The China Model Shop
In 2004 I was partnered in an architectural rendering and modeling business. As head of the half of the firm responsible for 3D models and topographic landscapes, I
sought to increase our market share while decreasing our overhead and increasing profits. Many firms were going out of business as architects and developers became
more thrifty, or eliminated physical models completely. Experienced model makers were expecting more money or leaving the field for other careers, as new technologies
necessary to complete a competitive model shop were priced through the roof. My partner basically told me that I had to create a profitable half of the business, or he was
going to go all digital.
I could write a book about my solution, but in short: I carefully selected an architectural model shop in Shanghai, China, and after some negotiation, offered to Westernize
their operation in exchange for being their sole American architectural client. The Chinese had not been able to compete with Western model shops, in spite of their
access to endless man-power and all the latest equipment, due to their inability to communicate with Western clients or truly comprehend the industry outside of Asia.
Their models were made to appeal to very different tastes, were of inconsistent quality and durability, but with a skilled work-force of over 80 model makers and a shop
with state of the art equipment - they were full of potential.
Over the course of a year I rebuilt their company in such a way that I could reliably depend upon them to build exactly what I needed them to build. That was not easy, as
quality control was at first a huge issue, as was our understanding of such simple matters as what color represented a basic red brick. Communication had to transform
from difficult to extremely simple. I achieved this by supplying all parties with standardized colors that were represented by numbers, teaching members of their staff how
to take good photographs of models in progress (and buying them a good camera), and instructing them on how to notate atop of photos and renderings within
Photoshop.
In the end I was able to throw innumerable model projects overseas for roughly 20% of what it would cost me to build in-house, and their reserve of available manpower
meant that I very rarely had to bring in expensive freelance talent to make a deadline. China was never an end-all solution to every project, but in many cases (short of
landscaping) they could complete an entire model for delivery to the client. In other cases I could send them CAD elevations and floor plans, and receive a laser-cut
model to scale a week later that was ready for detailing and finish in-house.
Above: I took these pictures of one of my models being constructed in Shanghai, China.
They built two similar structures for this particular client of mine, and they ultimately did a
fantastic job. They built and painted both towers in four days. I had the models shipped
by air to my model shop, where the smell of curing paint greeted me upon their removal
from their bullet-proofed crates. My shop easily added the structures into our ready
landscaping, added detailed people and a stunningly modeled ocean.
In 2004 I was partnered in an architectural rendering and modeling business. As head of the half of the firm responsible for 3D models and topographic landscapes, I
sought to increase our market share while decreasing our overhead and increasing profits. Many firms were going out of business as architects and developers became
more thrifty, or eliminated physical models completely. Experienced model makers were expecting more money or leaving the field for other careers, as new technologies
necessary to complete a competitive model shop were priced through the roof. My partner basically told me that I had to create a profitable half of the business, or he was
going to go all digital.
I could write a book about my solution, but in short: I carefully selected an architectural model shop in Shanghai, China, and after some negotiation, offered to Westernize
their operation in exchange for being their sole American architectural client. The Chinese had not been able to compete with Western model shops, in spite of their
access to endless man-power and all the latest equipment, due to their inability to communicate with Western clients or truly comprehend the industry outside of Asia.
Their models were made to appeal to very different tastes, were of inconsistent quality and durability, but with a skilled work-force of over 80 model makers and a shop
with state of the art equipment - they were full of potential.
Over the course of a year I rebuilt their company in such a way that I could reliably depend upon them to build exactly what I needed them to build. That was not easy, as
quality control was at first a huge issue, as was our understanding of such simple matters as what color represented a basic red brick. Communication had to transform
from difficult to extremely simple. I achieved this by supplying all parties with standardized colors that were represented by numbers, teaching members of their staff how
to take good photographs of models in progress (and buying them a good camera), and instructing them on how to notate atop of photos and renderings within
Photoshop.
In the end I was able to throw innumerable model projects overseas for roughly 20% of what it would cost me to build in-house, and their reserve of available manpower
meant that I very rarely had to bring in expensive freelance talent to make a deadline. China was never an end-all solution to every project, but in many cases (short of
landscaping) they could complete an entire model for delivery to the client. In other cases I could send them CAD elevations and floor plans, and receive a laser-cut
model to scale a week later that was ready for detailing and finish in-house.
Above: I took these pictures of one of my models being constructed in Shanghai, China.
They built two similar structures for this particular client of mine, and they ultimately did a
fantastic job. They built and painted both towers in four days. I had the models shipped
by air to my model shop, where the smell of curing paint greeted me upon their removal
from their bullet-proofed crates. My shop easily added the structures into our ready
landscaping, added detailed people and a stunningly modeled ocean.
Business Leadership:
While attending the Rochester Institute of Technology for Industrial Design from 1989 until 1993, I learned from my favorite professor that while the goal of most all
designers is to own their own firms, very few of them are successful at doing so - even among those who seize the opportunity. People who possess the creativity to grow
within a creative professional field, often lack the management and people skills necessary to be effective leaders. Design sense and modeling skills are one thing -
business sense and managing talent are something else.
There are many reasons why I confidently express that I'm one of the rare individuals who possesses all of the important attributes required both to create and to lead: My
training for both began very early in my pre-professional life when I was chosen to host a nationally syndicated television series on model making. I was just turning 18
years-old at the time, and the youngest among all of the screen-tested model makers who were being considered for the position. The countless hours that I spent in the
studio, teaching millions of viewers how to make scale models, began to hone skills that had little to do with creativity - and everything to do with articulation,
communication, organization, and self-confidence.
