In college, design schooling outlines the basic requirements for career preparedness, and instructors try to give as much real-world training as they can in such a short amount of time. Not everything you need to know in preparation for your design career can be taught in four years, and instructors know that not every concept can be realized or practiced.

We asked design educators from some of the top design programs in the nation to share the number one fundamental area of typography that their students have a hard time grasping. Think of these answers as recommendations on typography areas to brush up on to help excel past your peers.

Mindset of the Craft

“Type learners only get into technical (historical, analog, digital) and aesthetic detail when they see how they need to be invested in the craft as part of learning and eventually working as typographers, in addition to being visual artists; not illustrators, Photoshoppers, game designers or other fields or technology they might first be exposed to as young artists and designers in high school, community college, or foundation classes.”
— Joseph Coates, Lecturer at Maryland Institute College of Art (MICA)

“Negative space and relatedly, scale.”
— Margaret Urban, Associate Professor of Graphic Design at the State University of New York at Fredonia

“The proportion of type size to page and everything in between: margins to column widths to type size to leading. They keep looking at the type itself, not at the type and how it’s connected to the page holistically. Everything’s connected proportionally.”
— Michael Stinson, Adjunct Faculty at Laguna College of Art + Design (LCAD)


“That type has a specific voice that comes along with it. I try to get my students to actually find photos of people that match type.”
— Andrew Hochradel, Design & Photography Educator, California Baptist University, Riverside

“Choosing an appropriate typeface for a project.”
—Victoria Pickett, Lecturer of Visual Communication, Northern Arizona University

Don’t Leave It to the Software

“I think most students fail to understand that they do not have to use the default settings that come in a font. Type is scalable and the type designer optimized the internal metrics of a font for a particular size. Once a student starts changing the size and setting, adjustments to the letter space and word space must be made, and that is where they generally go wrong. I would also add that I think there is too much emphasis on ‘experimental’ or ‘conceptual’ typography in design schools. Most students cannot set a proper paragraph justified, rag right, rag left or centered. And most still cannot find the correct quote marks. But it shouldn’t surprise me, most working designers cannot do it either.”
– James Montalbano, Assistant Professor at Parsons School of Design

“That perception trumps mathematics. It’s developing a typographic sensitivity to know when to break the mathematical system in order to perceptually adhere to it. Like how an ‘O’ overhangs the baseline so it isn’t perceived as floating.”
— Ben Hannam, Associate Professor at Elon University

“All type needs to be adjusted once typed. Auto leading and kerning is not acceptable. Also stretching type and not “knowing” about the fonts they choose. For example, I say, “why did you choose Impact as the type for this project?” and they say ‘how did you know I used Impact?’ and ‘I don’t know, I like it.’”
— George Garrastegui Jr., Design Educator at New York City College of Technology

Final Details

“Have you ever had a client say they gave proofed copy to a designer and it came back with formatting errors? Students are not catching the basics. I tell my design students they should be known for caring about accuracy and quality. They don’t understand that typography is about communication and when they don’t run spell checks or understand the basics of grammar, they are doing themselves and their clients a disservice.”
— Rachelle Woo Chuang, Graphic Design Educator, Chapman University, Orange

— Nikki Juen, Design Faculty at Rhode Island School of Design and Vermont College of Fine Arts

Are you an educator who feels your students could improve their typography in a certain area? Let us know what they have a hard time grasping by tweeting at @TypeEd.

Rachel Elnar is the producer and co-founder at TypeEd, where she helps bring the craft of typography back to design education. Get more type in your inbox and sign up for more about TypeEd columns (and other announcements).

#LiveCreativeChat Recap

It’s hard to cram your life story into an 8.5 x 11 sheet of paper – especially as a creative. How can you possibly fit everything you’ve learned, all your thoughts and drafts and successes, into a professional and appropriately sized white space?

With our co-host, Orangenius, we tackled these and other big questions on making and perfecting that elusive creative resume in our monthly #livecreativechat. Learn how to turn that piece of paper into the story YOU want to tell by checking out our Resume Guide and the highlights below:

LiveCreativeChat - Resume 101 - Q1

Creatives are visual thinkers, so an infographic resume answers a lot of questions you can’t with a written one. Check out the Creative Circle blog for tips on incorporating infographics into your application.

If you’re looking for more resources, be sure to download our mini resource guide on Resume Secrets to Success


LiveCreativeChat - Resume 101 - Q2

A resume should show your progression as a creative and tell the story of where you want to go. Readability should be your number one priority in tailoring your resume, so be sure to focus on a natural flow of ideas and quality typography.

