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Saturday, August 14, 2010

20 Worst Habits of Clients




20 Worst Habits of Graphic Design Clients
Below is a common list of issues designers have to deal with while working with clients on projects and how to avoid or solve those issues in a professional manner.
This article was written by Gino over at YouTheDesigner.
1. Wanting Great Designs for Cheap Prices
Because everyone seems to have Photoshop and know a designer nowadays, many clients tend to have a bad idea of what design is worth. While it can be ok to have low prices when you are starting out, when you are confident enough and your work is good enough you should come up with prices that make it worth your time.
Many clients also try to outsource their projects to India and other places where designers work for rock bottom prices, but you need to stick behind your work and hold out for those clients who know what you are worth. Let them know why you are the best choice!
2. Asking you to Design on Spec
This is when clients want to see a finished design before they pay. You should avoid doing this as much as possible, but in times of desperation it could be he only option. Be confident though and let clients choose you based on your portfolio and not on spec. Be especially careful of designing on spec for people on classifieds and forums because it’s a common scam in places like those where they really are not clients, but designers themselves looking to steal your work and use it for their own projects.
3. Slow Payments
Some clients are notorious for paying slowly or not at all. The way I combat this is to ALWAYS require a down payment before I begin work. For smaller project I usually ask for all the money upfront and I never send the final files until I receive the last payments.
4. Not Planning out the Project Upfront
I find it extremely important to plan out a project as much as possible before starting work. Even if they have a tight deadline make it clear the project must be fully planned out before you begin. After all meetings and discussions are done write up an estimate listing all of the details of the project and your prices and terms.
5. Not Giving you all the Copy and Images Needed up Front
This is probably one of the most common bad habits of clients. I try to stress several times that I require all copy and images before I begin and this usually gets them to give it to me on time. Although don’t be surprised if you end up having to design using dummy text and make annoying adjustments later to fit the actual copy.
6. Not Having High Resolution Images for Print Projects
This is usually due to the fact that clients do no understand the fine points of resolution or that they just do not have any high resolution images available. Try recommend using high resolution stock photography or illustrations instead, but if they really must use those images try to keep them as small as possible. If this happens make sure you write in your contract that the images provided were of low resolution and may not reproduce well when printed.
7. Forcing you to use Poorly Designed Logos and Other Elements
Many times clients will ask you to include pre-existing logos or other design elements within the project you are working on. You will have to judge when and when not to argue this if you feel it hurts the overall design. Learning how to negotiate and inform clients on what you believe is best can be considered an art form and takes practice!
8. Can you Make that Type Bigger?
This has always been on ongoing battle between designers and clients and has become a sort of inside joke for designers. Even Paula Scher commented on the issue by naming on of her books Make It Bigger.
9. Asking for Way too Many Revisions
This one can be pretty easily avoided by establishing a set amount of revision rounds and initial concepts before starting a project. Make sure you get this in writing or at least save your emails where they agree to your specifications. This is most commonly done in the logo and identity design area of graphic design.
10. Asking for Additional Work on top of the Original Agreement
This one can be good or bad. It’s bad when they spring additional work on you and don’t want to pay more, but it’s good if your agreement outlines the pricing for additional work.
11. Never Available to Questions or to Look at Samples
Often clients can be extremely busy and working on multiple projects at once. As designers it’s important for us to be able to contact our clients to show them samples, revisions and ask important questions. This one is really up to you guys. You can either try and deal with it and get the project done or you can let the client know about the issue and try and resolve it or drop them.
12. Pinning Printing Costs on You
Many designers handle printing for clients, but I try to stay away from this. I’ve seen way too many clients try and stick designers with outrageous printing bills because of an error in the final design. I basically say I can recommend printers to you and do an initial check of the files to make sure they are print ready, but it’s up to you and your printer to do a final prepress check and make sure the files are correct, because I will not be held responsible for any printing costs whatsoever.
13. Not willing to pay for Additional Costs
This usually turns out bad if you try to spring additional costs on clients at the end of the project. Once again this problem can easily be avoided if you specify upfront what the additional costs are or might be. This can include stock photography, stock illustrations, printing costs and rush fees.
14. Canceling Projects
Whether you or a client decided to end a project you should be covered in some way. Using a contract again is a simple way to protect yourself. Simply state that if a project is canceled, you will invoice for work completed up until that point. Some designers give no refunds at all and some are happy to refund clients if they are the ones who drop the client because of issues.
15. Returning Many Months Later for Login Information
I recently had a client from over two years ago contact me in desperation because he lost certain login information. Lucky for him I keep good records and I was easily able to look up his info. I’m not sure what would have happened if I didn’t have it, but having it in my records made it an easy problem to solve.
16. Asking for Files Years Later
Similar to log in information clients often misplace files you send them. I always keep files on my computer, even from projects years ago and I make sure to back up my files on multiple external hard drives.
17. Legal Action
No one likes this one, but it does happen so be prepared. Always save emails and paperwork in case you need to present them as evidence. Also make sure you find a lawyer that can help you if something comes up. Ask family and friends if they know any good lawyers who would be willing to represent you if a problem occurs.
18. Over Controlling
Some clients are very over controlling and don’t allow for much creative freedom. When dealing with an over controlling client it’s important to let them know you are the designer without sounding to harsh or rude. Just give them your honest opinion on issues and suggest things when you can without being to pushy.
19. Lack of Research & Planning
Sometimes clients want a website or some other project done, but they have absolutely no idea what’s going on. By this I mean they have done no research or planning before hand, but still want a complicated website that’s easy to update.
This makes things extremely difficult for designers because we have to explain every last detail several times for clients. While helping clients is our job there are some clients who really need to go back to the start and do more research on what they are getting themselves into.
20. I Know Everything
Similar to over controlling clients, some clients think they know everything there is to know about design and what your job entails. They tend to tell you exactly what to do with your designs and can be very pushy. Sometimes you have to just deal with this, but as mentioned before don’t be afraid to give your input. I mean they did hire you because you are a professional designer right?

