Welcome to Students Incorporated, a podcast exploring the topics of business, education,
technology and design.
I'm your host, Mr. Jason.
Join me weekly as my team and I produce content that's informative, positive, fun and uplifting.
Episodes include student conversations, interviews with thought leaders and inspirational stories
with an international flavor.
This podcast is created and produced with the help of students from the International
Community School of Bangkok.
In today's episode, Premi and I will be talking with a local design professional, Mr. Pam
E., the co-founder of Shakes, a strategic design studio based in Bangkok.
I'm especially excited to be part of the conversation as it resonates with my own professional journey
before moving into the educational field.
But before we get into our design talk, let's hear our quote of the day and get some headline
news.
Our quote of the day comes from Tim Brown, a chair of IDEO, a well-known global design
and innovation firm.
He's quoted as saying,
Design can help to improve our lives in the present.
Design thinking can help us chart a path into the future.
Design thinking allows us to envision and plan for a better future by considering human
needs, technological advancements and societal changes, paving the way for progress and positive
change.
We start off with some exciting art news from here in Bangkok.
Watch Claude Monet's works come to life with a new exhibition at Icon Siam called Monet
and Friends Alive Bangkok.
This follows the success of a previous exhibition named Van Gogh Alive Bangkok.
Dive deep into an immersive exhibition where more than 3,500 artworks by Claude Monet and
other greats bring to life through augmented and virtual reality.
The event is open now through January 7th and will be held at the Attraction Hall on
the sixth floor of Icon Siam.
Now onto some news from the great city of Chicago.
By the way, if you ever visit Chicago, I recommend taking a stroll down the Chicago River Walk.
It's a free public space and it rewards you with some incredible views of Chicago's
most iconic architecture.
A new building complex named One Chicago features two tall towers that include 850
residential units.
It also includes offices, retail outlets and other amenities.
The project has been awarded an International Architectural Award for its design as it focuses
on maximizing available space by expanding vertically.
It provides incredible natural lighting for the residents while also minimizing the amount
of space the buildings obstruct from the view of neighboring buildings.
And finally, some news from another big city, Tokyo.
Pace Art Galleries is opening its latest exhibition in the spring of 2024.
The opening of the new gallery followed the Japanese Ministry of Trade's announcement
granting foreign art galleries certain tax benefits.
The gallery will take up three floors of the building and follow the theme of a glass pavilion
popping through a lawn.
Pace's current influences in the Japanese art industry includes TeamLab, a Japanese
art group that blends technology with art, creating immersive art installations using
screens.
And that ends our headline news.
I've got to admit that since starting this podcast show last year, I've had several
people ask why we include design as one of our main overarching themes.
Design whether it's a product or a graphical message, a system, a process, a building or
a city, these are all things that affect our lives.
So I'm glad Mr. Pami has joined us today to help keep this topic front and center because
we seldom think about the subtle ways our lives are affected by good or bad design.
With that said, Premi will start us off with some if you questions.
Welcome to the show Mr. Pami, would you mind introducing yourself and then tell us a little
bit about yourself?
Hi, good morning.
Yes, thank you for inviting me.
And my name is Pami Haag.
I'm the creative director and co-founder of Shakespeare KK, a creative design agency
in Bangkok.
And now jumping into our first if you question, if you were able to go back in time and meet
a famous artist or designer who had a significant influence on culture and society, who would
you visit and why?
Okay, I thought about this question a little bit and it's kind of hard because I think
a lot of my role models are still alive today.
So you can kind of see that design itself is not maybe that old yet.
So like some of my favorite designers like Richard Sapper, Dieter Rams, they're still
alive today.
I mean, they're quite old, but they're still alive.
But if I had to go and visit one of the masters, maybe I'd love to meet Da Vinci.
I kind of think Da Vinci was like the free runner of everything in terms of innovation
and really thinking and stuff like that.
