The Sound of Colour
Join Colour Designer Sarah Gottlieb as she talks to cultural and creative leaders about the most influential colours in their lives and work. Through insightful conversations you hear about the meaning and psychology of colours through the guest's personal story about their own creative work.
In each episode, we ask guests to talk about their passion for colour and where it comes from. We review a significant piece of our guest’s work where colour has played an important role, and also where they find inspiration – ending each episode with the musical element "the sound of a colour”.
Be prepared for laughter, tears and everything in between.
The Sound of Colour
Note Design Studio - What if colour could tell stories about who we are and how we live?
In this special live recording from Formland, I speak with Sanna Wåhlin, interior architect and partner at Stockholm-based Note Design Studio, about colour as a tool for storytelling and self-expression.
Note Design Studio is known for its bold use of colour and materiality, creating interiors, furniture, and textiles that explore how colour transforms spaces and emotions. Since its founding in 2008, Note has become one of the most internationally admired names in Scandinavian design, collaborating with leading brands such as Tarkett, Camper, Sancal, Fritz Hansen, and Hermès, and receiving recognition including the Wallpaper* Design Awards.
From childhood fascinations to bold experiments at Note, Sanna shares how they search for the “vibration point” where colours push boundaries and transform spaces. We talk about their textile collection for Kvadrat Febrik, her practical advice for using colour with confidence, and why stepping beyond beige isn’t as scary as it seems.
This is an episode about colour as storytelling. About pushing palettes to their vibration point. And about discovering the freedom that comes when we dare to move beyond beige.
For more color inspiration follow @sarah__gottlieb and this episode's guest @notedesignstudio and the podcast musician @aloo_music
For updates on upcoming episodes follow @soundofcolour_podcast
This episode is sponsored by @formland_official and supported by The Danish Arts Foundation.
SHOWNOTES
- Want to see the whole Myr & Mylla textile collection? See it here
- The Podcast was recorded Live at Formland, if you haven’t been and don’t know what it is, check it out here
- Have a peak at Hella Jongerius book 'I Don't Have a Favourite Colour' that we discuss or maybe pray that your local library has it, here’s the price on Amazon
- Check out Note Design Studio's work at their website
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The Sound of Colour is produced and hosted by Sarah Gottlieb, with music by Matt Motte and edit by Kræsten Kusk.
The host
Sarah Gottlieb is a Copenhagen-based designer and art director specialising in colour and spatial design. Known for transforming environments through innovative use of colour, she is dedicated to creating public spaces that inspire connection and a deeper appreciation for design.
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For images and information from each episode go to the Podcast website
Hi, you are listening to The Sound of Colour, a podcast exploring how color shapes design, architecture and the way we experience the world.
Sanna Wåhlin - Note Design Studio:Our work is not about pleasing people. To us it's like a journey.
Sarah Gottlieb:I'm your host, sarah Gottlieb. I'm a designer and a colour specialist. In each episode, I invite influential guests from the fields of design, art and architecture to talk about their work, their ideas and the role color plays in both.
Sanna Wåhlin - Note Design Studio:I don't know if you have to, but, uh, I think it's super interesting, of course, and I think there can be so much more happening, so whether you're a designer, an architect or simply someone who just loves color, this podcast is for you.
Sarah Gottlieb:Hello everyone, today's episode was recorded live at Formland, scandinavia's leading interior and design trade show. Welcome to this special live recording of the podcast The Sound of Colour here at Formland. This episode is supported by the Danish Arts Foundation and produced in collaboration with Formland. The guest in this episode is partner and interior architect, Sanna Wåhlin from Note Design Studio. But I think we should get started with the conversation today, and today's theme is something that's very close to my heart. I've called it Don't Be Beige, and we will be talking about how color is much more than decoration and that it's an extension of who we are. It's a reflection of our values and it's a very powerful tool for storytelling. Whether that is in our homes or in our brands, or the way we present ourselves, color has the power to signal confidence and personality, so I'm very happy to have a guest with me today. Let me introduce my guest, Sanna Wåhlin, interior architect and partner at the Stockholm-based Note Design Studio. Thank you, yes, welcome.
