Delay the answer.
The estimate comes first. Committing preserves the original judgment, so the reveal shows an actual relationship rather than a guess rewritten in hindsight.
01 / Product + perception Independent project · 2026
pigment.
A meditation on seeing.
A colour-study instrument, born in the painting studio. Look. Make an assumption. See what changes.
00 / PERCEPTION
What you see.
What you assume.
Do the two centres look the same?
Trust your first impression. Then remove the surroundings.
01 / THE QUESTION
Before the eyedropper, there is an eye.
Painting asks us to notice relationships: light and shadow, a warm note against a cool ground, the quiet emotion of a muted colour. A screen can give us a value. It cannot tell us what we thought we saw.
I made Pigment to hold that moment open. Colour theory becomes something to experience: estimate before the answer, compare without the surrounding image, then look again. The aim is to learn to see more deeply.
Sun’s warmth on my skin on a cool fall morning. A moment of realization.
02 / TRY THE METHOD
Your eye, before the answer.
A small working study from Pigment. Choose a point in the image, estimate its colour, then commit to see the sampled patch.
- 01 See
- 02 Estimate
- 03 Commit
- 04 Reveal
- 05 Adjust
Your estimate
The reference value stays hidden until you commit.
This study uses Pigment’s estimate-first logic and local image sampling. A sampled screen value is a reference for comparison; camera processing, your display and real paint all affect the result.
03 / COLOUR, FELT
Tone. Temperature. A feeling.
Still.
A blue can feel still. An orange can feel urgent. Change the colour and notice what it does to you.
Crisp blue sky, familiar suburban flare. A moment of gratitude.
Synesthesia-inspired sketch. The associations belong to the listener.
04 / A STUDY IN MOTION
Look. Then look again.
The distance between a colour and what we see.
05 / THE INSTRUMENT
The working product.
Practice is the full method: choose a point, estimate, commit, reveal, adjust. Studio then compares what you see with the paints you own. No account, and your images stay on your device.
06 / THE DESIGN
Make the judgment visible. Keep uncertainty honest.
Give colour the space.
Estimate and sampled reference share a neutral ground. Hue, lightness and intensity can be considered separately. One adjustment turns comparison into another act of looking.
Let a match be absent.
Studio compares a reference with the paints you own and a 72-paint catalogue. When nothing is close enough, that is a useful answer. Mixing estimates invite a small physical test.
My role
Product concept, interaction design and visual direction. AI-assisted implementation and testing.
The instrument
A working browser product: patch sampling, perceptual comparison, owned-paint palette and mixing estimates.
What remains open
Testing with painters, the quality of physical mixes and whether repeated practice changes how people judge colour.