Author: eva_gl

In this chapter of our Storefront Chats designer interview series, we spoke with Stacey Yip, the designer behind the Colour Program—a publication series comprising Colour Stories and Colour Language, aimed at introducing children to the social dimensions of colour. Read on as we explore how the Colour Program progressed from inspiration to prototyping—shared by its designer, Stacey Yip.

1) How do you maintain your creative energy?

For me, creativity is about staying curious and being able to act on that curiosity. I’m someone who likes to experiment and work on research questions. That’s how I keep my creativity alive—through those little side projects in addition to my full-time job.

2) Where do you usually draw inspiration from when starting on a new project?

It mostly comes down to intuition. Where I feel like there’s something worth exploring. Then, I proceed to research if there’s existing projects that have explored similar topics. Most of the time, my inspiration comes from what I read. Lately, many of my ideas are sparked by the content I consume—such as films and podcasts.

3) What is the Colour Program about?

The Colour Program was created to help children see colours beyond their mere labels. Through these publications, children are introduced to the social and cultural dimensions of colour, encouraging them to rediscover the way they perceive the colours around them.

This exploration led to 2 publications within the program: Colour Language and Colour Stories.

4) Can you walk us through your typical design process, from initial concept to the final products of the Colour Program?

The Colour Program is divided into 2 parts—Colour Language came first, followed by Colour Stories during my time in an incubation program.

In design, there are 2 processes, problem-solving and exploratory. Problem-solving has a clear goal, while exploratory design is more open-ended. Colour Language was an exploratory project, while Colour Stories took a problem-solving approach.

Colour Language started because of a module I took up in University – Language Cognition and Culture. In this module, I learnt that different cultures have different ways of seeing the world. Additionally, for my thesis project, I wanted to translate those insights gained with design involved, and see if something tangible could emerge.

One of the cultures I learnt was the Candoshi culture – which has no words for colours. Instead, they describe colour through context. For instance, if you put a red dot on the floor, they will say it is a drop of blood. While a red dot on a table is an apple.

Extracting this culture and insights I’ve gained,  I contextualised them in a way that could be presented to children.  With Colour being an educational program for children, the Colour Language publication was where interesting tidbits of information are being shared.

5) Are there any projects you are working on now?

Something I’m currently working on is exploring what makes eating fruits fun. I’m trying to find out if there’s a way or factor that makes eating different fruits fun for different individuals.

To elaborate, some find eating durians fun because of the fun experience when one opens the husk to get to the flesh. Others might find grapes fun because of the “pop” you get when you bite into them—it’s like a small reward of sweetness. For now, I’ve been just gathering data and ideas around this for a small, ongoing project.

6) If there’s one piece of advice you would like to give to aspiring designers, what would it be? 

Show the ugly stuff and trust yourself that you will get there. You might be uncertain about how things are going now, but it is part of the process.

Another advice would be, don’t overlook design communication. Being able to communicate your design is just as important as the design process itself. Often, in school projects, we focus so much on building the design that the communication part is rushed at the end. But I’ve learned that communicating your design clearly is equally important.

Both publications from the Colour Program are available for purchase through Greydient Store.

In the fourth chapter of our Storefront Chats designer interview series, we spoke with Qiu Xia, the designer behind JiJianWu—a collectible porcelain series that weaves heritage into every curve.

Read on as we explore how secular stories inspire the journey from idea to prototype, with each piece of porcelain capturing cultural heritage — as shared by Qiu Xia, an alumna of NUS Industrial Design.

1. How do you maintain your creative energy?

To me, creativity isn’t merely about delivering surprises, it’s about deeply understanding a problem and crafting thoughtful solutions from that insight. A good design doesn’t just catch the audience off guard; it creates experiences that feel natural, seamless, and genuinely effective.

I maintain my creative energy by staying curious, immersing myself in art and design exhibitions to stay updated on current design trends. Travelling during breaks also plays a big role in exposing myself to different cultures and broadening my perspectives.

2. Where do you usually draw inspiration from when starting on a new project?

I often draw inspiration from my surroundings and personal experiences. When a project centers on interaction and user experience, I start by reflecting on how I’ve engaged with similar products in the past. For instance, if I’m designing an app homepage, I think about the apps I use daily. Paying attention to their interactions, gestures, and overall user experience to spark ideas and inform my approach.

3. What is JiJianWu about?

It’s a  meaningful piece representative of my culture.

JiJianWu is established on the topic of Feng Shui. With my little knowledge about this topic, extensive research and readings were required before I could begin ideating. I would read through papers to understand the foundations of the subject which included things like ancient and modern day theories, how it has evolved over time, and how it is perceived in a contemporary context. 

This exploration led to five collectible porcelain pieces in the JiJianWu collection: Ma, Pi Xiu, Hu Lu, Qi Lin, and Jin Chan.

4. Can you walk us through your typical design process, from initial concept to the final product of Ji Jian Wu?

The process began with thorough research to build a deep understanding of the subject matter I was working with. This involved both primary research, like in-depth readings, and secondary research such as surveys and interviews to gain insights into my target users. Once all the information was gathered, I analyzed the findings to extract key insights and identify potential opportunities.

In the ideation phase, I began exploring possible directions for the final deliverables. This stage also involved additional research—particularly into competitor products and manufacturing considerations. (e.g material, size etc to ensure the feasibility and uniqueness of the concept)

After ideation, I started to look into prototyping and creating these products into something tangible with the aims of gathering feedback from users for further enhancements. 

The final stage focused on enhancing the design based on user feedback ensuring the product was ready for final delivery.

5. How do you see your work evolving in the future? 

I’m currently seeking opportunities to expand my collection, as there’s still so much to explore within the layers of Chinese superstitions and culture. In the future, I hope to continue interpreting these elements through various formats. (e.g. in the form of everyday objects or through digital experiences)

6. If there’s one advice you would like to give to aspiring designers, what would it be?

Don’t be limited by conventional thinking. The key factor for an impactful design is to fully understand your subject and connect with your audiences.

Perfect for decorating home and living spaces, all pieces from the JiJianWu collection are available for purchase through Greydient Store.