The client is not always right, or again about the design…. How to build a relationship with a client Design will delight any client common

Dialogue between the designer and the client:
- What is this, sperm?
- Uh, yes. But here is the concept.
- Sperm ?!
- Maybe a little bold, but here is the idea of ​​developing the project from the very beginning!
- What the hell is this?
- Fertilized egg.
- Wow!
(Shen Bekasov. "His Majesty Design")

Design is a kind of service area. In almost no other area, the result of the work is not challenged by the client. The work is either well done or badly done and it can be seen right away, which cannot be said about the design, which can become a ticking time bomb. In this situation, it is not difficult to understand the client - not sure of the 100% quality of the product, he is trying to play it safe.

A designer, in turn, is a kind of profession. The density of amateurs in it is higher than in any other. And all because it is very difficult for a mere mortal to distinguish a high-quality design from a low-quality one. As a result, the majority of clients view the designer not as an independent creative unit, but as a toolkit.

The relationship between the designer and the client often follows the same pattern: the client gives the task, the designer does, the client says what to fix, the designer fixes it. The last two steps can be repeated many times. The designer wastes away from this state of affairs and falls into private depression. As a result of such relationships, the result is often a product that pleases the client, but endlessly saddens the designer. And on the contrary, in principle, it cannot be. If the work saddens the client, then the designer may think that he does not have a client. Thus, the designer has only one way out in this situation - to make the result of the work like both the client and himself.

To do this is not easy, often impossible, especially when the human factor comes into play - stubborn and fools in the world will never run out. First of all, the designer is faced with the task of organizing his work and dialogue with the client in such a way that an adequate and sane person does not have a desire to edit the final product.

If we take it as constant, then that the designer is a professional, the client is not stupid as a cork, and the design is made strictly according to the technical specifications and is infinitely pleasing to the designer himself, then we are left with an equation with one variable: to prove to the client that design is exactly what he needs, even if some of the details cause doubts in the client.

Moreover, I am not a psychologist, and therefore you will not find here any universal methods of persuading a client - there are heaps of specialized literature on this topic. This article should serve as an impetus for reflection on this problem and, as a consequence, to the organization of a constructive dialogue between the designer and the client and his transfer from the plane of the boss-subordinate to the plane of the professional-professional.

Technical task

Work on a project begins with a technical assignment (TOR). Why did I suddenly start talking about preparing for the project, and did not go directly directly to its final stage - the approval of the design layout? Because everything in our business is interconnected (as probably in any other business). The advantages of a competent technical specification can be enumerated indefinitely, we are interested in the following from them: following the technical specification, at the output we will get a product that best meets the client's needs, which means that this product has more chances to be approved on the first try.

The technology of designing a competent technical specification is a topic for a separate conversation. A good TK can span several printed pages and be accompanied by a hefty stack of visuals. Any TK must contain information about the Company, information about the product / services, and the actual content (content).

In addition, it is good to have designs in front of you that are liked by the person directly responsible for approving the design layout and designs that he accordingly does not like. If there is a possibility, then the person who composes the TK must write at least a couple of words about the psychological portrait of the client (a person of old schooling (simply a scoop) or a new formation, progressive views or an adherent of the classics, etc.) and any other information, which can play a role at the time of approval of the design layout.

The point here is not to make the design "according to the client" (we all perfectly understand that the design is done for the consumers of the client's products), but to take into account the notorious human factor, which often plays the most decisive role at the moment of making a decision. by design and which cannot be written off. This part of the TK should be guided rather not when choosing the main direction, but at the stage of detailing and glossing.

TK should be drawn up, on the one hand, with the participation of a person who is directly responsible for approving the design layout, and, on the other hand, with the participation of a designer or art director. This will allow, firstly, to see the "enemy" in the face and to rehearse the decisive battle, and secondly, it will make it possible to immediately eliminate all ambiguities on the spot. In addition, at the stage of forming the TK, it is possible, as it were, to convince the client to abandon some erroneous requirements for the design, which at the stage of approval of the design layout can result in fierce discussions and, ultimately, in the approval of these errors.

No email

You have made the layout. Never send it by email. Do not be under the illusion that your creation will be understood, and if it is understood, it will be perceived, and if it is perceived, it will be approved. And even more so, when sending an order by mail, do not expect that no changes will come. Email good, but only in the intermediate stages. When it comes about the key points of the project, such as the design of the technical specification and the approval of the design layout, you need to go and talk.

Firstly, the client likes it when around him, in the literal sense of these words, they run around and personally hand over beautiful pieces of paper. Secondly, it is much faster and more convenient to clarify ambiguities in personal communication than through pigeon mail. Thirdly, you have much more chances to convince a person that you are right by looking into his eyes, because in addition to just comments, there are still a lot of nuances: the manner of presentation and behavior, self-confidence, witty parrying of stupid questions, successful arguments that can be born spontaneously , neuro-linguistic programming, after all (just kidding).

Such an option as "send by mail, and then call and explain everything" will not work. Detailed comments in the letter will not help either - they are read diagonally. Only live communication.

