UX of Pink Week 1
UX of Pink Week 1
UX of Pink Week 1
it's the last thing we'd expect, and it's terrifying to have our safe havens invaded.
it's the last thing we'd expect, and it's terrifying to have our safe havens invaded.
it's the last thing we'd expect, and it's terrifying to have our safe havens invaded.
UX Studio Practices
UX Studio Practices
Lightbox Design
Lightbox Design
Team, research methods & Duration
Team, research methods & Duration
Team, research methods & Duration
Jin, Lancy, Mustafa, Prim, Sakshi
Jin, Lancy, Mustafa, Prim, Sakshi
Artefact Analysis & Creative Toolkit
Artefact Analysis & Creative Toolkit
18th Oct - 24th Oct
18th Oct - 24th Oct
18th Oct - 24th Oct
THE brief
THE brief
THE brief
"Design an experience based on the characteristics of the colour pink"
"Design an experience based on the characteristics of the colour pink"
"Design an experience based on the characteristics of the colour pink"
We reviewed the reference materials and found the history of pink fascinating. Today, pink is seen as a feminine color linked to innocence and femininity. Yet, in the global west, it was masculine until the First World War (Vänskä, A., 2019). In Japan, pink symbolizes the melancholy of fallen samurai, while in Korea, it represents trust.
We reviewed the reference materials and found the history of pink fascinating. Today, pink is seen as a feminine color linked to innocence and femininity. Yet, in the global west, it was masculine until the First World War (Vänskä, A., 2019). In Japan, pink symbolizes the melancholy of fallen samurai, while in Korea, it represents trust.
We reviewed the reference materials and found the history of pink fascinating. Today, pink is seen as a feminine color linked to innocence and femininity. Yet, in the global west, it was masculine until the First World War (Vänskä, A., 2019). In Japan, pink symbolizes the melancholy of fallen samurai, while in Korea, it represents trust.
(left to right) Marilyn’s Dress, Cherry Blossom ‘Sakura’, Pinkifying the masculine (Blegvad, 2019, pp. 18, 28, 41)
(left to right) Marilyn’s Dress, Cherry Blossom ‘Sakura’, Pinkifying the masculine (Blegvad, 2019, pp. 18, 28, 41)
(left to right) Marilyn’s Dress, Cherry Blossom ‘Sakura’, Pinkifying the masculine (Blegvad, 2019, pp. 18, 28, 41)
pink out of place
pink out of place
Colors & their characteristics have historically played a big role in theatrics. Hence we started with the analysis of —
The duality of pink in cultures between the 17th and 21st century, and the analysis of when pink is out of place in theatrics.
Exploring this could show how perceptions of pink have changed over time and how it has been used “out of place” to create certain effects.
Colors & their characteristics have historically played a big role in theatrics. Hence we started with the analysis of —
The duality of pink in cultures between the 17th and 21st century, and the analysis of when pink is out of place in theatrics.
Exploring this could show how perceptions of pink have changed over time and how it has been used “out of place” to create certain effects.
Colors & their characteristics have historically played a big role in theatrics. Hence we started with the analysis of —
The duality of pink in cultures between the 17th and 21st century, and the analysis of when pink is out of place in theatrics.
Exploring this could show how perceptions of pink have changed over time and how it has been used “out of place” to create certain effects.
Pink in the 17th Century
Pink in the 17th Century
Pink in the 17th Century
Pink in the 21st Century
Pink in the 21st Century
Pink in the 21st Century
Key Questions & Insights
Why does pink in theatrics hold significance? What can it tell us about evolving cultural norms, aesthetic trends, or societal attitudes toward the color?
In various cultural contexts, pink is frequently used in romantic or lighthearted films to emphasize themes of love and femininity, often reinforcing traditional stereotypes.
In horror films, pink has a unique purpose.
It sometimes offers false comfort before shifting to red, the traditional color of danger. In other cases, it introduces a saccharine quality that starkly contrasts with darker narratives, heightening unease, making the scenes even more unsettling.