And I think the way he combined art, engineering, science, you know, into all one, like I think
that's really, that was really impressive.
So I like to basically pick his brain a little bit.
So I think if I had a chance to meet anyone, yeah, I'd really love to meet Da Vinci maybe.
Yeah, I feel the same way about Da Vinci as far as just he was a great designer, fine
arts, but also engineering.
It's a tech engineering mind.
He thought of so many things before anyone else.
And it's like, it's just interesting to see in his time too, you know, in a time where
like people did not really, you know, have any sense of what we understand as being scientific
as well.
Inventing things that people never seen before, right?
So we have another, if you question, if you had to choose only one design style or trend
to focus on, what would you choose and why, for example, like minimalism, art deco, constructionism,
realism, et cetera, et cetera.
Yeah, it's funny.
I always tell my new guys to learn about design directions and design history in a sense.
So I think since I was a student, I've always been really interested in Bauhaus because
I'm also from Germany in a sense, you know, so that always stuck with me.
And the Bauhaus movement is sort of like, yeah, what I really consider as maybe good
design in a way that you combine crafts, arts, and technology to create a functional product
in a sense that can be mass produced.
So it's always about a little bit, I don't like art for art's sake, you know, in a sense.
So it's more about taking some artistic form and then also being able to mass produce it
for let's say the greater good.
And for our last, if you question, if you were able to design your own house and you
had unlimited resources, what would it look like and where would you put it?
That's a dream.
So I was always imagining to have a more like elongated house that's sort of like a long
table, like a long dinner table sort of with friends.
You can invite friends and I'd imagine that to be sort of like parallel to a glass wall,
you know, something that's really nice and you look outside and you have like maybe mountains
or forests or something.
It's more like almost like a Scandinavian sort of mix with concrete sort of Bauhaus
style where you have some wall with them, some coal together.
And I was just like dreamt of having a nice kitchen where I can cook.
I love cooking.
I love entertaining and hosting for people.
So I like, I love to have a great kitchen and then this dining desk there, you know,
extend it from the kitchen and then the living quarters may be on top.
So yeah, I definitely, yeah, that would be sort of a dream house in some sense.
I like that.
That sounds nice.
Moving on to some questions about your company and what it does.
Can you tell us more about Shakes Bangkok and how it came to be?
And then what inspired you to start this company and what sets it apart from others in the
industry?
Yeah, we've been around like for almost 12 years now.
So I think I had no choice.
I always tell people I had no choice starting the company because I was basically, I've
worked as a creative director for a lot of some of the leading, there's not that many
creative agencies in Bangkok, especially industrial design.
So I've worked with them for I think three, five years before I decided to go out on my
own.
And so the reason really was because I didn't have many other places to go to at that time.
And I had imagined a place where creativity like design would always come in contact with
engineering on the production side.
And so that's also the backbone of our company in a sense that my partner Mia, one is a designer
and one is a mechanical engineer.
And so we sort of pride ourselves in the ability to take design into manufacturing with sensibility,
I suppose.
And also basically not just focusing on the looks and aesthetics and the idea, you know,
which sometimes tend to be too crazy to be made.
And so, and this is a good balance because I am that kind of crazy sometimes and he's
the kind of more like resolved and logical person to kind of cut me down when I need
to be cut out.
And so we work really well in that balance.
And I think that's what the clients, that's what our clients even told us that they really
appreciate that sort of harmony and the kind of like counter reflection on our products.
Craziest dreams are the best dreams.
Sure you need some crazy to push the agenda.
Right, you also need the functionality and everything else.
So you two sound like a great team.
Now could you share an example of a project where your company's approach has made a
significant impact?
Yeah, we had a few bigger projects I think in the past, like just recently I would say
the most exciting one that we've worked on is called Motion One.
It's basically a gaming chair, a haptic gaming chair.
It's actually the world's first haptic gaming chair.
And so what it does, it actually reacts to games that you play on the PC.