Learn more tips and tricks to a good resume, or download our Resume Guide.


LiveCreativeChat - Resume 101 - Q3

Including links to your portfolio or a current project is the perfect way to showcase yourself through a resume – just be sure your work is up to date and relevant to the job you’re applying for. If you need a way to get started, LinkedIn lets you export your information into a professional-looking resume in PDF form.


LiveCreativeChat - Resume 101 - Q4

Add a personal touch to your resume by including your past experiences and the unique possibilities you’re able to offer to the reader. Check out how you can use your resume to begin a conversation.

To download our mini resource guide on Resume Secrets to Success, click here


LiveCreativeChat - Resume 101 - Q4

Many companies are using websites like Indeed, Linkedin, CareerBuilder, and Monster to find resumes. Go the extra mile and connect directly with hiring managers through thoughtful, personalized emails with your resume attached.

To download our mini resource guide on ways to Get in the Know, click here.


LiveCreativeChat - Resume 101 - Q6


Take time to make sure your resume is always up to date and have it saved in a place where you can easily access it – you never know when or where that next opportunity will strike.

If you found these tips and tricks helpful, be sure to tune into our monthly #livecreativechat at 12pm PST every third Wednesday of the month. Until then, check out our full Resume Guide and see how your resume stands up.

Have you ever wished you had someone who could give you inside secrets and great advice that would give you an advantage in your job search?
Well, now you do…

At Creative Circle, we’re all about attracting, retaining, and placing top talent – whether you’re an entry-level candidate or a varsity creative. We want to help you advance your career and explore exciting opportunities, so we’re giving you valuable tools to present yourself in the most polished manner possible and get you noticed.

These handy guides include insider tips, best practices, insights, and ideas to help you shine. Below, we have our Resume, Portfolio, and Interview Guides — give them a read and put this inside info to work for you! Then don’t forget to contact your recruiter/local office to update the resume and portfolio link in your candidate profile (and show off your interview skills while you do it)!

Creative Circle Resume Guide
Creative Circle Portfolio Guide
Creative Circle + Orangenius – College Resource Guide - Full

Be on the lookout for our next resource guide! Until then, call your local office to get your candidate profile updated after applying these tips.

Ever been on a bad date? Silly question, I know. We all have! Likewise, you may agree that sometimes we realize what the ‘right’ thing to do is by, well, struggling through all the ‘wrongs’ first.

Now friends, it’s safe to say that a variety of colorful memes have fueled me to write this snarky piece. However, if you follow the – well, the opposite of everything said below – you stand a good chance at expanding your network of valuable vendors and business relationships.

But if you want to lose a vendor in 10 days, by all means, follow the instructions below!

1. Name Calling: First off, make sure to always refer to them as vendors, as they love this (not!). Never refer to them as partners, colleagues – or any other term that may indicate a mutually beneficial relationship – because nothing says longevity better than keeping your partners at a safe distance. Plus, it isn’t like this is a long-term thing anyway…

2. Don’t waste time shopping: This isn’t Black Friday, after all. Always go with your gut! Never shop around or compare vendors, and referrals from colleagues should be staunchly ignored. Spin the bottle was a fun game back in the day….amiright?

3. Communication: Never, and I mean NEVER, establish clear expectations of communication up front. A good vendor should also be a good mind reader, anticipating your every expectation… If you must communicate, make sure it is via email only. Everyone loves a brief, impersonal note added to a stack of (already) unread messages.

4. Understanding their business: Don’t waste your time trying to understand your vendor’s business. THEY are the vendor, so isn’t it their job to understand YOUR business? Plus, you are probably their only client anyway.

5. Accountability: Don’t EVER assume accountability. Just because your timeline, budget or scope of work changes doesn’t mean they get off the hook! I mean, c’mon adulting is totally overrated…

6. Payment: Hey, we all read Rich Dad Poor Dad, so pay yourself first! Your vendors can wait. If there is one thing that won’t ruin a relationship, it’s money. Oh wait…

7. Contracts: No need to go through these with a fine-tooth comb. Your vendor will bend to any changes you need to make along the way, no questions asked. Have a little faith, why don’t ya?!

8. Point person: Having one person to manage all your vendor relationships is B-O-R-I-N-G. Keep your vendors guessing by having multiple people within your organization reach out to them with a slew of different requests. That way, if/when confusion strikes you can always avoid it! Speaking of responsibility…

9. Responsibilities: Understanding where your responsibilities end and your vendor’s begin can be confusing. Assuming that everything is their responsibility is probably a safe bet.