Why does pink in theatrics hold significance? What can it tell us about evolving cultural norms, aesthetic trends, or societal attitudes toward the color?
In various cultural contexts, pink is frequently used in romantic or lighthearted films to emphasize themes of love and femininity, often reinforcing traditional stereotypes.
In horror films, pink has a unique purpose.
It sometimes offers false comfort before shifting to red, the traditional color of danger. In other cases, it introduces a saccharine quality that starkly contrasts with darker narratives, heightening unease, making the scenes even more unsettling.
Why does pink in theatrics hold significance? What can it tell us about evolving cultural norms, aesthetic trends, or societal attitudes toward the color?
In various cultural contexts, pink is frequently used in romantic or lighthearted films to emphasize themes of love and femininity, often reinforcing traditional stereotypes.
In horror films, pink has a unique purpose.
It sometimes offers false comfort before shifting to red, the traditional color of danger. In other cases, it introduces a saccharine quality that starkly contrasts with darker narratives, heightening unease, making the scenes even more unsettling.
Pink across centuries
Pink across centuries
Pink across centuries
After talking with Tonischa, we learned our time frame between the 17th & 21st century was too broad and needed to be narrowed down. Hence we focussed on the characteristics of pink solely in cinematic context.
After talking with Tonischa, we learned our time frame between the 17th & 21st century was too broad and needed to be narrowed down. Hence we focussed on the characteristics of pink solely in cinematic context.
After talking with Tonischa, we learned our time frame between the 17th & 21st century was too broad and needed to be narrowed down. Hence we focussed on the characteristics of pink solely in cinematic context.
Characteristics of pink in a cinematic context
Characteristics of pink in a cinematic context
Characteristics of pink in a cinematic context
Artifact Analysis
Artifact Analysis
Artifact Analysis
We explored objects where pink feels out of place, analyzing why some seem natural in pink while others don’t.
Initially, we wanted to analyze famous pop-culture items to connect the artifact with movies, but we couldn’t get hold of any physical items. We faced challanges with artifact analysis for our topic & realized some methods might not suit certain problems.
We explored objects where pink feels out of place, analyzing why some seem natural in pink while others don’t.
Initially, we wanted to analyze famous pop-culture items to connect the artifact with movies, but we couldn’t get hold of any physical items. We faced challanges with artifact analysis for our topic & realized some methods might not suit certain problems.
We explored objects where pink feels out of place, analyzing why some seem natural in pink while others don’t.
Initially, we wanted to analyze famous pop-culture items to connect the artifact with movies, but we couldn’t get hold of any physical items. We faced challanges with artifact analysis for our topic & realized some methods might not suit certain problems.
Artefact Analysis - Pink in Daily Objects
Artefact Analysis - Pink in Daily Objects
Artefact Analysis - Pink in Daily Objects
Creative Toolkit
Creative Toolkit
Creative Toolkit
We used this research method to find out —
Does our perception of pink depend more on its shade or its context?
This approach aimed to explore how people perceive and emotionally connect with pink in unusual settings.
We used this research method to find out —
Does our perception of pink depend more on its shade or its context?
This approach aimed to explore how people perceive and emotionally connect with pink in unusual settings.
We used this research method to find out —
Does our perception of pink depend more on its shade or its context?
This approach aimed to explore how people perceive and emotionally connect with pink in unusual settings.
The prompts given to participants
The prompts given to participants
The prompts given to participants
Participants creating their collage stories based on different prompts
Participants creating their collage stories based on different prompts
Participants creating their collage stories based on different prompts
Findings from Creative Toolkit Research Method
Findings from Creative Toolkit Research Method
Findings from Creative Toolkit Research Method
Presentation & Feedback
Presentation & Feedback
Presentation & Feedback
Artefact analysis – felt out of context and unrelated to the main topic.
Artefact analysis – felt out of context and unrelated to the main topic.
