What They Do Not Teach You in Architecture Schools| Interview with Eric Reinholdt

Welcome to another episode of my podcast!

Meaningful conversations with architects, artists, and designers.

---

Meet my today’s guest — Eric Reinholdt from the most popular architecture-focused YouTube channel with over 1 mln subscribers: 30X40 Design Workshop

Things always change and evolve in architecture…

Join us in this interview, where we delve into crucial topics for architects, such as why incorporating sketching into your design practice is vital, the role of an Architect in 2023, insights into the business for creative minds, and archipreneurship.

Eric also shares his 6-step process for working on a project and recommends books for aspiring architects.

“Sketching is a part of my process, I use it from the very early stages: from site visits, all the way through construction. Standing on a job site with contractors trying to work out a detail in the field, if you can’t sketch out what you are thinking — you are less respected on the site… I’ll just put it that way.”

— Eric Reinholdt

ABOUT ERIC:

Eric is an award-winning architect, entrepreneur and founder of 30X40 Design Workshop, a design studio located on Mount Desert Island, Maine. He is also author of the ”Architect + Entrepreneur” book series and creator of the most popular architecture-focused YouTube channel online. He has been designing simple, modern residential architecture for more than 27 years and a practitioner of all the novel, entrepreneurial business strategies he teaches in his courses.

QUESTIONS WE DISCUSSED IN THIS INTERVIEW:

(1) If we were to distill the essence of those 10 years in a blender, what key elements do you believe defined your success?

(2) What is your definition of being an architect in 2023?

(3) There is a saying “Hands are the wings of the heart”. How important do you believe sketching is in the life of a contemporary architect: from initial concepts to the completion of projects? Do you think digital production methods will ever replace hand-drawn sketches? Please more on alchemy that transforms initial ideas into finished projects.

(4) Eric, as far as I got from your videos, it appears your work routine on an architecture project is a systematic 6-step process, involving:

• hand sketching, 

• *detailed sketching on an iPad, 

• layouts in AutoCAD, 

• a 3D model in SketchUp, 

• fine-tuning in Photoshop, 

• and a paper model. 

Is this an accurate representation of your creative workflow, or do you incorporate any other tools/software, or steps?

(5) Eric, for aspiring architects, if you could recommend three books that have significantly influenced your perspective and growth in the field, what would they be?

(6) Your book 'Architect + Entrepreneur' encourages readers to 'think big, start small, and learn fast,' emphasizing personal brand creation over traditional business plans. 

In parallel, your online course, ‘A + E,’ seems like a comprehensive resource. Can you elaborate on whether this course encapsulates your professional life experience, providing a structured shortcut for others to achieve what you've accomplished?

(7) Looking ahead, what's on the horizon for you? Are there plans to expand your team significantly, and do you envision taking your teaching to in-person workshops or perhaps teaching at the university level, sharing the insights from your books and online courses? Can you please lift the veil for us?

RESOURCES MENTIONED IN THE VIDEO:

Books Eric talked about:

• “Thinking Architecture” by Peter Zumtor: link

• “The 4-Hour Work Week” by Tim Ferris: link

• “As Little Design as Possible” by Dieter Rams: link

Amazon Block

Search for an Amazon product to display. Learn more

Watch also Eric’s short film about being an architect

“A Choice to Make”:

LEARN MORE FROM ERIC:

• Book “Architect+Entrepreneur: A Field Guide to Building, Branding, and Marketing Your Startup Design Business”: link

• Course “Architect+Entrepreneur”: link

• Tools and templates: link

CONNECT:

Eric’s blog on all things architecture: link

Podcast on financial independence “2 Sides of FI”: link

Instagram: @30by40

Interview by Olga Sorokina

Instagram @schoolofsketching

P. S. Please share this interview with someone who might need to watch it.

---

CHECK MY OTHER PODCAST EPISODES:

---

MORE FROM MY BLOG:

Redefining Interior Designer's Profession: iPad Drawing, White Space and Personal Brand | Interview with Henry Gao

Welcome to another episode of my podcast!

Meaningful conversations with architects, artists, and designers.

Meet my today’s guest — Henry Gao from YouTube @HenryGao

Henry is a home designer, YouTube creator, architecture photographer, and illustrator. His new passion is teaching online iPad drawing for architects.

“Today, I am a San Francisco-based home designer, illustrator, artist, and photographer. I take every bit of inspiration from my childhood into my everyday work. I don’t just design spaces – I tell stories through them.”

In our conversation, Henry redefines the path of architects, focusing on personal brand and creativity over traditional norms. He encourages architects to explore new roles by matching their interests with possibilities. Managing various roles, Henry shares tactics to prevent burnout and maintain a fulfilling career. We also discussed top drawing apps for iPad, making design easier across different project stages.