10. Evaluating results: Meh, it’ll all work out in the end… What’s that they say about measurement?

So there you have it. If you want to lose a vendor in 10 days – or less – just follow these 10 steps! If you value your business relationships, you may want to take the opposite approach!

Nick is a former Creative Circle Account Executive. His background is in recruiting, sales, PR and marketing.

Creative Brew Header

The Event

Creative Brew is a unique event powered by Creative Circle – the largest creative staffing agency in North America. The idea is simple: we choose a topic and invite a handful of the most interesting and compelling creatives in the country to take part in a moderated discussion witnessed by 100 audience members. The outcome will be a one of a kind memorable and experiential event – an opportunity to continue encouraging individuals to Live Creative.

With a small, intimate group of creative professionals, experts and influencers in attendance, Creative Brew is more than an evening networking event. This is a chance for us to begin a conversation that will inspire and influence creatives everywhere.

The Panel

Creative Brew Speaker Afdhel Aziz

Afdhel is a speaker, writer and award-winning marketer who has worked for brands such as Procter & Gamble, Heineken, Nokia and Absolut, where he created and ran Absolut Labs. He is the co-author of Good is the New Cool: Market Like You Give a Damn, and his think tank, Conspiracy of Love, helps Fortune 500 companies make money AND do good by harnessing the power of culture and technology.
He likes his IPAs: the bitterer the better.
Creative Brew Speaker Grace Cho
Grace spent many years in global development of startups to mature businesses, consumer and commercial finance across multiple industries. As a seasoned executive of companies such as GE Capital, Nielsen, and Advent International, she built businesses in more than 20 countries over 20 years. This ultimately drove her to create Orangenius, which operationally launched in 2015 and aims to enable and unite the creative economy.
She likes her beer battered and fried on fish!
Creative Brew Speaker Sarah Hartley
Sarah is a team-building visual storyteller just starting out at, a division of Scripps Networks Interactive. Prior to her new role, she was Creative Director at NBCUniversal’s Content Innovation Agency, an in-house creative agency. From growing up working in her mom’s interior décor business dreaming of a life in the arts to her first New York flourishes at the Condé Nast Archive, it is Sarah’s diverse experience and can-do attitude that allow her to bring an inventive, hybrid POV to her craft.
She likes her red wine spicy.
Creative Brew Speaker Steve Mahr
Steve has spent his career, spanning over 30 years in the print industry, thinking and rethinking how to make “dots on paper” relevant. These days, it’s not just about using print, but leveraging personalized print as a tactic in a broader multichannel marketing strategy. He brings a blend of old-school print know-how and a comprehensive toolbox of complex marketing automation solutions for the delivery of relevant print experiences.
He’s a fan of classic Pilsner or Blonde Ales but his favorite brew is what someone else is paying for.

The Moderator

Creative Brew Speaker Michael Weiss
Michael is a content marketer, presentation coach and seasoned TEDx Talker. In 1997, he cofounded imagistic and was CEO for 14 years, working with clients such as Disney, Capitol Records, California Pizza Kitchen, GE, Kellogg’s, Estee Lauder and Bank of America. In 2013, he became VP of Marketing for Musician’s Friend (Guitar Center, Inc.) and in 2015, he joined Creative Circle as VP of Marketing.
He likes his brew cold and cheap.

The Topic

Creative Brew featured a thought-provoking discussion focused on Innovation and Productivity.

Innovation – the act or process of introducing new ideas, devices, or methods.
Productivity – the rate at which goods are produced or work is completed.

These words seem to go together, right? To produce an innovative idea, you need time to create it. But as creatives we are often asked for “new” ideas and rarely given the time to fully flesh them out. We live in a world where immediacy rules – especially when it comes to creating new campaigns, websites or mobile apps. So the question is, how can you be innovative and productive at the same time? As a marketer, I’ve often thought about this and have been asking my friends and colleagues about it for years. But only a few months ago did it hit me: why not ask some smart people who’ve lived and worked through that exact problem? And hey, while we’re at it, why not have them do it in front of a captive audience too? And after a little effort, that’s just what we did.

Creative Brew took place on February 21, 2017 at the Redbury Hotel in New York City. It was the very first Creative Circle event that we organized and hosted, and if I do say so myself, it was a smashing success! The room was packed, the fried chicken nuggets were to die for, and thanks to our sponsors 212 Brewing and T/O Printing, the beer and wine were flowing.

