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No one understands the statement, “design is everywhere” better than us designers. But comprehension and integration are two totally separate acts. From food packaging, to billboards, to book covers, catalogs, websites, and everything in between, we spend the majority of our waking hours on our computers designing and/or looking at these designs through the portals of our monitors.But when the computer is shut down, does your “design radar” go off-line, as well?

For instance, when it’s time to grocery shop, are you in the get-in/get-out as fast as possible mindset? Or do you treat the experience as a journey through Design Mecca – with sources of inspiration lining the shelves from wall to wall? When you’re waiting on the unbearably slow line at the post office do you temper your impatience by burying your nose in your iPhone? Or do you make note of the ugly signage covering the walls and kill the time by redesigning it better in your head? “Cranking up your design radar” is about never turning off the designer in ourselves. READ FULL ARTICLE: Smashing Magazine

When I recently contacted over 16 freelance graphic designers and more than 10 graphic design firms for an article I was writing/researching for a major design publication, the response was seriously underwhelming to say the least. With a fantastic opportunity to gain nationwide exposure for their creative work and boost their business (in this economy no less), why would smart, talented designers choose to ignore priceless PR practically handed to them on a silver platter?

I’m not about to go into a whole spiel on the value of PR. For that, you can read Brett Turner’s insightful article on PRWeek, “Why PR Matters in a Down Economy.” But to address how important PR is specifically to a graphic designer’s career, I will say this: in a highly oversaturated field where even the most talented of folks are a dime a dozen, standing out from the crowd is pretty darn crucial whether you’re a freelancer, employee, or firm. When an unbiased columnist from a major design publication writes a rave review of your creative work, that’s credibility and exposure you simply can’t buy.

For reference, just look at how PR helped the careers of Chip Kidd, Stefan Sagmeister, Paula Scher, and any number of graphic designers you can name off-hand. By being featured in magazines, books, annuals, etc. not only is the design community exposed to their work, but so to are the plethora of businesses that hire them. Yes, the aforementioned designers are incredibly talented. But who’s to say you’re not in their league too? The problem is, if no one knows about your work it makes it that much harder to sell your skills. Unfortunately, talent alone won’t always help us win jobs – we have to be great designers and marketers (of ourselves).

So as a champion of creative folks everywhere and in a valiant effort to prevent designers from ever passing over great publicity again, I have provided a short Graphic Designers’ FAQ Guide to Public Relations (for what to do once you’ve been contacted by that dream publication):

Q: What if I’m uncomfortable with the subject matter I’m being interviewed about such as, “how to get clients?” I don’t want thousands of folks to read the “secrets” of how I go about gaining new business.

A: In one of my previous articles, “How to Get Graphic Design and Copywriting Clients: Drop the Mouse and Step Away from the Computer” this exact situation occurred. A few prominent design firms declined the interview because they felt uncomfortable revealing proprietary information that they felt might harm their business. But as creative folks in a creative industry, you are by the very nature of your job description – creative. So rather than turning away priceless PR, apply those creative juices to your responses and spin the information to best feature you/your firm. Talk about an incredibly clever direct mailer you sent out and include images so your design work has a chance to be featured, as well. Mention your blog as a means to gaining new clients and provide the url to drive readers to the site or name drop the awards you’ve won and how that’s helped you gain new business. The point is, with a little effort and creative thinking no subject matter has to be off-limits.

Q: What if I don’t have much to contribute on the subject matter the interviewer is inquiring about? I haven’t really been in that situation before and don’t think I have anything of value to add.

A: Drop the humbleness. Leave it right next to the mouse. And don’t even think of picking it up. Every designer is an individual and thus, has a unique perspective on being a graphic designer. This fact alone makes your thoughts/responses on any design question valid and valuable. So don’t sell yourself short and close the PR opportunity door prematurely. Thinking creatively is what you do for a living! So shift into brainstorming mode, position yourself as an expert, and put in the effort to provide some great, creative responses. The worst-case scenario is the interviewer decides not to use your answers, and the best case is awesome exposure for you! In other words, you literally have nothing to lose by trying.

“That’s all well and great,” you might be thinking, “but while other lucky bastards turned down a great opportunity, how do I get contacted/featured for a design article?” For starters, why not contact me (Stephanie Orma) or the editor of your favorite design publication with an article idea featuring you/your firm (hint: your chances of exposure increase greatly by making it more than just a “here’s my work, please feature me” email).

