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DEVELOPING CLIENTS

In the modern business world, long-term relationships with clients are an increasing rarity. Contemporary business thinking states that businesspeople need to keep their suppliers on their toes by chopping and changing them constantly. There is brutal marketplace logic in this, but it is not necessarily the way for clients to get the best out of designers, where long-term relationships often lead to a deeper understanding of a client’s objectives, and more focused work. However, vigilance is necessary. Look for signs of complacency or patterns of formulaic behavior in yourself and your studio. Be tough with yourself, or your client will do it for you. Wherever possible, it is worth devoting time and energy to developing clients. What does this mean in practice? It means taking an interest in their affairs, and it means showing initiative. It means keeping a line of communication open so that they are able to share their thinking and their plans with you. Regular communication should mean just that, and should not mean pestering. For example, if you hire a new member of staff with a new set of skills or win some new business in a relevant sector, tell your other clients about it. If you come across some interesting information or market intelligence relevant to your client, let them know about it. In the gaps between big projects, if your client needs you to do smaller jobs, such as design invitations or other small items, do this work with the same relish that you reserve for the bigger projects, and use it as an invaluable opportunity to keep lines of communication open.

Even quite smart clients are mystified by how designers and design groups operate.

So it can be surprisingly helpful if you let clients know how you operate: tell them who does what, and why they do what they do. This simple act of demystification can improve the way clients regard you, and improve your working relationship.

 

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VI Choose right option:

SACKING CLIENTS

We’ve talked a great deal about finding, developing and clinging on to clients: sometimes though, you have to dump them. There 1) _______some clients who are frankly exploitative and who can cause damage to you and your company. If you have to sack a client, make sure there are no loose ends. Have you 2) ___________ everything you are obliged to give them? Do they owe you any money? Are there any other links that can’t be easily 3) __________? If you are satisfied on all these points, and once you’ve established that the client is worthless, sack them.



There are other sorts of clients worth ditching: time-wasters and con artists. Believe me, they exist. In the design world, they are perhaps not as 4) ____________as they are in other fields, but they are out there. You need to develop a sixth sense to spot these people. I’ve encountered many time-wasters, and one out-and-out con-man. Both breeds are easy to spot. They rarely put anything in writing, they don’t let you visit them, and they run away if you ask for references.

But it is not only the unpleasant clients you 5) ___________to ditch. I’ve had delightful, well-meaning clients, who despite their good intentions, have been unable to pay their bills. When you discover that a client can’t pay their bills stop working for them immediately. Don’t rack up any more costs on their behalf; put them on hold ( no more work) until the matter is 6)_________. If it can’t be resolved, you might need your lawyer on the case – but don’t exacerbate the situation by carrying on working for someone who can’t pay their bills.

 

1) a) is b) are c) was d) were

2) a) deliver b) delivering c) delivered d) delivers

3) a) serve b) serving c) serves d) served

4) a) plenty b) plentiful c) plenties d) plentness

5) a) needs b) needed c) need d) needing

6) a) resolved b) resolving c) resolves d) resolvant

VII Fill in spaces using the parts of the sentences given below:

 

THE PRESENTATION

Presenting to clients is the ultimate test of the designer’s communication skills.

But no one expects 1) ____________________________. So it’s okay to be nervous, and it is acceptable to be awkward, just so long as your work is good. I see designers getting into hopeless muddles because they are trying to be slick. Don’t be slick, if you are a raw and rough-edged person. Be raw and rough-edged, but be yourself and be passionate.

Here’s another piece of deathless wisdom: the key to a successful presentation is not using PowerPoint. Never use PowerPoint. Your client will have had 2) _______________________. – or someone selling health insurance- just a few days prior to you turning up with your presentation. Unless you want to look like an IT supplier, don’t use PowerPoint.

The other factor in good in good presenting is preparation. If you haven’t organized every aspect of the presentation, don’t bother turning up. Leave nothing to chance. It is especially important that you consider the order in which you show things. 3) _____________________________________________________________ from beginning to end. Don’t make assumptions, spell everything out. Begin by reiterating the brief, itemize your thinking, show your conclusions and end with a concise summary.

The great immutable law of making a design presentation is this: tell your audience what you are going to show them and show it to them. Don’t tell them what to think about what they are going to see, just tell them what it is that they are going to see. Try it. You’ll be amazed. Many designers do the opposite. They throw down a piece of work- something they might have sweated over for many weeks – and start talking about it as if their client had lived through the same voyage of discovery. Big mistake. And while you are rebating on, explaining what you’ve done, 4) ___________________________________. He or she is trying to assimilate something new and perhaps shocking. They are trying to evaluate what they are seeing. But by explaining what you are about to show, showing it, and then clamming up until asked a question, you can greatly assist the process.