Sarah Gottlieb:Thank you for joining me.
Sanna Wåhlin - Note Design Studio:Sure.
Sarah Gottlieb:And if you know their work, you will know that they are a multidisciplinary studio, that they are known for their bold use of color, rich material palette and a conceptual strong approach to interiors products and spatial design. I would say so, sanna, I'm really excited to dive into how you and your team work with color, but maybe first of all I would like to ask you about your journey. How did color become a central part of your work? But maybe first of all I would like to ask you about your journey.
Sanna Wåhlin - Note Design Studio:Yeah.
Sarah Gottlieb:How did color become a central part of your work?
Sanna Wåhlin - Note Design Studio:Oh, that's such a. It has a very quick answer, but of course it's also very big. But the short version is for me. When I was a young girl, my grandparents always had these piles of interior decoration magazines laying around and we always went to them on Sundays and the best thing I knew then was to sit there and just look through these magazines of you know from all over the. There were magazines from all over the world, but they all were about design. And I also remember once in a library in the little town where I'm from in Sweden, when I was there to study, I think, but I went to the photography and the design shelves because I was bored and I found these books of Trisha Guild. Do you know Trisha Guild?
Sarah Gottlieb:Please also explain both for the audience and for the audience.
Sanna Wåhlin - Note Design Studio:Yeah, I mean, this must have been in the 90s and she did a lot of books back then of wallpaper and the curtains and today, maybe that color world that she represented isn't my own, but it was so wild and for me, eye-opening at the time because, as you started saying, what about beige and white, which is in the Scandinavian universe?
Sanna Wåhlin - Note Design Studio:But she's British. But in those books there were all these images of veils from India in magenta and turquoise and all these clashing colors and I remember I was to me it was wild, it was like this high I could, it was just, yeah, super eye-opening. And yes, I think I think that's when it started that I was got crazy about color. And after that, you know, when I got my first own apartment, I painted it in crazy colors and tried different things in my own home and went to design school. And then I found Note a group of people who are also passionate about color and think it's super interesting to try color and try what they do when you mix them with each other. And yeah, that's the short answer, I think.
Sarah Gottlieb:I think that was a very good answer. But I think also now, when you're saying that, so that leads me on to like do you think that when you met up and you founded Node and you found this group of people and you experiment, is there like kind of a set way we take the color into your professional work? Is there a set way that you guys work with color? Is there like an approach in your process?
Sanna Wåhlin - Note Design Studio:I mean, there is nothing set, there is nothing decided that this is how we do it. But we, for instance, when we work with interiors, we start with a concept every time what story should there be told? What's the red line through this project? And then color is part of it, but it's not at all all of it. It's just, you know, it's one of the pieces of the puzzle. But when we do get to the color scheme of the project, then I think we are all very brave and we want that. You, we all want to get to the point where we can feel it in the stomach. You know when it starts to vibrate and when it's yeah.
Sanna Wåhlin - Note Design Studio:We are a Swedish studio and Swedish studios can sometimes be quite modest and it can be a lot of black and white and graphic expressions. I don't know if it's because we are a group of people we're like 16 people so together we can be brave, we can push each other and you don't have to stand alone. If it doesn't work, Then you have colleagues and you have partners in crime who can say, yeah, but you did good or you tried your best, you know. So we can go ahead and try these things and to find the vibrations. I think we always want to feel that we are looking for that edge. When it starts to almost feel a bit like weird or like something you haven't seen before, when it becomes something new, and then you can't stay in the beige universe and you can't stay in the white universe it's almost like a nothingness, and then you don't paint.
