Umeå University's logo

In the design process, selecting colours and creating a palette is usually done digitally or with two-dimensional samples. However, when it comes to product design, the colour of the product is made and manufactured in the physical three-dimensional space, and will be perceived differently than in a digital presentation or on a physical surface. This study aims to investigate the significance of colour choices and highlight the difference between the perception of subtractive and additive colour on three-dimensional objects. It also emphasizes the importance of artistic training in design education.The study involves creating an interactive object that embodies a function, has a recipient in mind, and a context chosen by the user, which is clarified through the specific colour selection. These objects are known as "form ghosts" because they are low-fi and resemble products but with minimal detail and design features. The task requires working systematically to provide reasoning for one's results and presenting a well-developed colour proposal that aligns with the product.The goal of "form ghosts" is to shift the focus from form creation to the process of developing a colour proposal. It is worth considering if the lack of refinement in the form ghosts leads to simplified colour choices. Nonetheless, utilizing form ghosts as a tool in the colour process can be a first step in comprehending and reflecting on the appearance of a hue on a three-dimensional object in a physical context.

The goal of this artistic development work was to deepen the knowledge in the area of colouring for products. Strategies and choices of colour are often made without using design methods or engaging the user, thus not making much use of all the developments in user-centred methodology otherwise influencing many areas of design. In this series of experiments I performed, two different issues were central. The first challenge was to look into creative methods for making colour suggestions. In order to deepen the understanding of process and method, the second issue investigated was to perform colour studies where chance played a central role. The methods developed were evaluated through exercises in teaching “colour on form” as a subject for BFA students in industrial design. In this paper, I report on these experiments, the methods developed, the output they resulted in, as well as reflecting on their potential relevance in design education.

The goal of my artistic development work was to deepen my knowledge in the area of colouring for products. In my practice I have worked with colouring in several fields of product design, in different materials and contexts. Since I started working as an industrial designer in the 90’s the importance of colour for the success of the design has become more obvious in recent years. Colour expertise from material suppliers and trend institutions are regarded as truth and many companies rely on their forecasts. The strategies and choices of colour can be made without the designer.

Scanning through colour history to find ideas related to colour and form I found that this is an area still to be explored.

In this work I have had two different tasks that I wanted to look at. My first challenge was to see if I could make colour suggestions for a product/form regardless of trends and prejudice. My other task was to see if I could find a creative way of working with colour to boost the process. Testing my creativity by performing colour studies conducted by chance.

The intention was to see if these two different approaches would converge in some way by testing new strategies to approach colour and form. I hoped to find a way as a designer to strengthen my professionalism and I also wanted to find out if the exercises were valuable for teaching colour on form as a subject.

Our perception and ways to interpret colour is influenced by experience, social norms and short-lived trends. In my process I wanted to be free from conventional thinking and have a norm critical approach.

Reflecting on the result there is still much to be explored in the field of colour and product. To continue this work I can see many tracks and one would be to explore the connection between function of a product and its colour. Another track would be to look at the intuitive part of the colouring process versus design method.