The reason we finally decided to host our own event was simple: we wanted to create an intimate evening where a small audience could bear witness to a lively, open and honest discussion among rock star creatives. We chose the topic of innovation & productivity, but that was only the beginning. The discussion was deep, practical and full of useful action items all because of an amazing panel of creative people. There was Sarah Hartley of Scripps – the playful visionary. Next to her was Afdhel Aziz, author of Good Is The New Cool: Market Like You Give a Damn – the philosophical dreamer. And on the end was Grace Cho, founder of Orangenius – the final word of reason.

The gist of the discussion at Creative Brew was that innovation is critical for creativity. We discussed why trying and failing is crucial for creatives. We also talked about how multitasking is a myth – though feel free to email Sarah and ask her why she thinks it isn’t! We talked about a lot, but the one thing I walked away with is this: to be a true innovator you have to go beyond trying something new and different – you have to be willing to be vulnerable. Vulnerable, here, is not a “bad” word, it’s about taking the time to germinate ideas, make big choices – and being prepared to fall on your face in defeat when they don’t pan out. As the Q&A started, the audience kept voicing how much that resonated with them, and struck up conversations with Sarah, Afdhel, and Grace about their most vulnerable – and creative – moments. By the end of it, it was like we were all old friends talking over good food and drinks.

It was an honor to be the panel facilitator, but more than that, it was my pleasure to play a role in such a special evening. I hope we get to do it again soon!

For the past year and a half, I’ve been doing social media work within the the music and greater creative industries. From streamlined user-accessibility to an increased ease of distribution, digital media outlets have had a largely positive bearing on the lives of independent creators in my eyes. The rapidly growing community of independent creators on various content sharing apps in the past few years seems a direct reaction to the opportunities for monetization and exposure that such platforms provide. Below are some personal observations on the positive contribution of digital to the arts that I’ve accumulated during my internship tenure.

Forget middlemen: For independent musicians, artist-run streaming platforms like SoundCloud and Bandcamp are allowing creators to sidestep a number of models long considered to be pillars of the industry. For one, the necessity of talent scouts, agents, and big label representation has been on the wane since the late 2000s in conjunction with an increased ability to distribute work on artists’ terms. In addition, the feature-rich stats services that such streaming platforms provide enable creators to fully optimize exposure. For visual artists, creative marketplaces Spreesy and Etsy help to seamlessly turn Instagram and Facebook followings into sales.

A community of creators is brought together: The increased creative presence on Instagram and Facebook has seen the rise of a number of tight-knit artist communities. Collectives like Balti Gurls, Grlpwr, and Lemon People use their social media presence to connect independent artists from around the globe. In addition to connecting underrepresented creatives, such like-minded groups often work within a highly idiosyncratic style or set of themes, and can be a great place to look for inspiration.

Retain full ownership of your work: Between for-profit galleries and the infamous clauses that larger record labels employ to strip creative ownership from artists after signing, maintaining full control of work can be a difficult task once you’ve sold it off. Punk band FIDLAR learned this the hard  way when a single of theirs was used in a poorly-received Myspace commercial. The ability to set the terms and conditions of your works’ distribution online can help to mitigate the problem of misuse.

Hold more accountability for creative theft: In July, illustrator-designers Adam J. Kurtz and Tuesday Bassen became locked in a tough legal battle with clothing company Zara after a series of pins, patches, and hats were found to be blatantly copied from their personal designs. During and after litigation, Kurtz and Bassen publicized their struggles for weeks on their personal accounts. While a lack of legal funds permanently tabled the lawsuit, Zara’s branding and public image took a serious blow as a number of publications picked the story up. Such stories of obvious corporate greed would likely go largely unnoticed in decades past, where mainstream media ownership helped to suppress dissent against unethical practices of large companies.

Have the final say on your finished product: For artists of all mediums, the independence that content-sharing platforms provides translates to a greater range of freedom over the final iteration of a finished piece. For musicians, big label bureaucracy can significantly alter the essence of your creative message, or simply result in an excess of unused compositions, as this list from The Balance touches on. Similarly, unwavering art gallery agendas are a familiar roadblock for visual artists who struggle with attaining traditional exposure through dealers and curators. Instagram’s recent rise in popularity among small-time illustrators, photographers, and typographers looking for fresh eyes speaks to the creative independence that online artist communities can foster.