Sanna Wåhlin - Note Design Studio:The painting you have to have. Especially when talking about a room. It's so three-dimensional, you look around it and everywhere you look at least from our perspective we want it to be dynamic. You should be surprised or you should find new things. It can't all be one. Then you have to find those vibrations, so there has to be the modest and the bold within that frame or within that space.
Sarah Gottlieb:So that's almost like a little bit of a recipe for you guys.
Sanna Wåhlin - Note Design Studio:Yeah, I think so, and I think it's also. It is that way because we have evolved together to do what we do. Like I can look at other designers doing something very different and loving what they do, but I can't do it. You know, there are studios that do the beige and the white and the black with perfectness. If you say that, but I could never do it, I don't have the tools for that. Like color is probably my tool, or it's a very strong piece of all the projects that I do and that we do, so it's just also something that happens, I think yeah.
Sarah Gottlieb:Yeah, but I think I want to also pick up on when you say that when you get to the process of making the colour palettes or like the schemes for the projects that you kind of always you also go for like a vibrating feeling.
Sanna Wåhlin - Note Design Studio:Yeah.
Sarah Gottlieb:Which leads me to something of a bit of an experiment that we have in this podcast. Yeah, because I think, as you say as well, I think that colours are so much more than just a visual impression. They're, of course, a huge element in art and design, but they are an element that actually has this great ability to touch us and make us a strong sensory impression on us which is beyond the visual, which then leads to this unique experiment that we've come up with in the podcast and this is, of course, a bit of a different situation because it's a live podcast, but a big part of it, the sound of color, is that a musician will create a piece of music from a color that you choose. Yeah, so, sanna, it's an honor. Yes, what color would you like to hear the sound of?
Sanna Wåhlin - Note Design Studio:Well, when we spoke about this before, and I told you, one of my other role models in the design industry is Hela Jongerius. She's Dutch, such a color queen, and she has written this book, which is called I Don't have a Favorite Color, and I also feel the same. It's yeah, it's very hard to pick one, and there are so many and they, they do things with each other. So, yeah, it's not an easy answer, but in the end I chose, like a deep chocolate brown yum.
Sarah Gottlieb:And why did you choose this? What does it mean to you?
Sanna Wåhlin - Note Design Studio:Well, I use it a lot right now in work. If you would have asked me 10 years ago, I would have said apricot pink. Then I had a yellow phase, like a mustard yellow phase. Now I think I'm in the brown phase. You know you always want to progress and find what's interesting for the next project, or how can I find the new that I was talking about? And right now, brown to me is well, it can be classic and quite modest, but it also has a depth and a darkness to it. Yes, so maybe it's not as poppy as the colors I've usually worked with before, but I like that it's so deep.
Sarah Gottlieb:And do you think now you also mentioned you had a yellow period do you think that? Are you kind of aware of trends or do you feel like that's a way that you are affected by your color choices through time?
Sanna Wåhlin - Note Design Studio:Yeah, I am probably because we all are. I guess we see all these trends and they follow us wherever we go, but I try not to think of trend when, when working, or I don't think that we do sometimes clients or other people that we meet in work can say, yeah, but shouldn't we make it blue? Because the trend now is blue, and to me that's like, ooh, I get the shivers, why do you get the shivers? But it's not important. First of all, I think Our work is not about pleasing people right now, giving them what they want or what they're expecting to us. It's like a journey and and yeah, fine, always trying to find new expressions and pushing the boundaries. And then you, you, you can't look over your shoulder to what's happening next to you. You just you have to to go out where it's a bit uncomfortable. But for me, that's when I find it fun and interesting, when I find it a bit like, ooh, do I hate it or do I love it? And that's when I that's interesting.
Sarah Gottlieb:Yeah, it's like where it tickles.
Sanna Wåhlin - Note Design Studio:It tickles like ooh yeah, and then I feel I have to call someone and tell someone what just happened. I love that.