So for example, if you're driving, if you're like playing Forza or Colin McRae, the chair
itself will actually move in like shifting gears and stuff like that.
So it'll have like some tilt back action and it's got like a lot of texturing.
So it's actually very fun.
It's really fun experience to sit on that chair.
And the thing it's actually built as a normal chair, like it looks almost like a normal
office chair.
So you have the advantage of not just having this cool gaming experience, but also just
having a really nice chair to sit on.
And with that one, it was pretty much like zero to a hundred in a sense that we were
presented with the technology, which is the D-Box, the actual motion haptic engine inside.
And then we're like, okay, let's put this on a chair.
And so we sort of like, yeah, put our heads together and came up with a concept for the
chair and how to integrate it with some of the functional benefits and features that
had to be put into the chair.
And then after the initial concept stage was done, then, you know, my partner, he took
it on and he put it into production basically.
So he, yeah, so 3D CAD cam, all that kind of stuff.
So it was a very solid, like it was almost like one and a half years in development.
And I think during that time, there's always that fourth and back, you know, in a sense
that we have to make adjustments and improve and prototype and then go back and make new
changes.
And so if you don't have, let's say a team or partnership like us is very difficult to
sort of like integrate the design flow into the actual manufacturing and the changes that
we need to be made.
And so I think that was a good example of like how, yeah, design thinking in a sense
can also be translated into like a sensible product experience.
And then getting that into manufacturing and like scaling up the manufacturing.
Because it's not just because we as an agency work obviously in Thailand and then the manufacturing
is, for example, in China and there's a lot of translation between what we want here and
the factories that are doing the actual work.
And so you need another specific mind just to be able to work between the factories and
what is, you know, what we want and what they can actually do.
And so we don't, you know, it's a compromise game in a sense, but you want to end up with
the best compromise, of course possible.
So the more experience you have and the more knowledge you have about engineering itself,
you'll also be able to instruct some of the factories, you know, of what they might be
able to change in order to get there.
So kind of on this idea like doing business with design and taking a product to manufacture
and then also to the consumer.
But also that chair reminds me of just the amount of technology that has to go into a
product as well.
Not only design, but like the engineering, the coding, all that kind of stuff.
So our next question then kind of is along that line.
How does your studio try to keep ahead of the curve and keep things fresh for your clients
without being too trendy?
And then also that idea of like staying on budget and on timeline as well.
I think the biggest word in there is strategy for us.
So I think before we start with a project, we usually really look at the strategy that
we could design strategy and maybe business strategy together in a sense.
So we always make a proposal first, I think, to the client and in that proposal, we actually
look at trend reports.
We look at, for example, there's a trend report called Jim Walther Thompson Future 100, which
is really interesting and it's free.
So I encourage everyone to kind of check that out every year.
They do quite a good job on finding micro trends and things like that.
So we look at that a little bit.
We try to, you know, sort of have an idea of what the future may hold and might change
socially, culturally and stuff like that.
So that helps with being trendy, maybe, you know, in a sense.
And otherwise, yeah, it's pretty much strategy.
So it's very much like, what is your business goal?
You know, what is the cost?
What is when is the launch time, for example, stuff like that.
So we align all the expectations at first, just to be clear about what we need to deliver.
And then we sort of look into the product value and the business, the proposition, you
know, the value propositions and stuff like that.
So we approach design more as a business goal, I guess, because not so much as an artistic
endeavor.
And so it's important for us to align the goals and align what the client wants to do
with the project and what he hopes for.
And I think that itself is keeping us from becoming too trend driven and too sort of
like gutsy in a sense.
It also really depends on which client we're dealing with.
You know, some bigger clients, you know, their priority is shareholders.
So then it's like, okay, you know, we have to be safe in some sense.
And then there's other clients where we can just go a little bit more, you know, intense
and more crazy.
And so, yeah, it really depends.
