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From the Storyboard I created 7 different scenes to tell the story, from the beginning till the end of the story I generally kept the concept of "You don't have to travel far to find beauty it's right around you."

Scene 1 : the establishment of the story, by showing a girl try to find some purpose of life by using art to convey. Moreover, represented by voiceover of “what doesn't aesthetic means to you”

Scene 2 : from the purpose of finding new art, the story shows how this girl discovers beauty and value through art, nature, or music. By walking through the hallway of arts.

Scene 3 : The girl finds a pond that visualizes the beauty of herself.

Scene 4 : The girl dances constantly with the music that she has placed on a vinyl player.

Scene 5 : After some time she sat down on the sofa that represented my brand.

Scene 6 : She seems to be pleased with the sofa and found out the aesthetic is nearby, no need to go far.

Scene 7: Wrap up all the the ideas and the shot shows the detail and art of sitting on the sofa.

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Pat furniture brands is a project to design and produce chairs, sofas, and home decoration furniture that comes from the interest and problem of wanting furniture to be used. Want to respond to this project to become a Thai furniture brand with beautiful design and functionality. By combining the concept from the famous art in Germany like Bauhaus with Thai beliefs like mine that combine geometric lines and auspicious letters and numbers to create something new in the furniture market. And also stimulate the new generation to be interested in choosing furniture that matches their lifestyle. After going through the initial thought process, learned in the field of photo & filming as an important component in creating this furniture brand. Even though we have beautiful furniture, if we do not promote it like a good-looking video advertisement, it will make our products unattractive. Finally, in the project, there will be a full commercial advertisement shooting for the “PAT” furniture brand.

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László Moholy-Nagy

The philosophy and work of László Moholy-Nagy closely align with the core values of PAT Furniture. As a Bauhaus pioneer, Moholy-Nagy emphasized the integration of art, design, and technology into everyday life a belief that resonates strongly with PAT’s mission.

PAT reflects his experimental spirit by embracing unconventional materials like PVC, combining handmade craftsmanship with digital tools such as 3D modeling. This hands-on approach echoes Moholy Nagy’s belief in learning by doing and designing through direct engagement with material and form.

Both Moholy Nagy and PAT value sensory experience as a key component of design. Just as Moholy Nagy explored light, movement, and texture to create immersive artworks, PAT seeks to create intimate aesthetic moments from the physical feel of sitting on a piece of furniture to the emotional tone conveyed through its narrative video ads.

Finally, PAT shares Moholy Nagy’s educational view of design: that it is not merely about function or form, but about transforming perception. Through its concept “No need to roam, aesthetics are close to home” PAT invites viewers to reconsider where beauty lies, echoing Moholy-Nagy’s lifelong mission to bring artistic vision into the everyday.

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Scott Belsky - Behance CEO

How “Making Ideas Happen” Helped Me Build My Design-Centered Furniture Brand

As someone deeply passionate about art and design, I often find myself flooded with ideas. My furniture brand, which integrates Bauhaus inspired aesthetics with fashion-forward visual storytelling, is more than just a product line it’s an artistic narrative.

However, one of the recurring challenges I’ve faced is turning ideas into consistent, tangible outcomes. I would often begin a project with excitement, only to lose momentum halfway through. That changed when I discovered “Making Ideas Happen” by Scott Belsky.

This book showed me that creative success isn’t about having the best ideas it’s about executing them. That insight was a turning point for me.

Applying the Action

Method to My Creative Workflow

Belsky’s core framework, called the Action Method, helped me transform my creative process. Here’s how I’ve integrated it into my daily work:

1. Action Steps

I now break down every abstract idea into actionable tasks. Whether it’s:

Developing a new collection

Planning a fashion shoot with my furniture

Writing captions for social media

Communicating with manufacturers
Each becomes a clear, measurable step that I can check off.

2. References

I store inspiration such as Bauhaus references, color palettes, and design sketches separately, so they don’t interfere with my focus on completing tasks.

3. Backburner Items

Some ideas aren’t ready yet like opening a physical store or launching a design collaboration. I’ve learned to set them aside temporarily, without letting them distract me from what matters now.

Navigating the Creative Plateau

One of the most helpful concepts from the book was the idea of the “project plateau” the point where excitement fades and the real work begins. I used to feel discouraged during this stage, thinking something was wrong with me.

Now, I understand that this dip is normal. What matters is discipline pushing through, even when motivation fades. I’ve created routines that keep me grounded: small daily tasks, visual progress tracking, and setting realistic goals.

Building a Creative Ecosystem

The book also emphasizes the importance of surrounding yourself with other driven creatives. That led me to seek out collaborators not just people with good taste, but people who actually get things done. This community keeps me accountable and inspired.

From Artist to Brand Builder

Ultimately, Making Ideas Happen helped me bridge the gap between being an artist and becoming a brand builder. I still value concept, mood, and aesthetics. But now I approach my work with clarity, structure, and forward momentum.

My brand hasn’t lost its soul it has gained direction.

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Comp card ALE

Fashion Model

Influencer

Name: Ale

Age: 19

Silpakorn student

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Costume, Makeup & Hair-style

Dress code

White long dress

Minimalist | Natural | Effortlessly Elegant

Soft, calm, and unforced beauty. The outfit should complement the quiet elegance of the hairstyle—lightweight, breathable, and thoughtfully understated.

Shoes

High heels

Heels:

Neutral-toned block heels or kitten heels

Barely-there strappy sandals with a soft curve

Pointed or square-toe pumps with matte or satin finish

Hair Style

Soft Stream

Key Elements:

Long, straight, and sleek hair that flows naturally, echoing the calm of a steady stream.

Soft, subtle tendrils gently framing the face, adding dimension and a touch of intimacy.

Smooth, lightweight, and free of heavy styling—emphasizing natural movement and airiness.

Serene, composed, and quietly confident.

Minimalist yet emotionally expressive; designed to highlight the beauty of calm presence.

Makeup

Soft Radiant Glam Style

Key Elements:

Dewy, radiant skin that looks healthy and well-hydrated

Natural color palette such as nude, pink, and peach tones

Soft, fluffy brows with a natural shape — not overly defined

Subtle, flushed cheeks that blend seamlessly into the skin

Luscious, glossy lips with a hydrated finish rather than matte

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With Stabilisation from the DJI Rs4 pro, Camera movement can be smooth even when it is a fast movement.

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By using big monitor can help others department see the same picture, so we can work on the samepage.

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Product design

89 Charoen Chair

Poster design

Brand poster

Product poster

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Video

1 Master video

2 Reels

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Water Reflection using a metallic paper to bounce the light to CAST.

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Summary of The Fashion Image by Thomas Werner

Reading The Fashion Image by Thomas Werner provided me with valuable insights into the process of creating fashion-related visual content, especially in the context of producing a fashion film for my brand, PAT.