Sarah Gottlieb:I think. But another thing, like you know, obviously now we're here at this live presentation where you can see a nuance, kind of the nuance I don't know if it's hard to see on the screen on the brown here, but just for the listeners for when the podcast comes out. If you had to, you know like how to describe a color without going into like kind of technical parts. But you know, if we go with the thought that colors affect us on all our senses, how would you describe this color, brown, to a blind person?
Sanna Wåhlin - Note Design Studio:Yeah, I would okay, that's a good question. I would probably. I have to close my eyes. I would describe it as, yeah, as something with depth and warmth and um, and a bit of a glow to it, um, and something that doesn't pop up against you, but rather like you have to dive into the deep, just deep diving. Deep diving, yeah, but in into warmth, into warmth and something soft it's still. I think it's a soft and warm color, but also very deep and uh, yeah you have to go to like underwater mines, uh, like cave diving, yeah, I would never dare.
Sarah Gottlieb:No, this is an easy way but that's also maybe quite good that you would never dare, that sometimes a color can actually kind of evoke that emotion with you that you would never dare.
Sanna Wåhlin - Note Design Studio:Yeah it's true, yeah.
Sarah Gottlieb:Well, we have prepared a little bit, so stay around and we'll play the musician's interpretation of your brown at the end of this talk, wow, yes.
Sarah Gottlieb:Well, I think the next thing I want to do is I want to kind of spotlight on one of your projects, just to explore how color shapes the work at Note Design Studio, and I always ask the guests that I have on the show to talk about a specific project that really shows your approach to color in action, and we've prepared for this in advance, and today we're going to talk about one of your recent projects. Like now, I'm going to say my very bad Swedish, but Myr and Myla.
Sanna Wåhlin - Note Design Studio:Myr and Myla. I know it's difficult, but it was good.
Sarah Gottlieb:Thanks, myr and Myla, which is a textile that you did for Kvadratfabrik. It's a knitted textile collection and it's a knitted textile collection and it's a project where color is, I would say, at the center, not only as something beautiful to look at, but as a material almost a technical thing.
Sarah Gottlieb:To the collection I would say yeah and also like a material that people can combine and work with in context yeah from interiors to more like everyday objects and use um and, with that in mind, how do you approach designing colors for a material rather than a finished project or product? Yeah, um and I want to. I just think, we just want to click on.
Sanna Wåhlin - Note Design Studio:Yes, we have. We have some photos. I have some photos for the audience, not for the listeners, the listeners, but for the people who are here today. Something for you, sorry. What was the question?
Sarah Gottlieb:Yeah, the question was you know, with this in mind, how do you approach designing colors for something which is a material and not a product or a space?
Sanna Wåhlin - Note Design Studio:Okay, so there are many answers to that question in this case. First of all, we did this project for a company called Fabrik. They are Dutch making knitted textiles. We love them. We think they are so cool. They have been this kind of underdog in the textile business for a long time. They produce their textiles in a mattress textile factory. It's a textile that is quite technical and you can stretch it. It's like a sneaker feeling kind of. We know them since long and they gave us a brief to do this collection for them before they were bought by Quadrat. Then it was just Fabrik when we started, because it took five years to do these textiles. Wow, but we've. And it was just a fabric when we started because it took five years to do these textiles Wow.
Sanna Wåhlin - Note Design Studio:Yeah, but we've always used their textiles in our projects or wanted to, but we found it difficult because of the color scheme that they've had. So we've loved them as people and we've loved the feel of the textiles. But the colors of the textiles were very Dutch, if I can say so. It was colors that aren't normally in our Scandinavian universe. Perhaps how is something Dutch? It's a lot of deep purples and greenish, yellowish tones, a lot of tones that are a bit like off or not the ones that we usually use. So in all our projects when we wanted to use their textiles, it's been difficult.
