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Lesson for students of design faculty

Lesson 5

I Look at the pictures and match the description with the picture:

Picture 1 Picture 2

Picture 3 Picture 4

 

Picture 5 Picture 6

 

 

A) Nonchalant attitude of the body, occupying much space (extended elbow) providing a fixed social position and self-confidence.

 

B) Increase significantly correlated with the perception of a person with authority

 

C) Slightly bending the head, left hand based on the table, as though seeking support, parted lips: to encourage contact, grooming, and perhaps prone to. Straight silhouette, straight neck: a signal of well-being, good self-esteem. Hidden hand carries an element of mystery and anxiety, curious, intrigued.

 

D) An open posture. Spread out his hand, palm visible, shirt undone at the neck, the foot extended toward the viewer. Image of openness and friendliness

E) For a closed ideal attitude is missing only the jacket buttoned to the neck and chin slightly lowered.

 

F) Attitude energized in a woman on the left side, however, with locked legs at the knees (see further - the nature of oral sex). Depressed in the second position: shoulders and head lowered, looking down, back rounded, immobile diaphragm, shallow breathing.

 

Picture 1 Picture 2 Picture 3 Picture 4 Picture 5 Picture 6
           

 

 

II Translate the words and word combinations into Russian and make up your own sentences with them:

1)to be capable

2)a cool detachment

3) to be obsessed with value for money

4) suspicious of designers

5) to be hyper-attentive

6) to be challenged

7) the modesty and self-critical skills

8) to make snap judgments

9) to feel out of fear and uncertainty

10) successful outcome

11) the eventual outcome of any project

12) to evolve a relationship

13) in a frank and open manner

14) to cement a relationship

15) a catered lunch

16) a brutal marketplace

17) vigilance

18) a posh restaurant

19) signs of complacency

20) to take an interest in affairs

21) to do the work with the same relish

22) to exacerbate the situation

23) to pay the bills

24) to reveal oneís soul

25) to turn up

26) to make assumptions

27) a concise summary

 

 

III Read, translate and make the questions to this text:

 

The work of designer is connected with clients.

When the client and the designer are in sympathy, they can together produce better work than that of which either alone would be capable.

Without clients there is no graphic design and without demanding clients there is no great graphic design.

Treat your clients like you treat your friends. This is not saying make your clients into friends; just treat them like friends. A certain cool detachment is recommended, although it is perfectly fine to have friends as clients, and indeed it is quite common to have clients who, over time, become friends.



But there is much to be said for keeping a barrier between intimacy and professional matters. Nevertheless, just as we have to work at friendships, which can be destroyed by a casual remark or a selfish action, so we also have to work at maintaining client relationships. And to make matters more difficult, no two clients are the same. They all need something different- this one needs lots of attention, this one is obsessed with value for money, this one is suspicious of designers and unconvinced by arguments about the value of good design. Designers have to be hyper-attentive to the individual needs of clients. Finding out what they want from you- from design- is the first task of the designer. Assuming that they all want the same thing , and assuming that they all want what you want , is dangerously short- sighted.

This is not to say that clients are always right, or that you should do everything they say. Clients need to be challenged when they are wrong, and by not challenging them we are doing them a professional disservice.

The relationship must be one of equals.

Designers must also have the modesty and self-critical skills to know when they are wrong.

Designers must resist the temptation to tell them what to think , or how they should be responding to our work. This aggravates clients and denies them the free role that we, as designers, expect to enjoy ourselves. Telling a client what to think about work is the equivalent of a client telling a designer how to design. You must always allow clients to come to their own conclusions before you do or say anything. Then, and only then, if they donít share your view, and if you are sure that you are right, you can argue your case. But remember to do it from the audienceís perspective, not your perspective.

Time is also essential in allowing clients to formulate a response. Never demand an immediate response. Encourage your client to ď think about itĒ , before giving you a definitive response.

It is also advisable to insist on a period of consideration if you are presenting to multiple decision makers. In this situation, individuals will feel the need to make snap judgments so as to assert their independence; others will avoid saying what they really feel out of fear and uncertainty.

There is no such thing as a bad job, and the responsibility for a successful outcome rests firmly on the shoulders of the designer. Of course, it is true to say that designers occasionally find themselves in impossible situations, trapped in projects where they are powerless to act and where they are reduced to slave labour. But in most cases, the eventual outcome of any project is in the hands of the designer. Failure to accept this leads to unhappiness and mediocre work.

 

____________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

 

IV Fill in spaces using bold-typed words, transform them into necessary from:

Once youíve got a client, and once youíve _________to his or her ways of working, and once youíve evolved ADAPT
a ____________that makes working with them rewarding both creatively and financially, itís worth hanging on to them. RELATE
_________a client is easier than finding a new one. RETAIN
And itís worth remembering that the most difficult job you will ever do for a client is the ______one you ONE
do for _______. THEY
Designers forget this in their rush to chalk up an instant hit. In doing a first job for a new client, the designer encounters problems that simply wonít be problems ___________time round. TWO
Yet this doesnít stop impatient designers condemning a client as __________bad, when it is merely a case of ď first job syndromeĒ . IRREDEEMABLE
The smart designer talks to his or her client about the problems in a frank and open manner. Explore ways of resolving ______questions in the future. THIS
If you demonstrate a _________ to change and WILL
adapt (without losing your integrity) your client will bend ________. ACCORDING
If not, perhaps they are not worth hanging on to. Repeat business is highly __________, but you mustnít suppose it will happen automatically without effort on your behalf. DESIRE
You have to tell your client that you are available and willing for more work. Iíve never been a fan of client __________, ENTERTAIN
but at the end of a successful project a client lunch can often be a good way to cement a relationship, and provide a platform for a discussion about your _________relationship. WORK
Get your client to come to your studio and have a catered lunch. This ______out a better signal than taking him or her to a posh restaurant. SEND
And itís __________. CHEAP

 

V Read the text and write out key-sentences which express the main ideas:

 


Date: 2015-02-28; view: 724


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