Why Clients Keep Rejecting Your Work

Um, yeah.

So one of my strongest op- I remember early on in my career, I was told that you can either, like, present your work-

Mm

... on a call, or in person, or just send it on email.

And I was always, I pushed back on that then, and I was like, I just think it's so wrong.

God, you go, you speak for a second.

Yeah.

Well, whilst Jack's catching his breath from running to get the ASOS order and not the thing that we thought it was gonna be-

I feel like, uh-

Which is useless to anyone who's literally listening or watching.

Uh, yeah, dude, when c- I, so I know a little bit of a similar, maybe a similar story to this.

When I was in uni studying design, I didn't even know that it w- how important it was gonna be to present my ideas to cl- I didn't know that was a thing.

I thought I'd just be making stuff and someone would just say yes to it, and that's fine.

But it was really, really early on in the, like, the first year of being in uni that my lecturer, who was like, he was, he was a working designer.

So he was the creative, my first year un- uh, like, my first year lecturer-

Yeah

... was, uh, a creative director at Porsche in Dubai.

Sick.

So he had some, like, you know, he'd been some places, bruv.

He'd seen some things.

He worked with, like, Oreo and Fanta and all these other, like, crazy brands and things, and then ended up in Porsche doing whatever.

And he straightaway was like, every time we had a brief or we were doing anything, he was like, "Right, I'm gonna need you to get up in front of the whole class, and you're gonna explain your ideas to us."

Mm.

"You're gonna tell us why you've done this and why you've done that." I was like, "What? Hang on.

Hello? I thought I was just drawing some stuff, and now you're gonna make me talk about it." But it's a really important thing.

Um, yeah.

So one of my strongest op- I remember early on in my career, I was told that you can either, like, present your work-

Mm

... on a call, or in person, or just send it on email.

And I was always, I pushed back on that then, and I was like, I just think it's so wrong.

God, you go, you speak for a second.

Yeah.

Well, whilst Jack's catching his breath from running to get the ASOS order and not the thing that we thought it was gonna be-

I feel like, uh-

Which is useless to anyone who's literally listening or watching.

Uh, yeah, dude, when c- I, so I know a little bit of a similar, maybe a similar story to this.

When I was in uni studying design, I didn't even know that it w- how important it was gonna be to present my ideas to cl- I didn't know that was a thing.

I thought I'd just be making stuff and someone would just say yes to it, and that's fine.

But it was really, really early on in the, like, the first year of being in uni that my lecturer, who was like, he was, he was a working designer.

So he was the creative, my first year un- uh, like, my first year lecturer-

Yeah

... was, uh, a creative director at Porsche in Dubai.

Sick.

So he had some, like, you know, he'd been some places, bruv.

He'd seen some things.

He worked with, like, Oreo and Fanta and all these other, like, crazy brands and things, and then ended up in Porsche doing whatever.

And he straightaway was like, every time we had a brief or we were doing anything, he was like, "Right, I'm gonna need you to get up in front of the whole class, and you're gonna explain your ideas to us."

Mm.

"You're gonna tell us why you've done this and why you've done that." I was like, "What? Hang on.

Hello? I thought I was just drawing some stuff, and now you're gonna make me talk about it." But it's a really important thing.