Sanna Wåhlin - Note Design Studio:So this was a way for us to maybe put in what is part of our universe into their collection. And we did actually think of it not as a textile for only furniture, but we actually thought of it from a spatial point of view. So we thought if we can design a collection of textiles that you can cover a whole space with, basically what if we could use them for wall panels and furniture and details, and still that it would be interesting. So when you start to think of it that way, then you know you have to have what we started out saying. You have to have the, the base colors, the softer ones that don't just get in your face, and for the smaller objects. Then you can go down into more brave colors, like this blue one, for example.
Sarah Gottlieb:Yeah, I think we actually. There is also a beige in this collection.
Sanna Wåhlin - Note Design Studio:There is a beige and a gray and a light, light pink. So there are these very like sweet and soft colors, but there's also the deep brown and the very punchy blue. Yeah, so there's both the brave and the softer tones so that you can build those dynamic scenarios that we always try to do when building interior spaces. So we kind of started out with thinking what do we, how do we work and how would we want to use a collection of fabrics if we were free, and that. So that's.
Sarah Gottlieb:That was the starting point for it so actually, even though this was designing for material, you, actually your approach in designing the colors were almost the same as when you designed exactly, it was very much space, spatial, and we even we thought of, like the presentation images, how could we show it in the end, even before we started with the design.
Sanna Wåhlin - Note Design Studio:And the collections is like you said, it's Myr and Myrla, so it's two collections, so one is more flat and one has this bubbly surface to it, so there's also in the tech in the how they feel and like the quality. The surfaces are different, even though they have the same colors. But also there you can have, just you know, a more discreet surface and you can have the bolder surface, and then you can work with those to create those dynamics.
Sarah Gottlieb:Yeah, yeah and I want to like, want to like. Do you, you know, when you're also like going back to that? You said that when you're working on a color scale or a color scheme for a project, that you kind of want to have this like tickle or like emotion yeah. What guided the color palette in this project Like? Was there any ideas or feelings that you wanted to bring across, like both with ideas? Or feelings that you wanted to bring across Both with the text itself and the environments that you envisioned that they would be using.
Sanna Wåhlin - Note Design Studio:Normally we don't do it this way, but here, because there was no brief for the colors, we could actually start with just our favorites. So that's what we did. That's never possible otherwise. Otherwise you have maybe a private client or you have a brand that you have to look at and meet what they need. But this was just from us, so we could be free.
Sanna Wåhlin - Note Design Studio:So we started out picking images of color, colorish landscapes that we found, that just caught our attention, or objects that we found were super interesting in in the way, in their color and also in their surfaces. So we kind of collected this mood board of just what we like, me and some colleges, colleagues and um, and worked from there. And then then you have to take away afterwards, of course, and and I think we ended up with 20 ish colors, um, and then then quadrat came in and said no, it has to be 10. So then we had to take away, and that is also so difficult when when you think these 20 are what you need to be able to do that dynamic also, just to when you present the collection on a table for someone, for a client or whoever, and you want it to be dynamic also, just laying on the table.
Sanna Wåhlin - Note Design Studio:You want it to look interesting, not dead or not too much. It has to have all these sides to it. And so going from 20 colors to 10 is like, oh, but what do we take away and how do we affect the other ones? So then we had to change those 10 a bit. You know, if we had more browns, then we had to take all the browns and just choose one, you know, merge them into one, and which one was that? And yeah, that was difficult.
Sarah Gottlieb:And did you also think about the color as a tool for other? How did you think about it as a tool for other architects and designers to use or end users?
Sanna Wåhlin - Note Design Studio:Definitely, because we also design furniture. So we know from that perspective as well what do we need. If we need a mustard yellow, for example, how bold should it be like? When is where is that? When does it cross the line? It has to be? Maybe it has to have a discreet side, but also a strong, powerful side, but it can't be crazy so to just picking those nuances and being quite pushy. Also Like, for example, the blue and the very orangey-red, that orange-pinkish one that we have no, we don't anymore because that's out, sorry. So it's the yellow and the blue that was not in the 20s.