In his interview with Eric Reinholdt from "30X40 Design Workshop", Henry shares the art of creating "white space" amid architecture commitments. Architects are guided to find time for learning, exploring, and testing new things. Link to that interview: here

View fullsize

View fullsize

Drawings by Henry Gao, learn about sketching on iPad from Henry in his workshop: here

Watch also Henry’s video "My 4 Streams of Income as an Architectural Designer” :

Stay connected with Henry online:

Website: www.henrygao.com

Instagram: @drawwithgao

YouTube: @HenryGao

Interview with Henry Gao by Olga Sorokina.

P. S. Please share this interview with someone you know will benefit from it.

---

CHECK MY OTHER PODCAST EPISODES:

---

check latest articles on MY BLOg:

What is the future of interior sketching? | Interview with Jessika visualisieren.koennen.alle

Welcome to Olga's podcast!

Meaningful conversations with architects, artists, and designers.

Meet my today’s guest — Jessika from Instagram @visualisieren.koennen.alle

We had such a sparkling and inspiring conversation with Jess about interior sketching, the best apps for sketch artists, AI in interior design, and we even came up with amazing insights on the future of interior sketching.

Floorplan by Jessika

About Jessika:

Miss Interior Architect (Frau Innenarchitektin) Jessika is an Interior architect from Germany, she has been drawing in the field of interior design since 2007. Jessika also teaches sketching techniques on iPad for interior design at technical school and with her online courses.

Here are a couple of questions we’ve discussed:

1 Jessika, I won’t ask you digital or analog. I will ask you digital BUT analog. How have visualizations changed? Which possibilities for sketch artists already exist or may be possible in the near future?

2 Jessika, you have started teaching interior sketching at school, right? What are your insights?

3 I know you love using mood boards for your sketches. Could you please tell us more about why it’s important?

4 Your advice for beginners: Morpholio? Procreate? Concepts? What would you recommend?

5 Jessika, what are your thoughts on AI in interior design?

6 What is the future of interior sketching? How does it look in your opinion?

7 Jessika, you have a couple of online courses on interior drawing, please tell us more about it.

P. S. Please share this interview with your friends.

---

CHECK MY OTHER PODCAST EPISODES:

---

CHECK LATEST ARTICLES ON MY BLOG:

Interview #9 with Dalibor Dzurilla, an expert in creating visual presentations for architects

Welcome to another interview from my podcast!

Meaningful conversations with architects, artists, and designers.

---

How to work smart on your architecture projects (VISUAL PRESENTATIONS)

Meet my today’s guest — Dalibor Dzurilla.

Dalibor explores, optimizes, and teaches architects how to create visual presentations effectively & sustainably. For this mission, he co-founded the project "VISUIN" ten years ago. On his Instagram, he describes what he does as “Institute of Effective Representation of Architecture for Architects. Save time, money, and your future you.“

Dalibor has won several architectural competitions so he knows what good architecture is. He worked with projects of different scales and now teaches architects how to present their projects and how to work with technology.

Dalibor accredited the study program about presentation at ARCHIP school in Prague. Currently, he is working on research for his Ph.D. about digital sketching as a communication tool for architects.

Couple of questions I asked Dalibor in this episode:

• Can you do a good sketch for a bad architecture project?

• Digital or analog?

• Morpholio? Procreate? Concepts?

• Which app is the best for architects?

• When can you say that the architecture project is done?

• How to become a better architect?

The resource we’ve mentioned in this episode:

“5 deadly sins in architectural portfolio”: here

Dalibor’s website: here

Dalibor on Instagram: here

Interview with Dalibor Dzurilla by Olga Sorokina.

P. S. Please share this interview with someone you know will benefit from it. Thanks in advance!

---

check my other podcast episodes:

Interview #8 with Liz Steel, a non-stop urban sketcher from Sydney

Palladian villas, obsessive sketching, ‘2 sketchbook strategy’, tips on drawing on location, and so much more — all in this igniting interview with our today’s guest, Liz Steel. So brew yourself a nice cup of tea/coffee/cacao now and enjoy.

---

Liz describes herself as an obsessive sketcher who is documenting the narrative of her life while blogging this journey along the way.

She worked as an architect, but her life brought her towards a sketch teacher career. By now, our guest has been teaching sketching on location, while traveling, and blogging her adventures for more than 10 years.

Currently, Liz has in her collection around 270 sketchbooks, which grow at a pace of apps 20 sketchbooks a year. Her art, and her teaching, are all about capturing the moment, sketching now, being in the present, and enjoying the process along the way.

