The scenario you have described is played out all the time in large and small markets and has plagued famous designers as well as unknowns. At some point we have all been blindsided by the words, “I just have some minor changes,” only to discover that the revisions being suggested are a far cry from minor and ultimately destroy the design.

Any number of reasons exist as to why a client might be “inspired” to make a 180-degree change or want to “tweak” your work (often there’s no difference between the two). Your contact may not be the real decision maker, or there may be others unknown to you with greater influence.

Maybe your solution did seem workable at first glance, but further reflection brought obstacles to the client’s mind. Occasionally the project parameters— or the client’s marketplace—have changed and you weren’t told. Or maybe the client is just wishy-washy!

So, how can a designer maintain some degree of control with regard to client involvement? It takes a little forethought. There is credence in the adage “An ounce of prevention is worth a pound of cure.” Here are six potential solutions to the dilemma:

1. Ask. And ask again. Sometimes designers get their work changed because they weren’t initially given important information. It’s smart to ask a lot of questions, including some seemingly obvious ones; the expected answer might not be the one you get. Make it a practice to end your briefing meeting with a summary catch-all question such as “Is there anything else I should know or keep in mind?”

2. Do your homework. Even after you’ve asked all the intelligent questions you can think of, there are still bits of information you can gather that might prove valuable. What are the competitors’ colors? Are there visuals or imagery to avoid in this particular particular industry? What has been done successfully (or unsuccessfully) in like situations? By taking the lead to supplement the project brief or client instructions, you not only score points for initiative, you potentially save yourself a lot of agony.

3. Show roughs. While we all want to have the “tada” moment when we unveil a brilliant and perfectly executed solution, there are occasions when this approach is counterproductive. Valuable time can be lost pursuing a wrong path, resulting in unrecoverable time, money, and client confidence.

4. Help them see. Sometimes clients make changes because they are not grasping what you envision. Certain special effects are difficult to represent in comp or prototype form—and as unbelievable as it may seem, even the use of lorum ipsum rattles some inexperienced decision makers. Take the time to fully explain your concept. Bring printed samples of similar executions. Ask questions to ensure your client really is able to understand the vision you have for the end product.

5. People are people. Even when your client seems to like your proposed design, keep in mind that most people avoid conflict. They want to like you and your work, and it can be very difficult for them to speak up while you’re in front of them. Look for nonverbal cues, such as a lack of eye contact, increased throat clearing, or outright hints of noncommitment like “I’ll need to get back to you.” Find the courage to ask if there is anything about the design that concerns your client or prevents your solution from being on target. Then, listen to the answer without interrupting or defending.

6. Know who’s boss. It might be helpful during the initial briefing to ask about the approval process: Who has the final authority? When practical, see if you might present your solution to all the stakeholders— those who could potentially squelch an idea—at the same time. If nothing else, this ensures that all the participants have the same information, and that you receive feedback in an unfiltered form.

Tips from others who have been there:

• “Writing a strong strategic creative brief is our best defense: We can always go back to the agreedupon purpose and goals to remind the client why we designed what we did in the first place. If that doesn’t work, always remember: ‘There is money to be made in revisions.’”—Steve Liska, Liska + Associates

• “If possible, do what you can to get the client to sign off on a design direction or idea every step of the way. If they want to go back and change something, usually the idea of having to pay extra for it is enough to stop them from doing too much damage. Another idea is to get several opinions from other people unrelated to the project. If the client is ‘ruining’ the design, other people will see it too, which may give you a leg up when you go back to the client and plead your case.”—Dan West, Fauxkoi Design

• “I always try to make presentations in person. It seems that whenever we succumb to a request to ‘shoot over a PDF,’ we end up with problems. This policy also results in deeper client relationships because of the face time we have together.”—John Sayles, Sayles Graphic Design

• “I’ve learned from experience that the best way to deal with this is through communication. I listen completely to what the client is saying and make sure not to interrupt them at all—even if I know what they’re suggesting is not a good idea. Before responding, I think about what they have said and figure out which of their suggestions is valid. Often clients think that they are not doing their job if they don’t make changes. I then give a clear and analytical response as to why what they are requesting works or doesn’t. It helps to remove much of the subjective and emotional from these discussions, especially when it comes to color.”—Stephanie Aaron, Aaron Design

Recommended resources

The Graphic Designer’s Guide to Clients: How to Make Clients Happy and Do Great Work, by Ellen M. Shapiro, $19.95, Allworth Press

Marketing and Selling Design Services: The Designer Client Relationship, by Mary V. Knackstedt and Laura J. Haney, $36.95, Van Nostrand Reinhold, www.amazon.com

Graphically Speaking: A Visual A-Z Guide for Better Designer-Client Communication, by Lisa Buchanan, $32.99, David & Charles

The Graphic Designer’s Guide to Creative Marketing: Finding and Keeping Your Best Clients, by Linda Cooper Bowen, $60, John Wiley & Sons

Designers in Handcuffs: How to Create Great Graphics When Time, Materials and Money are Tight, by Pat Matson Knapp, $23.99, How Design Books

How to Be a Graphic Designer Without Losing Your Soul, by Adrian Shaughnessy, $19.95, Princeton Architectural Press

Talent Is Not Enough: Business Secrets for Designers, by Shel Perkins, $29.99, New Riders, www.peachpit.com