This was an internal project inspired by my background in fine art. Many classically trained painters keep a mental model (a 3D map) of all colours so they can mix them with confidence.
When researching how I could apply this to additive colour mixing, I discovered the benefits of OKLCH—its human-centric geometry and expanded gamut. By adopting this model, I realised I could vector between points to create naturally harmonising palettes.
The mission — Develop a product that outputs beautiful colour palettes for brand and UI design.
Precise Harmony
I built Volume to produce more naturally beautiful colour palettes for UI design, brand work, and illustration. The foundation is a precisely calibrated colour framework, one that makes perfectly even spacing of colour swatches possible across lightness, chroma, and hue simultaneously. The palettes that emerge feel as considered as they are mathematically correct.
GPS for Colour
Most colour tools give you a wheel and a slider. Volume gives you a map. By modelling the OKLCH colour space as a true 3D solid, Volume reveals relationships between colours that flat tools simply cannot show: how lightness, chroma, and hue interact spatially, and where the boundaries of the sRGB and P3 gamuts actually fall. The result is a colour selection process grounded in human perception rather than arbitrary geometry.
Geometry First
Volume's colour solid doesn't exist as a mathematical abstraction rendered on the fly. Instead, I opted to make each lightness slice a physical mesh, constructed in Blender with thousands of precisely placed vertices. This makes the app lightning fast once loaded, even with over 100 nodes (colour swatches) moving in unison.
Sync to Figma
I ported Volume into a Figma plugin so designers, myself included, could use it without leaving their existing workflow. Palettes sync into Figma as design tokens, and to the web through Volume's API for saving and organising.
The outcome — Hundreds of installs from designers within the first two months of release.