In this interview, we are talking architectural design sketching with a rebellious twist, composing pages in a sketchbook, and about those beautiful conversations that are happening when you sketch on location. 

“I sketch my life and share the adventure.”

— Liz Steel

Liz’s sketch of Palladian villa

Here are a couple of other topics we have touched upon:

• How to fit sketching into your daily routine

• What to answer if someone is criticizing your drawing

• An incredibly efficient technique of indexing your sketchbooks.

• Must-read books and essays on architecture 

…And of cause, you will learn more about those fancy iconic teacups sketches you might probably have seen on Liz’s Instagram. 

“A sketch is an art form in itself.”

— Liz Steel

Here are some of the questions we’ve covered:

1. Could you please tell us who Liz Steel is? What's the story behind what you do?

2. Please tell us about your 2 sketchbook strategies.

3. How do you index your sketchbooks?

4. Let's talk Palladio. Could you please tell us about your projects on that topic? Sketchbooks, blog articles on Palladian villas, live workshops, I know you do them quite regularly in Europe, for example Palladian Odyssey which is used to be in May/June.

5. Liz, please tell us about your new course — Sketchbook Design

6. What one piece of advice would you give beginners in watercolor and newbies at sketching on location?

Please let us know in the comments below what was your biggest takeaway from this Zoom chat.

Also, if you have any questions, do not hesitate to write them down below to address them in my following interview with Liz.

Liz on Instagram: here

Links to Liz’s online courses: here

Liz’s blog: here

Interview with Liz Steel by Olga Sorokina.

P. S. Please share this inspiring interview with your creative friends, they will be glad you did. Thanks in advance!

check other interviews:

---

Read my blog:

Interview #6 with David Drazil, sketcher and architect from the Czech Republic

David's Instagram: david_drazil

David’s website: sketchlikeanarchitect.com

---

1. Olga Sorokina (O. S.): David, could you please tell us how did you come to architecture and what was your initial step in hand rendering? 

David Drazil (D. D.): First time I started thinking about studying architecture was in high school, in art lessons, where we were taught how to draw perspective for the first time. I think I was around 15 years old at that time. We learned how to draw 1-point and 2-point perspective with an urban theme - typical street view and corner view. I remember being so amazed by that, can't really explain why, but I fell in love with that process. So since then I was pursuing architecture path which eventually led me to studying architecture at the Czech Technical University in Prague. Right at the CTU I was given proper basics of architectural sketching which strongly influenced and shaped how I sketch today.

“Free-hand sketching brings so much more freedom to both sketching process and the dialogue that evolves from it”

2. O. S.: Your style is very bold and recognisable: black and white, freehand lines, no rulers. Could you please tell us about media you use and how it affects your approach if it does.

D. D.: Yes, I really prefer not to use rulers, because free-hand sketching brings so much more freedom to both sketching process and the dialogue that evolves from it. I perceive sketching as a means of communication more than anything else. And free-hand sketching with wavy imperfect lines leaves a lot of space for opening a creative dialogue - either between colleagues or an architect and a client. The imperfections suggest that nothing's set in stone and that everybody is welcome to contribute with their own inputs.

As for media that I use, it's usually Staedtler Pigment Liners in thicknesses from 0.05 - 0.8 mm and if I go for colour, then colour markers TOUCH.

3. O. S.: Could you please describe your process of creating sketches (and how long does it take), for example this one:

D. D.: The process differs according to the type of sketch. There are many types, most of them are for communicating ideas, but some process sketches are simply for brainstorming, trying to understand a problem and come up with a solution, or for further shaping and verifying ideas that emerge on the way.

“I begin either with a pencil or a pen to create a visual structure and set the right scale”

If we talk about presentation sketches like this one (took about 40 min), I like to start with a thumbnail sketch where I first try to find the best composition in terms of relations between different elements and positioning on a canvas. Depending on complexity, I begin either with a pencil or a pen to create a visual structure and set the right scale. Then I use pens with lighter line weight to build up the main volumes and work with different depth planes. I continue with texturing and shading, adding more of surroundings and details. Final touches might include line work with heavier line weight for emphasis and contrast or optionally use of colour.

4. O. S.: How do you structure your workday or your workweek?

D. D.: Right now I work full time as an architect in Copenhagen so my main schedule is determined by that. But usually I get up earlier to sketch or plan and structure the goals for the day/week. I'm still finding my way around juggling with more balls at the same time as I have some smaller projects and collaborations on the side. Ideally I try to plan these things in advance every weekend for the coming week, but it doesn't always work out ;) I'm also more of an evening person, so I find myself with sudden energy around 7 or 8 pm, so that's when I'm actually most productive about these things.