Fashion Imagery as a Reflection of Society
Werner emphasizes that fashion imagery is not merely about showcasing clothing but also about reflecting cultural, social, and emotional aspects of a specific era. This perspective inspired me to ensure that my fashion film does more than advertise a product it should express a narrative that resonates with the audience on a deeper, cultural level.

The Importance of Collaboration
The book highlights how essential teamwork is in fashion productions. Roles such as photographer, stylist, makeup artist, and producer must work in harmony. This taught me that assembling a team with a shared vision is key to producing a cohesive and effective campaign.

Pre-production and Planning
Werner stresses the significance of preparation, including creating mood boards and detailed production plans. These tools help define the visual tone, manage logistics, and avoid problems during the shoot. For my project, I learned that a solid pre-production strategy can elevate the outcome of the entire film.

Working in a Global Context
The book also discusses the necessity of understanding diverse cultural contexts when working with international clients or audiences. This reinforced the idea that my brand PAT can benefit from embracing inclusivity and global perspectives in its visual storytelling.

Overall, The Fashion Image offers a comprehensive guide to producing thoughtful and visually compelling fashion content. The book’s balance of theory and practical advice makes it an ideal reference for creative professionals working at the intersection of fashion, art, and media.

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Magdalena Droste

Bauhaus: 1919–1933 by Magdalena Droste gave me a much deeper appreciation for the philosophy behind functional design. It reminded me that Bauhaus was never about making things that simply looked modern it was about stripping down objects to their purest, most honest form, where every curve, line, and material had a purpose. As someone who designs furniture, this idea resonates strongly with how I see my own work.

In my current collection, I’ve been developing pieces that are not just practical, but that also hold symbolic meaning particularly through the integration of the numbers 8 and 9. These numbers, for me, represent balance, continuity, and personal growth. In many ways, I see this as a contemporary continuation of the Bauhaus approach: merging rational design with emotional intention.

Bauhaus taught that materials should not pretend to be something they are not. I follow the same rule by working with exposed PVC tubing and soft cushions, allowing the structure and softness to co-exist visibly without decoration or disguise. Similarly, the numbers 8 and 9 are embedded structurally into the proportions and repetition of form. For example, a table might use an 8-part radial grid, while a chair might subtly reflect the curve of a 9 in its silhouette. These references are not literal but form the quiet backbone of each design.

Another thing that struck me in the book is how Bauhaus embraced industrial production without losing the soul of the maker. I find that incredibly inspiring, especially as I aim to keep my pieces hand-finished while also considering scalability. Just like Marcel Breuer’s use of tubular steel, I’m exploring how modular construction can allow a design to feel both personal and universally accessible.

Ultimately, Bauhaus: 1919–1933 reaffirmed my belief that furniture can tell stories not through ornamentation, but through structure, material, and proportion. By blending spiritual symbolism with Bauhaus clarity.

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The rooms at Montien Riverside Hotel are decorated in a contemporary Thai style, featuring real wood furniture and impeccable craftsmanship that offers just the right touch of Thai heritage—luxurious but not over the top. Room sizes range from 36 to 224 square meters, and every room has large windows with a full view of the Chao Phraya River. The bathrooms are adorned with marble, complete with both a bathtub and a separate shower for convenience.

The corridors and common areas also feature wood and marble finishes, giving a warm and inviting feel. The soft orange lighting creates a calm, serene atmosphere, while the space is enhanced by Thai artwork, including paintings and wood carvings, adding charm without being overwhelming.

Overall, the hotel is ideal for renting as a location for advertising shoots, offering a luxurious yet approachable ambiance. With its spacious areas, beautiful river views, and picturesque spots in the rooms, hallways, and common areas, it provides the perfect setting to elevate the visual quality of any shoot.The design we created is based on Bauhaus art, which focuses on simplicity, geometric shapes, and clear functionality. This style doesn't quite align with the atmosphere of the Montien Riverside Hotel, which is decorated in a contemporary Thai style, offering a luxurious and warm feel. Additionally, the rental cost of the Montien Riverside Hotel is relatively high, at 100,000 baht per day, which led us to decide against using it as a location for our shoot, opting instead for a venue that better suits both our concept and budget.

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The ideal Ref. Bauhaus-style studio is characterized by its minimalist design, clean geometric lines, and functional layout. Open spaces flooded with natural light, neutral color palettes accented by primary colors, and the use of industrial materials such as steel, concrete, and glass create an environment that fosters creativity, clarity, and modernist aesthetics. Every element within the studio is thoughtfully designed to serve a purpose, embodying the Bauhaus philosophy that form must always follow function.

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1. Living Room:

Furniture: I will use the Bauhaus style furniture I designed, such as a sofa with clean lines and clear functionality, and a coffee table with a simple yet elegant design.

Red Rug: I plan to place a red rug in the room to add a touch of color and contrast with the otherwise minimalist decor.

Record Player: A classic record player will be positioned in the room to enhance the atmosphere, in line with the Bauhaus philosophy that connects art and everyday life.

Lighting: I have selected a pendant light with a sleek design, featuring a metal structure and glass elements, adding a modern and refined touch to the space.

Windows: The large windows will be emphasized, offering a clear view of the outside and allowing natural light to flow in, making the room feel open and spacious.

2. Hallway:

White Walls: The walls of the hallway will be painted in a clean, white tone to keep the aesthetic simple and in line with Bauhaus's minimalist style.

Bauhaus Artwork: I will hang several pieces of artwork in the Bauhaus style, featuring geometric shapes and primary colors like black, white, and red, adding visual interest without overwhelming the space.

Lighting: I have chosen soft, warm lighting, with tones like light orange or white, to create a calm and inviting atmosphere as one moves through the hallway.

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After finalizing the location with W39 Studio, we created a preliminary visual mockup by arranging and compositing images of the shooting site with our furniture products, such as sofas. This helps visualize the actual shooting setup and serves as a reference for planning the shortlist, editing process, and creating a detailed breakdown.

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Key Visual Direction for the Furniture VDO Advertisement

Concept: "No need to roam, aesthetics are close to home."

1. Mood and Tone:

The overall mood is calm, minimalistic, and powerful.
The color palette follows classic Bauhaus tones: white, black, red, blue, and yellow.
Lighting will combine soft natural daylight with gentle artificial light to create a warm yet vivid atmosphere.

2. Visual Composition:

Living Room Scene:
The camera slowly pans across the Bauhaus-style sofa, which sits elegantly on a vibrant red rug. A vintage record player spins gently in the background, while natural light streams through large, geometric windows. The clean lines of the furniture contrast harmoniously with the softness of the light, creating a striking yet homely aesthetic.

Hallway Scene:
The camera tracks forward through a narrow, white hallway in a one-point perspective, enhancing the sense of depth and simplicity. Along the walls, three to four Bauhaus-style artworks are displayed, featuring geometric forms and primary colors, subtly energizing the clean, minimalist space.