Bottom line – In the ever-expanding creative industry, if you can learn to apply your already highly developed creative thinking skills from the visual arena to the marketing of brand “you,” then you’ll do more than just survive – you’ll thrive. And who knows, you might just be added to the short list of graphic designers we all know by name.
(originally appeared in SF Examiner  6/28/09)

Most folks are familiar with the old proverb, “Those who can, do. Those who can’t, teach.” Well, Leslie Becker (designer, writer, scholar, professor, and recipient of the AIGA SF 2009 Fellow Award) is one giant exception to that rule. This extraordinary California College of the Arts (CCA) design educator has accomplished more in her lifetime, than most people dream of achieving in their entire lives.

Her professional bio is available online.

But if you’re craving to go beyond just the surface, (as Leslie has throughout her remarkable career), then follow interviewer/designer Stephanie Orma as she digs deeper, goes beneath the surface and discovers what it takes to follow your dreams. With a career built on talent, determination, hard work, and driving curiosity, Leslie Becker shares her personal thoughts, experiences, and reflections on her life in design, thus far.

Orma: With such a successful career working on projects ranging from graphic design, interior design, custom furniture, writing and teaching to completing a second degree and a Ph.D., plus running a marathon (at the age of 50 to boot!) what achievement are you most proud of? And why?

Leslie: Although I needed to complete a marathon because “it was there,” I couldn’t imagine going to my grave without having done one. I know this makes no sense, but I come from a competitive family. I might say that having finished my Ph.D. is what I am most proud of, but this is probably because it is the most recent achievement and definitely was a kind of boot camp that lasted for 5.5 years! I am also delighted to receive communications from former students who thank me years after having been in my class for something I imparted to them. Personally, I am most proud of my two sons because I find them to be good people. They have been living their lives according to values that I respect. (I realize that this is immensely self-congratulatory.)

Orma: In terms of your career and all the eclectic projects you’ve worked on over the years, can you pinpoint one or two that really stand out as favorites?

Leslie: I really enjoyed a lighting project that I did many years ago. It was extremely experimental and, though I wasn’t conscious of it at the time, was actually based upon the form of a military parafoil kite. Years later, I realized that I had just finished a kite catalog when I began the lighting project. This particular client would look at a rough sketch and enthusiastically encourage me to have it made. I would then go back to the office and deal with the space between fantastical idea and fabrication.

Another significant project was the Wooden Synagogue project. It was a series of print pieces designed to raise funds to rebuild a replica in Berkeley of a wooden synagogue that had been destroyed by the Nazis. Even the discussions around my choice of Fraktur [typeface] were really emotional. To read the complete interview, as well as interviews with Doug Akagi and Michael Cronan (equally exceptional 2009 Fellow Award recipients) visit AIGA SF

From low-budgets to rush jobs to piss-poor project management, every designer has one time or another faced the inevitable, “I need a logo (brochure, website, etc.) done ASAP” scenario. Depending on the designers’ work situation, some can simply choose to decline these projects.

But for many full-time designers, this “rushing creative” is a very real and necessary part of their job requirement. So when asked to “just slap a design together” or “crank it out,” how do we as designers maintain our standards and integrity when a logo must be created in three hours? Or a website in a day? And for that matter, can we?

In this article, Stephanie Orma, a graphic design herself, hangs her head out the drive-through window and shares her personal experience, tips, and advice on how to handle the “hurry-up and be creative” demands of the graphic design industry.

READ FULL ARTICLE: Smashing Magazine

It’s that time of year again – call for entries. Try as we might to escape it, reminders are everywhere: in our mailbox, our e-mail, advertised on our favorite design sites. And all the big players are pushing hard for our attention: Communication Arts, HOW Magazine, and CMYK, to name just a few. Frankly, I personally found the lure too enticing too resist. Last week, I caved in and shelled out nearly $200 on design competition entrance fees. I was even contemplating entering another, when I was suddenly stricken with a bad case of “graphic designer’s entrance fee remorse.” $200 is a lot of money – especially if you don’t win. So with the economy still on shaky ground and clients few and far between, one has to ask: are design competitions the best place to spend our precious marketing dollars?

You have to admit, the idea of your work featured in one of the best design annuals in the country – if not the world, is pretty darn alluring. These are the same books and magazines that were “required reading” when we first entered graphic design school. The ones we spent hours upon hours pouring through (and for that matter, still do), in awe of the incredible talent gracing the pages. And now is the very real chance that our work could appear side by side with the best in the industry. Sounds pretty darn exciting to me!