Break your broken phone

There is a widespread belief that the client should not be "allowed to the body" of the designer and that specially trained people should communicate with the client. It's a delusion. A necessary and sufficient condition for the early adoption of a design layout is the absence of intermediate links between the designer and the person responsible for the design approval.

In fact, there can be a lot of links. The ideal option is when there are none at all, but this is quite rare. These very links can be both from the side of the design producing, there and from the side of its receiving.

1. Project manager / account manager / account manager.
These all kinds of managers are the primary enemies of quality design.

Concerned about the early launch of the project into production (into the network) and, accordingly, the payment of bills, the manager is ready to make any concessions to the client and will never defend the designer's point of view. For some reason, they often believe that the more flexible they are with the client, the faster the project will be completed. Therefore, if you give a layout to a manager who is leaving for a client, expect him soon (he will not bicker for a long time) with a layout that you will never call yours. There will be numerous amendments, clarifications, additions and wishes throughout the free space of the sheet. The list will most likely be accompanied by a list on which a caring manager, so as not to forget anything, wrote out all the changes to your design.

You will be lucky if the manager does not bring something with him in words - something that the client could not articulate clearly, as it is too ephemeral and subtle. And you will feel like in a fairy tale: "turn around and get something that cannot be." Fight these links in the production process to the death. Destroy them mercilessly (links, not managers), because while these enemies of design will show the layouts to clients, until then you will not get any pleasure from the result of your work, and put work in the portfolio with the mark "project", since the result , put into production will be ashamed to show even to relatives.

2. Head of the design team, art director.
Often, art directors, in addition to creative control over the project, take on the function of communicating with clients. There is nothing bad in this, but not when the designer himself is removed from this communication. No matter how literate the art director is, no matter how much experience he has, no matter how convincing a speaker he is, the project was still done not by him, but by you, and in any case he will not be able to present it as it is would you do.

Plus, the art director is a werewolf. He is half the same angry manager who cares about getting the project up and running as soon as possible, getting the long-awaited reward for the work, and getting the next project started as soon as possible. Therefore, throw yourself at his feet, cling to his clothes, cry, shout, fight in hysterics, but do not let him go alone to meet with the client - he will bring you the same piece of paper as the manager, except that it is shorter and clearer.

3. Deputy responsible for design acceptance.
This person is "on the other side." He can hold any position, the bottom line is that he is not the one who makes the decision. He's just a link. These people can be described indefinitely, you can write a whole book about them. They can be good, they can be bad, they can agree with everything, or they can argue with you foaming at the mouth, they can be rude to you, they can praise, they can threaten that they won't pay or swear that they will personally convince the boss that that it is a strong design. All this is vanity - consider that this person does not exist. This is a mirage.

Because after he says goodbye to you, he will carry the model to HIM, and then reality begins. And this reality is often not as pleasant for a designer as he would like. This link is the most difficult to deal with, especially in large corporations, where bosses rarely stoop to an audience with all sorts of designers, while not giving the right to make the final decision to their subordinates. However, demand, persuade, and insist. In this matter, the person from the second point can help you. People with the "director" mark on their business card will be more likely to be admitted to the boss's appointment (and at the same time you).

These are the main types of hindrances to a harmonious and intimate relationship with a client. There are probably others. Eliminate them all. Strive for the ideal option, and this will be half the victory in solving our problem.

Communication with the client

So, the meeting with the client is made. It is not out of place to recall the saying that "the main thing is maneuvers." Before starting (as well as during) the conversation, you must show the client that you are a professional in everything. I think it is unnecessary to say that it is worth coming to the conversation on time, neat and sober. It's not even about culture or etiquette. You are a designer, and that says it all. You may be wearing wide ragged pants and a T-shirt that says "fuck war", but you have to look clean and smell nice.

In addition to a pretty layout or presentation on a laptop, grab anything you can use during your conversation. Vanity will be completely out of place. In general, the more accurate and calmer your actions during the meeting, the more likely you are to win the client's favor.

You opened folders and notebooks and started showing the layout. The oppressive silence and tense puffing of the client is best diluted with easy comments. Do not immediately start loading the client with abstruse phrases about the fact that the triangle is stability, and the red is passion, it scares and alarms. While the client enters, what's what, tell us how it will work, look, what material it will be made of. Explain to the client what he may not understand from the layout or presentation.

And now comes the climax - the client has finished the work. He opens his mouth and starts ...

1. Questions and Answers
Everything is simple here: if you listen to a question, you give an answer. Calmly and unhurriedly, without pompous edification, you chew on the slow-witted client why you did it this way and not otherwise, why it would be better for him, why it doesn’t work like that, for example, with competitors. No need to convince, no need to argue, no need to pour a course in composition theory on the client. He will not understand, he will become isolated and embittered.

2. suggestions
You should not take all the client's suggestions with hostility, sometimes there is some truth in them. Agreeing with minor design changes, at a crucial moment when it comes to key points, you can already firmly argue without fear of looking stubborn in everything. If the client insists on a stupid offer, do not say "no" - make counter offers, and now the client is in the position of a person who needs to convince someone of something. As a rule, if the counter-proposal is correct, then the client is closed in this case, and it is immediately accepted or accepted with minor amendments.