3. Camera Movement and Editing:

Movements are slow, fluid, and deliberate employing slow pans and tracking shots to emphasize the stability and clarity of Bauhaus design.
Editing will use minimal jump cuts to transition between close-ups of material details (such as the metal joints, upholstery textures, and wood finishes) to broader, full-room compositions, maintaining a dynamic yet composed rhythm.

4. Typography (for On-Screen Text):

Typography should be bold but understated preferably a modern, clean sans serif font reminiscent of Bauhaus typographic principles.
The phrase "No need to roam, aesthetics are close to home." will appear calmly either centered in the middle of the screen or at the end of the video with a gentle fade in effect.

5. Sound Design:

The soundscape will feature soft ambient music with a modern vintage tone, lightly complemented by the subtle crackling sound of a spinning record.
Natural environmental sounds, like a soft breeze through the window or light footsteps on a wooden floor, will further enhance the sense of closeness and warmth.

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Color grading involves adjusting the color tones of the footage to create a specific mood or atmosphere. In my project, I am using warm, sharp tones to enhance the cinematic look, giving the video a more vivid and intense feel, while maintaining a sense of richness and depth.

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I specifically chose to use a voice over because I believe it adds a level of sophistication and elegance that elevates the entire piece. It fits perfectly with the narrative, enhancing the viewer’s experience in a way that feels both intimate and impactful. Additionally, I’ve paired it with an ambient soundtrack to create a mood that’s subtle yet immersive, further enriching the cinematic feel of the video.

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Master Advertisement for commercial PAT furniture brand.

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CAMERA (EQ)

CAMERA PACKGAGE

MAIN (A) Sony FX3

- Camera Cage with Rod SYSTEM

LENS SET (A) SONY G-MASTER
- SONY 24-70 GM II f/2.8
- SONY 12-24 GM f/2.8LENS SET (B)

Cannon FD S.S.C (MOD)
- 20mm f/4
- 24mm f/2.8
- 35mm f/1.8
- 50mm f/1.4
- 85mm f/1.4
- 100mm f/2.8

FILTER / Matte box

NiSi 4x5.6" Black Mist
- Black Mist 1/8
- Black Mist 1/4
- Black Mist 1/2
- Black Mist 1

Tilta Mirage VND Kit
- VND 1-9 STOP
- Mirage Matte box

- CLEAR

Follow Focus

Tilta Nucleus-M Wireless Follow Focus

MONITORING

On-Board

- Small HD 702 Touch

Focus Monitor

- Small HD indie 7

On-SET Monitor

- Small HD Cine 13

Director Monitor

- Seetec 17.3” 4K

Wireless Video

MAIN

VAXIS STROM 1000s
- 1 Transmitter
- 2 Reciver

VDO-Village

VAXIS ATOM 500
- 1 Transmitter
- 1 Reciver

Battery

On-Board

x8 135wh Battery

Village

x4 199wh Battery

CAMERA GRIP (EQ)

Stabilizer

- DJI RS 4 PRO

- Tilta Ring Grip Advance

Fluid Head

- Saclether Video 20 S1

Tripod

- Miller 2120G HDC 100mm

Support

- GFM Euro Adjustable Riser

- GFM Offset

- GFM Wheel

BASELIGHINTG + GRIP (EQ)

LED Point Source

- Aputure STORM 1200x Pro Bi-Color

- Aputure LS 600X Pro Bi-Color

- Aputure 300D II

- Aputure Amaran 300c

LED Panel

- Aputure Amaran F22c

LED Small type

- Aputure PT4c

- Aputure MC 4 SET

LED Modifier

- Aputure Light Dome ii

- Aputure Lantern 90

- Aputure F10 Fresnel

- Aputure Spotlight 36°

FLAG

48 x 48 Floppy (x2)

40 x 40 Full Silk + Cutter (x2)

24 x 36 Full Silk + Cutter (x3)

Cloth

8 x 8 Black Solid (x3)

12 x 12 Black Solid (x1)

STAND + GRIP

C-Stan Grip Arm (x11)

Combo Stand (x2)

Combo Stand Tripper Riser (x1)

Combo Roller Stand (x2)

Steel Roller (x2)

Steel Lite Stand (x2)

PLUG

Cable Roll 20m 16A (x2)

Cable Extention 10m 16A (x2)

Cable Roll 10m (x2)

Cable Extention 5m (x2)

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Designed with a refined sense of modernism, W39 Studio captures the essence of Bauhaus through its use of sleek industrial materials and purposeful furnishings. Every furniture piece is selected to embody functionality, simplicity, and timeless form principles at the heart of Bauhaus philosophy.

As we sought a studio that would authentically reflect the values and aesthetics of Bauhaus design, W39 Studio distinguished itself as the optimal choice, aligning seamlessly with both our creative vision and project requirements. After scouting multiple locations, we confirmed our decision to select W39 Studio, recognizing it as the venue that most closely aligns with our artistic direction and conceptual goals. In addition to its strong Bauhaus connection, the studio offers a competitive and reasonable rate of 21,000 THB for a full day rental, making it the most fitting and efficient choice for PAT project.

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No need to roam, aesthetics are close to home.

"You don't have to travel far to find beauty it's right around you."

This concept will be presented in the style of the film Manifesto an experimental piece that prioritizes atmosphere over plot or conventional logic.
A voice over will narrate the story through a personal lens, exploring the search for beauty and the inspirations that enrich our lives.
It will pose the question: What is beauty to you?
Is it traveling to breathtaking destinations, admiring the grandeur of nature, immersing yourself in literature, or contemplating great works of art?
For us, beauty is closer than you think.
It is found in the simplest of moments such as sitting on a PAT sofa, where one can truly savor the richness of aesthetic experience.

Although the location or environment may change, the quality and excellence remain just as they always have been. You'll see the sofa in various contexts that could be possible, reflecting the different lifestyles of people. Even the rooms where the sofa is placed serve different purposes depending on individual lifestyles. For example:

A sofa placed for watching movies

A sofa placed for karaoke gatherings

A sofa placed in the dressing room for trying on clothes

A sofa placed for sipping wine or tea

PAT sofa still delivers the same great experience for those who use it.

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HMR (High Moisture Resistance)

This type of plywood is commonly used in furniture that is exposed to frequent moisture, such as bathroom cabinets, kitchen shelves, or other areas of the house that are at high risk of coming into contact with water or moisture.

PVC Pipes: Used as the main framework in our furniture due to their durability and lightweight, making them convenient for handling and production.

Cushions: Used for upholstering furniture to enhance comfort during use. Materials like waterproof fabric or synthetic leather can be chosen for easy maintenance and style.

Adhesives and Coatings: Used to connect and secure parts together, as well as to coat surfaces to protect them from scratches and wear over time.

Paint: Applied to enhance aesthetics and protect against moisture from external sources, with a focus on selecting paints that are durable for different environments, such as bathrooms or frequently used areas.