But I think the key word being a strategy to really think about what you want to do
at first and then devise the roadmap for that.
And now branching out broader than just Bangkok, we know that Shakes is based in Bangkok, but
you also serve international clients.
So what are some unique opportunities or challenges you've encountered?
The reason why we serve international clients mainly is because I'm probably more international
in my thinking.
And also, there is more value and more opportunity internationally to really focus more on industrial
design.
And so in the past, we have had clients from Taiwan, Hong Kong, China, for sure, and things
like that.
We haven't branched out to European brands or something like that.
But I think the unique opportunity within Thailand is that one good thing about it is
that we have a sort of freedom.
I mean, besides all the political drama and all the other stuff that we tend to be worried
about here in Thailand, like when you compare Thailand to other neighboring countries, you
still enjoy a pretty good freedom.
And there's no suppressive sort of, you know, it's not suppressive like other countries
around us.
And so you have this freedom, you have this ability to move around and express yourself
in some sense and enjoy all that.
And so that allows for a good environment, I guess, to be creative.
And so that helps.
Secondly, I think is that lots of clients love Thailand.
They love coming here.
So if they have a choice between coming to Thailand for work and China, they'll be coming
to Thailand.
So this is the idea.
I heard this from a client, in fact, actually from an American client that is like, I love
Thailand.
Why would I go to China if I had a chance to work with someone in Thailand?
And so it's almost to the point that they can accept that some of the work may be slower,
which is true.
The Thai lifestyle doesn't really lend itself to very fast action sort of like work.
And the level of commitment to work is very different from, for example, like Japan or
Singapore even.
But they can accept that because they really love Thailand.
They love coming here.
They love the people, love the food, of course, everything about Thailand makes them, you
know, happy to come.
And so that's a great opportunity, a unique feature actually of Thailand.
And so we're quite happy being here.
I think it's a good place to do design.
There's a lot of design culture too, crafts wise, arts wise.
So that all helps, I think, and feeds it's feed into the creative spirit in Thailand.
Yeah, I totally agree.
I feel like when we moved here, the creative aspect of just the culture and even the way
people think about how they set up their own small business and what they're competing
with, how they do their design and everything, we just, I just felt like there was a lot
of inspiration.
We saw from even small mom and pop type businesses.
So that was fun to kind of discover that in Thailand.
And it's a beautiful country and low cost of living.
So that's really good.
All right.
So that concludes our first segment.
We'll be right back with more design talk with Mr. Palmy right after this short announcement.
For sports, our varsity players did a great job last Saturday at the NIST Invitational
Tournament.
Give some affirmation to our amazing athletes when you see them in the hallways.
For musicals, if you didn't know already, Susico tickets are out now.
Go buy your tickets by the front of the school and support our actors and techies.
Another event you might be interested in, there's a Nakhon Si Thamalat 10th Lunar Month
Festival from 25th September to 14th October, 2023.
Go check it out.
We are back with our second segment with Mr. Palmy.
Premi will start us off with our first question.
Back on the subject of design and business, what are some general issues you encounter
in the design business?
Design business is best compromised in one word, it's chaos.
It's basically chaos.
And all you do as an owner of a design business is to put order into chaos.
And so wherever you look, it's just chaos.
And it's necessarily so because as creative people, we manage chaos.
It's like without chaos, you can't actually create something new.
You need to break down stuff and then just reinvent it.
So you have this constant misery actually even to being in that place where you just
have to challenge yourself and just come up with something new.
And so the issues with that is it's manifold.
It's just like chaos with people, chaos with the project itself, and then clients too.
It's all just chaos to manage for you.
As a designer too, I think it's like your main job is to be so self-critical about yourself
in the first place and then establish a mentality of reflection.
With design, yeah, I think it's mainly this idea of that you have to manage everyone's
chaos, especially your clients as well, because they don't really know sometimes.
They're like, they're in order.
They're like in order.
And there's this quote, I think I wrote it down.