3. Requirements
Well what can I say. If you think that the demand is a bullshit, then you are obliged to notify the client about this, offer your option and warn that you are not taking any responsibility for the consequences. Leave your design option just in case and bring it with you to your next meeting. And if the client frowns at what he sees, take out and show the old version next to the new one. It happens that the client regrets.

4. Variants
As a rule, before starting work on a project, the number of design options is negotiated. There are times when the client is not satisfied with any of the options. This is a clinic. This means that you are either a bad designer or an unbearable client. Agree to pay for additional options or part. Even if the client refuses to pay for the work done, it is better to do it sooner rather than later. The history of design knows many examples when the project was delayed for many months, and the number of options exceeded dozens.

Time in the service of design

There are two types of orders: urgent and minor. Urgent orders, despite all their shortcomings, are very beneficial in terms of dialogue with the client. There is no more accommodating client than one who has all the deadlines. This is a space for unscrupulous designers, but we are honest with you. We didn’t sleep for a night or two - we made some candy, and, lo and behold! - the client immediately accepted the design (though not because it’s a candy, but because these very terms are burning). Such orders should be rejoicing.

It is more difficult with those orders that are not very urgent. Here everything is usually planned competently and decorously. Time is allotted to the designer, and sometimes even in excess. So, if the designer did it earlier for joy, then you shouldn't run to the client. Be sure to run back to remodel. And not because it is bad, but because there is still time - why not fix something.

Conclusion

Design is a delicate matter. But human logic is even more subtle. Sometimes it seems that clients do not have any logic, that what is written on the layout, which lies in front of you and is filled with your tears, because this is no longer your layout - nonsense, nonsense and complete absurdity that clients deliberately want to ruin their company and do their best for this and, finally, that good design is no longer needed by anyone. This is not true. The problem is with the designers. The problem is that they know how to design, but they don't know how to present it. A designer should be a psychologist, an orator and a bazaar huckster all rolled into one. He should serve his design as an exquisite dish from the chef on a plate with a blue border and fight for it like a woman he loves, not allowing ordinary people to touch with dirty hands. Only then will the designer begin to receive satisfaction from his work, and the client will begin to receive a high-quality design without realizing it.

In their work, designers are often faced with the fact that the customer shows a project that he has long thought up himself and now decided to bring it to life. And it's great when a person knows what he wants and has done such a serious preparatory work before meeting with the designer.

But, unfortunately, it often happens that the project proposed by the customer cannot be implemented for a variety of reasons (from the place for opening furniture that was not provided by the customer to the impossibility of agreeing on the required redevelopment solutions).

Today Pavel Gerasimov (co-director of our design studio) shared with us his secrets on how to competently negotiate with the customer and convey to him what is better to do differently.

1. You should always listen to what the customer is talking about.

The very first thing to do is to hear the customer and understand what is important to him and for what reason. It is not easy to do this, but it is possible - listen to your customer, create such a comfortable atmosphere for conversation that he would like to tell you about some special moments in his life, about his attitude to various styles in design, color and materials.

These little things make up a general picture of what aesthetics the customer likes, what he wants to feel when he gets into his new interior, what functionality in the apartment plays the most significant role for him.

2. Don't be smart, speak the same language with the client

Hear what words the client uses when talking about their design project. Try to speak to him using his familiar vocabulary. This will give a high degree of likelihood that the client will listen to your arguments and the negotiation will be successful.

3. Tell the customer your opinion

The customer, even when he himself has developed a design project for his future interior, still understands that he is not a professional in this matter. It was this understanding that prompted him to dial your number and come to the office for a consultation with a professional designer.

The main goal of the customer is to realize their ideas, BUT, to implement them efficiently and so that one can live comfortably in the invented interior. That is why he turns to you and expects from you a professional look at his project.

It is worth remembering that while developing it, the customer invested his soul and time. Therefore, at every step, explain in as much detail as possible each variant of the planning solution, the chosen color scheme, etc. Rely on the customer's priorities in your words and talk about how you would suggest solving the tasks assigned to them, and why your solution is better and more effective.

It is important for the customer to hear substantive criticism and counter-proposals, because only such a discussion and detailed study will bring the project closer to implementation.

4.Deal with objections

Competent work with the customer's objections is both respect for you on his part and an assessment of your professional qualities. There are almost no options when the first time you manage to make the customer like everything right away. Objections and questions are almost always raised - and this is a normal workflow.

It is in such objections that you can glean a lot of information about the customer and his requirements for the future interior. Listen to them, analyze them, and this will ultimately allow you to create an ideal project that both parties will be happy with.

5.Take your time to comment immediately

Many people confuse the two concepts - "explain your point of view" and "impose your point of view." We are talking with you about the first option, namely, explaining our vision to the customer.

Therefore, do not try to quickly respond and object when you hear ideas that you do not like. Remember that the customer of the residential interior makes it for himself, his family, his life. And he has a clear understanding of what is convenient for him, beautiful, etc.

Your task, as a professional, is to listen, tell all the pros and cons of such solutions, suggest alternative options... In a word, provide the customer with the most complete information on how to implement one or another of his ideas.