Your presentation should also work when you are gone. The people you present to often have to present your proposal to other people, so providing a document summarizing your ideas is wise. But be careful how you brand this document.

Your work has to be good, your thinking has to be faultless, your preparation has to be exhaustive. But you also have to strive to be liked. Talk 5) __________________________,

Maintain eye contact with everyone , listen to questions when asked and conduct yourself like a decent human being.

 

 

a) take your audience on a simple step-by-step journey

b) clearly and good-humouredly about your work

c) the poor client isn’t listening.

d) a PowerPoint presentation from a prospective IT supplier

e) designers to be orators.

 

 

VII Read the text and underline sentences with Participles and translate the sentences into Russian:

 

RECEPTIONISTS

Answering the phone quickly and in a friendly manner is vital in any service business. . Welcoming studios visitors, and arranging basic hospitality is important (actually, creative staff can do this just as well, except they are usually still finishing off the presentation that the client has come to see). But it’s not just in the matter of answering the phone and looking after visitors that receptionists are important; it is also essential to have someone to act as a friendly gatekeeper to deal with pushy photocopier salesmen and shy job-seeking students.

At what stage do you decide you need a receptionist?

You need to think about acquiring a receptionist when you are generating enough calls to make it essential that you turn them into live jobs.

VIII Fill in gaps with preposition from the table:

PHILOSOPHY

To by of in to on up in to to for to on to to in to to of

 

As well as good people – and good work – studios need _____have something they can believe _____. And they need _____ have an ethical base ____ which _____operate. _____ practice, this usually means that designers have “ a creative philosophy” backed ______ _______ “ business ethics” – although, when it comes _____ being a working graphic designer.

As well as having good people – and doing good work- studios need _____have a philosophy ; they need _____have something they can believe _____ creativity, and they need _____have an ethical base ______which _____operate as a business.

_____ example, one ______the creative philosophy has always been ____do good work regardless _____the budget.

 

IX Read the question and the answers and write down your idea about it ( argumentive composition):

What is the hardest thing about being a graphic designer and what is the best thing about being a graphic designer?

1/Doing a great job, but for the wrong person.

2/ Refusing to work for someone, and realizing you were right.

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X Look at the pictures and analyze what these people’s attitudes are:

 

Picture A

 

 

 

Picture B

 

XI Read and check your answer in previous exercise:

Picture A

An open and confident heading George Bush. His broad gesture, legs firmly apart, torso bent slightly toward the camera and smiling face, express and arouse sympathy. Bush takes his stance considerably more space than Ehud Olmert, which suggests that he feels confident. The left hand freely based on the knee. Straight back and seizing a large space create an aura of a man confident and likeable at the same time. Arrangement of chairs makes Olmert must adopt a closed attitude and stoop to Bush. It makes the feel of a less open and matching the caller - massively. His body from the need to take less space, which also suggests that sub-issue and a lower position in the social hierarchy. Olmert can not express an attitude (inclination) liking to the observers because of the right hand immobilized, and therefore despite the smiles and legs apart and is perceived as a more closed and distant. Finally, we perceive Bush as host

 

 

Picture B

Woman in red dress clearly is unfavorable: Closed posture - crossed his arms and legs - the right leg shows the direction "from the" talking woman. Woman in red dress clearly is ill disposed: the closed position of the body - arms crossed and legs - the right leg shows the direction "from the" talking woman. Body slightly tilted back and his hands dangling show a lack of sympathetic resonance and emotional disapproval. A woman second from the right side is clearly interested. The torso leans toward the speaker, the head is up. Appropriate orientation of the face indicates the referral comments. Raised rate reveals an emotional response to the talking. Body position is very similar to the interlocutor, reflecting the emotional resonance and entered into close contact. Sending this was probably non-verbal signals that makes talking directs his words to the woman. The woman on the right side of an interested but tense: a closed body posture. Left and right hand protect the body and neck, legs tightly, protect the genital area, a bag protects the stomach and may act as shield. The inclination of the body is partly a function of protection and shield the abdomen, is partly an expression of interest, like the tilt of the head. It is worth noting that a woman expressing the strongest disapproval is also very unlike the other three. Similarity is one of the key factors emerging sympathy.

 

XII Draw your own picture or glue it and explain in writing form what it means:

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XIII Comment on the following phrase in writing form. Write an argumentive essay:

Do you have a design philosophy?

Philosophy is: no philosophy.

 

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Date: 2015-02-28; view: 837


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