Mistakes designers make when presenting their work, and how to avoid them

The importance of how designers present their work can’t be overestimated. The order in which things are shown, words are chosen, and visual accents are used—all of it matters. A lack of attention to these details can lead to even the best design projects being misunderstood or overlooked.

In this article, we’ll look at common mistakes designers make when presenting their work in the broadest sense: from live calls to portfolios, and from slides to verbal arguments. We’ll also discuss how to avoid these pitfalls and communicate with clients and teams in a way that’s clear, convincing, and professional.

Contributors who shared their insights for this piece include:

James Bradley, Global Creative Director (Design) at Skyscanner, who reviews countless branding projects, campaigns, design systems, pitch decks, and designer portfolios.

Abb-d Taiyo, Сo-founder and CCO of Driftime, who has reviewed everything from strategic impact roadmaps to brands, websites, reports, and other creative outputs.

Katya Sikacheva, Creative Director at Non-Objective, who leads daily design reviews and team discussions before settling on a concept ahead of final client presentations.

Cat How, CEO, Founder and Executive Creative Director of How&How, who regularly reviews visual identities, campaigns, and digital design work for clients ranging from tech startups to environmental non-profits.

Mistake #1. Thinking the work speaks for itself

This is one of the most common mistakes when it comes to presenting design. If you’ve made a strong visual and laid everything out neatly, it can feel like it should speak for itself—but unfortunately, that rarely works. People don’t automatically read the meaning, especially if they’re not designers. Clients, managers, and investors need things explained to them, and not in a vague “Well, you see” kind of way, but more like: “Here’s the task we were given, here’s what we started with, here’s what we did, and here’s why.”

This is often framed as the ability (and willingness) to “sell” your work—not in the sense of pushing something onto someone, but in the sense of helping them understand why it’s the way it is, and why that’s the right approach.

James Bradley says he had to pass on good work simply because the presentation doesn’t land. “If I can’t grasp the depth of something, I move on,” he says. “You only have people’s attention for so long, and more and more, we’re drawn to clarity and single-mindedness. Be really clear, cut to the chase with your write-ups, and don’t hide your work. Show it large so people can actually see it.”

Abb-d Taiyo emphasizes that strong design should be supported by a compelling narrative, reasoning and justification for why it was approached that way. For him, it’s not enough for something to look good; it has to show how it solves a problem. “Soft skills,” he says, “are essential to presenting the work, the thinking, and the suggestions clearly.”

Katya Sikacheva believes a strong presentation is often what gets an idea accepted. If the story is told well, and the presenter speaks with an understanding of the client and their world, it can help people connect emotionally, functionally, or practically. “With a weak presentation,” she says, “the idea might not even be understood, especially if it’s avant-garde or unconventional—a bad presentation can kill it.”

“A strong presentation can help people believe in something riskier or more complex.”—Katya Sikacheva

Cat How points out how often good ideas fall flat due to unclear communication. “A good client will try to understand, especially if someone’s junior and nervous. But often, they’re just busy,” she says. “If they don’t get it right away, or feel like the wrong person is presenting, they’ll tune out.” She explains how they used to send massive credential decks with every project they did until analytics showed that clients weren’t finishing them. “Now we tailor our decks to the client’s sector and only include relevant work.”

Mistake #2. Telling the process, not the meaning

Another common mistake is starting a presentation by explaining how you did something. The problem is, you end up talking about the process, the features, and the interface details, but not about the meaning behind them. Instead of explaining why any of it matters, you just describe what happened. This makes the presentation unfocused, and the person listening is left confused.

This also shows up when you talk about a feature instead of the task it solves, or when you show a range of options with a casual “we tried this” without explaining why one of the options was rejected and another was chosen. Or, it can show up when you focus on personal taste rather than purpose. Most importantly, it often means skipping the real point entirely: how does this affect the user? How does it solve the client’s problem? What changed after implementation?

Abb-d Taiyo points out that what really matters is the impact the work has had or is meant to have.

“Presentation more about the why than the how.”—Abb-d Taiyo

“The process can come later, if there’s enough curiosity in the conversation.” He encourages designers to talk about the impact, explain the reasoning behind their approach, and always know who they’re speaking to. “Don’t get stuck in a deep dive on process right away. Save it for when it’s needed.”

Mistake #3. Unsystematic storytelling and unclear structure

Even if you’re presenting just 5 or 6 slides, your presentation still needs to be a story, a structured narrative with a beginning, middle, and end. People process information much more easily when it follows clear logic: from problem to solution, from input to decision, from idea to result. 

Katya Sikacheva emphasizes the importance of clarity and sequence. “When the presentation jumps around—like starting with the palette or the logo, then suddenly showing a website, then jumping into the narrative—it creates confusion,” she says. “It’s important to guide the client smoothly through the story. Reveal everything in the right order. Show how the design scales, how it works in different contexts.”