In conclusion, I will say that only sensitive and logical work with the customer allows us to create truly functional interiors that will delight everyone for many years to come. Remember - we build spaces in which people live, and these spaces must meet their aesthetic needs and be comfortable.

Gerasimov Pavel

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Ambiguous dialogues between clients and designers, fantasies and comments from clients. Very vital.

website collected in this article real letters and comments from customers.

Customer fantasies

Toothpaste

On the packaging, the tooth should look like a patchwork flower, I don't even know how to explain it ... well, like the Earth from space!

Real sausages

We have not yet decided on the name. Examples of titles include: Online Sausages, Das Sausages, Sausage Run, Sausage Tights, Real Sausages.
These are our slogans. They haven’t chosen either.
"If you are hungry and your stomach is empty, our delicious sausage will save you from hunger."
"You cannot live without risk, the blood will cheer you up the sausage."

Chisty woodpecker

I heard you do the covers for the album to order?
The picture is like this.
The background itself: Cartoon animation. Forest.
Foreground: A large oak tree stands on the severed heads of African Americans.
There the woodpecker Woody Woodpecker runs with an ax around an oak tree, only he has not red hair, but red, and not a blue belly, but black, he is wearing a racist white cap. Runs after Freddy Krueger, the dude from "Scream" and the vampire.
It's all on the cinema screen.
And also the foreground: there are people in 3D glasses and four of them stand out: one is singing a drug addict's pipe and he has percussion sticks behind his back, so bald in sportswear, the second, with a bass, smokes the pipe of an arsonist, and the third is standing with a guitar. such one does nothing, and the fourth with a microphone in his hand fell to his knees and begins to laugh wildly, and a little smoke comes out of his mouth.
Name of the group: Cartavy Woodpecker
Album title: Until the smoke ends.

Rainbow story

We urgently need a banner, ideally in an hour, like this: a cow flies across the sky, it has wings like an airplane or a seagull (think), it carries a bucket of chocolates in its teeth, the bucket says “Delicious”. Two crocodiles and an ant with a predatory mouth fly after her. Let the ant be purple. Above all this is a rainbow, but with mixed colors, and in the distance you can see the Eiffel Tower. And the slogan is at the bottom. Think about what is suitable for the topic, so that the picture is clear to everyone, and everyone immediately ran to us to the store.

Beyond politics

Please make 2 gift T-shirts for our directors, the concept is very simple: a hypnotoad is drawn on the T-shirt, in features of which WITH EASY !!! traits of Putin are guessed. Thank you!

Brutal MAZs

We sculpt the site for a long time and persistently. The company provides MAZs.
Customer: “Your designer is an idiot ?! Why do you put in the slider these refined licked pictures of cars ?! These are dirty MAZs that drive and transport gravel, crushed stone, etc. What does your designer think? And let her come to us for a day - let him ride with sweaty, dirty, brutal men in cars, then he will understand what sites to draw! And is it possible for a kangaroo to jump behind the logo on the website? And make it fluffy so that you want to touch the belly! "

Dialogues

Client: Try to play with the bricks, play with the shape.
Designer: The shape of the brick is a parallelepiped.
Client: Can you think broadly? Beyond the scope? If not, then we are not on the way then with you.
Designer: Good. You said bricks are fine with you. What exactly is not pleasant in the form - I just cannot understand. The bricks must be brick-shaped. If you want balls or pyramids, these are no longer bricks.
Client: Think.

Send me a lighter jpeg.
- Sent.
- I sent your file to the printing house, they refuse to print - they say very small.

Client: I don't know what I want, let's try different options with your designer!
Manager: Working with a designer costs 1,500 rubles per hour.
Client: You're fucking crazy! Prostitutes are cheaper!
Manager: Here are different options with prostitutes and try it!

Buyer: Our budget is $ 400, but we don't need anything complicated ... have you used Outlook?
Designer: Yes, of course!
Buyer: Here we need a site with the same functionality, plus a few improvements

All of us, designers who fulfill customer orders, are faced with a situation, sometimes difficult and unpleasant, when we have to prove to the client that our design is free from flaws.

Since the project is already yours, it's not about convincing the person to assign the job to you. And in making him admit that the result obtained meets all his requirements and wishes. Each of us has to act as a virtual guide, guiding the customer through the labyrinths and nooks of the project, doing our best for the good of himself and his website.

We are forced to serve as a beacon, illuminating the way for the client to his native shores.

In any case, the final decision is made by the client, however, it happens - and most of us have gone through this - that the client's lack of awareness in this area threatens the quality of the final product. At such moments, we are simply obliged to do everything in our power to convince the customer that our development is optimal in its current form, and that any further changes will reduce the possibilities of the website as a source of this or that information. None of the participants in such a confrontation likes it, but they have to go to it in the interests of the cause.

Many designers, wanting to avoid conflict, succumb to the wishes of their clients at the slightest disagreement, instead of taking the time to try to convince them to make the right decision about the project. This is often the wrong approach, the end product suffers as a result, and it should be our main concern. We are obliged to protect the fruits of our creativity and defend every little thing useful to our project, no matter what, even on the bill paid by the client. We may eventually have to yield to the customer, but at least we tried.