5. O. S.: David, please tell us about your sources of inspiration. What helps you to be productive?

D. D.: As for sources of inspiration, I believe that architects shouldn't get inspired by another architecture - that's very limiting. Don't get me wrong, it's important to do recherche and moodboards with reference pictures, but that's not inspiration in true sense. In regards to this, there is one quote from architect Edmund Bacon, which really resonates with me. He says: "It's in the doing that the idea comes." It really does work like that for me - I get ideas during the process, very often as I sketch, because there are no barriers as with using a software on a computer. The connection between your mind and your hand is very natural and it supports all the creative flows.

“It’s in the doing that the idea comes”

6. O. S.: Could you please tell us about your course «Sketch Like an Architect»

D. D.: Sure, this course is for people who want to learn or get better at architectural sketching. This bite-sized online course's sub-title is 'Step-by-Step from Lines to Perspective' and my students learn everything from the very basics of making straight lines to gradually more complex compositions of sketched perspectives. On the way I also share tips & tricks on lines & 2D objects, perspective rules, shading and texturing, populating your sketch and adding vegetation, and combining all these elements into one awesome perspective sketch.

Part of this course is also a 60-page PDF Handbook with all the summarized information, worksheets for practicing, and finished examples of sketches with explained techniques.

• You can join this course on Skillshare and get 2 months of Premium Membership for free (no payment, cancel anytime) via this link: check it.

• The PDF Handbook is also available separately on my Gumroad page: check it.

7. O. S.: How do you see the future of hand rendering in architecture and interior design?

D. D.: I am very optimistic about this - I can't imagine something would replace hand-sketching in our industries in any foreseeable future. From all the reasons mentioned above I believe it will stay an important part of both design process and presentation and maybe there will be even more demand for it as the human touch added to hand-renderings is irreplaceable and will always connect us on a very human level.

“I can’t imagine something would replace hand-sketching in our industries in any foreseeable future”

8. O. S.: What one advise would you give for beginners in hand rendering?

D. D.: Learn to observe and understand why things work and look like they do. Observation skills are essential for good sketching, for composition, light and shadows, proportions, materiality, and everything else. Train yourself to be better at observing! What I love about sketching is that it forces you to understand the object first before you're able to draw it. In that way, when you sketch you'll always learn something new.

Interview with David Drazil by Olga Sorokina.

P. S. Please share this inspiring interview with your friends, they will be glad you did. Thanks in advance!

---

Get inspired and read more:

---

Learn more about design drawing on my blog, click the button:

Interview #5 with Richard Chadwick, hand renderer from Manchester

With a background of over forty years working as a designer in the Leisure Industry, Richard is now concentrating on producing interior and exterior sketches for the leisure sector (bars, restaurants, coffee shops, branded outlets, corporate events).

As an antidote to the ubiquitous – and to his mind anodyne – computer produced visual, Richard's are all drawn by hand, mainly pen and marker renderings, capturing the energy of the moment and generally looking far more dynamic than anything produced by a computer programme.

Richard's website: www.interiorsketches.co.uk

---

1. Olga Sorokina (O. S.): Richard, could you please tell us how did you come to interior design and what was your initial step in hand rendering?

Richard Chadwick (R. Ch.): I went to art college here in the UK in the 1960’s, when interior design was only just starting as a profession , and the Leisure Industry didn’t exist as such, so basically there were no road maps – we made it up as we went along. I was lucky enough to get in with a design practise my tutor was setting up, specialisingin pubs, so it went on from there, really. 

Set up by myself with a partner in 1980, and he couldn’t draw so I had to teach myself how to draw visuals. They were quite rough to begin with but for some reason I seemed to be good at it, and as I still do all the visuals for the practise I get to do a lot. It was just a question of sitting down and working it out.

---

“A return to hand crafted values offers a way forward from an entirely technologically based society and the tactile feel of pencil on paper has its own reward.”

---

2. O. S.: Your style is very bold and recognisable: partial colour filling, focusing on the central part of the composition, freehand lines, no rulers. Could you please tell us about media you use and how it affects your approach if it does.

R. Ch.: Well, this has developed over the years, but I soon realised that there is no point in colouring the whole of the sketch, as it just looks too flat – better to get some depth in by focusing in… and colouring the whole sketch takes too much time. I use layout pads and markers, which are great as they are a dry colour but you can blend, they are not a flat colour but transparent to a degree so you can work over one colour on another, and they have their own distinctive ‘ shape ‘ to a mark… and they are quick. I use a lot – see attached pics.

