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Assignment 8: Working with a Difficult Client

Brief

This assignment is not meant to be fun. It is a simulation of working with a difficult client. How will you cope? 

Part 1

First select your client. Will you be working on a project for:

  • The bigshot: This client has a huge budget and a huge ego.
  • The penny-pincher: This client will cut corners and limit spending.
  • The misinformed: This client doesn’t understand exactly what they need.
  • The wanna-be-designer: This client wants to art direct your work.

Now select one design brief: 

  • Branding. Design the masthead and a selection of spreads for a catalogue of a national travelling exhibition titled ‘Gold of the Incas’. Each location the exhibition visits will also need branded site plans and guides specific to the location. 
  • Information Design. Design a wayfinding system for a transport hub. Create the environmental signage system, this can include dynamic signage (screen displays) and static signage (directional navigation), printed schedules and route maps, vehicle stickers etc.  
  • Type, lettering and printing. Create an innovative calendar for a font foundry to use as a marketing tool. The calendar should demonstrate novel ways of using some of the foundries’ popular typefaces.

Next, you will start the design work. Complete your research, conceptual development, thumbnail sketches, and initial drafts right through to early prototypes or mockups. Prepare 2-3 concepts to share with your client for feedback before proceeding to part 2. 

Part 2

You will share your mid-stage design work mockups or prototypes with your difficult client for feedback before you finalise the work. This part requires using your imagination. 

Read the feedback you receive from the client you selected:

  • The bigshot: “I don’t like the way it looks. Can we just replace it with this image I found on the internet?”
  • The penny-pincher: “We don’t have the budget available. Can we strip away some of the excess?”
  • The misinformed: “It looks nice, but can you make it more modern by using AI or something?”
  • The wanna-be-designer: “The colour needs to look more luxurious and the size is all wrong.”

Having heard the feedback you will need to decide how to respond to the client. 

Document your response in your learning log. Imagine what it would be like working with the person. Would you refine your work to satisfy the client, get the project done and move on? Would you try to rationalise your design choices and convince them to implement your ideas? Would you try to find a middle ground? 

Part 1: Choosing the Client and Brief

Client: The wanna-be-designer

This client thinks they’re a creative director in disguise. They love to micromanage, second-guess, and “sprinkle their genius” over every design decision.

Brief: Branding – Gold of the Incas

Designing the masthead and catalogue spreads for a travelling exhibition with location-specific branded guides is a rich and layered challenge. It invites historical research, aesthetic sensitivity, and practical design thinking – and plenty of opportunities for the wanna-be-designer to try and take over.

Research

I begin by studying Incan iconography, looking at gold artifacts, ancient symbols, and the unique typography rooted in Andean culture. I want the design to feel rich and mysterious, but still clear and engaging for a modern museum audience. I also spend time looking at how other traveling exhibitions, like the Tutankhamun tours, handle their branding, especially how they keep things consistent while adapting to different locations.

Cultural Symbolism and Visual Language

Artofit, 2025
Mythlok, 2025
Dreamtime, 2025
i.pinimh, 2025,
Medium, 2025
alamy, 2025

The Incan Trilogy: Condor, Puma, and Serpent

The Incan worldview is encapsulated in the sacred trilogy of animals:

Condor: symbolise the upper world (Hanan Pacha), acting as a messenger between the heavens and earth (Ticket Machu Picchu, n.d.). Puma: Represents the earthly realm (Kay Pacha), embodying strength and intelligence (Valencia Travel Cusco, 2023). Serpent: Denotes the underworld (Ukhu Pacha), associated with wisdom and the cycle of life and death (Kuoda Travel, 2019).

Incorporating these animals into the branding can provide deep cultural resonance.

Chakana (Andean Cross)

The Chakana is a stepped cross symbolising the three realms of existence and the Southern Cross constellation. It serves as a bridge between the earthly and spiritual worlds (Wikipedia, 2025). Utilising the Chakana in design elements can reinforce the exhibition’s connection to Incan cosmology.

Inti – The Sun God

Inti, the sun god, was central to Incan religion, often depicted as a golden disk with a human face. The sun’s significance is also evident in festivals like Inti Raymi, celebrating the winter solstice (Wikipedia, 2025). Gold hues and sun motifs can thus be pivotal in the exhibition’s visual identity.