The following follows short description useful tips and techniques that may be useful to you in your dispute with a client. They can be used individually or together, but each of them can be a starting point for attracting a client to his side and instilling in him the right decisions.

Trust is everything

Communicating with both incumbents and potential clients on any issue, you need to try to win their trust. Then it will be easier for you to interact, and it will be more difficult for them to challenge your decisions. The recipe does not guarantee you customer compliance - not at all. But the more confident we hold ourselves, thanks to our knowledge and skills, the less chances other people have to push us around in matters of professional competence. Some clients - not all - will jump at the slightest opportunity at the sight of your indecision.

Just as the slightest manifestation of fear is dangerous for an animal, when working with a client, a subtle hesitation on your part can weaken your position. We need to remain confident when communicating with the client, especially trying to convince him that the design does not require further editing. We know the limits of decency, and having shown sufficient perseverance, we may be able not to bring the matter to a direct confrontation with the client.

: Arguments

A few phrases that can add weight to your opinion in a conversation with a client:

1. "Although your proposal, in my opinion, could benefit our project in principle, I am still confident that by leaving the design as it is, we will get much better results."
2. “Having considered other options, I was firmly convinced that the decision we made to implement the project was the right one.”
3. “I perfectly understand your idea, but, frankly, our approach seems more reasonable to me.”

: Abstracts

* Each meeting is an opportunity to show persistence and your excitement about the project.
* Always be confident regardless of the subject matter.
* Be decisive about any changes to your design.

Remind them why they hired you

Trust is a condition on which to use a different tactic to convince the client of the benefits of your vision of the project. You need to remind the customer why he hired you. I am not suggesting that you carry your diplomas and letters of recommendation with you everywhere, presenting them whenever your competence is questioned. I mean, rather, something else - once and for all taken on the image of a resolute professional, all thoughts of which are occupied by the project of the customer, even if in reality you are not quite such a character.

Unobtrusively remind them of your level of professionalism. The project was realized only thanks to your skills and craftsmanship. Never let the client doubt it. Don't give him a reason to think that you have cooled off to work. If he asks you to make a not entirely justified amendment to the project, use your trump cards - special knowledge and experience - against his exuberant imagination. And it's up to you to remind him why he should listen to you. It's about instilling confidence in you and making him reckon with your opinion. Your knowledge and skills will help you steer the process smoothly in the right direction.

: Arguments

A few phrases to remind the client why they should listen to you:

1. “I understand what you mean. However, based on my own vast experience in this area and the knowledge acquired during this time, I must say that I personally would leave the design in its current form. "
2. “I just want to do my best. And, judging by the reviews of grateful clients, my professional instinct does not let me down. So, trust me and know: this is - the best way For you".
3. “My extensive experience gives me the firm conviction that this development fully meets your needs. "
4. “Listen to the opinion of a professional, because this is partly why you hired me - any further changes will only reduce the presentability of the design.”

: Abstracts

* Let the client always remember your skills and experience.
* Let him see how much you care about the case.
* Instill in the client confidence in your professionalism, so that it will be easier for you to convince him that you are right.

Comparison with examples of successful solutions

If unobtrusive reminders of your high qualifications do not work, and the client does not yield to your persuasion, then you can always resort to comparing your design - or, at least, its controversial, from the point of view of the client, moments - with your previous successful developments. While this is not always the best course of action, most real business people respond positively to it. Given that their hiring decisions were obviously based on your past merit, comparisons like these can be an effective means of convincing them that your design is flawless.

Sometimes, comparison with previous successful jobs will have an overwhelming effect on the client and forcing him to follow your advice.

This strategy is not always a winning strategy, as some of the clients may feel that you are on the defensive. If they say that the design is missing something, and you in return present them with a similar project that you have successfully implemented in the past, then they may assume that you are driven by pride. And yet, if you can tactfully convince the client of the right decision, describing a similar task that he understands and successfully completed by you using the same tools and techniques, you may have made the right move. For comparison, offer convincing examples, because, as a rule, your indecision forces you to contradict you.

: Arguments

A few phrases to help you use the comparison technique:

1. "A good proposal, however, let's look at _____, and you will see for yourself that following the course you proposed, we will not solve the tasks you have set."
2. "Although the _____ project was implemented along the same lines with moderate success, I believe that in your case it is better to leave the design as it is."
3. “Using _____ as an example, we will see how successful the application of this technology turned out to be there. And I have no doubt that it will work just as well for you. "

: Abstracts

* Compare the development with your previous moderately successful project that the client is able to adequately assess.
* Be tactful to make you look less assertive and more caring for the client's interests.

Make the client think this is their own idea

A trickier trick is to give the client an idea to keep the design as it is, under the guise of his own idea. In fact, the thought, indeed, will be his, but, of course, it is not so easy to instill it in him, especially if the person has already decided that the design is far from perfect and requires improvement. You need to insist on your own. Explain to him the rationale behind each step you have taken, and how through these actions all the wishes of the customer are realized.