Artefact analysis – felt out of context and unrelated to the main topic.
Toolkit – Using black-and-white elements with limited pink objects could have better highlighted user behavior and thoughts.
Toolkit – Using black-and-white elements with limited pink objects could have better highlighted user behavior and thoughts.
Toolkit – Using black-and-white elements with limited pink objects could have better highlighted user behavior and thoughts.
Narrowing the topic early helped us explore deeply and uncover interesting facts about pink in movies.
Narrowing the topic early helped us explore deeply and uncover interesting facts about pink in movies.
Narrowing the topic early helped us explore deeply and uncover interesting facts about pink in movies.
Next Steps
Next Steps
Incorporate it into an experience made of objects, environments, and interactions.
Incorporate it into an experience made of objects, environments, and interactions.
Incorporate it into an experience made of objects, environments, and interactions.
References
References
References
Blegvad, K. (2019). The Pink Book. San Francisco: Chronicle Books LLC, pp. 18, 28, 41.
Folger Shakespeare Library. (n.d.). Henry VIII: Act 5, Scene 3. Folger Shakespeare Library. Available at: https://www.folger.edu/explore/shakespeares-works/henry-viii/read/5/3/?q=pinked#line-5.3.40
Folger Shakespeare Library. (n.d.). The Taming of the Shrew: Act 4, Scene 1. Folger Shakespeare Library. Available at: https://www.folger.edu/explore/shakespeares-works/the-taming-of-the-shrew/read/4/1/?q=unpinked#line-4.1.125
Shakespeare Online. (n.d.). Antony and Cleopatra: Act 2, Scene 7. Shakespeare Online. Available at: https://www.shakespeare-online.com/plays/antony_2_7.html
Vänskä, A., 2019. ‘I am Lenni’: Boys, sexualisation, and the dangerous colour pink. Sexualities, 22(3), pp.296-309.
Victoria and Albert Museum (n.d.). In the pink: Colour in menswear. Available at: https://www.vam.ac.uk/articles/in-the-pink-colour-in-menswear#:~:text=The%20associations%20of%20colour%20have,liberation%20and%20visibility%20in%20menswear
Blegvad, K. (2019). The Pink Book. San Francisco: Chronicle Books LLC, pp. 18, 28, 41.
Folger Shakespeare Library. (n.d.). Henry VIII: Act 5, Scene 3. Folger Shakespeare Library. Available at: https://www.folger.edu/explore/shakespeares-works/henry-viii/read/5/3/?q=pinked#line-5.3.40
Folger Shakespeare Library. (n.d.). The Taming of the Shrew: Act 4, Scene 1. Folger Shakespeare Library. Available at: https://www.folger.edu/explore/shakespeares-works/the-taming-of-the-shrew/read/4/1/?q=unpinked#line-4.1.125
Shakespeare Online. (n.d.). Antony and Cleopatra: Act 2, Scene 7. Shakespeare Online. Available at: https://www.shakespeare-online.com/plays/antony_2_7.html
Vänskä, A., 2019. ‘I am Lenni’: Boys, sexualisation, and the dangerous colour pink. Sexualities, 22(3), pp.296-309.
Victoria and Albert Museum (n.d.). In the pink: Colour in menswear. Available at: https://www.vam.ac.uk/articles/in-the-pink-colour-in-menswear#:~:text=The%20associations%20of%20colour%20have,liberation%20and%20visibility%20in%20menswear
Blegvad, K. (2019). The Pink Book. San Francisco: Chronicle Books LLC, pp. 18, 28, 41.