How to get clients to say yes to your designs

Yes - Photo courtesy of (Michelle)
Paul Boag, a famous web designer and host of one of the coolest web design podcasts out there, Boagworld, did a great presentation on how to get clients to say yes to your designs at the 2008 Future of Web Design Conference.
Paul talks about how to make clients understand what we do, while giving us some tips on how can we make them approve our work. I highly recommend you to watch the video below, but for those who do not have 35 minutes spare, the video is summarised below.
NB: In the video you can not see the slides on the projector but you can see the slides here. I suggest you have a look at the slides before watching the video.

So, how do we get clients to say yes?

Paul kept stressing that the designer’s relationship with clients is fundamentally flawed.
We have to face the fact that a big part of our job is to nurture our client relationship. In many ways, we treat the clients like Monarchy and see ourselves as their servants. Often times we follow their leads, in a submissive way, and are afraid to express our opinion.
It’s time for us to change, moving from a master/servant mentality to a peer to peer mentality. We have to take the role of an expert and make them perceive us that way. But how?

Change The Relationship: Be the expert

Be The Expert
Have a methodology. A methodology puts you in control. It enables you to set expectations with the client and lets them know what is coming.
Clients want to have a sense of what is coming next. Explain the process, the stages the project will go through. Have a design process. This way you’re setting yourself up to be the person who’s in charge of the relationship. Put yourself in your clients shoes: They are nervous & unsure if they did the right decision to go with you. Make them feel confident in the situation. Make them feel confident that picking you, your studio was the right choice.
When kicking off a project, make sure that there’s a thorough research phase(depending on your process this can entail: success criteria, business objectives, competitive analysis, priorities, user personas, user expectations, site personas) All of this research will help you explain WHY you are doing what you’re doing later on. You need to prove that you are the expert by justifying your decisions. You will have to constantly refer back to the information you gathered in the research phase.
Justify it also by referring to third party experts. People love facts and figures. By referring to other experts, you become an expert by association. Write down everything a client has agreed to, that way you can refer back to it.

Be positive

Be Positive
We need to stop blocking the ideas our clients have. Paul says yes to anything what his clients say but then goes ahead and explains the consequences. “Yes, that’s a good idea, but then, keep in mind that this would…! But hey, here’s an alternative, why don’t we do this instead.” It’s all about being positive. It’s about offering smart alternatives. Be enthusiastic and caring.
Clients are not stupid, they are intelligent clever people. Just because they don’t understand the web, it doesn’t mean they’re not clever. They will pick up on your condescending attitude very quickly. We need to give them credit for what they’re good at. They know their target audience. They know their business. They might have a hard time trying to communicate it in a way that we understand, but we have to help them do so. Always keep in mind that the client will most probably have to live with the design that we’ve built for them for a long time. If it was your portfolio site, wouldn’t you probably hesitate a few times? Haven’t we all been there?
We have to stop excluding the client from the process. Designers have this fear of showing work that we haven’t finished. We need to be better than that, we need to get over this fear and include our client often. By getting the client involved in the early stages of the design process, they feel part of it and therefore feel valued. They are much more likely to sign off a design that they’ve been an actual part of. This may not be appropriate for all designs but in web design it is appropriate.

Shape the client’s role

clients-role
We need to look at shaping the client’s role. When starting a new project, have a kick-off meeting to explain the overall process but also explain what’s required of the client. They might have never worked on a site, have never worked with you and simply don’t know the process. We have to educate the client, and explain what their role is, which will help them understand each step and also constrain them. By educating the client you can set boundaries.

When educating your client:

Focus on problems
Too often we talk about solutions and not problems. “I don’t like that blue, I want it to be pink”. That won’t do anything for you. You need to find out what the underlying issue is. Always focus the client on a problem, not a solution. The client should instead say “I am not sure the blue is going to appeal to the target audience”.
Focus the client on the business
Concentrate on business objectives. Don’t let the client get caught up in the small details. Focus them on the business objectives of the site. We need to keep the client away from the knitty gritty.
Focus the client on users
What Do You Think?
Shifting the client’s view on users, moves them away from personal opinion. They usually say “I don’t like“… Get them to say “I don’t think our users will like…”
When you send a client an email with a link to designs, say: “How do you think your user will react to this?” instead of “Let me know what you think!”