It's basically like Steve Martin said it.
He's a comedian, right?
American comedian.
It's like chaos in the midst of chaos isn't funny, but chaos in the midst of order is
great.
Right?
So it's that idea that you have to be aware of, I think.
That's really good.
So that begs the question, where would the world be without designers?
Right?
Very chaotic.
All right.
In what ways you see this industry evolving in the near future with the rise of new technologies,
trends and even knowledge?
Of course, there's AI on the horizon.
That's one of the new technologies.
I think it's great.
It's great for us in the terms of when we look at design, starting from generative fields
for Photoshop.
We can work so much faster now, like for smaller things that we sort of like spend hours on
before.
So it's a great tool when it comes to being a tool, basically.
I don't think it's here to replace us, not in the very near future anyway.
It's not there yet.
In any case, I still really believe in AI as a tool.
And I think it helps to make things a lot faster.
Your projects, concepts, concept stages, basic communications, like all the things that you
need to manage your project.
Even from a design point of view, it makes it a lot faster.
In terms of industrial design and product design, I think we've sort of hit a wall in
the last few years in a sense that production and manufacturing hasn't evolved really so
much further than where we've come from at the beginning in terms of industrial revolution.
I mean, when you look at manufacturing, it's sort of still the same methods, injection
molding and stuff like that.
So there's this aging manufacturing sort of technology there that hasn't pushed industrial
design itself further than we could have.
We could push ourselves now.
And so I feel like because of that, a lot of development has been going more into UX
and UI digital technologies because there's more room to grow.
And then we sort of stepped away a little bit from the industrial design on the product
side.
I think that down the next 10 years, I think we'll find maybe more emphasis on product
design again, where we're trying to connect what we build digitally with the physical
world.
Similar to that motion, that gaming chair, where it's all been digital in the last few
years and we've done amazing things digitally.
And we've come to the point where what we see on the screen, it's real-time, lifelike,
and it's amazing.
But it's just there on the screen.
It's a lack of connection between our experience, our physical experience to it.
And the other sad thing is, of course, that actually we could just go outside, right?
We could just take our bike and go outside and feel something.
But there's these worlds on the screen, these fantasy worlds that are amazing, right?
But then we lack that sort of connection.
And I think in the future, there will be more immersive products in a sense.
We see it also with Apple, that you're doing a lot of the goggles and stuff like that.
All tend to go towards this idea of immersion.
And I think that's maybe a trend to probably watch out.
I feel like it'd be really intriguing to see where we go with technology in the next
few years.
And now that we've talked a little bit about the future, here's a question about the past.
Are you seeing any trends or styles that were lost maybe to time or considered out of date
that are coming back?
Yeah, I thought about that one.
It's a little bit difficult.
I guess I think nowadays with everyone being so connected, there's so many micro trends
almost that have a lot of origin in the past.
There's retro, there's art deco, there's all these kind of mixtures nowadays.
It's almost like a global design language in a sense of just, does it look nice?
In a sense of it's not really a trend per se that everyone's following.
Because I think in the last few years, everyone's just been down the minimalist hatch.
With Apple being a leader for the last 15, 20 years of pushing out the white and the
minimalist design and the Dieter Rams kind of language.
And I think that's been sort of the mass design trend.
And then there's a lot of other design trends from more retro starting to the Olivetti typewriter
kind of thing.
Especially in the gaming scene, there's a lot of this very 70s, 60s sort of comeback.
I don't think they're going to stay, but they're niche things that people really buy into.
And that's the thing with we are so connected, these niche trends have actually purpose and
meaning.
And that product design itself has come to more functional being, purpose, rather than
there's an aesthetic trend to it.
And in particular, I think there's no real trend that we're missing.
I think there's just enough people everywhere to buy into different niche.
And so there are companies that are doing that too.
So I'd love to hear some of your thoughts about a quote from a guy named Adam Judge.