Folger Shakespeare Library. (n.d.). Henry VIII: Act 5, Scene 3. Folger Shakespeare Library. Available at: https://www.folger.edu/explore/shakespeares-works/henry-viii/read/5/3/?q=pinked#line-5.3.40
Folger Shakespeare Library. (n.d.). The Taming of the Shrew: Act 4, Scene 1. Folger Shakespeare Library. Available at: https://www.folger.edu/explore/shakespeares-works/the-taming-of-the-shrew/read/4/1/?q=unpinked#line-4.1.125
Shakespeare Online. (n.d.). Antony and Cleopatra: Act 2, Scene 7. Shakespeare Online. Available at: https://www.shakespeare-online.com/plays/antony_2_7.html
Vänskä, A., 2019. ‘I am Lenni’: Boys, sexualisation, and the dangerous colour pink. Sexualities, 22(3), pp.296-309.
Victoria and Albert Museum (n.d.). In the pink: Colour in menswear. Available at: https://www.vam.ac.uk/articles/in-the-pink-colour-in-menswear#:~:text=The%20associations%20of%20colour%20have,liberation%20and%20visibility%20in%20menswear
Media References
Media References
Media References
Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) (2020) Directed by C. Yan [Film]. Los Angeles: Warner Bros. Pictures.
Color Out of Space (2019) Directed by R. Stanley [Film]. Los Angeles: RLJE Films.
Emma (2020) Directed by A. de Wilde [Film]. Los Angeles: Focus Features.
Excuses (2021) Directed by A. Mann and A. Mann [Music Video]. Performed by A.P. Dhillon and G. Gill. Produced by Coke Studio.
Gangubai Kathiawadi (2022) Directed by S.L. Bhansali [Film]. Mumbai: Bhansali Productions.
Gentlemen Prefer Blondes (1953) Directed by H. Hawks [Film]. Los Angeles: 20th Century Fox.
Gulaabi Gang (2014) Directed by N. Jain [Film]. India: Piraya Film, Final Cut for Real.
In the Mood for Love (2000) Directed by K.W. Wong [Film]. Hong Kong: Jet Tone Productions.
Last Night in Soho (2021) Directed by E. Wright [Film]. London: Universal Pictures.
Legally Blonde (2001) Directed by R. Luketic [Film]. Los Angeles: Metro-Goldwyn-Mayer (MGM).
Mean Girls (2004) Directed by M. Waters [Film]. Los Angeles: Paramount Pictures.
Pasoori (2022) Directed by K. Khan [Music Video]. Performed by A. Sethi and S. Gill. Produced by Coke Studio.
Pink (2016) Directed by A.R. Chowdhury [Film]. Mumbai: Rising Sun Films and PVR Pictures.
Pink Flamingos (1972) Directed by J. Waters [Film]. New York: New Line Cinema.
Shuddh Desi Romance (2013) Directed by M. Sharma [Film]. Mumbai: Yash Raj Films.
Student of the Year (2012) Directed by K. Johar [Film]. Mumbai: Dharma Productions.
Suspiria (1977) Directed by D. Argento [Film]. Italy: Seda Spettacoli.
The Grand Budapest Hotel (2014) Directed by W. Anderson [Film]. Los Angeles: Fox Searchlight Pictures.
The Great Gatsby (2013) Directed by B. Luhrmann [Film]. Los Angeles: Warner Bros. Pictures.
The Voices (2014) Directed by M. Satrapi [Film]. Los Angeles: Lionsgate.
Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) (2020) Directed by C. Yan [Film]. Los Angeles: Warner Bros. Pictures.
Color Out of Space (2019) Directed by R. Stanley [Film]. Los Angeles: RLJE Films.
Emma (2020) Directed by A. de Wilde [Film]. Los Angeles: Focus Features.
Excuses (2021) Directed by A. Mann and A. Mann [Music Video]. Performed by A.P. Dhillon and G. Gill. Produced by Coke Studio.
Gangubai Kathiawadi (2022) Directed by S.L. Bhansali [Film]. Mumbai: Bhansali Productions.
Gentlemen Prefer Blondes (1953) Directed by H. Hawks [Film]. Los Angeles: 20th Century Fox.
Gulaabi Gang (2014) Directed by N. Jain [Film]. India: Piraya Film, Final Cut for Real.