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3 Videos

1 Master video

2 Reels (Vertical)

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When we started working with this factory, I should mention that it wasn’t the first one we found. It was actually a recommendation from an older relative of mine, located in Ratchaburi province, not far from Bangkok. This factory specializes in crafting wooden furniture like tables, cabinets, and chairs, and the owner designs and makes everything himself. Despite the factory not being very large, they have the right tools and skilled craftsmen. At first, I was a bit concerned about whether they could bring our design to life because it was quite unique curved, bent, and contoured in ways that aren't common. But after a meeting with the craftsmen before production, they assured me that they could make exactly what we envisioned. After just one week, the first piece came out almost exactly as the rendering, and it was absolutely perfect. Even though the piece wasn’t fully completed yet, I’d rate it 9 out of 10! The experience of collaborating with them was incredibly smooth, and as a designer, I felt comfortable making adjustments without any worries.

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Mary Ann Caws

After reading Bauhaus and America: Modern Art and Design in the U.S. by Mary Ann Caws, I gained a deeper understanding of how the Bauhaus movement significantly influenced American design and culture, especially following the migration of Bauhaus artists to the United States after the school’s closure in 1933. This migration not only spread the principles of Bauhaus internationally but also sparked a major shift in how modern art, architecture, and industrial design were perceived and practiced in the U.S.

What resonated with me the most was the emphasis on the fusion of fine art and industrial functionality—an approach that aligns closely with the philosophy behind my own furniture brand. In my practice, I incorporate Bauhaus ideals by designing pieces that are not only aesthetically minimal and clean but also highly functional and user-centric. Reading this book reaffirmed my belief that design is not just about decoration; it’s about solving problems in a beautiful, efficient way.

Moreover, the book helped me realize the importance of storytelling in building a brand. Many Bauhaus artists brought personal ideologies, philosophies, and cultural narratives into their work. This insight validated my decision to base my furniture design around the concept of meaningful numbers and symbolic forms. By combining those ideas with Bauhaus principles, I’m not just making objects. Crafting experiences and communicating values that reflect both tradition and innovation.

Another takeaway from the book was the Bauhaus school’s interdisciplinary approach. The movement was never confined to just one field it bridged art, architecture, fashion, and even performance. That holistic view of creativity inspired me to collaborate across different mediums, such as fashion photography, to give my furniture pieces a richer, more dynamic context. These kinds of collaborations expand the narrative of my brand and allow each piece to be seen not only as a product but also as a cultural statement.

Ultimately, this book reminded me that to build a truly impactful brand, one must be both visionary and grounded in purpose. The Bauhaus legacy is proof that design driven by function, enriched by story, and executed with intention can leave a lasting mark. That’s exactly the kind of legacy I hope to build with my work.

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In Thai culture, numbers are not just viewed as mathematical symbols but are deeply intertwined with beliefs about fortune and prosperity. People often choose auspicious numbers for their phone numbers, car license plates, or even house numbers, believing that these numbers can attract good luck, wealth, and success. For instance, numbers like 8, 9, and 6 are seen as symbols of wealth, success, and family harmony, respectively. In addition, making merit, honoring ancestors, and performing rituals such as giving alms or seeking blessings from monks are integral to Thai life, with many believing that these practices can influence their luck and destiny. This strong belief in the power of numbers and rituals is contrasted with Western cultures, where the focus is more on individualism, personal freedom, and practical achievements, rather than relying on symbolic numbers or religious rituals to guide one's life. In the West, while religion and beliefs still play a role, they don't typically involve the same level of integration into daily life as seen in Thailand, where rituals and beliefs often directly influence decisions such as buying a car, starting a business, or even choosing a spouse. The Thai perspective on numbers and rituals reflects a more holistic view of life, where the spiritual and material worlds are seen as deeply connected.

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The number 89, for me, is more than just digits. It’s the fusion of two infinite forces—8, representing unshakable stability and continuous motion, and 9, symbolizing relentless progress. I see 89 as the path of my own journey, with each step forward never stopping and never looking back. It reflects my growth, my development, and the drive to overcome every obstacle in pursuit of endless success.

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he number 6 has always reminded me of my mom—gentle, warm, and full of love. It was her favorite number, and somehow, it became something I cherished too. The number 9, on the other hand, has followed me all my life—from my classroom seat to my student ID. Over time, it came to represent me.
When these two numbers come together as 69, something beautiful happens. The curves of 6 and 9 face each other, like two energies that balance and complete one another. Though different, they fit perfectly—like me and my mom.
To me, 69 isn’t just a number. It’s a symbol of connection, balance, and the quiet bond between where I come from and who I’ve become.

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The number 9 has quietly followed me throughout my life. From elementary school to high school, I was always student number 9, and my student ID—49990—was filled with nines. Over time, the number became more than a coincidence; it became a part of my identity. In many cultures, 9 is a lucky number, symbolizing progress, growth, and strength. In Thai, the word for 9, ‘เก้า’ (gao), sounds just like the word for ‘step forward’—‘ก้าว’. So to me, 9 represents more than the past—it’s a reminder to always move forward, to keep growing, and never look back. It’s not just a number. It’s a reflection of my journey and who I continue to become.

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Number 8 is a symbol of continuity and infinity. Its shape resembles the infinity sign (∞), representing endless energy, steady progress, and limitless growth. Beyond its form, 8 holds deep significance across many belief systems—it’s considered a lucky number in Chinese culture, associated with wealth and prosperity, and in numerology, it represents strength, stability, and long-term success. For me, 8 is more than just a number—it’s a never-ending path, a rhythm of life that flows with purpose, and a quiet reminder that some things, like hope and ambition, are truly infinite.

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Number 6 is more than just a number—it’s a symbol of warmth and memory. It used to be my mom’s favorite number, and over time, it became a quiet little gift she left in my heart. There’s something soft about the way it curves, like the shape of an embrace. It feels balanced without needing to be perfect. Whenever I see it, I’m reminded of simplicity filled with meaning. Like home. Like love. Like mom.

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In Thai society, numbers are not just mathematical symbols, but hold deep meaning and influence in daily life. Numbers such as phone numbers, car license plates, and even house numbers are often seen as symbols of good fortune or prosperity. Certain numbers are believed to enhance luck or help overcome obstacles in life, such as the number 8, which symbolizes wealth, or the number 9, associated with success and growth.

The auctioning of ‘lucky’ numbers like 888, 999, 69, or 89 has become a thriving business in Thailand. These numbers are not only believed to carry spiritual or religious significance but are also commercial assets that can be bought and sold. People are willing to pay high prices for numbers that are thought to bring good luck or prosperity, or to help their businesses thrive. These numbers have become more than just symbols they are tools of business and personal fortune. In fact, owning a ‘lucky’ number in a phone number or car license plate is often seen as an investment in good luck and can inspire confidence in business ventures. In this way, numbers hold a unique power, influencing both personal and commercial success.

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Jeff Goins

The Origin: Bauhaus Meets the Power of Numbers

My designs are grounded in the principles of Bauhaus art that is simple, functional, and integrated with everyday life. But what makes my work uniquely mine is the hidden code behind each piece.

