tools in MR is evolving and
part of productive art education (VR: Google Tiltbrush [10] and
AR: Google Just a Line [4]). While artistic practice flourishes (c.f.
Mixed Reality Art show by Damiani in 2018 [3]), the integration in
the day to day German art educational practice is lagging behind.
Currently, ”ARt” education is about to evolve, e.g. with creative
gaming practice projects (Kothe [26] c.f. overview by Peez [29]).
Bower et al. [14] applied AR in art education as design based learn-
ing concept. Students (grade 8-10) developed AR-based content for
existing art works. Bower concludes that offering AR-design op-
portunities led to profound design concepts and sparked technology
interest finally pursuing higher thinking orders. Camuka [16] cre-
ated a model of technology acceptance of AR in art education based
on Davis [17] technology acceptance model. Users are differing
in terms of acceptance and motivation, with tendencies to hyping
MR and hypersceptical users on the other side. While Camuka [16]
has applied this model with AR-applications in Art education, VR-
applications and technology acceptance in art educational contexts
have not been tested so far.
Research in VR-supported art educational concepts is rare with few
first projects dedicated to creating VR-stop-motion (Interactive Me-
dia Foundation, tinkertank (2016) [11], a VR-Movie [12] developed
with children from age 13). Regarding educational benefits of VR
in education, embodied immersion fosters motivation and unveils
creative possibilities [22]. VR Learning is fostered by multisen-
sorial stimulation, in our applications addressing visual, but also
propriosceptic senses such as kinaesthetic or position of the body
in space. Research assumes to direct even emotions and thoughts
via VR as tested with students with ASD [24] or psychotherapy [30].
Yet, what is need especially to be kept in mind especially when us-
ing immersive VR regarding children at the age of 0-12, VR, cyber
sickness and other negative effects on children’s nervous system
need further research before widespread deployment in educational
contexts [18]. Competence-oriented and constructivist notions of
learning are matching VR-characteristics (training, experiencing,
creating c.f. Hellriegel et al [23]). Art education can make use of
these three VR characteristics, from learning artistic practices in VR,
experiencing a masterpiece in VR, to designing in VR as exemplified
in the following projects.
3 P ROTOTYPICAL M IXED R EALITY A RT E DUCATION C ON -
CEPTS
3.1 Mixed Reality art education city guide
The MR city guide aims to engage students in site specific learning
experiences (grade 8/9), covering artistic and historical themes both
alike. Thinking about commemoration practices and memorials
was a core objective and realised by highlighting, interpreting and
finally transforming current memorials or create owns with means
of mixed reality.As learning objective regarding the receptive side
of art education, the application invites to discover exhibitions and
architecture on site as well as understanding forms of artistic media
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 and its political functions back then. The application was devel-
oped to be used by teachers together with students but should also
work on an individual level. Finally, it was designed as prototypi-
cal application to get to know functions of mixed reality in order
to encourage teachers and students to create individual city guides
themselves. Generally, fostering media competences, from usage to
own creation and prosumers of AR/VR applications, was another
learning objective.Interface topics are here, how artistic means and
artists biographies are influenced by sociopolitical circumstances
or how historical events were influenced by artists/artistic media.
AR/VR is used to integrate spatial learning experiences and design-
ing opportunities, balancing receptive and productive art educational
aims. It was developed as prototypical application to use and get to
know functions of mixed reality in order to encourage teachers and
students to create themselves individual city guides. The occasion
to develop the application was the 100th anniversary of revolution in
Bavaria 1918, where artists and intellectuals played a crucial role in
building the republic of councils in an effort of democracy in an age
of monarchy. In the AR section of the guide, AR usage stretches the
common purposes of AR in the sense of situated overlays directing
attention and encouraging comparison (e.g. cultural heritage guide
AR cf. Javornik et al [25]). First, users don’t only see historical
facades, but are also able to enter art historically relevant places and
witness artists and their creative processes in situ. The augmented
historical facade transforms into an interior where photographers
and painters are portraying politicians or the users visit stunning
art nouveau interiors where women right activists and artists used
to work at the time. A compass is integrated in the gallery scene,
to point to the direction (but not as situated overlay) of the actual
location of the historical studios.