In the Mood for Love (2000) Directed by K.W. Wong [Film]. Hong Kong: Jet Tone Productions.
Last Night in Soho (2021) Directed by E. Wright [Film]. London: Universal Pictures.
Legally Blonde (2001) Directed by R. Luketic [Film]. Los Angeles: Metro-Goldwyn-Mayer (MGM).
Mean Girls (2004) Directed by M. Waters [Film]. Los Angeles: Paramount Pictures.
Pasoori (2022) Directed by K. Khan [Music Video]. Performed by A. Sethi and S. Gill. Produced by Coke Studio.
Pink (2016) Directed by A.R. Chowdhury [Film]. Mumbai: Rising Sun Films and PVR Pictures.
Pink Flamingos (1972) Directed by J. Waters [Film]. New York: New Line Cinema.
Shuddh Desi Romance (2013) Directed by M. Sharma [Film]. Mumbai: Yash Raj Films.
Student of the Year (2012) Directed by K. Johar [Film]. Mumbai: Dharma Productions.
Suspiria (1977) Directed by D. Argento [Film]. Italy: Seda Spettacoli.
The Grand Budapest Hotel (2014) Directed by W. Anderson [Film]. Los Angeles: Fox Searchlight Pictures.
The Great Gatsby (2013) Directed by B. Luhrmann [Film]. Los Angeles: Warner Bros. Pictures.
The Voices (2014) Directed by M. Satrapi [Film]. Los Angeles: Lionsgate.
Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) (2020) Directed by C. Yan [Film]. Los Angeles: Warner Bros. Pictures.
Color Out of Space (2019) Directed by R. Stanley [Film]. Los Angeles: RLJE Films.
Emma (2020) Directed by A. de Wilde [Film]. Los Angeles: Focus Features.
Excuses (2021) Directed by A. Mann and A. Mann [Music Video]. Performed by A.P. Dhillon and G. Gill. Produced by Coke Studio.
Gangubai Kathiawadi (2022) Directed by S.L. Bhansali [Film]. Mumbai: Bhansali Productions.
Gentlemen Prefer Blondes (1953) Directed by H. Hawks [Film]. Los Angeles: 20th Century Fox.
Gulaabi Gang (2014) Directed by N. Jain [Film]. India: Piraya Film, Final Cut for Real.
In the Mood for Love (2000) Directed by K.W. Wong [Film]. Hong Kong: Jet Tone Productions.
Last Night in Soho (2021) Directed by E. Wright [Film]. London: Universal Pictures.
Legally Blonde (2001) Directed by R. Luketic [Film]. Los Angeles: Metro-Goldwyn-Mayer (MGM).
Mean Girls (2004) Directed by M. Waters [Film]. Los Angeles: Paramount Pictures.
Pasoori (2022) Directed by K. Khan [Music Video]. Performed by A. Sethi and S. Gill. Produced by Coke Studio.
Pink (2016) Directed by A.R. Chowdhury [Film]. Mumbai: Rising Sun Films and PVR Pictures.
Pink Flamingos (1972) Directed by J. Waters [Film]. New York: New Line Cinema.
Shuddh Desi Romance (2013) Directed by M. Sharma [Film]. Mumbai: Yash Raj Films.
Student of the Year (2012) Directed by K. Johar [Film]. Mumbai: Dharma Productions.
Suspiria (1977) Directed by D. Argento [Film]. Italy: Seda Spettacoli.
The Grand Budapest Hotel (2014) Directed by W. Anderson [Film]. Los Angeles: Fox Searchlight Pictures.
The Great Gatsby (2013) Directed by B. Luhrmann [Film]. Los Angeles: Warner Bros. Pictures.
The Voices (2014) Directed by M. Satrapi [Film]. Los Angeles: Lionsgate.
Thank You For Reading.
Thank You For Reading.
Thank You For Reading.
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© 2025 | Designed and developed by me with ♡ | All Rights Reserved.