Managing Feedback

We need to accept the fact that when dealing with clients, politics will get involved. Even if you work on small business websites, where you talk to the company owner, he’ll show his wife, or his 10 year old nephew. With bigger clients, they have whole committees. Politics are a big part of our day to day work and we have to learn to deal with it. What Paul suggests is to find out who these people are and, if possible, talk to them directly. If you can make them feel listened to, and talk to them directly, then they come on board. They feel listened to and valued. They will end up defending you and your designs.
Design By Committee
Committees
In the real world, there is going to be design by committees. The sheep mentality is the danger. Try avoid them getting all in one room. Have separate conversations with them.
  • Benefit 1 : You’ll avoid the alpha male dominating the discussion.
  • Benefit 2: You’ll avoid the sheep effect and the ‘design on the fly’ problem.
  • Benefit 3: You’ll be the only one that knows the overall picture. You can draw the information together and you can refer back to decisions they have made and justify.
But most of all, try to control the type of feedback you get. Again, focus on the user. When dealing with large committees Paul issues a questionnaire to ask specific questions to focus the client on the right way of thinking. We have to make sure they focus on the issues they should be really focusing on.

Types of clients and how to deal with them

Clients
Paul explains that there are four types of clients and you must deal with them each in their own way.
The Difficult Existing Client
Become the positive person. Be pro-active, Be excited. Quote experts and become an expert by association.
The No Clue ClientYou need to take control of the relationship and tell them what to do. “This is the right decision and I really believe that…”. You need to be reassuring.
The Micro Manager ClientRefocus them on their role. The really powerful thing with micro mangers is the question of asking why? Focus them on problems and not solutions. “What are you trying to achieve by increasing the logo size by 20pixels?” And with this you might come up with an even better solution. You will have to constantly refer the Micro Manager Client to stuff they previously agreed on.
The Marketeer Clients:With marketeer clients you will have to explain the difference between print and web based design. They speak a special language all on their own which you will need to adopt. Don’t talk grid, colours, white space, etc. You will have to talk selling points, 

Top 7 Fonts Used By Professionals In Graphic Design

1. Helvetica

helvetica
Without a doubt, Helvetica is the most heavily used font by professionals (and also by the not so professional) in graphic design. Although some praise the font, many believe that it is spaced too tightly.
And as Vivien pleas in her 16 most overused fonts article“Understand that you can’t always rely on Helvetica to illustrate and deliver your every message. Helvetica is not perfect for everyone and every occasion.”

2. Trajan

Trajan
Trajan finds its way into many Hollywood movie posters and anything remotely to do with religion, law, marriage, class or the past. You can check out the flickr pool for more uses of Trajan.
A bit of history on the font Trajan… Trajan is an old style serif typeface designed in 1989 by Carol Twombly for Adobe. The design is based on Roman square capitals, as used for the inscription at the base of Trajan’s Column from which the typeface takes its name.

3. Garamond

garamond
Although there are many versions of Garamond, the most used version today is theAdobe Garamond version (as seen above) released in 1989. Garamond is a great font for magazines, textbooks, websites and long bodies of text and was recently named the second best font (after Helvetica) by a German publication.

4. Futura

Futura is a font that comes up often in large displays, logos, corporate typefaces and in books where small text is needed. It is based on geometric shapes (near-perfect circles, triangles and squares) which became representative of the Bauhaus design style of 19191933. Futura has an appearance of efficiency and forwardness.Some do hate the font though.

5. Bodoni

Bodoni is a great font for headlines, decorative text and logos. Bodoni has a narrow underlying structure with flat, unbracketed serifs. The face has extreme contrast between thick and thin strokes, and an overall geometric construction which makes it a very aesthetic looking font.

6. Bickham Script Pro

Used mainly for formal occasions, Bickham Script Pro is a font which does the job well… Cameron Moll even recommended it in his article “Typefaces no one will get fired for using.” The ‘not-so-trained’ designer usually vouches for Vivaldi instead which is one of America’s most hated fonts. Another great alternative would be Sloop.

7. Frutiger

The Frutiger font family is neither strictly geometric nor humanistic in construction; its forms are designed so that each individual character is quickly and easily recognised. Such distinctness makes it good for signage and display work and it is often used in Web 2.0 Logos.
The full family has a warmth and subtlety that have, in recent years, made it popular for the smaller scale of body text in magazines and booklets.

27 Classic & Elegant Serif Fonts




Just Design It
“There are now about as many different varieties of letters as there are different kinds of fools.” Eric Gill
Choosing a font for a project isn’t always an easy task but hopefully this list of professional classic and elegant serif fonts will make the task a little easier… or maybe not.
Nimbus Roman
ITC Garamond Light
Minion
URW Antiqua
Times
Baskerville
Baskerville No. 2
Mrs Eaves
Cheltenham Old Style 2
Cushing Std Book
Aldine 721
Plantin Std
Sabon
Arno Pro
Palatino
Centaur
Bookman Light
Perpetua
New Century Schoolbook
Berthold Baskerville
Scala Pro
Garamond Premier
Bembo
Times New Roman
Adobe Caslon
Bodoni
Goudy 38