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About ways to avoid the “eternal”

About ways to avoid the “eternal”Standard start
The customer found a good designer, agreed with him about the work. The work begins with the fact that the designer is happy to receive an advance payment and coordinates (draws up, approves) the design specification for the design, taking into account all the wishes of the customer, heard before. There comes a dead line. At the appointed time in the mail client designer appears: “Message sent.” After some time, the long-awaited call is heard …

Standard finish
– What did you send me? Is it called design ?!

Not. Fortunately, in most cases, the reaction of the client to our work is not the same, but long exhausting changes, alterations, corrections that significantly change the look of the design are provided. Naturally, the designer is dissatisfied with the edits and believes that the design is flawed, work for nothing. Further, he writes to all instances about how bad the customer got to him, and in general all customers are incompetent, and they have no artistic taste, and it is impossible to work with them.

What to do? Who to judge?
There was a lot of debate on this topic. They blamed everything and everyone, including the weather and the autumn depression. But in some cases the designer is to blame for this. You can defend it indefinitely, stubbornly talk about “wrong” customers, BUT …

Each project is not created by chance. It was not because the director suddenly had a vision in the early morning, and he ran to find someone who would help him create a website. Any customer is primarily interested in their goals of creating a site. (see first article). And if the designer failed to understand his goals or added his goals there, then the blame is only his. Those. A problem occurs when a distortion of the original design objectives pursued by the customer appears.

In some cases, the inaccuracy of the transfer of goals is due to the large number of intermediate links (art directors, managers), who interpret the source material in their own way.

But in general, this is due to the great love of designers for their work. Every good designer has his own portfolio, which he shows to potential employers and with which he gets new orders. And the second, after the money (and, perhaps, the first), in which he is interested – is that the work embellished his portfolio. The designer takes care of the spectacular work, how to make “on the level”, “non-standard”, “fresh style”, “diverse”, etc. As a result, the design often differs greatly from the initial ideal look. And it does not at all those tasks that were set initially.

It is often much more interesting for a good designer to experiment with styles, to create artistic disorder in the womb of a site, rather than to make a simple, banal product that a customer needs. You cannot blame him for this, exactly like any representative of the creative profession.

At first, it seems that experimentation is a normal creative process, and it has no serious consequences. But the main problem is that the designer is incompetent in the field of work of the customer. He cannot determine which nuance will help the customer in achieving his goals, and which, on the contrary, will harm. He has no idea that a slight change in style, giving it a shade of bright childhood, warm emotions can, for example, severely undermine the reputation of a solid bank.
How to be a designer in this situation? You can, of course, draw everything according to generally accepted templates, focus on “convenient” and “understandable”. But not always the best solution. Or you can risk your profit, customer profit and fantasize, making intricate “pas” with a pen on the canvas of the future site.

I believe that the best method is as follows: in order for the new design not to “fall down” to the customer, like snow on your head, you must first approve all the “design highlights” and clearly provide examples. That is, in advance to notify the owner of the bank that “I want to add more sunny childhood to the design.” He, as a rule, is well versed in the image of the bank and can tell what will harm him and what will help.

Of course, intermediate sketches that no one except the designer will understand should not be shown, but at the level of ideas it is necessary to inform the customer. Approve intermediate ideas.

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