Figure 1: Augmented Reality Gallery with compass , Odeonsplatz
Munich, Götschl, Sievers 2018
Figure 2: Screenshot Atelier Elvira, Götschl, Sievers 2018
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Finally, as creative task, the redesign of an existing memorial
and AR-based implementation is integrated in the city guide. Users
can see a reproduction of an actual memorial, change basic design
features and insert it on a specific site in camera mode. In the VR
section of the guide, the application exemplifies innovative usage
of VR in terms of situated design. Here, the users are encouraged
to design a memorial for revolution in Bavaria 1918 while being
immersed in specific historically relevant places in Munich. Multiple
artists use VR-Painting (e.g. Nancy Baker Cahill [1]) with VR-
Painting technology evolving. Yet, the integration of real places
in VR-design tools is a pioneer function. Therefore, an immersive
painting experience with 3D-painting applications was created. A
360 degree environment of the places as relevant to revolutionary
incidents can be implemented here. The innovative purpose of VR
in productive art education was here to immerse oneself in historical
places and designing memorials for that space at the same time
independent from actual presence. Design tools encompass drag
and drop elements next to artistic representations of politicians and
activists. In the following VR-memorial captured as still, cubes and
clouds are floating in front of the former residence of the monarch,
hinting to violence and left oriented revolution both alike. (see
Figure 3) Here, the art educational learning opportunities focus
spatial perception, imagination along with VR media competences
(controller-based painting and navigating).
Figure 3: VR Memorial for Kurt Eisner, Suchacek/Traub 2019
Both versions were created in Unity3D. Additionally we used
Vuforia to track natural markers and to register the virtual objects.
The user’s position and orientation is tracked by GPS, accelerometer
and gyroscope.
3.1.1 Feedback of teachers
The application was tested with teachers (n=20, age 30-60, subjects
history/art education). The educators had little practical experience
with AR/VR before as well as little gaming experience. Statements
on learning opportunities stressed strong benefits in terms of moti-
vation, imagination (reconstructive and creative). The application
draws attention to art historical sites and could spark interest to
discover these or the topics as linked to these individually further
on. Teachers estimated motivational cross-fertilisation from one
subject to another for students with little aspirations so far (i.e from
technological interest, that is to the media itself to history or art
respectively). Further, individualised and activating learning pro-
cesses are regarded as chances of AR/VR-based learning. Actual
knowledge acquisition was estimated as strong but weaker than
the other objectives. Limitations are seen when students engage in
superficial/playful functions without thoroughly reading the texts
or triggering further thoughts. A balance of drawing attention to
real art historical relevant places vs. experiencing virtual spaces
is vital to lead to site-specific and not mainly digital learning ex-
periences. Overall usability was rated as medium, improvement
could be achieved by clearer colour-highlighting of icons.Most of
the teachers would use AR/VR in their own teaching contexts, yet
 rather as consumers than producers of such projects. In the next
empirical phase, students’ feedback is vital to compare their points
of views, practices and attitudes in terms of art historical learning
via MR to the teachers’ feedback.
3.2 Mixed Reality for Art Museums. From painting to
3D-interpretation, reconstruction and immersion
The following section will present how MR can be used to change the
way pupils and students are visiting a museum and interacting with
art. Instead of following a guided tour or listening to an audioguide
they should use their smartphones and tablets to interact with the
paintings or they can use head-mounted-displays (HMDs) to get new
VR experiences.
Figure 4: Buczynski, Plecher, Suchacek 2017 - Project mARc: ’The
Tower of the Blue Horses’ [13]
3.2.1 Augmented Reality in the Art Museum: Project ”mARc”
Earlier studies have already shown that AR can motivate middle-
school-students to interact with art [19]. But instead of simply using
the painting as a marker augmented with textual information, we
took a step back and showed - like the project Museum of Stolen
Art [6] - an artwork that can’t be seen on exhibition anymore. So
we chose ”The Tower of Blue Horses” of the German Expressionist
painters Franz Marc. The Project ”mARc” [13] displays a picture of
the painting that was taken before it got lost in the second world war
by using Unity3D and Vuforia. Furthermore we gave the spectator
the possibility to ”extract” an 3D model of the horses from the can-
vas. The 3D horses (see figure 4), modeled in Sculptris [9], could
now be placed on a marker with an explanation of the concept and
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meaning of mARc. Students are invited to place and perceive it as
AR 3D sculpture inside the art museum Haus der Kunst (i.e. house
of art). This art museum was opened in 1937 in Munich to exhibit
what the Nazi party regarded as fine German art. It was the first
monumental structure of Nazi architecture and part of the concept
of Nazi propaganda. Marc’s painting interpreted in mARc was never
exhibited there, since it was regarded as ”entartete Kunst” [27] i.e.