Sanna Wåhlin - Note Design Studio:That was not in the 20s. That was in the 20s and now it's gone. But maybe, hopefully, it comes next, I don't know, but now it's the punchy yellow and the punchy blue that are these brave ones.
Sarah Gottlieb:Yeah.
Sanna Wåhlin - Note Design Studio:And we have really. Yeah, we had discussions with Fabrik and Quadrat and between us also too. We wanted them to be very bold, so that it doesn't be because it's easy to think, oh, but it has to fit everyone and we can't scare anyone off. But also from our point of view but you know, we also it needs to be interesting and we can't. We have to follow our gut feeling here, and we did that, I think, and it was a good collaboration with all our three companies in the end, but it took five years A long process.
Sarah Gottlieb:It was a long process, yeah, because I'm also wondering now, when you said that you had to scale down on a bigger color scheme and I guess even interior decorators or buyers or designers and architects when you're building a color scheme and you said we had to take down and like, do like one brown instead of four browns.
Sarah Gottlieb:Is there kind of like, would you say that, do you have like a tip to like when you have to make a coherent color scale? What is like, how do you kind of balance it out? Is there anything where you kind of do you have a little recipe in your head almost, or oh, I don't know, I don't think I do, but yeah, it's about the cold.
Sanna Wåhlin - Note Design Studio:To me at least, it's very much about the cold and the warm. Like, yeah, you have to have the cold and the warm, but if you have cold ones that are very close to each other, then they have to have the same coldness and if you have the warm ones, they have to have the same warmth. They can't be a bit off. It has to be like either or. But that is a very difficult question, I think, for me to theorize and yeah, that has to do a lot with the gut feeling and just laying it out and feeling it almost.
Sarah Gottlieb:So almost your recipe is more laying it out and feeling it.
Sanna Wåhlin - Note Design Studio:Laying it out, feeling it and also, maybe from the beginning, knowing what you're looking for. Just laying something out. So you have to have your concept or you have to have your aim firsthand. That's very important, I think.
Sarah Gottlieb:And what was the aim for Mjöln Mulle?
Sanna Wåhlin - Note Design Studio:To create a strong, coherent color world. That came from note. I think that is kind of the soul of note or that is the expression that we have in many of our projects, because we could choose the colors just coming from us. So it's very dynamic. I would say it's dynamic Even though it's only 10, it is vibrant and it is dynamic and for some reason that is very much the expression of the Note projects, even though that was never a goal, but that just happens.
Sarah Gottlieb:But I think also maybe an interesting fact, because when I was researching into the project and into what Myr and Myr actually means, so I think that's also quite nice for everybody to hear today and for the listeners that myr and myr is like the swedish words for like myr is like a swamp yes, area soil, so it's both kind of related to basically dirt, dirt, yeah or like earth, or soil, yeah, but just very two different ones, like it's like the wild marshes and like the wild earth and then it's like the cultivated earth and I think that's also quite an interesting thought sometimes to have that in a design process, to bring that dynamic of two different worlds, like something that is wild and something that is cultivated, and also bringing that I, I think I guess you know, with your textures and with the color range, that is to some extent maybe what you're trying to inspire the architects.
Sanna Wåhlin - Note Design Studio:It is so true. It has that dynamic of the calm and the wild, like, yeah, 100% Good, analyze, just come to me, I'll analyze your life.
Sarah Gottlieb:You know this is a short conversation, yeah, so we are almost about to have it up for the wrap up time, but I have a few final questions. So one is like it's a bit more broad. I want to ask you so why do you think it's time to turn up the volume on colors in design right now?