Despite the benefits, a slew of valid critiques have been authored on many detrimental effects that social media has had on artists. A recent piece from author Todd Henry, for instance, touches on the potentially  exploitative nature of social media’s business models, while another on conceptual artist Amalia Ulman reveals a number of devaluing effects it may have had on quality. Regardless, the necessity of a web presence is undeniable for those attempting to engage likeminded creators, monetize their work, and develop a fulfilling career, and a few collateral perks have revealed themselves in recent years. As this list from painter Lori McNee highlights, a web presence enables a heightened potential for networking, marketing, and better cultivating a personal brand for freelancers. Furthermore, the potential for crowd engagement and fan appreciation is at an all-time high. Art critic Holly Williams thoughtfully summarizes this reality in an op-ed for The Independent: “Art is for everyone, and encouraging a new, younger generation to get involved and feel it belongs to them is incredibly important. Social media can be a massive part of that.”

Evan is a 20-year-old college student, born and raised in Los Angeles, who has been shaped in innumerable ways by its creative community. He is majoring in digital media and minoring in art history with a dream of working in the music industry since his early experiences at punk shows during his teenage years.

Lisa, a socially conscious handbag designer, found Barry through Instagram. Lisa was impressed with Barry’s work so much, that she wanted to hire him to work on her branding. She filled out the new client survey on his website and things took off from there. Of course, they came across some design differences but Lisa thought she was clear about her wishes. Things were going great until Lisa received the first proofs for her branding. She hated it! Was Barry not listening to her needs at all? Lisa reached out to Barry because she felt like he clearly didn’t understand her vision. She spent way too much money to end up with a product she did not ask for. Enter, conflict.

There will be times when you and your client will not see eye to eye. If perfect situations existed, everyone would be happy and conflict would not be an issue. Unfortunately, sometimes, situations between client and consultant, can become tense. Conflict isn’t a bad thing, though. Because we are all human with unique personalities and temperaments, we will disagree. In fact, if we really think about it, most conflict is purely based off of our misunderstandings. It’s not about having conflict, it’s about how we resolve conflict.

Clarity is the difference between your client being pissed off at you for not doing as you were told and them praising you for listening and making adjustments based off of those words.

What happens when client and freelancer do not have clarity? When conflict is left unresolved, the quality of work suffers. Unresolved conflict with a client leads to decreased productivity, stress, poor communication, overall unhappiness with the project, among a host of other things. How you deal with these moments of conflict make a world of difference.

The good news is, negative conflict can be resolved. If you are someone who hates conflict, whether good or bad, here are seven steps you should consider to resolve them when they arise.

1. Analyze the situation.

Is what you’re experiencing something that needs to be addressed or can it be let go? Sometimes an issue really isn’t an issue. Have a chat with yourself. Is it all in your head? Once you’ve confirmed that the issue does need to be addressed, you move forward.

2. Address the situation quickly.

Nothing sucks more than when both client and freelancer knows there’s an issue, but no one addresses the elephant in the room. After you’ve identified the problem, approach your client (preferably in person or over the phone) about the situation. The longer you wait to address an issue, the worse it will get.

3. Don’t speak when you’re angry.

When you and a client have come into conflict, emotions may come up that can prevent you from speaking rationally. If it helps, write out bullet points you want to address. Go a step further and write everything out in speech form. Have someone proofread it for offensiveness.

4. Seek to understand.

If you think you’re always right, you’re wrong. Have you considered the other party’s perspective? Put yourself in their shoes. Listen to them. Try to understand their frustration.

5. Ask questions.

If something is not crystal clear to you, speak up. Do not move forward with a project if you’re unsure about the scope of work. And along the way, they may find that their expectations aren’t being met. Find out why and what you can do to remedy the situation.

6. Show some respect.

Whether you agree with someone or not, the least you can do is respect their opinions. Everyone wants to be heard. No one wants to feel as though they do not have that simple right. You gain respect by being respectful. Keep it professional.

7. Don’t play the blame game.

No, the customer isn’t always right but there is a way to resolve a problem by including yourself in the solution. Maybe the misunderstanding was on their part, which led to you not creating the product they wanted. Instead of saying, “Well, you told me to do this,” try, “Here’s the problem and here’s how we’re going to solve it.”

Lisa was unhappy with the product she received, so Barry called her, apologized for the misunderstanding, listened to her needs and offered several solutions to resolve the problem. He remained professional and ended his project with a happy customer.

Conflict is inevitable. Finding ways to effectively communicate needs and meeting expectations in the relationship is vital. Not every situation results in a happy ending but if you make the effort to resolve conflict the right way, you’re sure to have better client relationships in the future.