When I entered my professional career as a designer and model maker in Los Angeles, I learned to take direction from others first, but rapidly collected titles and
responsibility while working for others. My ability to manage people was the engine of that upward movement, as was my talent for communicating clearly and efficiently
with clients.
Senior Director: Inventionland
In August of 2010 I was hired by Davison Design (Inventionland) as Senior Director in charge of the company's prototype production department - or "the build line".
While attending the Rochester Institute of Technology for Industrial Design from 1989 until 1993, I learned from my favorite professor that while the goal of most all
designers is to own their own firms, very few of them are successful at doing so - even among those who seize the opportunity. People who possess the creativity to grow
within a creative professional field, often lack the management and people skills necessary to be effective leaders. Design sense and modeling skills are one thing -
business sense and managing talent are something else.
There are many reasons why I confidently express that I'm one of the rare individuals who possesses all of the important attributes required both to create and to lead: My
training for both began very early in my pre-professional life when I was chosen to host a nationally syndicated television series on model making. I was just turning 18
years-old at the time, and the youngest among all of the screen-tested model makers who were being considered for the position. The countless hours that I spent in the
studio, teaching millions of viewers how to make scale models, began to hone skills that had little to do with creativity - and everything to do with articulation,
communication, organization, and self-confidence.
When I entered my professional career as a designer and model maker in Los Angeles, I learned to take direction from others first, but rapidly collected titles and
responsibility while working for others. My ability to manage people was the engine of that upward movement, as was my talent for communicating clearly and efficiently
with clients.
Senior Director: Inventionland
In August of 2010 I was hired by Davison Design (Inventionland) as Senior Director in charge of the company's prototype production department - or "the build line".
Above: For this New York mall project I used 3D Studiomax images in addition to the client-supplied CAD to communicate to my China model shop exactly what they
needed to construct. These images flew back and forth across the world via email every single day as China sent me regular progress photos.
Below: China's completed structures fit perfectly into the foam landscaping that was modeled in-house, along with numerous details, people and basic cars to show scale.
The client received this model ahead of schedule, and was thrilled with the results.
needed to construct. These images flew back and forth across the world via email every single day as China sent me regular progress photos.
Below: China's completed structures fit perfectly into the foam landscaping that was modeled in-house, along with numerous details, people and basic cars to show scale.
The client received this model ahead of schedule, and was thrilled with the results.
I may never again utilize my hard-won Chinese model shop, or even specialize in the making of architectural models - say nothing of running such a specialized business.
My experiences, however, involving all of the complexities described above and all of the diverse people with whom I had to both lead and communicate - all reveal that
my value as a professional is not limited to creativity and skill as a craftsman. My next professional challenge may not involve management or leadership ability at all, but
that my ability to become more and seize responsibility when required makes me - I believe - a very special and uniquely tested individual.
Cole's Aircraft: My Own Business, Creating and Marketing Art and History
Cole's Aircraft was established in 2006, after I moved from Los Angeles. I knew that I'd developed an impressive and efficient process of painting in the digital realm and
felt that I could offer aviation art collectors something special that they would be happy to pay me well for. As I launched my website I was quickly proven correct as sales
flourished and numerous galleries began to promote and sell my work.
Many of the original art prints that I sold through Cole's Aircraft had been autographed by famous WW2 pilots and 'aces.' But as they sadly passed away the aviation art
genre', as a whole, was being left with a hole to fill - since most art collectors prefer autographed pieces above those unsigned. Collectors wanted something more than
just a print of an airplane, but with most all potential signatories gone . . .
To stay one step ahead of this curve I came up with the idea of pairing my original artwork with actual pieces of the aircraft depicted in my paintings; small scraps of
duraluminum obtained from my various contacts at aviation museums and restoration shops.
These images show my three-piece "North Pacific
Campaign" set; each 24 x 20 inch custom display
highlighting my artwork with a piece of the aircraft
pictured. Made without glass, these are easy to
ship and the aircraft pieces can be touched.
My experiences, however, involving all of the complexities described above and all of the diverse people with whom I had to both lead and communicate - all reveal that
my value as a professional is not limited to creativity and skill as a craftsman. My next professional challenge may not involve management or leadership ability at all, but
that my ability to become more and seize responsibility when required makes me - I believe - a very special and uniquely tested individual.
Cole's Aircraft: My Own Business, Creating and Marketing Art and History
Cole's Aircraft was established in 2006, after I moved from Los Angeles. I knew that I'd developed an impressive and efficient process of painting in the digital realm and
felt that I could offer aviation art collectors something special that they would be happy to pay me well for. As I launched my website I was quickly proven correct as sales
flourished and numerous galleries began to promote and sell my work.
Many of the original art prints that I sold through Cole's Aircraft had been autographed by famous WW2 pilots and 'aces.' But as they sadly passed away the aviation art
genre', as a whole, was being left with a hole to fill - since most art collectors prefer autographed pieces above those unsigned. Collectors wanted something more than
just a print of an airplane, but with most all potential signatories gone . . .
To stay one step ahead of this curve I came up with the idea of pairing my original artwork with actual pieces of the aircraft depicted in my paintings; small scraps of
duraluminum obtained from my various contacts at aviation museums and restoration shops.
These images show my three-piece "North Pacific
Campaign" set; each 24 x 20 inch custom display
highlighting my artwork with a piece of the aircraft
pictured. Made without glass, these are easy to
ship and the aircraft pieces can be touched.