James Bradley adds that confusion often starts with a lack of context. He points out that portfolios sometimes feel crammed, with no setup, no clear goals, and no explanation of why the work matters.

“The key is to set the scene, then pace it with energy and storytelling.”—James Bradley

“Don’t overwhelm me, but don’t skip the gold, either. Nail the elevator pitch—and don’t leave a shred of doubt in my mind.”

This also includes avoiding unnecessary jargon, especially when presenting to people outside the design field. Throwing everything into one presentation (ten screen options, three flows, two versions of the text, every button state) just overloads the audience and buries the key message. And skipping the ending is another common mistake: the person listens through the whole thing, but still doesn’t know what the takeaway is. What’s the conclusion? What’s being proposed? What happens next?

Katya Sikacheva also warns that designers sometimes focus too much on tricks or visual details without considering who they’re talking to. “Often, the client isn’t a professional designer or someone deep in the field—so going too far into the weeds just makes them tune out.”

Cat How suggests thinking of a portfolio like a story with rhythm and shape. “Start with your strongest project, and end strong too. Don’t just drop off at the end,” she says. “Mix in different kinds of work—digital, branding, personal projects, expressive typography—so there’s variety.” She’s found that the best portfolios often include just five excellent projects, even from designers with years of experience. “Adding more just to show range often backfires—it makes you look like you can’t self-edit or don’t know what your best work is.”

Mistake #4. Inability to work with feedback

A lot of presentations end with something like, “So… do you like it?” which can sound like you’re unsure of your own work. But you’re the expert. You’ve made choices and taken a position, and now it’s your job to explain why those choices make sense and what kind of feedback would actually help make it better. This isn’t about getting a thumbs-up or thumbs-down.

The mistake is asking for feedback vaguely, without context, or from just anyone. Or, on the flip side, treating every comment as a command to change things, rather than an opportunity to discuss. 

Katya Sikacheva stresses the importance of clarity and confidence. “Don’t express doubt,” she says. “Avoid saying things like, ‘We’re not super happy with this,’ or ‘We’re not sure which one’s better.’ If you’re showing multiple options, people will ask which one you prefer. You need to have a clear opinion and be ready to explain it. Any uncertainty on your part transfers directly to your audience.”

Mistake #5. Not managing expectations and context

This happens when you don’t clearly explain what you’re showing, why you’re showing it, or what stage it’s in. It might seem small, but it often leads to misunderstandings and off-target feedback.

For example, this can happen if you show a rough draft and the client thinks it’s final, when you ask for feedback on the concept and get comments on spacing, or if you share a mid-fi mockup without saying so and everyone assumes it’s finished.

Another common mistake is trying to guess what the client wants instead of just asking. What matters to them? What exactly should be discussed? What are they expecting—and who’s making the final decision?

Katya Sikacheva talks about the importance of building a real dialogue with whoever you’re presenting to. “Some people think in terms of function and structure; others respond more to story, meaning, or emotion,” she says. “The key is knowing who you’re talking to and adjusting your focus accordingly.” She also emphasizes the need to manage attention, especially during Zoom or remote presentations, where distractions are constant. “Watch how people react. If they’re zoning out, adjust: pick up the pace, shift your tone, crack a joke, change the energy. If they seem tired or distracted, ease up—be smoother, more relaxed. Pay attention, and adapt in real time.”

Mistake #6. Not preparing enough

Sometimes the issue is the lack of preparation. You open the file mid-call. You haven’t rehearsed. You’re not sure what to show first, or how long the whole thing will take. The result is a scattered, unfocused delivery that makes even strong ideas feel uncertain.

Preparation isn’t about scripting every word. Cat How emphasizes that it’s about familiarity and clarity. “You should know which slides you’re presenting and have them memorized. Bullet points are fine, but don’t read word-for-word.”

“Know your work like you’d explain it to a friend.”—Cat How

This applies to every stage, including technical errors and basic polish in the presentation or portfolio. Cat points out that “one of the biggest mistakes in portfolios is a lack of attention to detail. Typos, for instance, are criminal. Or low-res images next to high-res ones.” These small things, she says, send a clear message about how rigorous and visually sensitive a designer is.

Katya Sikacheva adds that being prepared also means being flexible. “Even if you and your team rehearsed everything, things can go wrong. Power might cut out. Someone might have to leave early. Suddenly, you’re told to present everything in 20 minutes instead of 40.” She stresses that you have to stay ready and present the work with confidence, even if it’s not perfectly polished. “That’s the only way to make others believe in it.” Her advice is practical: “Be prepared. Go to the bathroom in advance. Have a glass of water. Hide notifications. Double-check that everything runs smoothly—it’s basic stuff, but it matters.”