Sure there are some designers out there who say they don’t care about winning awards or having their work featured in annuals. These are probably the same designers who’ve received tons of accolades in the past…the handful of “famous” designers we all know by name. But as a newbie to design competitions, I’ll be the first to admit that receiving recognition for all your sweat and tears sounds nothing short of being paid the highest industry compliment. Not to mention, priceless PR.

On the other hand, placing too much importance on competitions can be dangerous. If you think about it, winning boils down to a very small jury of people saying they like your work. Congratulations. You are now worthy. And if you seriously need validation from other people to tell you your work is good, well than, therapy might just be the best place for those marketing dollars.

Of course, there’s the most common design competition scenario, “I entered, but I lost.” If your work fails to make the cut, yes, you’re in the hole a good chunk of money. But you also took a chance and invested in yourself. And that definitely counts for something. After all, if you never put yourself in a position for good things to happen, they never will.

I’ll never forget when I was 17 years old and had the opportunity to enter a statewide flute playing competition. I’d been seriously playing the flute since I was about 12. But for whatever reason (nerves, shyness, fear of failure, etc.) I never went through with the competition. Who knows what would have happened…maybe nothing, maybe something great. The point is, I’ll never know. And life is just too short to be filled with a series of regrets for what might have been.

So are design competitions worth their hefty entrance fees? To quote the legendary Clint Eastwood, “…you’ve got to ask yourself one question: Do I feel lucky? Well, do ya, punk?” Me? I’m a gambling girl. I’ve entered my best work and all I can do now is hope I’ve got a winning hand. Come on graphic design jackpot!
(originally appeared in SF Examiner  5/14/09)

I have a love/hate relationship with typography. Love in the sense that I am so passionate about the craft, I’ll stay up night upon night tweaking the type in a design so it’s just right. Hours will fly by, darkness will turn to dawn, but I won’t have cared or noticed because the type is all I see. Love in the sense that when I spot gorgeous typography, I simply cannot stop staring at the awe inspiring, drool-worthy brilliance. But typography is also my chief nemesis. It’s not a skill that comes naturally to me. And some days it feels like a constant uphill battle. It’s frustrating, it’s maddening, and probably even more so because of my fervent passion for the craft.

Typography is arguably the single most challenging element in graphic design to master, and likewise, the most crucial. The designers I have interviewed today are champions of typography and frankly, my personal design heroes. Their mastery of working with type is nothing short of downright enviable: Aya Akazawa, senior designer of Chronicle Books and sole designer of Souffle by Le Petit Graphiste; Todd Hedgpeth principal and creative director of Tawd Design and graphic design instructor at Academy of Art University; John Barretto art director and senior designer of Tolleson Design; Max Spector, art director and senior design of Chen Design; and Josh Chen, principal and creative director of Chen Design. Moderated by San Francisco graphic designer and copywriter Stephanie Orma of Orma Design and She’s SO Creative, the five acclaimed designers talk good type / bad type and share insightful tips for newbie designers to seasoned professional alike seeking to master the art of typography.

READ FULL ARTICLE: SF EXAMINER

For the creative industry, in which 99.9% of the time is spent interacting with a computer, it seems ironic that the success of the business itself is so vitally dependent upon the real and meaningful interactions with people and NOT computers. What does this mean exactly? It means we (graphic designers, copywriters, creatives, etc.) have to actually venture out beyond the glow of the computer monitor to obtain clients. But don’t take it from me.

I picked the brains of three stellar creative firms who know a thing or two about getting clients and building successful businesses: Jennifer Bostic, owner and creative director of Paper Plane Studio; Lanny Udell, owner and chief writer of Copywhiz; and Eric Heiman and Adam Brodsley partners and co-founders of Volume Inc. Moderated by San Francisco graphic designer and copywriter Stephanie Orma of Orma Design and She’s SO Creative, the three studios share their personal experiences, insights, and advice on the best means of landing graphic design and copywriting clients.

READ FULL ARTICLE: SF EXAMINER

The newbie designer trap goes something like this: You go to graphic design school. You study all the “famous” designers that your teachers tell you are great. Then you head straight into the workforce designing to please your boss and your clients. And through it all, you somehow forget yourself in the process. You forget to ask yourself, “What do I think? What kind of designs do I like? What kind of designer do I want to become?”