3. O. S.: Could you please describe your process of creating sketches (and how long does it take), for example this one:

R. Ch.: Basically I use a thin layout paper, rough out the outline and then lay another sheet over it as you can see the fain marks through it, then i just start to draw in more detail, so I might end up with six sheets on top of each other, each one more detailed than the last. Then I put one sheet of bleedproof paper over the top, do the finished sketch and then colour. The process is pretty fast; the sketch you showed in your email probably took 2 hours to draw max and possibly an hour to colour? Say two and a half hours. Its important to work quickly as it captures the energy. 

---

“As fewer and fewer students are taught to sketch, the ‘hand drawn‘ becomes a premium skill, providing that sense of the personal, the emotional response to a brief that a mechanical interpretation can’t. ”

---

4. O. S.: How do you structure your workday or your workweek? 

R. Ch.: Basically there is no structure. I just do what needs to be done next. We have quite a few jobs on as a design practise, so i am working currently on a pub with 10 bedrooms that has to be finished by April and another new hotel in Manchester with 20 bedrooms. I also have to produce in the next week four sketches of a wedding venue for a client in Los Angeles, and another designer wants a couple of sketches for a pizza restaurant in London. Apart from this, I have an exhibition of other artwork opening next week. Workload varies from day to day, week to week and there is no structure as such. For example, my next week structured as follows:

Monday – site meeting for hotel 8.00 am, then design studio, then back home sketching for a wedding venue

Tuesday – design studio and detailing for hotel, the afternoon putting up exhibition in gallery

Wednesday – design studio, then to a pub site to see furnishings contractor, then at home sketching

Thursday – home sketching, then hotel site, then collecting framed artworks, then more sketching

Friday – home sketching, then sketching in gallery

Saturday – home sketching finishing 4 wedding venue sketches, then in gallery doing coffee shop sketch

Sunday – finish coffee shop sketch for client for Monday. Sleep.

---

“Its important to work quickly as it captures the energy. ”

---

5. O. S.: Richard, please tell us about your sources of inspiration. What helps you to be productive? 

R. Ch.: Tom Waits / Bob Dylan / magazines / films / long hill walks to clear my head / coffee / Chris Ware / Tiepolo / Rauschenburg/ Tatlin / Alan Moore… 

6. O. S.: How do you see the future of hand rendering in interior design?

R. Ch.: As fewer and fewer students are taught to sketch , the ‘ hand drawn‘ becomes a premium skill, providing that sense of the personal, the emotional response to a brief that a mechanical interpretation can’t. It might become a niche skill, but it will still be a sort-after niche skill.

7. O. S.: What one advise would you give for beginners in hand rendering?

R. Ch.: Look, really look. Practise. Find your own style. Practise. Don’t be precious, it’s only a visual.

Practise. Practise. Practise.

---

Interview with Richard Chadwick by Olga Sorokina.

P. S. Please share this inspiring interview with your friends, they will be glad you did. Thank you!

---

Read more interview:

Interview #4 with Reid Schlegel, industrial designer and artist from NYC

MEET REID SCHLEGEL, A NYC BASED INDUSTRIAL DESIGNER AND ARTIST. HE LECTURES AND TEACHES AT UNIVERSITIES GLOBALLY TO SHARE HIS SKILLS AND EXPERIENCES TO HELP YOUNG CREATIVES TRANSITION INTO PROFESSIONAL DESIGN CAREERS.

Photos from Reid's Instagram: reid.schlegel

Reid on Behance: reidschlegel

---

1. Olga Sorokina (O. S.): Reid, how did you come to industrial design?

Reid Schlegel (R. S.): I have drawn and built things for as long as I can remember. Growing up I spent time in my late grandfather’s art studio and my other grandfather started giving me power tools for my birthday when I was eight years old. Because of this I have always been very comfortable expressing my ideas in two as well as three dimensions. I did not know what industrial design was however until I visited Purdue University for a mechanical engineering tour. The graduate student who gave the tour asked what I liked to do and I said “draw, build and solve problems.” He took me to see the industrial design department and the rest is history.

---

“Sketches exist to communicate ideas. A designer does not need to be an amazing sketcher to be successful. What is important is that each sketch clearly and concisely articulates the main ideas behind the concept.”

---

2. O. S.: What was your initial step in hand rendering?

R. S.: Drawing has been a part of my life for so long that I cannot really remember an initial step. Growing up I loved drawing skateboarders, architectural schematics, logos, new inventions, etc. I began taking hand rendering much more seriously when I began my industrial design undergraduate studies at Virginia Tech. My style began to really mature when I was worked at "SMART Design NYC" however. It was here that I began sketching with a Cintiq very frequently and the tightness and control of this medium seeped into my hand rendering style over time.

