Designers’ intuitive responses are often derived from their own experience, but there has been little research that studies the use of narratives rooted in designers’ lived experiences. The aim of this academic research is to investigate whether the use of narratives could help designers to work more effectively when generating product form. The focus is on the preliminary phase of the design process when designers generate the initial product form. The research consisted of two main phases: fieldwork, which established that designers do make use of narrative in their practice, and workshops to demonstrate how the use of narratives support form generation during the design process. The workshops and the subsequent evaluation proved that narratives helped the participants in planning and navigating the design process. According to the research results, the use of narratives helps designers to work more effectively on generating product form during the preliminary phase of the design process. By building on this narrative schema, designers have discovered that design is not set apart from daily life but springs forth from the visual impressions of their experiences. Based on these findings, this thesis proposes a three-step narrative method of “share,” “recollect,” and “visualize.” This method encourages designers to first share – i.e. narrate – a personal experience, then recollect the emotions the given experience evokes in them and, finally, visualize the experience in the form of sketches. Sketches and drawings help designers organize thoughts and dig deeper. As a result of the three-step narrative framework, the design process, which often starts with ambiguity and anxiety on the designers’ part, can lead to wonderfully unique solutions. Product form visualized with the help of personal narratives is aesthetically more appealing – stronger, more dynamic, varied and surprising – than designs that come out of a functional brief without any personal narrative. 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. 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.