First of all, prove to the client that the development really meets the conditions initially set by him and demonstrate to him that in its current form it actually fully embodies his intention. So you will get rid of the need to tell him that he is wrong, it will be enough for you to simply notice that his new wishes run counter to the initially formulated tasks and settings of the project.

In fact, this is an application of the method "by contradiction", successfully tested by a number of designers. Successful approach when dealing with some clients. If you want to go this way, then ask your customers in more detail from the very beginning, so that it will be easier for you with them later. Then your arguments will sound much more convincing.

: Arguments

Several phrases suggesting to the client that this idea originally belongs to him:

1. "I like your new way of looking at things, but I still think that your original idea, from which we proceeded when developing the design, is much more applicable in this situation."
2. "I would advise you not to change this part of the design, otherwise you risk leveling the _____ point that you originally wanted to emphasize."
3. "By making these changes, we will almost certainly distort the idea that you put in the basis of the project."

: Abstracts

* Explain to the customer that the design was created in accordance with his preferences, and emphasize this in every possible way.
* Show him how the revision can interfere with the achievement of the goals set by him initially.
* From the very beginning of the development of the project, find out in more detail the wishes of the client, so that later it would be easier for you to argue your position.

Do not go on the defensive

In such cases, another difficulty arises - to refrain from taking a defensive position. In the end, such a move will only hurt you, and after all, you may be the only person who really saves the project in this situation, and you need to behave professionally, keep your cool.

Design flaws will take a toll on your reputation, so once a client starts questioning your decisions, you naturally feel compelled to make excuses. But you can't go over to excuses, that would be a mistake, and you know that.

Sometimes it is better for us to lower the shield and not go on the defensive.

There is no need to take disagreements so personally. Your client is not trying to offend you. He genuinely worries about his project - not to mention the costs of it - so don't take it personally. If he sees how you “follow the principle,” he will decide that your own “I” is more important to you than his project, and will react accordingly. And in this state it will be useless to talk to him.

: Arguments

A few phrases that can help you convince the client without becoming defensive:

1. “The idea is good. To be honest, I myself considered a similar option, until, nevertheless, I stopped at this decision, simply because it more reliably ensures the achievement of the result you want. "
2. "I recognize the strengths of your proposals, but if we accepted them, we would not only complicate the project, but possibly increase the time frame for its implementation, as well as the costs."
3. “I think it would be interesting to try to implement your ideas. But I am not sure if this is in line with the project's objectives. "

: Abstracts

* Act like a professional, don't be offended by a request to fix something.
* It's about how to improve the project, not how to ruin your reputation.
* If you "follow the principle", then the client, as a rule, does the same.

Don't act defiant

Another reason to avoid defensive tactics when trying to persuade a client to follow your advice is that it is not in your best interest to appear provocative when talking to them. Of course, you are not challenging him, and you have to let him feel it. Here you need to maneuver skillfully; make it appear as if your only desire is to maximize the improvement of the project, and not to reject the customer's suggestions out of a sense of contradiction or because of your low opinion of his competence.

Most people do not tolerate objection, especially from those they pay, because it seems to them against the rules. So don't push. We need to show them that you are thoughtfully studying their proposals, logically developing them, not refusing to comply with their requests. Perhaps, at the beginning of the article, I urged you to something completely different, but once you lose the customer's disposition, it will be much more difficult for you to direct his decisions in the right direction.

: Arguments

A few phrases to smooth out the harshness of your objections to the client:

1. "It is not difficult to make the changes you are asking for, but if you look closely at my design again, you will probably see for yourself that it already meets the wishes expressed by you."
2. “You are absolutely right, the design would become more interesting and original from this. Except, I'm not sure that the functionality of the website would not be affected. "
3. "I would never argue with you, but now, nevertheless, it seems to me that I, apparently, did not explain well to you the essence of the advantages of the approach I propose."

: Abstracts

* Emphasize that you are not challenging the value of the client's suggestions, but are simply doing your best for the good of the project.
* Make him feel like you are refining his suggestions by applying them to ready-made solutions.

Discuss the essence, not the surroundings

Designers very easily fall for purely external, design nuances, and if they succumb to such an impulse, they can immediately lose a client. Stick to the heart of the matter when discussing important decisions with him, highlight points that are in the commercial interests of his firm, rather than extol the beauty of your design.

The customer will be interested in the practical benefits of your development, and you need to talk about it. Significance for business is the main thing. He doesn't care if your design will shock the entire web with its irresistibility; it is important for him whether he will cope with the solution of his problems. Making sure that you see the situation from the same perspective will give you an advantage in the event of a disagreement. A client who knows that you respect their wishes is more likely to listen to your arguments and follow your advice. Resist the urge to delve into a discussion of the external merits of a website that's perfect from your point of view; adhere strictly to the business line.

: Arguments

A few phrases designed to show the client how much you care about the business side of the project:

1. “Approaching the issue in a purely businesslike manner, I am really sure that our development is good in its current form. The changes you suggested are intriguing in and of themselves, but may end up damaging the results. "
2. "I think it is worth noting that by making this change we can reduce the functionality of the design in the conditions in which it is intended to be used."