3. O. S.: Your style is very bold and recognizable: emphasized perspective, focus on textures and I also noticed you like to use tinted paper for your sketches. Could you please tell us about media you use and how it affects your style and approach if it does?

R. S.: Tan paper allows me to work from the middle out. When I render concept sketches I usually have fifty percent of the idea in my head and let the rest evolve as the sketch progresses. When I draw on white paper I have to be very careful where I put marker because once it is down it cannot be undone. This makes it difficult to quickly put an idea down because I have to think two steps ahead and leave the highlight areas blank so the white can emphasize the burn marks. When working with tan paper I treat each sketch as a coloring book and worry about highlights and shadows towards the end. This frees me up to get lost in the concept and not slow myself down with rendering details. Since tan is a mid-tone it is easy to add the highlights and shadows at the end saving time and making the work really pop off the page.

4. O. S.: Could you please describe your process of creating sketches.

R. S.: Sketches exist to communicate ideas. A designer does not need to be an amazing sketcher to be successful. What is important is that each sketch clearly and concisely articulates the main ideas behind the concept. With this in mind I approach every sketch with what I want to communicate. The perspective, layout, markering, line weight, callouts, etc all impact how someone reads the sketch so I think through each carefully before putting pen to paper. Making it beautiful is just a plus.

5. O. S.: How do you structure your workday or your workweek, how do you stay productive?

R. S.: Working at "Frog" keeps me very busy. Productivity is all about wanting something badly enough. All of my work on Behance and Instagram, freelance work, teaching engagements happen in my free time after work and on weekends. I try and dedicate two hours every evening to work on personal work and opportunities that I set up for myself. It is important to give yourself time off to do not design related things however to stay inspired and not burn out.

---

“Design is an amalgamation of all the eclectic experiences that we each have and I love seeing those random events blend into new products and experiences.”

---

6. O. S.: I have noticed in your Instagram some photos from your sketching workshops for students, what does it mean to you to share your knowledge?

R. S.: I graduated from undergrad in 2012 so I still understand how hard it can be to land your first full time job. I find it very rewarding sharing my experiences with students to help them transition into professional design positions. Speaking in front of large auditoriums full of people also helps me articulate my point of view on design succinctly and the questions that students ask prepare me to for questions clients will inevitably ask me in the future. It is also refreshing to work with students because they have not been told "no" yet so their ideas are wild and exciting.

7. O. S.: Please tell us about your sources of inspiration. May be it’s calligraphy, nature, your puppy or objects and textures by themselves?

R. S.: Inspiration seems to come from the places that I least expect. My favorite inspiration comes from random memories that I never thought would be useful. Design is an amalgamation of all the eclectic experiences that we each have and I love seeing those random events blend into new products and experiences.

---

“Design is a competitive field and it always shows when someone has put the time and energy into improving their skills. ”

---

8. O. S.: How do you see the future of sketching, particularly in industrial design?

R. S.: Sketching will never go away. As my career progresses I see myself jumping into CAD and computer rendering much earlier in my process but there is still no substitute for quick and dirty iteration sketches throughout the process. As a designer we are usually expected to work very quickly. I can generate twenty concept sketches in the same time that I can create a solidworks model. I see sketching as the glue that holds each part of the process together.

9. O. S.: What advises would you give for beginners in industrial sketching?

R. S.: Put a lot of time in early and always be open to new things. Design is a competitive field and it always shows when someone has put the time and energy into improving their skills. Traditional design is also evolving and designers are expected more and more to be fluent in many design languages. Having strong T-level skills will go a long way and make you a much more attractive hire.

---

Interview with Reid Schlegel by Olga Sorokina.

P. S. Please share this inspiring interview with your friends, they will be glad you did. Thank you!

---

check my podcast episodes

(MEANINGFUL CONVERSATIONS WITH ARCHITECTS, ARTISTS, AND DESIGNERs)

Interview #3 with Tami Faulkner, interior designer and instructor from Northern California

Meet Tami Faulkner, a Northern California based Interior Designer. She began assisting clients with their design needs in 2000 after graduating with a Bachelor of Fine Arts in Interior Design from California State University, Chico. Her work experience includes commercial, corporate, healthcare, and residential design projects. Tami's speciality is residential remodels: particularly kitchen and bath design. She also designs furniture and does some graphic design. Currently Tami teaches hand rendering seminars for both professional and student designers.

---

1. Olga Sorokina (O. S.): Tami, could you please tell us how did you come to interior design and rendering and what was your initial step in hand rendering?