I believe in the power of symbolic numbers:

The number 9 represents stability and identity.

The number 89 symbolizes infinity and growth.
Each piece is not just crafted by measurement and material but is designed with intention and meaning.

For me, furniture isn’t just a decorative object it’s a language, a way of expressing a deeper belief.

Storytelling is the Heart of Branding

Goins explains:

“People don’t buy products. They buy the story behind them.”

That’s why I don’t present my furniture simply as objects. I present them as symbols of intention. When someone buys a piece from my collection, they are not just acquiring a chair or a table; they are inviting energy and meaning into their space.

By learning how to tell this story with clarity, confidence, and consistency. I’ve built a brand that is both visually striking and spiritually grounded.

From Artist to Storyteller: Embracing the Value of Marketing

In the past, I was hesitant about “marketing” or “selling,” fearing that it would dilute the authenticity of my work.
But after reading Real Artists Don’t Starve, I came to realize:

Sharing your story isn’t selling out it’s showing up.

Now, I am confident in telling the story behind each piece of furniture I create. I’m no longer just designing objects; I’m designing experiences and meanings that resonate with others.

Final Thought

My furniture may appear minimalist, but behind every curve, dimension, and color, there is a story.
Thanks to Real Artists Don’t Starve, I now understand that my most valuable asset isn’t just my design skills it’s my willingness to turn my beliefs into form and share that with the world.

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Robert Indiana

Robert Indiana is known for using simple, bold shapes and bright, solid colors to communicate powerful messages. His work often incorporates numbers, words, and symbols, integrating them into minimalist forms that convey deep emotional or cultural significance.

Use of Bold Typography and Numbers
Indiana was fascinated with numbers and text, often using them in an abstract yet highly recognizable way. He believed that numbers are symbols that express identity and hold universal meaning. His most famous piece, the LOVE sculpture, plays on the number of letters and its symmetry to express a universal, timeless theme. His work with numbers wasn’t just aesthetic but also tied to personal and societal meanings.

Minimalism and Simple Forms
Indiana’s work is strongly influenced by minimalism, where less is more. His designs are characterized by clean lines and geometric shapes, which allow the meaning to come through clearly without distraction. The simplicity of the forms makes the art accessible to a broad audience, while the boldness of the color and structure creates a lasting visual impact.

Cultural Commentary
A key element in Indiana’s work is his ability to reflect on American culture. His famous "LOVE" series, as well as other works, were deeply influenced by the pop culture of his time, incorporating familiar symbols and messages to engage with the public. His works often carry social or cultural commentary, drawing on themes of love, peace, and unity, especially in a contemporary context.

Primary Colors
He often used a palette of primary colors red, blue, and yellow which added to the bold and straightforward nature of his work. These colors are highly effective in creating emotional resonance, and their simplicity echoes the essence of Indiana's design ethos: clear, direct, and impactful.

Symbolism and Iconography
Indiana’s use of simple shapes like circles, squares, and rectangles, along with numbers and words, taps into the power of iconography. These elements transcend language and become symbols of larger themes such as love, unity, and identity that resonate universally.

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https://app.milanote.com/1UaosS1Xy32edD?p=qQ7grGd7gKZ

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The breakdown served as a comprehensive production schedule for the entire shoot day, with 10 printed copies distributed to key crew members including the director, producer, gaffer, and actors. Although this particular breakdown wasn’t packed with an intense number of scenes, it required precise time management. The plan prioritized shots that involved detailed craftsmanship and complex technical setups.

In the end, the breakdown proved to be thorough and highly accurate in time estimation. On the actual shooting day, the schedule ran only 15 minutes behind—mainly due to a lighting adjustment that required heavy equipment to be relocated.

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25 Shot for Shooting

Having a shot list of only 25 shots for a single day commercial shoot is considered an optimal number, as it allows the production team to manage time and resources more effectively. With fewer shots to cover, there is sufficient time to properly prepare each scene, including lighting setups, camera framing, and performance direction. This results in higher overall production quality and reduces the risk of errors or rushed execution, which are common when attempting to film too many shots in a limited timeframe. Moreover, it fosters a calmer and more focused atmosphere on set, enabling the crew to work with greater attention to detail and creative intention. Ultimately, this contributes to a polished final product, both technically and emotionally.

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I particularly enjoy shooting advertisements in a studio setting. I’ve also taken a course on lighting for video and photography, which has deepened my understanding of the technical aspects of production. I had the opportunity to shoot an event for the brand Kenneth & Cole, a fashion shoe brand under the project called Work Were. During this project, I experimented with various camera angles and was fascinated by the technical side of the process.

I also explored video editing and added background music, which turned out to be a valuable and enjoyable learning experience. Working with Kenneth & Cole was especially rewarding, as the brand not only focuses on fashion but also embodies a broader lifestyle concept.

Their shoots often feature carefully curated furniture and decorative elements, which enhance the visual storytelling and create an engaging atmosphere. These details don’t just support the fashion narrative they also spark interest in interior design and lifestyle aesthetics.

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Problem: Inaccurate dimensions due to 3D modeling limitations
Solution:
To solve this issue, I started creating small-scale mockups using materials like cardboard and foam to better understand proportions in physical space. These tangible models helped me identify scale errors early on. Additionally, I explored using augmented reality (AR) features in Rhino to visualize the furniture in real-world settings, allowing for more accurate adjustments before production.

Problem: Initial material choice (aluminum) was costly and hard to manufacture
Solution:
After struggling to find a workshop that could work with aluminum affordably, I shifted my focus to more accessible and cost effective materials. PVC water pipes became a perfect substitute they're lightweight, structurally sound for furniture, easy to shape, and widely available. This material change not only reduced production costs but also gave me more creative freedom in design and assembly.

Problem: Incorrect height of the front legs affected ergonomic comfort
Solution:
Once I noticed the discomfort caused by the overly tall front legs, I immediately contacted the factory and asked them to shorten the legs to improve balance and posture. This small change significantly improved the sitting experience and restored ergonomic harmony. I also revised my technical drawings to clearly highlight ergonomic dimensions and worked more closely with the manufacturer throughout the production process. Moving forward, I plan to incorporate real-user testing earlier in the prototyping phase to ensure maximum comfort and usability.

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Throughout the creation of this furniture piece, I faced several unexpected challenges that ultimately helped refine both the design and production process:

3D modeling discrepancies
While designing in a 3D program like Rhino gave a clear digital visualization, it couldn’t fully replicate the sense of real world scale and proportion. This led to initial measurement errors, especially in dimensions that appeared balanced on-screen but felt awkward in physical form.

Material limitations and manufacturing feasibility
Initially, I intended to use metal specifically aluminum for its sleek look and structural strength. However, I soon realized that finding a workshop capable of shaping custom aluminum forms was both difficult and costly. This made the idea impractical for scalable production. As a result, I pivoted toward PVC water pipes, which are lighter, easier to work with, and far more accessible for prototyping and production.