Design Applications

Masthead Design

Typography: Develop custom typefaces inspired by Incan stone carvings and quipu knot patterns. Iconography: Integrate the Chakana or stylised representations of Inti to anchor the masthead in Incan symbolism.

Catalogue Spreads

Layouts: Employ grid systems reflecting Incan architectural precision, as seen in structures like Sacsayhuamán (Wikipedia, 2025). Imagery: Feature high-resolution images of artifacts, accompanied by narratives explaining their cultural significance.

Location-Specific Guides

Customization: Adapt the core branding to include local elements, such as regional maps overlaid with Incan motifs. Interactive Elements: Incorporate QR codes linking to augmented reality experiences or additional content, enhancing visitor engagement.

Material and Production Considerations

Textures: Use paper stocks that mimic the texture of Incan textiles or stone surfaces. Finishes: Apply gold foil stamping to highlight key elements, reflecting the importance of gold in Incan culture.

Digital Extensions

Website and App: Develop a responsive website and mobile application featuring virtual tours, artifact information, and interactive maps. Social Media: Create shareable content, such as short videos explaining the symbolism of the Incan trilogy or the significance of the Chakana.

Brainstorming

Pinterest board: Gold of the Incas

Pinterest, 2025

Thumbnails

Colour palette

Adobe color, 2025

Sketches

Design process

Final designs – Part 1

Inner Catalogue Spread, size: A3 to be folded in A4
Exhibition Poster, size: 18in x 36in
City-specific Guide/ map, size: 5.5in x 8.5in

Traditional approach

Approach and Coping Strategy

To pursue this brief, I would set some clear boundaries right from the start. That means I’ll explain the thinking behind my design choices, give the client a few carefully chosen options, and try to turn their feedback into something useful. I know that sometimes their frustration just comes from wanting to feel part of the process—so I’ll make sure they feel included, but I won’t let them take over the whole project.

Part 2: Client Feedback and Response

Client Feedback (Wanna-be-designer):

“The colour needs to look more luxurious and the size is all wrong.”

The client’s feedback was vague but assertive, typical of someone trying to impose a personal vision without design expertise. Rather than react defensively, I reframed the feedback: “What do you mean by more luxurious? Do you envision something shinier, deeper, more ornate?” This led to a productive discussion where they admitted they liked the gold but wanted more gloss, which we could explore in print finishes.

As for the “size being wrong,” I asked for specifics. So, I adjusted the size to their required size. I added a grunge texture to the background to add some depth and authenticity also added a gold texture to the gold section to add to the luxurious feel. I also created a side-by-side comparison so the client could “see the luxury” they had in mind.

In the end, I found a middle ground. I kept the core of the design intact but made a few surface tweaks to match what the client was hoping to see. It allowed me to finish the project with a design I was still proud of, while also making sure the client felt listened to and involved.

Final designs – Part 2

Mock-ups

Self-reflection

This project really pushed me, not just creatively, but in how I handle feedback and communicate under pressure. The idea of designing for a “wanna-be-designer” client made the whole process feel a bit unpredictable, which actually turned out to be a valuable part of the experience.

From the beginning, I was excited by the richness of the brief. There’s so much depth in Incan culture: the symbolism, the materials, the history and I wanted to make sure I honored that in the design. I loved diving into the research; learning about the Chakana, the sun god Inti, and the meaning behind gold in Incan society gave me a really strong visual and conceptual foundation. It wasn’t just about making something that looked good; it was about telling a story through design.

One of the biggest challenges was definitely managing the client’s feedback. Playing the role of the “wanna-be-designer” meant dealing with vague or controlling input, which can easily disturb a project. I realises how important it is to create structure in those conversations, offering a few clear options, backing up my design choices, and guiding the client toward decisions that still align with the vision. That helped me stay in control without shutting them out completely.

What I’m most proud of is how the work turned out visually. I managed to blend cultural references with a clean, modern design that could adapt across different locations. What I struggled with was the emotional side, feeling frustrated at times by unrealistic or unclear feedback. But honestly, that’s part of the job, and this assignment reminded me of the importance of patience, flexibility, and keeping a cool head.

Moving forward, I’ll take these lessons with me. Good design is more than just aesthetics, it’s also about communication, empathy, and being able to pursue without compromising your values. And in the end, finding that balance between collaboration and creative control is where the real growth happens.

Resources

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