degenerate art. This was a pejorative term for art forms expressing
from a Nazi perspective something like cultural disintegration as
perceived in modern art work like Marcs expressionist interpreta-
tions of nature. The last owner of the painting was supposed to
be Hermann Göring, political military leader in Nazi Germany and
ambitious art collectioner. The installation of mARc conveys multi-
faceted meanings, it expresses the means and ambivalence of NS art
propaganda as well as ahistorical installation by virtually exhibiting
so called degenerate art within Nazi art museum. As producer of
mARc, the challenge to 3D-interpret the 2D-painting is a creative
challenging task. The AR-installation mARc is meant to be a concept
to teach degenerate art but should also encouraged to create similar
interpretations of art pieces and architecture themselves.
3.2.2 Virtual Reality and Art: Project ”VR-iedrich”
This time we want to stride ahead in the continuum of reality and
virtuality by Milgram [28]. AR was the first step to enrich the
reality with virtual information. But also VR has the potential to
teach science, languages, history and art [31] and is one of the
best technologies to experience total immersion [15]. Now there’s
no registration between the virtual object and the real world, so it
is location-independent and can be also used inside the classroom.
Instead of extracting 3D elements from the 2D canvas, we are placing
the spectator inside the recreated 3D virtual world to get a 360
degree-view. Daz-Kommonen represented a related work in 2017
[20]. She used the famous painting The Anatomy Lesson of Dr.
Nicolaes Tulp of Rembrandt to model a 3D world. The spectator
was now inside the information space and could walk through the
painting’s world. We decided to take representative art piece of
romanticism and transfer it into a VR experience. So we chose two
paintings of Caspar David Friedrich - Wanderer above the Sea of
Fog and The Stages of Life - to build a virtual 3D world around the
observer, who wears an Oculus Rift [7]. So the user is not inside the
painting, he is in between or more precisely in a 3D space consisting
of romantic art history.
Unity’s Terrain feature was used to recreate the landscapes that
are shown on the canvases and with the help of Unitys built-in VR
support for HMD we presented the 3D world to the user.
Figure 5: Cichor, Plecher 2018: C.D. Friedrich in VR - ”Wanderer
above the Sea of Fog”
The user is transformed into the ”Wanderer” (see Figure 5). Stand-
ing on a mountain he is located in the middle of the virtual world
above the sea of fog. With VR elements, the static painting is trans-
1585
 formed into a 360 degree sequence of pictorial meanings. So the
observer can experience the dynamic that is hidden in the static
of the 2D painting. Through VR dramatics and immersion, the
static picture is now perceived as sequential and embodied experi-
ence. Besides experiencing VRiedrich, students are invited to create
own VR-interpretations, thereby reflecting about constructiveness
of Virtual Realities since there are By intyesto combine and inter-
pret Caspar David Friedrich’s paintings in VR. racting, many wathe
user rather acts within and feels the atmosphere of the painting in
different ways than standing in front of the painting as museum art
spectator. The user sees the mountains through the fog and the mov-
ing clouds appearing and when he is turning his head to look behind,
the fog vanishes and a the beach and the sea of the other painting
are coming into view (see Figure 6). The original painting shows
five ships different in size and orientation representing the different
stages of life. In our implementation only one boat is shown that
undergoes the stages of the metaphorical life. So, a small boat that is
representing the childhood starts the journey to the horizon. Once it
reaches a certain threshold, it starts growing and all the other boats
are disappearing. At one point before it seems to leave the 3D World
the grown ship turns - because it is now representing the middle age
- and starts shrinking again, till it reaches the beach, crashes and
remains dead as a wreck. The entire process is supposed to provide
an enhanced view of the events in the painting and helps the user
to understand and interpret this masterpiece of art in an immersive
way.