Ergonomic miscalculations
During the production phase, there was a miscommunication with the factory that resulted in the front legs of the furniture being too tall. Although it seemed like a minor detail, it drastically affected the sitting posture. The angle forced the user’s lower back into an unnatural position, potentially causing discomfort or back pain if used for long periods.

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Start with hand-drawn ideas
Every piece begins with a hand sketch to clearly visualize the concept and design before entering the production phase.

Create a 3D model in Rhino
The sketch is translated into a 3D model using Rhino to get accurate proportions and refine the details digitally.

Measure and finalize dimensions
All parts are measured precisely, and dimensions are finalized to prepare technical drawings for the factory.

Material selection: PVC pipes & upholstered cushions
The structure is made from lightweight, durable PVC pipes easy to bend and shape combined with upholstered cushions that I design and craft by hand.

Production and assembly
The structure is produced at the factory based on the drawings, then assembled with the handmade cushions to complete a functional and uniquely designed furniture piece.

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Timeline of May

This month marks the final stage of the project, with all submissions due on May 9. The deliverables include:

A presentation,

A Padlet portfolio,

The final video, divided into one master clip and two short reels,

The furniture product, and

Two posters.

Following the submission deadline, the week of May 12–16 will be dedicated to final presentations of all student projects.

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April Update

At the beginning of this month, I finalized all preparations for the commercial shoot scheduled for April 26. This included confirming the location, cast, and crew. During the early weeks of April, I focused on executing the plans outlined in the storyboard purchasing props, costumes for the actors, and conducting preliminary equipment tests to ensure everything was ready for the production day.

Following the shoot on April 26, the post-production process began, which involved video editing and color grading. The timeline for editing all three video clips was set to 10 days. Once the editing was completed, I proceeded with producing the poster designs, which had already been finalized in advance.

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During this month, I focused on planning a full-scale commercial shoot. This included developing the concept, creating the storyboard, and organizing key aspects such as location scouting, casting, equipment sourcing, and assembling the production team.

The concept I developed is titled:
"No need to roam, aesthetics are close to home."
capturing the sense of serenity and aesthetic pleasure that comes from having this furniture piece in one's home.

By the end of March, I had completed approximately 70% of the pre-production process. The next step in my plan was to confirm the shoot date, which was initially scheduled for April 15.

However, an update from the manufacturer affected this timeline. The factory postponed the delivery of the furniture to April 25 due to the Songkran holiday and delays in the arrival of the upholstery materials. As a result, I had to reschedule the entire shoot to April 26, impacting the overall workflow.

Despite the delay, I used this time to finalize all remaining pre-production tasks, ensuring that everything was ready by the end of March for a smooth execution once production begins.

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February Update

After completing the furniture design, I proceeded to coordinate with the manufacturer regarding production. During the waiting period for the fabrication process to begin, I had the opportunity to take part in filming a video commercial for Kenneth Cole, a fashion brand known for its workwear and footwear collections. The brand's concept focuses on simplicity with a touch of luxury, and the shoot took place in a studio filled with props such as tables, sofas, and chairs—elements chosen to highlight elegance and minimalism.

This shoot served as a valuable experiment for me in terms of lighting setup and camera angles. While the lighting design for this project was relatively straightforward, the most challenging aspect was managing the camera movement in a way that made the product stand out and appear visually striking. I also learned a great deal about time management during production, especially in organizing each shot efficiently. Moreover, the experience of working with a well-established brand and skilled international actors gave me meaningful insight into high-level production environments.

Later, in mid-February, I received an update from the furniture manufacturer confirming that the structural framework had been successfully built. I then conducted a final re-check of the product’s dimensions and reviewed the production timeline. The factory informed me that the full production would take one month, which was an ideal timeframe. This schedule allows me to plan and prepare the commercial shoot for the furniture product in advance, ensuring everything stays on track.

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Update from January

After designing two furniture models 1. the CHAROEN Chair, inspired by the numbers 8 and 9, and 2. the MUNGKONG Chair, inspired by the numbers 6 and 9 I selected one design to further develop: the CHAROEN Chair. I began modeling the product in the Rhino 3D application, focusing on capturing as much detail as possible to match the original sketch.

The modeling and structural design process took a significant amount of time, mainly due to the complexity and time-consuming nature of working with Rhino. In addition to shaping the design, I had to carefully calculate the furniture dimensions and select the appropriate materials. This was essential, as the next step in the following month involved submitting the finalized design to the manufacturer, requiring the measurements and details to be as precise as possible.

By the end of January, with approximately 90% of the product design completed, I began studying and experimenting with fashion commercial production. This was to prepare for a future project combining product photography with fashion elements for the PAT Furniture brand.

Additionally, in February, I had the opportunity to take part in a photoshoot for Kenneth Cole’s workwear line. This experience aligned well with the fashion style I plan to integrate into my own furniture photography.

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"CHAROEN Chair เจริญ chair The number 8 and 9 is used to indicate progress in career, health, and life. It is a number that never ends."

Thai people always have beliefs in life and things they use, such as which step out of the house will bring good fortune, is this color auspicious, will this car license plate number make us drive safely, will the things in the house be in accordance with Feng Shui? Which things bring luck, which things are the queen, Thai people don't take them at all, which can be developed into this concept. By using lucky numbers to create a good belief in life, people who buy them feel comfortable with the auspicious products.

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This reference video stands out in several aspects, particularly in its voice over performance and the actors’ expressive acting, which effectively convey the emotion and tone of the narrative. The cinematic elements are seamlessly integrated into the advertisement, enhancing its overall storytelling without feeling forced or overly stylized. Additionally, the set design and the careful selection of prop colors contribute to a visually appealing composition that supports the intended mood and tone of the piece. Together, these elements create a captivating viewing experience

one that draws the audience in completely and momentarily suspends their sense of time, allowing them to become fully immersed in the world being portrayed.

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PAT Furniture Poster Inspired by Bauhaus Principles

The PAT Furniture poster is a clear representation of design principles inspired by the Bauhaus movement, which emphasizes the harmony between functionality and aesthetic simplicity. The poster combines geometric forms, primary colors, and modern typography in a way that reflects both the essence of Bauhaus and the identity of the PAT brand.

Color Usage

The design uses primary colors red, yellow, and blue which are fundamental to Bauhaus philosophy. These colors evoke clarity, energy, and minimalism.
Additionally, the Thai logo “พัด” features a gradient color transition, blending warm and cool hues to convey a modern and dynamic interpretation of the brand’s concept, which bridges traditional and contemporary design.

Geometric Forms

Geometric shapes play a central role in the composition:

Rectangles (red and yellow blocks) anchor the layout and guide visual movement.

Vertical black lines, arranged rhythmically, may symbolize airflow or motion, which aligns with the brand’s theme.

Curved lines and circles in the Thai logo “พัด” reflect fluidity and flow, reinforcing the concept of wind or movement.

