Rules, Relations & Reasons - The A-Paper Part VI

Yah-Leng Yu, Foreign Policy - A project is only as good as the client

What do you think makes a good client?

YY: A good client is someone reasonable and knowledgeable. They understand the creative process and even if not, they are also someone who has an open mind. A good client also does their homework and research and therefore help to push/elevate the designer's work to the best place. They are willing to learn and work together as a team with the designers to produce the best product for their business/customers. After all, as I said, a project is only as good as the client.
 

How do you deal with a 'bad client' if the project has already started?

YY: We will still try our best to deliver what we can do within our limits. We will devise 'systems' and plans to make sure we are able to manage and control the situation better. It certainly will test our skills as project and client managers.
 

Through experience, has it become easier to judge potential new clients?

YY: Yes, for sure. It all comes with experience. There are immediate tell-tale signs from either behavioural or verbal interactions.
 

What are some of the tell-tale signs that you’ve noticed?

YY: Usually, a few things – the way they prepare for the meeting – if they have done research on our studio before meeting us. The first meeting shouldn’t be just going through our portfolio with the prospect, in my opinion. Also, have they actually done homework on their own industry before the meeting. The way they speak to us, whether they are referring to us as 'vendors' or 'designers' or 'consultants' ; the former would not be good of course most of the time haha. Also, if we ask them if they have a number in mind they allocated for the budget, if it draws a blank it could be a sign as well.

Jesse Reed, Order - no moodboards

Why do you think moodboards shouldn't be a part of the design process?

JR: Moodboards result in visual derivatives. Yes, it’s hard to create something truly unique, but leading with aesthetic influences as opposed to meaningful connections further propels the cycle of sameness. They are a fundamental flaw to any design process, in our opinion.
 

Is it relevant for designers to stay up to date and be aware of the work their peers are making?

JR: Of course. Be aware of what work is being produced by our profession. Be excited by it!
And hell, even get ideas. But at the end of the day, once you’ve absorbed your surroundings, focus on what meaningful relationships that you can create, not what has already been created for someone else.
 

How do you typically kick off the research and early ideas for a new project?

JR: Listening to our partners and hearing what position they’re in. Typically they require some ‘tool' – that could be a logo, a template, or a website – our first order of business is providing that tool. Once we are aware of what needs to be created, we can then dig deeper into their existence and find what visual (or conceptual) relationships can be made. Sometimes this process includes sitting in on classes at a liberal arts college, or touring a farm, or getting schooled on blockchain. Sometimes all we have is Google or a book – each discovery process is different (and that’s what makes it fun!). Nothing we propose is arbitrarily self-fulfilling, and everything has its purpose.