Sanna Wåhlin - Note Design Studio:Wow, that's a difficult question. Well, I don't know if you have to, but I think it's super interesting, of course, and I think there can be so much more happening. And when I started working and when I started my career, I think it was in 2010-ish then there was a lot of very white interiors. I think a lot since then has happened and now, like for like here in this fair, for example, all these furniture brands they are very brave with color now, but that can always evolve and you don't have to stop and you can have your different phases of color, like I was talking about also, so you can constantly try to find, build new dynamics, and why stop? I don't know. But I also think it's a very personal thing with color and I think I don't want to tell anyone what they should like or that you have to like any of it. It's very much up to everyone's gut feeling. I think what hits you, what makes you feel interested, or that you want to go search for that thing.
Sarah Gottlieb:Personal touch? Yeah, personal. Well, that actually almost leads me to my final question before we finish up, because I wanted to ask you if you had one piece of advice for using color with confidence and intention.
Sanna Wåhlin - Note Design Studio:Yeah.
Sarah Gottlieb:I think Maybe both for architects and for people at home.
Sanna Wåhlin - Note Design Studio:Well, I can start by saying it's not dangerous at all. You can paint and if worse comes to worse, you can repaint or you can add things. If a space, for example, if you do it in one way, you can add some other colors and then you can totally change the dynamics. So there is nothing static, I think, about color or interiors. You can always work on them. And, yeah, I don't know, I was very brave when I was young, like with my own homes, for example, but then I've had calmer faces and my own house, for example, now is very beige, but I don't like it.
Sanna Wåhlin - Note Design Studio:So now I have to add things. So now I walk around at home feeling, oh, but now it's just slow here and nothing happens, and now I have to add the dynamics again. So now I have to find, I don't know, some pieces that are colorful. And what can I add to this beige universe? Maybe something orange or something bright red? Yeah, so it's changeable and just work with it. But a very good tool, I would say, to be brave is again to start by looking to find out what you're looking for, like I don't know. Collect some inspirational images or objects or whatever and look at it as a whole, to find the direction at least, so you don't just pick randomly. Then it's very difficult. But if you find your direction and within that direction, then you can just work.
Sarah Gottlieb:But I think also, you even said yourself now that when you were young you were brave and you had a period where you needed something more calm, and now you're ready for a bit more. So, basically, maybe it's also like listening to your own emotional journey of where you're going.
Sanna Wåhlin - Note Design Studio:Yeah, and you evolve always, and since it's so personal, it should follow you, and you don't have to stop, you don't have to stay, you can change. Yeah, and you don't have to stop, you don't have to stay, you can change. Yeah, yeah.
Sarah Gottlieb:That's a good place to stop. Yeah, it's a personal thing. It's a personal thing. I want to say thank you to Sanna Wallin and to Note Design Studio for this inspiring conversation about colors and how you work with colors. Thank you, you're welcome. Thank you, so I hope you enjoyed it, and I want to wrap up this talk with the sound of Santa's chosen color, brown, and let it fill the room, and I hope that this will remind you that color, just like music, speaks before words. Thank you, thank you.
Sarah Gottlieb:Thank you, I'm going to go ahead and do that you've just listened to Sofie Søe's musical interpretation of the colour brown. Sofie Søe is the resident musician of The Sound of Colour podcast and the artist behind the experimental electro-pop project Aloo, known for blending electronic textures with cinematic depth. Sofie has gained international attention for her emotional and detail-rich sound. For this piece inspired by the color brown, she imagined a walk through a lush forest, from the muddy ground beneath our feet to the vast majestic surroundings above. To capture that feeling, she worked with a digital ensemble of instruments run through electronic pedals, creating shifting organic textures. The track moves between intimacy and greatness, reflecting both the earthy details and the openness of nature. And with that we've reached the end of this episode.
Sarah Gottlieb:Thank you so much for listening. If you enjoyed this episode, please share it with someone who loves colours and design just as much as you do. Hopefully they will enjoy it as well. And if you'd like to see more about Note Design Studios' work, head over to my website, sarahgottlieb. dk under the podcast session. This episode was made possible with the support from the Danish Arts Foundation and produced in collaboration with Formland. Thanks again for listening and see you next time on the Sound of Color.
