Design help: briefs, framing and reviews
Claude builds to what a scene is for: a declared brief, colour chosen for the intent, every camera composed like a photograph, and a design review that says what to fix first and why.
Open in the interactive manual →The interactive version has full-text search, a table of contents, and light/dark themes.
A scene is built to do something: get people to book, explain an idea, show a product off, entertain, or help people find their way. Claude (over the MCP and as the in-editor Assistant) now works from that purpose and tells you, in plain words, what would serve it better.
The brief
Every design choice below serves a brief, stored on the scene: its intent (convert, inform, showcase, entertain or navigate), a mood (calm, energetic, luxury, playful, serious, dramatic, natural), who the audience is, and the one primary action the page exists for (a sign, or anything a visitor can tap). Claude asks for it, or reads it from what you asked for and says it back in a sentence. A page can carry its own intent and action, which win for that page. When no brief is declared, the review says what the scene reads as and why, and asks before writing it down.
Colour that serves the intent
Claude reads a palette the way a designer does: a quiet dominant field, a secondary, and one accent, the 60-30-10 rule, with the accent kept for the primary action alone so the eye goes there first. What fits depends on the intent: a page meant to convert wants a neutral field and one warm accent; one meant to inform, pale, cool and unsaturated; a showcase, a field that recedes so the product carries the colour; entertainment, two or three saturated hues; wayfinding, one colour on every sign and nowhere else. Text is checked against whatever is actually behind it, to the WCAG standard (4.5:1 for body text, 3:1 for headings), and a failure comes back with the nearest shade of the same colour that passes.
Every camera is a photograph
Cameras and lamps are aimed at a point or a node (lookAt, lookAtNodeId) instead of hand-typed angles, and probe_framing judges each saved view the way a photographer would, on a desktop and on a phone held upright, because one camera position is two different pictures. A room or an object wants its subject on a third, the horizon on a third, and the eye at a standing person's height. A page's own arrival camera is judged as a web page instead: the whole card, filling most of the width at an angle its text still reads (a 3D view need not be head-on), with fitWidth on the camera so a phone backs up until it fits (in a room, add fitWidthMode: "min" so a wide screen never pushes in past the composed shot). It also checks that nothing is in the lens, that the primary action is in the first frame, and that a way out is in view. Every finding comes with one suggested pose, ready to apply.
Screenshots come back with their composition read from their own pixels: the tonal range (a flat frame has little), what is blown out or crushed to black, where in the thirds grid the detail is, and the colours actually on screen.
The review
Ask "how could this be better?" and Claude runs design_review: the brief, the palette against it, text contrast, heading hierarchy, every arrival shot, wayfinding between pages, the light (how strongly the key light models the subject against the fill) and motion. It ranks the five things that matter most for this intent: a booking page hears about its button first, an explainer about its headings, a showcase about how its hero is lit and framed. Each comes with why it matters and, where there is one, a ready fix. On a scene Claude is building it applies the fixes that serve the brief; on your own work it tells you and offers them.