The design process begins with the ideation phase, which requires a high level of creativity, followed by the visualization of product form. This is an immensely personal procedure through which designers seek and develop new concepts to clarify and extend their ideas. With the help of narratives, design can bring out a meaningful whole, a form that is coherent, complete and comprehensible. Designers often conceive the product form intuitively at first, rationalizing it only afterwards. Constructing narratives prior may allow designers to make sense of their instincts and personal experiences more easily. The research first focuses on the works and product visualization methods of nine practicing designers. Through the one-on-one meetings with the designers, it was revealed that first-hand exposure to people, places, and objects is of key importance for designers. Seventy –two designers’ narratives were collected and analyzed. The participants were selected on the basis of developing objects for their everyday living for a minimum of five years, and have at least one of the products they designed be on the market. Collecting data through observation, survey, and informal interviews became the framework for implementing narrative into product design to enable concept/form visualization both in practice and design education. As the second stage of the research, seven workshops were conducted. In the first three workshops, the participants – design students – were encouraged to use personal experiences and childhood memories as the basis for the design. During workshops 5, 6 and 7, comparative studies were conducted to demonstrate that narratives based on personal experiences do help designers come up with more interesting objects. In all three cases the participants were divided into two groups; one group was only given a design brief of the task, while the other group was encouraged not to stick to the design brief but build on their personal experiences or their cultural background. During all three 4 workshops, participants in the second group expressed that they found that the personal elements made their job easier, and the products designed by these participants were more novel, colorful, youthful, creative, and original and they reflected contextual richness and meaning. Even if aesthetic judgment cannot easily be determined by scientific methods, and aesthetic qualities cannot be directly measured (Naukkarinen, 2004), a reliable method of assessment was needed to prove that the research findings were valid. By investigating previous studies (Sibley, 1959; Mugge, Govers & Schoormans, 2004; Ortiz Nicolas, 2014; Blijlevens et al., 2017) and asking design students to list the twenty most important qualities of designed artifacts, a list of the 24 most relevant adjectives was shortlisted. This list was then reduced to nine qualities of which nine pairs of opposite characteristics were formed (clean/messy, delicate/rough, desire/disgust, dynamic/static, elegant/not elegant, formal/casual, strong/weak, surprising/boring, varied/monotonous). These pairs became the basis for evaluation. The research uncovered several aspects of narratives that call for further clarification and study. An interesting issue mentioned by several participants in different phases of the research focuses on whether other people – including the future users of the objects – can really relate to products born from the highly personal experiences and memories of designers. Another important question is how the three-step narrative framework could be integrated with other constraints and considerations of the design process, for example materials, manufacturing, sustainability, and engineering. Although some details of the real-life use of the method will need to be investigated and clarified in the future, it is evident that the method has clear implications for design education. Teaching design students to use narratives as part of their concept generation, particularly in the early stages of design when concepts are ambiguous, can lead to new interpretations, novel products, and a more personal connection with the work process.