He included this quote in his book titled The Little Black Book of Design.
He said, so this is his quote, he said, the alternative to good design is always bad design.
There is no such thing as no design.
So when you hear that statement, what are some of your thoughts?
Yes, I actually haven't read that book.
I haven't either, but I love the quote because it's either one or the other, right?
Basically, it's the same as saying good design goes to heaven and bad design goes everywhere.
And so we had that mantra at university, actually.
A lot of my fellows were always looking at that quote.
And I think it's true.
So I can tell you from personal experience, working with designers, that some designers
who really do it out of compassion, like they're calling almost, they can't stop thinking about
design all day long.
I'm similar to that.
I can't stop thinking about stuff that I've just started, for example.
And the reason for that is because I am really worried about it.
Because as a designer, you have responsibility, say that way.
You have a responsibility because you're giving birth to something new, especially if it's
a product design where you actually work with materials and there's a physical thing coming
out at the end.
So you have a responsibility to really think about what you're doing because in the end
of the day, it's a creation that's going to stay there for a couple of years, maybe longer.
And so when you have that responsibility, you really have to think about the purpose
and the existence of it.
Does it have a reason to be there?
Did it earn the right to be called out into the living world?
And then it's a bit like God, like God created the world and he took time seven days to perfect
it.
And you have the same responsibility in a sense that you need to really look at what
you're doing with it and you have to give it meaning.
And if you don't give it meaning, then you're just ending up with an unconscious choice
that could be good or bad or even worse, maybe end up somewhere even worse.
And that's a matter of responsibility.
And like not a lot of people have responsibility.
That's the other worrying part that some designers will just do it because they just discard
it or get a paycheck maybe.
It's not something that you really do with meaningful purpose.
And if you don't do that, yeah, then you have basically no design and that's bad design.
I love the metaphor of giving birth to a product that I think that's really powerful.
And now moving on to a more reflective question.
What are your thoughts about this statement?
Every part of our life is affected by design.
Yes, in some sense, the thing is that for a lot of people, for the general public, they
never perceive it as such.
And that's the thing.
It's like as a designer, I see the world in a very different way.
It's almost like you see, some people see things that no one else sees, right?
And we, I don't know if it's trained or if it's something that you're born with.
For me, I think I've always had the inclination to analyze what I touch and what I see.
So when I see a product, I automatically go to like, oh, how was this made?
And why is it there?
And like, why is it better?
Stuff like that.
And for the most, for most people, that's not really how they think about it.
For most people, they just like it or they don't like it or it fulfills a certain purpose,
you know, and they don't really understand why.
And so design, good design, of course, touches everyone in the same way as like it's design
intellect almost, right?
It's like you're thinking of design as an intelligent being, right?
And so they are both really great, intelligent designs, and they're just mediocre designs
around the world.
Because like we come back to bad design, right?
And unfortunately, I think most of the time bad design touches us more than good design.
But it's also for the public, I think for the design itself, actually, your greatest
achievement is to come up with a design that the public can just use without even knowing
how it works, but it just works.
That's the goal anyway.
It's sort of like the idea of being there without being there.
And I think that's the main goal of a designer.
If you can achieve that, then I think you're pretty much there.
So this kind of leads us into our one of our last questions of this segment.
Before we get to the top 10 list, which we would love for you to read, we typically ask
for some advice from our guests on the subject that they're talking about.
So what advice would you give the average person, maybe someone who doesn't consider
themselves a designer or doesn't really think about it much, what advice would you give
that person about design or design thinking or just being aware of good or bad design
and how it affects our lives or even the community?
I was thinking about Capstone actually, for example.
I've been judging Capstone for the last three years, I think.
And so I see some really good project and some projects that need a little bit more
help.
So advice in that sense, I would give that it's always good to self-reflect.
It's always good to look at the problem from a point of view where it's serving a meaningful
purpose in a sense.
So for example, I have this metaphor, I read it somewhere, it's like this.