: Abstracts

* Demonstrate the same attitude with the client on important issues. Always stick to the business side of the discussion, do not switch to external points.
* Make him feel that you understand him perfectly.
* Focus on solving practical problems, leave the entourage aside.

Do not in any way neglect the client.

To earn the client's trust, you need to make him feel that you are hearing him; otherwise, it will only be more difficult for you to persuade him to accept your work in the form that you consider optimal. Every effort you make to be able to insist on your own will pay off in the ease of working interactions.

Just as the neglect you show will cause a similar reaction on the part of the client, your lack of attention to his point of view and vision of the project will result in his unwillingness to listen to your arguments. And then any of your efforts to convince him that further editing is unnecessary will be in vain. Therefore, be sure to demonstrate a willingness to listen to the customer's opinion, for example, using the same comparison technique. Show him clearly how this approach negatively affected the implementation of projects of other brands.

: Arguments

A few phrases to help you make the client feel like they are being heard:

1. "I, of course, listen to you carefully, and I think in other circumstances this solution would have worked, but I am not sure that it could be correct for our project."
2. "I am very impressed by your lively interest, but at this stage, these changes, in my opinion, would rather harm the design than benefit."

: Abstracts

* Listen to the client's suggestions and ideas, discuss them.
* Use comparisons to show him weak sides the solutions it offers.

Do not talk down to the client, try to inspire him

If you need to assure the client that you are delving into his idea, then this paragraph will help you do this and convince the client of the impeccability of your design. Avoid arrogance when explaining your position to him. On the contrary, devote him to the intricacies of design, show how useful little things can be for solving his problems. Sometimes the complexity of the verbal design makes it difficult for the client to understand your explanations.

If you take the trouble to justify your decisions to the client, he will appreciate it and show a willingness to agree with your reasons, which, in fact, rarely happens. He will feel that you are worried about the case. The best way help the person understand your point of view - tell him how you came to that opinion. Your client is almost certainly not very design savvy, and you need to try your best to explain everything to him in an accessible way.

: Arguments

A few phrases with which to start explaining your position to the client:

1. "I understand where you are driving, but if you pay me a minute, I think I will be able to explain that the design in its current form already meets your wishes."
2. “Let me tell you, with your permission, that you seem to have overlooked some of the features of this version. I will be happy to revisit the project objectives with you and show you how each of them has been solved by us. "
3. “I understand your doubts, and without urging you to blindly trust other people's decisions, I would ask you to allow me to explain in detail to you all the controversial points. this option project, and thus, I hope, allay your possible concerns. "

: Abstracts

* Explain to the client your design decisions and the specific reasons that allowed you to make them.
* Overcome the terminological barrier between you and the client.
* Demonstrate your interest so that the client sees how important his project is to you.

Suggest an alternative perspective

Your client will treat the project like a business person, which is quite natural. Perhaps you should balance the categorical nature of his approach with a point of view that is different from his own and not taken into account by him: the judgment of the end user. Every time you ask the customer to give up some of his proposals, let him make sure that you have taken into account the interests of all parties, so you will not look like an intractable stubborn or selfish egoist. You are only concerned about the benefits of the project.

Show the client that you not only listen to their opinion, but also care about the convenience of the end user, for whom, in essence, your design was developed. It's a smart business approach, hard to argue against, and a compelling reason to leave the design intact. Reasoning that he himself looks at the situation only "from his bell tower", while your position is reinforced by concern for the interests of a third party, the client is likely to listen to you.

: Arguments

Several phrases that can help the client put himself in the user's shoes:

1. "I understand what you want, but I think these changes will damage the user rather than help."
2. "For the end user, it is my firm belief that the revision you insist on would create a lot of inconvenience in general."
3. "I understand what you are talking about, but I'm not sure if the user will find it quite reasonable."
4. "Technically, the edit you are talking about is acceptable, but it will negatively affect the user experience, so in our case it is excluded."

: Abstracts

* View the design from the user's point of view and act on their behalf.
* Demonstrate the validity of your approach from a business point of view, this will make the client more accommodating.
* Use the numerical advantage: the client's opinion contradicts the position of both the designer and the user. Two against one.

Consciousness as a clause of the contract

This last visit It is not always easy to use, but, of course, it is worth trying: the so-called, officially agreed upon opportunity to refuse actions that are unacceptable to you. That is, both parties - you and your client - agree to sign a contract, without which, in any case, most designers will not undertake the execution of the order. At the very beginning, try to include a clause in it that secures you the right to make all final decisions during the development of the project, especially when you find the customer's requirements to change something in it potentially detrimental to the case.

Having a contract can be a key factor in ensuring that you can make the final decisions about the project, provided that it is correctly drafted by you.

Not every client will go for this, however, with a successful coincidence and if you are lucky with the client, you can in this way avoid the headache that arises whenever you think that the design is ready, and the customer still wants something more. Try to persuade him by promising that you will use this clause solely to maximize the potential of your design. Let him add his terms to the contract if it makes it easier for him to agree to give you the right to make the final decision.

