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8 excerpts on the topic “Presentation”
Random Studio
[…] DL
I am responsible for new business and if there’s a new client, I want to meet them. So my design approach – and it’s a big part of the quality of the project – is reading the room, making a connection with people: who are they? What are they concerned about? What are they inspired by? And who in our studio can react in a way that is relevant for these people? How do we work with them in a way that they keep feeding the inspiration, the creation and so we’re not afraid that it might go wrong? I really try to tune in… My part is more the tuning in on the human level. […]
Tomorrow Bureau
[…] JF
if you can sum up an idea and send it to a client, then you don’t need to present it in person (…) your communication skills should be good enough to be able to clearly communicate an idea in a document. […]
Brian Roettinger
[…] Presenting ideas has to be as straight and direct as possible. […]
Brian Roettinger
[…] You have to build trust with clients and build a conversation where they understand your creative thinking and your problem solving. They must be willing to take the risk. And you have to show them why it’s important to take risks. […]
Yorgo Tloupas
[…] I tell my students that no matter how good they are there’s always going to be someone less competent and less gifted than them but better equipped at selling themselves (…) then let’s make sure competent people also manage to sell work of quality. […]
Yorgo Tloupas
[…] In my profession you can never think for one second that people comprehend what you’re doing. They’re incapable of telling the difference between a good logo and a bad logo, a good font and a bad font. A rule is to only show options you’re proud of, so you’ll be pleased no matter what they choose. […]
Mirko Borsche
[…] Basically, the client knows best how his brand is working and how it should communicate. But it’s always the strategic idea, or the dogmatic thinking behind the design first. It’s very important for people to follow the reasoning behind something which may be disruptive, because otherwise, as I’ve said before, it’s just “looking good” or “weird”. […]
Liza Enebeis
[…] In terms of process, typically, there is some point when there is a presentation and they want to see a concept. However, before that, in our sketching process, we stop halfway and we invite the clients to see our sketches. (…) We will make a selection but there could be tens of things that we will share.
With the client we then have a discussion on what works, what doesn’t work, what they feel is right. It can be very confrontational because they see a lot and not everybody knows how to deal with image. (…) From their reaction, we get a better understanding of where we have to go. (…) That initial process, we call it “the kitchen review”. […]

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