Figure 6: Cichor, Plecher 2018: C.D. Friedrich in VR - ”The Stages of
Life”
4 M IXED REALITY IN ART EDUCATION - POTENTIALS , LIMI -
TATIONS AND MEDIACULTURAL CONTEXTS
4.1 New ways of spatial learning
As shown with the three prototypical art learning options, VR and
AR offer diverse art historical learning experiences. Spatial percep-
tion, imagination and transformation/design are learning objectives
which match the spatial characteristic of the mixed reality. Regard-
ing the multisensorial power of VR, the conveyed ideas on art and art
historical themes as outlined in the projects here are supposed to be
remembered thoroughly. Long term research has not yet been con-
ducted, but would be vital to look at the assumptions of long-term
or short-term effects on learning more closely.Exploring semantics
of historical spaces and expressing own perspectives on history by
designing own virtual memorials are core possible usages of Mixed
reality in art education. A reflective usage of MR in art education
makes use of both sensual and semantic functions of MR, balancing
superficial vs thorough learning processes along with Bower (2014)
as mentioned in related work.
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4.2 Media Competence variations
Looking at the evaluation and actual interaction with the city guide
application, the competences in terms of critical reflection vs. prac-
tical experience are not necessarily competences which correlate.
That is, practical usage and critical reflections are competences
which would complement each other, but actually occur within
different user types (i.e. with tendencies to the categories media-
affinity/exploratory vs critically-reflective). Further research is vital
to look at these tendencies integrating also criteria such as gender
and socio-economic backgrounds which are assumed to correlate
with media competences [21]. Further research is vital to define
MR-specific competence classifications and to understand these user
variations accordingly.
4.3 Technology Acceptance
Technology Acceptance is another vital point when it comes to actual
implementation in school settings. While almost all of the teachers
were interested in using the AR/VR city guide application, the di-
mension of media consumption and readiness for own creations vs.
consumer-roles is a key user difference. Empirical methods in dia-
logue such as group discussions could contribute to gaining insight
in negotiation processes between the different user types stretching
from active explorers to critically-reflective users. How does belong-
ing to or not belonging to media cultures (e.g. gaming culture) effect
motivation or frequency of usage and media competences? Also, the
value / emotions ascribed to MR-applications as defined by these
heterogenous user groups are vital as social glue and motivator to
engage in MR-applications. As within different cultures, and what is
most crucial for learning processes, intercultural mediating may be
vital here, since the representatives of different media cultures may
struggle to mutually understand each other or learn from each other.
5 C ONCLUSION AND F UTURE W ORK
We presented different approaches to give pupils and young stu-
dents an understanding of art and history with mixed reality. These
projects show how mixed reality conveys new semantics of space and
means of expression in space. AR enables new kinds of site-specific
meanings and dimensions (mARc) as well as forms of experiencing
(VR-iedrich) and site-specific exploration and creation, sparking
interest to approach complex interdisciplinary topics (1918/1919
revolution city guide). Beyond motivational benefits, mixed reality
reshapes forms of spatial learning in art educational contexts in mul-
tiple facets, from unveiling complex histories of artists and art in
historical space to redesigning these places in immersive ways. In
the next empirical phases, the mixed reality art educational concepts
are to be tested with a larger number of teachers and especially
students. It is vital to get more insights into the nature and impact
Mixed Reality on the students learning processes and learning pro-
gresses. The actual implementation in schools depends on financial
support by educational politics but not least also technology ac-
ceptance, media cultural backgrounds along with media-/didactic
competence of educators.
ACKNOWLEDGMENTS
The Universities Katholische Stiftungshochschule München
/Katholische Universität Eichstätt-Ingolstadt are involved with a
Phd project as part of an interdisciplinary doctoral program funded
by Hanns-Seidel-Stiftung.1 The city guide was realised within an
interdisciplinary project with the support of Prof. Michele Barri-
celli (LMU, Lehrstuhl für Didaktik der Geschichte und Public His-
tory), Angelika Pleyer, Mathias Gilgen, Pierre Suchacek, Christian
Götschl, Carolina Sievers as well as Marlene Pruss.
1 https://bit.ly/2BGO2VJ
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