Is It Ethical To Present Concept Work As If Its Real

Creative Boom: Insight Graphic Design Is it ethical to present concept work as if it's real? When a reader flagged concerns about concept work, it opened a debate that often goes under the radar in the design profession. Written By: Tom May 24 March 2026 Image licensed via Adobe Stock A couple of weeks back, we published a feature on a vibrant cannabis brand identity. But the feedback from one reader took us by surprise. Rather than engaging with the work itself, they raised a more uncomfortable question: was any of it real? For John Gilsenan, owner of IWANT design, this wasn't just an academic curiosity, but a personal issue.

Two of his own clients had recently commissioned designers based on portfolios that turned out to be almost entirely conceptual. No clients. No briefs. No printer negotiations, trademark searches or budget constraints. Just beautiful work, impeccably presented. Yet as John notes, creating concept work is very different from completing a commercial project. "The problem they're solving is one they have created," he emphasises. "They design the brief and execute it. Real-world projects have the biggest hurdle: the client.

But it's all the extras—the sourcing, the project management, the feasibility, managing budgets, solving unexpected issues that arise, selling the idea, managing relationships—that make the difference." It's a fair point. So we put the question to our community: Is it ethical to present concept work as if it were real? The case for concept work The debate was lively, but on one point at least, the consensus was clear: concept work itself can have real value. For those early in their careers, personal and speculative projects are often the only way in. As graphic designer Bryson King puts it.

"We've all worked with clients who, even with our best efforts, just didn't want what we could truly offer. I don't think anyone should be punished because the clients they can get aren't open to hearing what a designer has to say. This could start an inescapable loop of tough clients and unrewarding projects, because that's all anyone would ever see." Design recruiter Dan Poole concurs. "Many designers don't get access to projects that really show what they can bring," he says.

"I love seeing a mix of live work and then an Instagram account full of personal explorations reflecting the designer's tastes and inspirations." Illustrator Ollie Hirst, who's used speculative work to land magazine cover commissions, takes a similar line. "Spec work is key to positioning yourself and not waiting for permission to make the work you want to make," he believes. "The world is too busy for people to wait for the right time and opportunity to commission you." Art director Stepan Solodkov draws an interesting analogy here. "I see concept works as similar to haute couture," he explains.

"The latter rarely appears in real life exactly as on the runway, but it inspires and evolves. Both concept designs and haute couture often contain bold, experimental ideas that may not work in reality, but can spark something meaningful." The messy middle Others, though, note that concept work isn't the only way you can show your true ideas and potential as a designer. John Ball, principal and creative director at MiresBall, begins by acknowledging that, "for students and early career creatives, it's all about made-up projects—you've got to start somewhere.

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The article addresses a significant ethical concern in the design industry that affects how brands present their work, making it highly relevant and impactful for professionals in the field.