And that’s exactly what happened to me. By the time I left my first graphic design job, I had lost all sense of myself as a designer. I had been so completely in the mindset of working to please others that I had left myself entirely out of the equation. Unsure of my next steps or how to proceed with my future career, I decided to attend the AIGA SF Portfolio Day (a.k.a. one-on-one feedback with experienced, talented designers, creative directors and principles of some of the best design firms in the country) held at California College of the Arts (CCA) in San Francisco. I was hoping their feedback would help bring some clarity to my situation (I also secretly fantasized I would score interviews with my dream design agencies, they would love my work, and hire me right there and then).

READ FULL ARTICLE: at AIGA SF

I recently went to a design lecture at Sacramento State University in which renowned graphic designer Kit Hinrichs discussed his 40+ year career including working at the prestigious design firm,Pentagram. During the question and answer period, a young designer working as an “in-house designer” (a.k.a. working in the design department of a particular company rather than for a design agency itself) asked Kit’s advice on the best way to grow and improve as a designer. Kit’s (rather blunt) answer was “don’t do it [in-house design].” He elaborated that, in his opinion, working for a top-notch design firm surrounded by the best of the best, learning, absorbing, and working your tail off is the optimum means to hone and refine your skills.

That’s all well and great, but how exactly does one go about working side-by-side with the most talented people in the design industry? And do you really need to give up your right arm or first-born child to get in the door? To help shed some light on the subject, I interviewed some of my favorite San Francisco graphic design firms (selectively chosen for producing a body of work that is at once conceptually brilliant, typographically amazing, and aesthetically gorgeous): Joel Templin and Katie Jain of Hatch Design; the current president of AIGA SF, Brian Singer of Altitude; and president emeritus of AIGA SF, Christopher Simmons of MINE™. Moderated by San Francisco graphic designer and copywriter Stephanie Orma of Orma Design and She’s SO Creative, the three design firms share insightful tips and advice for newbie design grads to seasoned professional alike seeking to get in the doors of the most prestigious design firms in the country.

What are the top qualities you look for when hiring a graphic designer?
Hatch Design: We look for designers whose talent it is to develop conceptual solutions to a problem all the way through to formal execution. So it’s not only big-picture thinking, but typography, illustration and knowledge of different production techniques that matter.

Altitude: Talent. Passion. Personality. Not necessarily in that order.

MINE™: In a portfolio I look for several things: First and foremost, I’m looking for a point of view. That is, I want to see a unique perspective in the work that distinguishes it from the work of others. Anyone can solve a problem formally, but if all you bring is style I’m not really that interested. The most compelling portfolios are those that demonstrate the designer’s unique thinking, as well as their technical skill. I also take particular note of typography skills — type is almost always the Achilles’ heal of the portfolio. Extraordinary type skills are essential to design, and are especially important in our studio. Because we do a lot of logo and identity design, I look for those projects as well. Identity projects tell me a lot about a designer’s thought process, drawing skills, color sense and typography. I look for designers who can write. I look for confidence, but I expect humility.

Other than the designer’s portfolio, what other things weigh heavily on your hiring decision?
Hatch Design: Our hiring decisions are based on 3 main components. The first being the portfolio and quality of work, which should demonstrate the qualities mentioned above. But being a small-sized studio, personalities also matter a lot! We have to know that a designer is a good fit within our studio and that they have a willingness to work hard and pitch in on any project. The interview is a very important way of discovering this fit. And finally, since designers often interact with clients directly, communication skills are very important–the ability to craft written communication and articulate the thinking behind a particular design solution are invaluable assets–not only for working at Hatch, but for a designer’s entire career.

Altitude: Strangely enough, many designers’ portfolios look the same. This is actually true of most design firms too. When it comes to making a hiring decision, the work needs to be excellent, but it comes down to many other factors. The ability to articulate concepts. Personality. Is this someone we want to spend 40+ hours a week with? Availability. Affordability. Timing is strangely important. We had an informational interview set up with a recent graduate for a Friday morning. Thursday afternoon, we landed a sizable project. Guess who started work on Monday?

MINE™: If there is one thing I’ve learned over the years, it’s to hire on personality, not talent. Whoever I hire, we’re going to have to work together every day. We’re going to trust each other’s opinions, respect each other’s ideas, style and work ethic, etc. There are tons of talented designers out there, but only a handful that are suited to our work environment, the kinds of clients we have, the pace we keep up, and (frankly) my personality.