So there was a beggar on the street and then there's a son and a mother and the son is
pointing at the beggar and one mother says, see, you have to work hard to not end up like
this guy.
And then there's another mother says that, see, you have to work hard to help this person.
And I think in a sense, that's also like the way you approach design in a sense of like
not just making it better for the sense of what you think it's better, but really like
reflecting on how this would help another person and the meaning it would give to that
person.
So it's a way to give meaning to your design and it starts with basically asking the right
questions in the first place.
So it takes imagination and creativity, that chaos thing to break into that chaos and pull
out the meaning behind of what you're trying to do.
So that's, I think that's the best kind of thing you can do just to reflect, to look
at yourself, be self-critical first of all, humble yourself in front of what you're doing
and really just trying to have some self instinct, sure, to sort of like asking the right questions,
but then really step back a little bit and really see what you're coming up with is going
to help someone and have a real purpose behind it.
For the last part of advice, I think another interesting way to look at project is to tell
a story, to start really like, that's what we do too in projects and designs, we like
to tell stories because they last, they're going to be around for a while.
And so it makes up for humanity's history.
And I think when you approach a project with a story in mind of like where you came from
and where you want to go, that's also a really great way to look at starting something.
That's really inspiring and that's some great advice.
Thank you so much.
And now as we wrap up this last segment, we'd like to end on a more lighthearted note.
Pan deals with theory of color a lot.
We've put together a top 10 list we'd love for you to read for us.
It's called the top 10 colors rejected by Pantone.
In case our listeners are not familiar with what Pantone is, it's a company that created
a color matching system, which is used by design professionals around the world.
It's very popular.
So without further ado, Mr. Pomi, could you read out our list for us?
Okay.
So I started at the top, right?
10.
Roadkill Grey, a rather morbid name for color, evoking unfortunate roadside scenes.
And then 9.
Cavity Yellow, a color that might make you think of dental problems.
8.
Dandruff White, not the most flattering name for a shade of white.
7.
Zombie Flash, a name that invokes images of the undead and decay.
6.
Bav Bag Blue, a color name that associates with motion sickness and nausea.
5.
Hospital Beige, named after the often dull and inspiring color schemes in hospitals.
4.
Black-Eyed Purple, an unfortunate reference to the discoloration associated with a bruised
eye.
And 3.
Rotten Tomato Red, not the most appetizing name for a color.
2.
Moldy Cheese Green, a name that conjures images of unsightly dark green mold.
And the number one color name rejected by Pantone was...
5.
Baby Diaper Brown, a color name that might remind people of changing a baby's diaper.
And there you have it.
That is some super high quality comedy right there.
Thank you, Mr. Pomi.
Unfortunately, we have run out of time.
Thanks again for joining our show.
It's been fun hearing your story and learning a little bit about your company and what you
do.
And I think that's just some of the philosophy and thinking behind a lot of the design aspects
of your career.
So thank you for that.
Go check out ShakesBankCock or ShakesBKK.com.
Is that right?
Yeah.
That's right.
ShakesBKK.com.
ShakesBKK.com and look for that gaming chair soon.
Right?
Yeah.
It's not our website actually.
I haven't had time to put it up, but it's on IG.
You can just type in Cooler Master Motion One.
Okay.
There you go.
All right.
Thanks for joining us.
As we end this episode, we'd like to say thank you again to Pomi for sharing his insight
and knowledge from the world of design.
It's a good reminder that design helps improve our lives in the present, but design thinking
helps us chart a path into the future.
That's a callback to our quote of the day.
Stay tuned for our next episode as we have another discussion with a professional about
the topic of marketing.
As always, this podcast would not be possible without the hard work and support of our international
student production team.
All music and sound effects are courtesy of Pixabay.com, a vibrant community of creatives
sharing copyright free images, videos, and music.
And we are signing off until next time.
Be your students incorporated because your voice matters.