: Arguments

A few phrases to help the client see the benefits of including a freedom of action clause in the contract:

1. "Of all the provisions of our contract, this is the most conducive to making the vital interests of the project paramount."
2. "If it were not for this point, I would be afraid for our development, not protected from possible interference and unnecessary additions."
3. "If you want to ensure maximum efficiency in the development of your project, then you should not worry about this point, because it is needed only for one thing: to improve the quality of the project."

: Abstracts

* Include a clause in the contract stating that you have the right to make all final decisions on the development of the project.
* Provide the client with the opportunity to add their reservations to this clause so that it does not cause rejection in them.

That's all I wanted to say

The key to the success of any design project is trust and understanding between the client and the contractor. The quality result depends on how quickly these two can come to an agreement, and since the customers are adults, mature personalities with their own picture of the world, the responsibility for building relationships lies with the designer.

Client, who are you, and what do they eat you with?

Even without acquiring a special education, sooner or later, in order to achieve maximum efficiency, a designer has to become a good psychologist. Diplomacy, tolerance and tolerance are the three pillars of communication with clients. These are the basic qualities necessary for the designer for a comfortable relationship with any customer. And then we act according to the situation! We recognize the client's personality type, probe the reactions, apply different strategies of behavior and, finally, achieve the game according to our rules. It is better to maintain formality with someone, to inspire and light up ideas, to make friends with a third, to bow to another, to flirt with a fifth, to joke with someone, to put pressure on someone, to convince this, and to calm down and encourage the latter

The first and fundamental for the successful work of a designer is to define your boundaries and clearly define them for the client. At the beginning of the professional path, in the struggle for each customer, succumbing to "slight" self-doubt, there is a temptation to take a passive, executive position and look at the client from the bottom up, fulfilling any whim and agreeing to every whim. A designer should know his own worth and feel inspired after every meeting with a client. Otherwise, it means that he "sold out", caved in where it was not necessary, or gave in contrary to professional opinion. And what kind of project will the discouraged designer have then?

Difficult customers or "is the customer always right?"

There are very difficult clients with whom it is extremely difficult, and sometimes even impossible, to establish contact. For example, "Some in the forest, some for firewood""- couples who cannot agree with each other. In such a situation, one of them can take a position "for" the designer, and the second - to deny all design ideas and uncompromisingly hack down any proposal, without supporting the opinion with arguments. Situations like this are not uncommon, and the only way to ease your lot is to prepare in advance. When concluding a contract, ask to decide who is in charge, who is responsible for making decisions, and who will communicate with the designer on the project.

"I don't know what I want" is also a difficult type. You can endlessly redo the design, but he will not like anything. It is necessary to explain to such clients (however, this is universal for all) that both are responsible for the result - both the customer and the designer. What happens in the end will be a common result for everyone. Ask to prepare analogs and examples and tell what exactly you like about the selected pictures. Advise the client on resources where he can find a ton of interiors, set a deadline and schedule a meeting to discuss. Or load it with a pile of magazines and a bunch of stickers - let it work! Do not be afraid to give customers tasks - this will include them in the process and help you understand that there is a teamwork going on.

"I want it the same, only cheap""- a very common type. They show pictures of Italian and American interiors and indicate a budget for the entire renovation of a million rubles. Put them on the ground at the very beginning, without allowing a huge work lasting several months - find out the prices for a couple of pieces of furniture from the example provided by the customer, The budget will immediately become clear, and you can safely propose a more economical design without fear of looking in the eyes of the customer as a “mediocre designer who cannot do the way I want.” Beautiful things cost money - every designer knows, but not every client You are boiling in this, this is your area of ​​expertise, the client may not be in the subject, treat with understanding and make a super-project within an affordable budget.

"The Lost Ones""- customers who tend to disappear for several months, or even for a year. There may be a lot of reasons. Remember the boundaries. If the design and field supervision deadlines have passed long ago, the designer has 2 options. further work, relying on the contract, or to offer the client new conditions - for example, to conclude a new contract for architectural supervision or to ask to wait until you finish the current projects - it all depends on the stage at which it was suspended. Remember your boundaries, do not let your customers think that every day they just waited for him to call and did nothing. Again, the general rule of thumb is that both are responsible for the project.

"- shameless and self-righteous. They meet on the way of every designer. Keep your eyes open and agree to do for free exactly as much as you do not mind. As with friends - lend only the amount that you can forgive. this project exclusively by the degree of professional interest. Eyes don't light up - say goodbye right away. The chances are too great that the client will "not like it."

There are many more types of difficult clients, each with its own nuances. Remember one thing - you need to act in your own interests.

Writing an accurate brief is worthy of a separate article. The number of questions asked depends on the professionalism of the designer and the development of his intuition. The main topics to be covered are lifestyle, functionality, style, budget and color scheme. Ask as many questions as it will allow you to have a ready-made interior in your head in the middle of the meeting! Ask the rest along the way, it's okay - on the contrary, the client will know that you are included in the project, you are not indifferent to his desires and needs. And no matter how difficult he was - he chose you, and it is in your power to do a decent job that will bring joy to the client and pride in you - remember this.