Tami Faulkner (T. F.): Drawings and renderings are just a part of the design process. As a design student it was the means in which I learned to design, problem-solve and communicate ideas and so naturally those skills became critical to my design approach as a professional.

2. O. S.: According to your Instagram it looks like your favorite part of design work is ideation on paper using furniture plan and concept board, so what does hand rendering and space planning mean to you?

T. F.: The way I see it, space planning is the foundation of any successful design project. It’s critical to understand and know the existing space and the potential for new space, to be able to offer valuable solutions for the client.

3. O. S.: How do you structure your workday or your workweek?

T. F.: My work days and work weeks are a careful balance between client appointments, onsite visits, research outside of the studio and time in my studio. Although all of these steps are essential to moving a design projects along, I always feel like my time is more productive while in my studio, when I’m actually producing and designing.

4. O. S.: Please tell us about your sources of inspiration. What helps you to be productive?

T. F.: My initial source of inspiration is the client themselves. Along with knowing the space, I try to understand how the client thinks, how they live and what inspires and pleases them. And from there I set to work to come up with creative, yet practical solutions.

“Hand renderings add polish and warmth, making the design presentations more appealing to the clients. That appeal helps as a selling tool too, with being able to present design ideas in a pleasing way.”

5. O. S.: I have noticed in your Instagram some photos from your Rendering Workshops for creatives, what does it mean to you to share your knowledge?

T. F.: Yes, spending time teaching and mentoring other designers is a highlight for me. I love spending time with creatives and for the energy, enthusiasm and renewal of spirit that I get from other designers.

6. O. S.: How do you see the future of hand rendering in interior design?

T. F.: Interesting question... How do I see the influence of hand rendering in the future of design? Honestly, I have been surprised by the interest designers have in learning a skill that is hardly taught in design school today. That said, there seems to be a push and a rekindled interest in including an artful, hand produced feel to otherwise computer-aided presentations. There is a sense of authenticity that hand rendering adds to a design presentation that is hard to match by using a computer. Hand renderings add polish and warmth, making the design presentations more appealing to the clients. That appeal helps as a selling tool too, with being able to present design ideas in a pleasing way.

“Space planning is the foundation of any successful design project. It’s critical to understand and know the existing space and the potential for new space, to be able to offer valuable solutions for the client.”

7. O. S.: What one advise would you give for beginners in hand rendering?

T. F.: To those who want to learn hand rendering, I would say to start by following other designers who’s hand rendering styles are admired. Analysis, look at it carefully and consider how they do what they do, and then try to implement the same approach while putting a unique spin on it.

Interview with Tami Faulkner by Olga Sorokina.

P. S. Please share this inspiring interview with your friends. Thank you!

---

To learn more please visit Tami's website: tamifaulknerdesign.com

Tami's Instagram: tamifaulknerdesign

Interview #1 with Masoud Farhad, architect and freehand sketcher

“I try to pioneer new drawing tools and find out unusual substances to paint with, for instance I coated handful amount of my sketches by using coffee and beet syrup.”

— Masoud Farhad

---

1. Olga Sorokina: How did you come to sketching and what was your initial step in sketching?

Masoud Farhad: My field of study is architecture and definitely, it is the most adventurous profession amongst all skills. Architecture can be categorized into different separated parts. One part is the theory of architecture and at the beginning it focuses on the history of classical art and architecture in the world and continues to contemporary theories. The other parts are more practical and architect picks up a pen to design a building. The procedure of design is a complicated process and must be carried out correctly. To develop and Idea, it’s necessary for architect to draw primitive simple shapes. Those simple sketches develop toward final design. It’s highly important for each architect to know how to sketch. I figured out the importance of the issue when I was green at the university. I realized that good sketchers can be good architectural designers. Since then, I made my mind to become a good sketcher. Although I was good at drawing by heart, I seriously tried to improve my abilities. Now, architectural sketching is my main profession.

2. O. S.: Could you please describe your process of creating sketches (and how long does it take), for example this one:

M. F.: A good sketcher should be equipped with simple but important drawing tools. A proper surface to work on and a good pen to work with and also a nice atmosphere to work in. Primitively I evaluate the size of the sketch according to the size of the page. Then I draw principal lines of the sketch in a fast way. Details are not included at this stage. Afterward, I add other components like furniture in details. The direction of light shows how to cope with shadows. A good sketch has a good lighting. Then I put the color on the sketch on aesthetic regulations using colorful markers and brushes. A little less or more, it takes half an hour to complete one work.

View fullsize

3. O. S.: You have very beautiful technique for your architecture sketches, it looks like combination of markers for a building and watercolor for the sky and background, or maybe it is waterbrush?