Lucy is a former Creative Circle candidate in Atlanta. She is a freelance writer and visual storyteller. When she’s not writing, she’s most likely exploring new restaurants around town, traveling, taking pictures or reading blogs dedicated to SELF – awareness, development/discovery and expression. If you are interested in working with someone like Lucy, contact your nearest Creative Circle office.

Monthly Typography Tidbits help to feed your typographic hunger and nourish your design output.

Most people work with inches when designing their pages. Makes sense, right? We are used to working with inches when we start designing because that’s the physical measurement unit of the format, and where we typically start: the size of the flyer, brochure, box, etc.

But when we stay in inches, the type is not in harmony with the page. To rectify, we need to use the correct unit of measurement.

Our type is measured in points. For example, 9 – 12 point size for body copy is typical. So how do we build visual uniformity from the page to the type? Easy. Picas.

I think I just heard you groan out loud. Yeah, yeah, I hear you, designers don’t like math. Well guess what, this isn’t rocket science, it’s simple division. The units are so small using picas are easier than using inches because there’s little need for fractions and decimals.


A pica is a unit of space that connects points to inches. There are 6 picas to an inch. See? Sooooo simple. It is a term from the 1580s, probably from pica, a name of a book of rules in the Church of England for determining holy days. I know, a little random.

A point is the unit we use to measure overall type size, and there are 12 of them in a pica. So, if there are 12 points in a pica and 6 picas to an inch, there is 72 points to an inch. That means, depending on the typeface, a header that’s 72-point type size, could be possibly an inch high. Easy, right?


Next time you open up a fresh Adobe InDesign document, don’t immediately switch your measurement system to inches (um yes, points and picas are the default!).

Instead, try typing in your format size in an inch measurement (for example: 8 in), and InDesign will convert it automatically for you. Thanks, Adobe. Picas and points are the measurement system of the environment you’re working in for print. It’s not inches. It’s not pixels. It’s points and picas.

I use points and picas to create a visual relationship from the page to the type. It’s that intimate relationship that creates great looking copy on the page. Columns, alleys, gutters, margins; they all look better if set in a relative measure to the type size.

Develop a fondness with points and picas. Love them and they’ll love you back.

Do you use picas or inches? Tweet us at @TypeEd and let us know your preference.

Michael Stinson is a co-founder and instructor at TypeEd, where he helps designers implement better typography, efficiently. Get more typography in your inbox when you sign up for more updates about TypeEd.

#LiveCreativeChat Recap

Sometimes it feels impossible to finish a day completely satisfied – there’s just never enough time! Still, while it can be tempting to put work before everything, sometimes it’s those personal passions which can make the difference in your career. In January 2017 we called on the Twittersphere to find out how everyday creatives find the balance between their personal and professional lives. Find out from Creative Circle and fellow creatives how to make time for the things you need AND want to do in our #livecreativechat highlights:


Work Life Balance 101 - Q1

Take note of how important your career, passions, and relationships are in your life – it can start defining what balance means to you. How much time do you invest in each part of your life? How much time do you want to invest? By nurturing the passion in some parts of your life, you can have and maintain passion for all the things you do. We love Passion Planner as a way to set personal goals for yourself so you never get too bogged down to do what you want to do.


Work Life Balance 101 - Q2

Project management can be useful in your work and social life. Consider using tools like Trello and Zoho to share projects and help with accountability so you’re not taking work home with you. You can organize in the same way with personal projects – sometimes putting a nap on your calendar is just as important as that 11am meeting.


Work Life Balance 101 - Q3

If you don’t have any goals – set some! Come up with three for your personal and professional life, then see them through. Start small and realistic and find a partner to hold you accountable. If you’re looking for resources, check out this article to help you make resolutions for your career.


Work Life Balance 101 - Q4

We recommend blocking out time in your schedule for you to do what you need to do – even if that’s taking a break! If you’re too in-your-head at work, put an event in your calendar for some personalized, work-friendly video workouts with Sworkit.

By setting aside time for yourself, it becomes that much easier to say no to a work overload and say yes to the things that bring you joy.


Work Life Balance 101 - Q5


There’s nothing better than being direct with a company. Ask them up-front: do they value quality over quantity? How many hours are you expected to work? Is there an option for flexibility? Learn more about navigating flexible work options.

Check out our other Twitter chat recaps and other helpful resources on Our Notebook, and be sure to tune in at 12pm PST every third Wednesday of the month for the next #livecreativechat.