The layout follows a diagonal structure, adding a sense of dynamism and forward motion an element often employed in modernist and Bauhaus-inspired graphics.

Typography

The poster uses a clean sans-serif typeface, aligning with Bauhaus ideals of clarity and readability.
The phrase “Just trust the number” is placed diagonally, which enhances visual interest and contributes to the dynamic flow of the layout.
The integration of both English and Thai characters highlights the fusion of Western and Eastern design values, a concept embraced by the Bauhaus belief in interdisciplinary approaches.

Overall Concept

The poster reflects the Bauhaus vision that design should serve everyday life. The PAT brand, inspired by the Thai word “พัด” (which refers to airflow), incorporates this principle by:

Designing furniture that conveys comfort and movement.

Blending function with aesthetic appeal.

Creating timeless design that resonates with a broad audience.

Through its use of minimal forms, strong colors, and meaningful composition, the poster captures both the spirit of Bauhaus and the essence of the PAT brand.

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89 Charoen Chair by PAT Furniture

The promotional poster for the 89 Charoen Chair by PAT Furniture demonstrates a design approach that is both minimalist and deeply meaningful. Drawing inspiration from Bauhaus principles, it emphasizes that form must follow function, and that design should be accessible, intentional, and relevant to daily life.

Product Name: "89 Charoen Chair"

The name “89 Charoen” is rich with layered symbolism:

“89” represents infinity and progress, reflecting the designer’s personal journey and commitment to ongoing self-development.

“Charoen” is a Thai word meaning prosperity, growth, and flourishing, conveying a positive energy and cultural grounding.

Together, the name signifies a chair that embodies endless growth and enduring strength, aligning with both personal identity and universal design values.

Poster Composition

The layout is defined by clarity, balance, and negative space, allowing the product to breathe and take visual focus.

A centered composition gives the poster a grounded and honest presence, mirroring the integrity of the product design.

The use of a clean, sans-serif typeface contributes to a sense of modernity, neutrality, and timeless elegance.

The year “2024” is subtly presented to indicate the founding year of the brand, creating temporal context without overpowering the product itself.

Material and Structure

While the poster does not include material specifications, the product reflects PAT Furniture’s design ethos, which is understood to include:

A PVC pipe structure, which is lightweight, modular, and easy to assemble.

A cushioned seat, offering comfort that contrasts with the industrial frame—balancing function with warmth.

These characteristics embody the Bauhaus ideal of uniting mass-production techniques with human-centered usability.

Overall Concept

This poster is more than a promotional graphic it is a visual expression of values that define PAT Furniture:

A fusion of Thai identity (via the word “Charoen”) and international design philosophy (via Bauhaus).

A visual language that is quiet yet powerful, drawing the viewer in through simplicity and purpose.

A narrative of stability, hope, and continuous growth, both in terms of the product and the brand’s broader vision.

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Refer on this course introduction and keydates

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Here’s the translation:

Week 1: Received a brief for the thesis project in my fourth year and researched potential project topics.

Week 2: Presented my areas of interest to my advisor along with my project approach. For the furniture design, I started with room decoration and wanted the furniture to have a more distinctive character. I began creating a mood board and exploring styles of interest.

Week 3: Broke down the main project into micro-projects, including logo design, product design, and packaging design.

Week 4: Collected research and style concepts to create a mini-presentation for my advisor. Based on their feedback, I focused on design elements and references that needed further exploration and started designing the furniture product.

Week 5: Designed the brand name and font, naming the brand "PAT." I created five logo drafts and selected the final draft that I liked the most.

Week 6: Researched materials for the furniture product and packaging design, and began working on three drafts for the furniture product. I contacted manufacturers to gather information on production, pricing, file formats for submitting designs, and the dimensions of the furniture product to minimize communication errors.

Week 7: Presented to Aj. Kelvin, incorporating their comments into budgeting for production and sourcing materials for packaging to avoid high costs. I completed drafts 4-5 of the furniture product.

Week 8: Selected two furniture design sketches to develop further in SketchUp, creating 3D models.

Week 9: Compiled information into Padlet and prepared a presentation for Monday, October 28. Continued developing the design in SketchUp and added color to the product.

Week 10: Chose a design I liked to develop into a prototype and started designing the packaging while researching production information.

Week 11: Gathered information to prepare a report for weeks 14-15.

Week 12: Rechecked the furniture and packaging designs.

Week 13: Wrote a progress report on the furniture product.

Gather information on what is needed for product advertising, including how many images and the number of clips to be filmed after the product is produced.

Week 14: Compiled information and wrote the final report to submit by December 2 at 15:00 BKK.

Week 15: Collected all information to prepare for the next term.

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Modern Clean Typography | Kinetic Titles - After Effects Templates

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Full video Credit IG:kennethcolrth

https://www.instagram.com/reel/C9Tpra3CvJz/?utm_source=ig_web_button_share_sheet&igsh=MzRlODBiNWFlZA==

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Prepare for the Live Brief Project, Commission, and Micro Project Presentation for the Thesis

Write a report to present to the advisor in preparation for submission to Birmingham City University.

Additionally, check the readiness of all materials before final production.

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Prepare for the Live Brief Project, Commission, and Micro Project Presentation for the Thesis

Live Brief: Film all three cars to prepare online content for promotion.

Collaboration: Upload clips according to the agreed schedule.

Commission: Complete event shooting.

Micro Project: Finalize the design, address any errors, and start creating 3D models for the product."

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Feedback Collaboration Bondloon live session

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Feedback Collaboration Bondloon live session

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Feedback

In this project, the feedback received emphasized the importance of budget allocation, where we need to consider the value of our work in relation to labor costs and experience. Another key takeaway from this project was the management of people. Positioning individuals according to their strengths allows us to work more smoothly and efficiently.

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Feedback

When filming in a confined space with a large number of people due to the event, we need to consider the client's needs as a top priority to avoid confusion during the shoot. Additionally, when filming an event, we should pay attention to the atmosphere and ambiance of the occasion. It’s important to understand from the client who the event is intended to communicate with, and how we can help convey that message through the video clips we produce.

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Feedback

I will need to focus on experimenting with various camera angles to capture the interest of your target audience. Techniques like speed lamp lighting can make your work stand out. This technique is quite rare in Thailand, and we want to be among the first to film cars using this style of camera angles.

Secondly, it’s important to find more interesting locations for filming, as the car will look even better in beautiful settings.

Lastly, learn to optimize your equipment setup better to reduce issues during filming, which will also enhance safety on set.

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Feedback

You need to include more information on researching packaging and design in the SketchUp application. The clearer the 3D representation, the more closely the final product will match your design.

Additionally, it's essential to set a strict budget for this project; otherwise, it could lead to losses for the brand in the future.