M. F.: Each sketcher is good at one or two drawing and painting methods, I prefer to use the combination of techniques for rendering. The main part is painted with different colors of markers and the rest is coated with ink. Every method has its advantages and disadvantages, for encircled areas it is easier and faster for me to use markers, mostly for trees and sky I can deal with ink much easier. It gives me the ability to work with fading colors in perspective. I use brushes to put the color on the surface. There are possibilities to easily mix colors to achieve new ones. Undoubtedly, the density of the ink and strength of color can be controlled by mixing it with water. I can quickly obtain variety of color tones from each tint by adding pure water. It is controllable and easy to manipulate. For a beginner, it is a sort of trial and error and with practicing it becomes an interesting hobby. It makes me feel like a boss and my tools are loyal employees. The achievement always sounds satisfying.

4. O. S.: How do you make perspective for your interior sketches, do you use computer programs or do you make it by yourself?

M. F.: I personally believe in architectural computer software and applications in this technologically improving century. It is undeniable to take the advantages of computer sciences. It is neat and accurate. I have to clarify that I have never worked with software to draw. I do call my works as freehand sketches. All of them have been done by hand. Interior and exterior perspectives are created by drawing correct composition of lines and putting the colors aftermath. The only way I am enjoying the computer is using software to balance the strength of lines and to slightly modify the contrast among colors. The original colors of the works are in logical order but when it comes to screen looks a little darker and in sum, software edits seems unavoidable.

“No matter how many modern applications and computer utilities come to the market, freehand sketches illustrate new designs effectively faster.”

5. O. S.: What are you currently working on?

M. F.: It is commonplace to draw things by using fountain pens and other common drawing pens and pencils, I try to pioneer new drawing tools and find out unusual substances to paint with, for instance I coated handful amount of my sketches by using coffee and beet syrup. I have checked substantial number of colorful food stuff and chemical liquid substances to use them in sketching just as water-color and ink. In addition, I am doing my best to publish my book which is about sketching techniques in at least three languages. The result is amazing.

6. O. S.: Please tell us about your sources of inspiration. What helps you to be productive in sketching? One thing is coffee I suppose, according to your Instagram :-)

M. F.: To be honest I am crazy about going through intact nature, seeing mountains, clouds, trees and rivers. It makes me feel like I am eager to create works. Also I like rural wooden cottages standing in the middle of a rain forest. I like to sip a cup of coffee sitting on a bank of a river. It makes me feel like I am alive and my hand must create artworks. I figured out that some sorts of natural colors could paint my sketch as I painted handful numbers of my perspectives with a coat of coffee. Anonymous natural powers push me toward notable innovations. It inspires me to wake up and shine. Natural compositions are the source of all arts. No matter it is a piece of music or visual arts.

“It’s highly important for each architect to know how to sketch.”

7. O. S.: How do you see the future of sketching, particularly in interior design?

M. F.: The universe is always in motion and it never stops even for a second. It is necessary to keep up with it. As the world and attitudes are changing, interior and even exterior architecture changes too. Architect has to design new patterns and designs according to new attitudes and actualize it on a piece of paper via fast freehand sketches. Sketch matters and will never lose its workability. No matter how many modern applications and computer utilities come to the market, freehand sketches illustrate new designs effectively faster.

8. O. S.: What advises would you give for beginners in sketching?

M. F.: I suggest the beginners to study relevant books and see variety of good sketches. They have to learn step by step. It is impossible for a person to become a perfect artist overnight. At the beginning, they should get to know sketching tools and then learn how to use them effectively. They should learn basic concepts of illustration rules appropriately, then practice to draw interior and exterior perspectives. They should get familiar with shadowing process which seems a little perplexing. Shadows make the third dimension easier to understand. At the end, it is necessary to learn how to use colors and relevant tools properly to make a good composition of lines and colors. I strongly suggest to beginners to believe their potentials. It is necessary to study and revise sketchbooks or take part at sketch courses to learn techniques, but avoid making replicas from other works and try to create personalized one. I bid green students to compile their works to compare primitive ones with recently done works and by this way the quality of learning process can be easily assessed. The collection can be kept as a personal worthy treasure. The process of learning should be under accurate control.

Interview with Masoud Farhad by Olga Sorokina.

P. S. Please share this inspiring interview with your friends. Thank you!

---

To contact Masoud please use information below:

Email: freeehandsketches@gmail.com

Instagram: masoudfarhad

Facebook: Msd Fhd

Linked in: Masoud Farhad

Twitter: masoudfarhad

---

Whom do you wish me to interview next?

Mail me at olgaart888@gmail.com

Next interview is coming soon!

Subscribe below to be the first who read it!

Olga Sorokina