When you are seeking to hire a new designer would you post an ad on CraigsList, AIGA job board, or ask a colleague for word-of-mouth referral?
Hatch Design: We have the best luck finding a new designer either through word-of-mouth referral or from someone sending in their portfolio…we’re always looking for and open to hiring exceptionally talented designers, so waiting for a job posting wouldn’t be a good idea if you really want to work at Hatch.

Altitude: Our first approach is to use our network (word-of-mouth) and there is nothing better than a personal referral. After that, we’d use the AIGA job board or Creative Hotlist.

MINE™: It’s almost always word of mouth. On average, we also get a 2-3 inquiries a day from people interested in designing or interning for us. I personally look at every portfolio we receive. Many of them are pretty poor or just not a good fit for us. Many, though, are really impressive. When we need to hire a designer or intern or freelancer, I’ll refer to the books we’ve already seen, and put the word out to a few trusted colleagues. I think its better to focus the search on a narrow selection of pre-qualified people then to cast the net indiscriminately wide.

If you did post an ad on CraigsList seeking a designer, what are some immediate cover letter indicators that the designer is or is not right for your firm?
Hatch Design: Honestly, we evaluate the typography of the cover letter first! Then, we’ll want to make sure that the candidate has an understanding of us and our work – that it is not just a form letter sent to hundreds of firms.

Altitude: A form letter or generic response is the first indication that a person isn’t serious. If you expect us to take the time to review your work, formulate an opinion, and be able to discuss it with you in an interview, please have the same consideration for our work. With the number of people sending us their work (even when we’re not hiring), a form letter is a sure way to disqualify yourself.

MINE™: I recently received an email “cover letter” from a young designer who was eager to work at our firm. I noticed in the “to” that he had CCed 55 other designers. I wrote him back stating simply that if he wanted to stand out from the crowd he should begin by not addressing prospective employers as a herd. I also CCed the group. I’m sure that was an embarrassing lesson for him, but hopefully one he’ll take to heart. A good cover letter is personal. It’s brief, but it takes the time to demonstrate that the prospect is hoping to work for/with one specific firm. It can be as simple as saying, “I really admire the work you did for ________.” For extra credit, you might go on to say why. We all know that you’re sending very similar letters to other firms as well, but everyone likes to be treated as though they are special. The letter should also state your ambition with the firm (i.e. what you hope to contribute and what you hope to learn). It should be professional, but demonstrate some personality, without being gimmicky. It should be spelled correctly (we are MINE™, not MineSF) and it should be addressed to someone (not “Dear Hiring Manager”). It should be well typeset.

What are some things designers do during the interview process that turn you off?
Hatch Design: The only thing that could be a real turn-off is, going back to it, lack of communication skills. If someone sends in a great portfolio then isn’t able to explain and articulate the thinking behind their work, once we meet in person, it can be a bit of a let-down!

Altitude: Being late. Chewing gum. Knowing it all.

MINE™: Chewing gum. Not turning of a cell phone. Checking a text message. Not listening. Making disparaging remarks about anyone. Also, we don’t wear shoes in our office. I think it’s pretty obvious when a person comes in and sees all the shoes lined up that that’s our custom. I wouldn’t say it’s a turn off when a visitor doesn’t remove their shoes, but I like people who are perceptive.

Do you look for designers that have web programming skills as well as design skills?
Hatch Design: Yes. Web skills are not a must-have, but certainly could be the deciding factor between two equally talented designers.

Altitude: When we hire designers, it’s great if they have some experience with the web, but we don’t expect them to be programmers. Just like when we hire programmers, it’s great if they’ve got a good design sense, but we’re usually not hiring them to do design. It’s hard to find people who can both design and program well, though, they’re out there.

MINE™: No. But I wish I did. Usually we sub out the programming phase of our more complex web projects.

How important is it for your selection whether the prospective designer has been featured in design annuals, won awards, etc.?
Hatch Design: This is not very important to us – we base our decisions on the quality of someone’s work, whether publicly recognized or not.

Altitude: An award or annual may create an awareness of a prospective designer, so in that respect, it’s important for increasing visibility. But, if it comes down to winning an award, or being able to articulate your design solutions, We’ll take the articulate designer every time.

MINE™: It’s not really important. Even our own awards we just keep in a drawer.

How important is where the designer went to school or if they’ve worked for other prestigious firms?
Hatch Design: Again, it’s all about the design work – not the name on the diploma or resume. We believe you can create outstanding work at a relatively unknown studio or school and still be very successful in your career.