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https://drive.google.com/file/d/1hffRqsvLl3FtYpnCVFlrI1aYS4wcPJQj/view?usp=sharing

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Intro: After gathering information on materials, production processes, and manufacturers, I will send the final draft design to the factory for production. Once the furniture pieces are received, I will check their quality and use them for an advertisement on online platforms. I will create a fashion video commercial featuring a model alongside the furniture. The video will focus on fashion luxury to showcase the unique characteristics of PAT brand furniture in terms of fashion lifestyle.

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Prepare for the Live Brief Project, Commission, and Micro Project Presentation for the Thesis

Live Brief: Film the second car of the cine-car project, testing at Suvarnabhumi Road like the first time, but adjusting the settings and filming time to ensure safety and suitability for the shoot.

Collaboration: Submit Draft 1 for all five songs: 1. Why Don't You Stay 2. This Town 3. Naked 4. Say You Won't Let Go 5. Let Her Go.

Commission: After completing the work, prepare to distribute it across various online platforms, including TikTok, Instagram, and Facebook.

Micro Project: Start designing for the furniture setup project."

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Prepare for the Live Brief Project, Commission, and Micro Project Presentation for the Thesis

Live Brief: Conduct test shoots with the goal of identifying errors for improvement on Suvarnabhumi Road.

Collaboration: Film at @Rinrimnam bar and prepare for post-production after filming is complete. Also, discuss the release date of the song based on the artist's preferences.

Commission: Event shooting at @Chamni Eye Rama 9, with plans for post-production after filming. Schedule the delivery of Draft 1 to Draft 3 (only cutting) within two weeks, followed by the full edit and color grading afterward.

Micro Project: Divide the Micro Project into three categories: Mp1: Logo Design, Mp2: Product Design, Mp3: Packaging Design."

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Prepare for the Live Brief Project, Commission, and Micro Project Presentation for the Thesis

Live Brief: Prepare to discuss the appropriate equipment for filming the cine-car, with plans to use the DJI OSMO Pocket 3 camera. After gathering the equipment, I will begin researching filming techniques and finding suitable locations.

Collaboration: Discuss with the artist about the readiness for filming and coordinate the location while organizing the crew.

Commission: Present the storytelling concept to the client, detailing what we will deliver along with pricing.

Micro Project: Prepare the thesis topic and present it to the advisor to ensure readiness for this semester's work."

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What I learned from collaboration and how it affected my thesis

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What I learned from collaboration and how it affected my thesis

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In this project, I applied the knowledge I gained since my second year in the Photo & Film program. This work allowed me to use my passion, interests, and expertise to manage the entire project. It significantly enhanced the effectiveness of my thesis preparation, as extensive research was required before the actual filming. Completing this project helped me discover more about myself, particularly in project management, including calculating and controlling production costs, communicating with venue owners, and understanding the importance of effective communication. These lessons have greatly prepared me for my thesis.

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What I learned from the commission and how it affected my thesis

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What I learned from the commission and how it affected my thesis

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The learning of filming events with a large audience and getting good value for hiring can provide several learning opportunities, including:

Understanding Audience Engagement: Observing how people interact and engage during the event can offer insights into effective communication and presentation techniques.

Event Management Skills: Working in a high-energy environment helps develop skills in organization, coordination, and time management.

Technical Experience: Filming in a live setting allows you to enhance your technical skills, such as camera operation, lighting, and sound.

Networking Opportunities: You can connect with various professionals, clients, and attendees, which can lead to future collaborations.

Creativity and Adaptability: Working in dynamic situations challenges you to think creatively and adapt quickly to changing circumstances.

Portfolio Building: Successful event coverage adds valuable content to your portfolio, showcasing your ability to handle large-scale projects.

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What I learned from the live brief and how it affected my thesis

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What I learned from the live brief and how it affected my thesis

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After completing the cine-car project, it significantly enhanced my advertising shooting skills. Filming a car is similar to shooting a large product, and it requires movement during the shoot. This experience helped me better understand the elements and dimensions of the product.

Additionally, communicating with clients provided insights into consumer needs and preferences.

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My Vision for a Furniture Designer & bussiness

Aesthetic Excellence: Strive for a unique design language that marries beauty with practicality. Aim to create pieces that evoke emotion, tell a story, and resonate with diverse lifestyles.

Functionality: Prioritize user experience by designing furniture that enhances everyday living. Consider how each piece will be used in various settings, ensuring it meets the needs of modern life.

Sustainability: Commit to environmentally responsible practices. Use sustainably sourced materials, consider the lifecycle of products, and aim for minimal waste in production.

Craftsmanship: Emphasize quality and attention to detail. Collaborate with skilled artisans and utilize traditional techniques alongside modern innovations to create durable and timeless pieces.

Emotional Connection: Foster a sense of belonging and personal attachment through design. Create furniture that encourages social interaction, relaxation, and creativity, enhancing the overall experience of spaces.

In part of market Analysis and Target Audience.

1. Market Research: Conduct research on trends in the home furniture market, such as popular styles, materials used, and unique designs.

2. Defining Target Audience: Identify target customer groups, such as families with children, working couples, or those who enjoy home decoration.

3. Competitor Analysis: Study competitors in the market to understand their strengths and weaknesses, and find ways to differentiate your business.

Marketing and Sales Strategies

1. Marketing Channels: Plan to use social media, websites, and e-commerce to build awareness and reach customers.

2. Promotional Strategies: Organize promotional activities, such as discounts, package deals, or product exhibitions.

3. Building Customer Relationships: Improve customer service, such as providing consultations for furniture selection and fast delivery.

Financial Planning

1. Revenue and Expense Forecasting: Create projections for sales revenue and operational expenses, including material costs, employee wages, and rent.

2. Funding Sources: Identify desired funding sources, such as personal savings, bank loans, or seeking investors.

3. Risk Analysis: Assess potential risks, such as market competition or changes in customer demand, and plan for risk management strategies.

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When designing packaging for furniture, it's essential to consider materials that provide protection, sustainability, and cost-effectiveness. Here are some good options:

Cardboard: A versatile, lightweight, and recyclable option. It's great for flat-packed furniture and can be easily printed on for branding.

MDF (Medium Density Fiberboard): Durable and sturdy, MDF can be used for protective corners or inserts, ensuring that the furniture is well-supported during transit.

Foam Inserts: Expanded polystyrene (EPS) or polyurethane foam can cushion fragile parts, preventing damage from impact.

Bubble Wrap: Ideal for wrapping delicate items, bubble wrap adds an extra layer of protection against scratches and impacts.

Shrink Wrap: Useful for securing multiple pieces together, it helps keep items safe from dust and moisture.

Wood Pallets: For larger furniture items, wooden pallets can be used for sturdy support during transport.

Recycled Materials: Using recycled cardboard or paper not only reduces environmental impact but can also appeal to eco-conscious consumers.

Corrugated Plastic: Durable and water-resistant, this can be reused and recycled, making it a good option for long-term shipping solutions.

Fabric Wraps: Soft fabric wraps can protect delicate surfaces from scratches and can be reused by the customer.