Altitude: The school doesn’t really matter. That said, some of the better schools graduate a higher percentage of students with talent, and, some have wider ranging connections for placement upon graduating. As for previous experience at prestigious firms, I think that helps in two ways. First, it shows that you come to the table with some experience (hopefully good experience) under your belt. Second, it almost pre-qualifies you. It shouldn’t, but it does. It’s hard to look at a resume with internships at Volume and Office, and not want to interview the person.

MINE™: This depends. I teach at the California College of the Arts (CCA) and I studied there too, so I’m very familiar with the curriculum there. I happen to prefer the philosophy at CCA, and if an applicant graduated from CCA I know what it means that they studied under Bob Aufuldish or Jeremy Mende, Emily McVarish, or whomever. Similarly, if an applicant worked at SVA or for Cahan orMichael Vanderbyl, I know what that means. Ultimately, though, it’s about the individual and how they fit into our small, tightly knit team.

How do you like designers to follow up with you after the interview process?
Hatch Design: The follow-up can be very important. As we get busy and move on to other projects, a polite reminder from a designer is sometimes what we need. And it shows great initiative on behalf of the designer.

Altitude: Gentle persistence.

MINE™: I think a handwritten note goes a long way. A follow up email is ok too. The Thank You note is a dying art and one which I still appreciate.

What advice do you have for designers that want to work for your firm?
Hatch Design: Put together a beautiful portfolio – PDF is fine – which clearly shows your work and send it in.

Altitude: Bring it. Other options include: Fix the economy and we’ll talk. And bring something besides design to the table. One of our last hires wasn’t a designer at all, but an artist with a lot of printmaking experience.

MINE™: It depends why they want to work for us, but in general I’d suggest the same for us as for anyone: Get to know our work, our thinking, our clients. It’s easy to find our work in annuals, and you can Google up interviews and features, etc. pretty easily too. I speak a few places a year, so it wouldn’t hurt to show up to one of those events and introduce yourself. I’m still in contact with a number of people I’ve met at a lecture or portfolio review. We haven’t hired any of them yet, but I’ve recommended some of them for freelance work from time to time. The point is, we have a relationship. We’re getting to know each other over time and if something opens up they’ll be top of mind. Of course, they’ll probably be settled in great jobs someplace else by then.

What is the best way you have found to hone and refine your own design skills?
Hatch Design: We believe in a very collaborative work environment – often everyone in the studio will help brainstorm solutions for a new project, so we’re always learning from each other and building off one another. We also continually search for and collect interesting design ephemera, which goes to our ever-expanding design library and serves as inspiration for our design projects.

Altitude: By exploring things other than design.

MINE™: Work. Look. Read. Listen. Discuss. Share. Repeat.

(originally appeared in SF Examiner  4/15/09)

I recently emailed a few prospective freelance graphic design employers with a link to an article of mine on “The Graphic Designer’s Guide to Twitter.” I thought this would be a great way to remind them I was available for freelance work, show them my creativity was not just limited to the visual arena, and at the same time provide them with some relevant, interesting information. I figured even if they didn’t have any work for me at this time, they’d at least appreciate a useful article and think positively of me for future creative projects.

I thought this was all a brilliant idea until I received the rather harsh reply from one prospective employer. She thought my reaching out to her (one or two emails per month) was “too much, too often, from someone I don’t know well enough to be interested.” Ouch! I was completely taken aback by the response. This is someone whom I had met with in person, had established a good rapport with (or at least thought I had), and seemed to truly respect my design work. I was completely humiliated and confused.

Absolutely convinced every other person on my “prospective freelance employer” email list must feel the exact same way, I dejectedly took a break and checked Twitter. No sooner did a new Tweet pop up with a brand spanking new Twitter follower. But this was not just any follower. This was the creative director himself from one of my top dream job places to work. And he was following me! He had received my email as well, and commented, “Nice article, Stephanie. Great information for a newbie Tweetard like myself.” It was the biggest compliment I could have received. In a matter of five minutes, I went from feeling like I’d been run over by a semi-trailer truck to bursting into a joyous rendition of the “Sound of Music.”

But back to reality, I was left to a state of complete and utter confusion. What is a decent, acceptable number of emails to send per month, per year, etc. where you stay fresh in employers’ minds but not so much that you really start to bug them? How often should freelance graphic designers remind prospective employers they are available for freelance work? What are the rules here?

I think the rules are, you make your own rules. Sure you shouldn’t hound employers incessantly with constant emails. But you use your best judgment and you never ever let one person’s negativity stop you from going after what you want.

(originally appeared in SF Examiner  4/09/09)