I get a couple of calls each week from design firms looking for “PR.” When I ask what they hope will result from our working together, the responses are often the same. “We want to be in (insert name of favorite design publication), and we’re also thinking (Fast Company | Wall Street Journal | Business Week) … something our clients will see.”

Sigh.

Most people confuse PR with publicity. They are not the same. PR, in the broadest sense, involves creating mutually beneficial relationships. Publicity, on the other hand, is “ink” or media exposure. Publicity is often part of a PR plan, but a PR plan may or may not include a formal publicity component. PR’s first goal is to create relationships.

“Getting attention” should not be the primary goal of any PR program, just as creating a package for the sake of winning an award should not be the primary goal of design. That said, good work warrants and deserves attention. So how do you go about getting exposure for you, your firm, your work?

Here are what I consider to be brilliant examples of PR—authentic relationship- and credibility-building—in practice.

BE A THOUGHT LEADER
A thought leader is recognized for innovative ideas, framing a vision in an actionable way. Think Armin Vit (challenging traditional design communication), Michael Bierut (design advocate); Debbie Millman (the Barbara Walters of design), Mark Randall (social betterment through design). What’s your niche? What makes you unique? What about your professional work and personal life most excites you? What is it that makes you, you?

When Worldstudio’s Mark Randall finished a recent talk to a design group, the audience jumped to its feet with applause. How often do you see designers jump? The energy inspired by Randall was visible and audible. There are at least three reasons: His passion for social change is contagious; he stands for the good design can do; and he pursues his mission with innovative programs like the soon-to-be-launched Design Ignites Change.

HAVE SOMETHING IMPORTANT TO SAY
Talk. If you do just one thing to position yourself as a thought leader, create and deliver a talk. Get out into the world and share your brilliance. After John Maeda’s “Simplicity” presentation at TED (www.ted.com), a noted California architect viewed the talk online. “How did I not know about John Maeda before this talk?” he posted on the TED blog. That’s why you need to talk.

There are other benefits to speaking. “I always learn something by creating a talk,” says Maeda, president of the Rhode Island School of Design. Maeda constructs a brand-new talk, or at least one with 10–15 percent new material, for each engagement. “I also learn from engaging people before and after the talk. So much learning happens when you put yourself out there and make a fool of yourself sometimes. The return is real—even when you fail to connect with your audience.”

Write, publish, blog. Jessica Helfand, Debbie Millman and Alissa Walker are provocative voices in the design community. These cultural anthropologists write and publish prolifically. Millman’s interviews on Design Matters amount to an audio library of fascinating stories from the industry’s leading thinkers. A founder of DesignObserver.com, Helfand’s writings—pithy and polemic—stimulate thought about cultural issues in the larger community.

The joyful Alissa Walker began blogging for UnBeige (the MediaBistro.com design blog) in 2006 and started her own blog, Gelatobaby.com, earlier this year. “I think, especially for creatives, it’s important to have a place where you not only showcase your finished work, but where you demonstrate your creative process, how you come up with ideas and what inspires you. It gives a fuller picture of your work, and it’s kind of like thinking out loud as you go. I sometimes call Gelatobaby my ‘reporter’s notebook,’ but I think maybe designers could think of turning their sketchbook into a blog. Blogging on a regular basis gives your audience a reason to keep coming back and see what new work you’ve added.”

Create a knowledge resource. Bill Gardner has created a living history of logo design at LogoLounge.com. With nearly 100,000 logos in his vault, he has a knowledge base that’s a ready resource for the press, designers, educators and students. The knowledge led Bill to writing an annual trends report six years ago. He publishes in various magazines, nationally and internationally, highlighting the developments he identifies. “The report has come to be highly anticipated in the industry,” he says. Now he finds himself being called on to deliver reports and share insights at conferences. “That’s good for LogoLounge and not too bad for Gardner Design, either.” What valuable resources can you bring to the media, to clients or to the communities of influence that are important to you?

Storytelling. Write down answers to the three questions below—they help define what makes you unique. Then, when you’re asked about your work, you’ll have at least three rich stories to share.

• What is the most memorable project you’ve worked on? Why?
• What project has had the most profound impact on you personally? Why?
• What you have done in your career you would never do again? (We all love to hear the dirt.)

SEE WHAT OTHERS SEE
Google William Drenttel or Paula Scher. The results show relevant citations going at least 10 pages deep (I got tired of counting). Can your prospective clients, colleagues and editors find you? Quickly? “How one manages one’s profile or image, or a firm’s identity online, is getting harder,” says Drenttel. “I have no control over my Wikipedia entry unless I take the time to correct it. We become our past, as remembered online. It’s both fun and scary.”

Incidentally, Wikipedia has over 10 million articles in 253 languages. So why are there only 97 “notable graphic designers”?

INTRODUCE YOURSELF
Make a list of people you want to know. Include editors in and out of the design world, writers you admire and colleagues you respect. The most meaningful introductions come from someone you know: a friend, colleague, supplier or client; ask for an introduction. If you have to introduce yourself, do so in a way that feels natural and genuine. Write a letter to the editor. Send a note to a writer about a story you noticed. Post on a blog. Marian Bantjes was “discovered” on Speak Up by Debbie Millman; it was also there that Michael Bierut read Marian’s writings, long before he saw her work. Since then, the pair has collaborated on many projects, including a recent rebranding of the legendary Strathmore.

STAY IN TOUCH
Once you’ve met those you consider important “influencers,” stay in touch. How often? Every now and then is perfect. Overdoing it suggests desperation. Consider the role each type of communication can play.

A personal note. Last week, I received a #10 white-wove envelope in the mail, with my name handwritten. Inside was a xeroxed copy of a list of top Dallas design firms. Origin Design was close to the top of the list, highlighted, by hand. Below was a personal note from Jim Mousner, a principal and creative director, asking me how my office was doing. Brilliant. Now when I think “successful Dallas design firm” I think Origin.

A communiqué. Most of us first learned about San Francisco’s magnificent California Academy of Sciences building, designed by Renzo Piano, in Vanity Fair or in The New York Times. Four weeks before the building opened, Volume partners Eric Heiman and Adam Brodsley sent out a simple e-announcement to say how excited they were to be collaborating on the design of the main floor exhibits. Because they had given me a heads-up, in all stories I subsequently read—such as in Metropolis—I looked for them. Guess who designed the cover of the September issue of that magazine?

An announcement. When you have something to say, but it’s not breaking news, make it notable. When D.C.–based KINETIK moved, the firm created a memorable announcement. With groovy Eames stamps on the mailer and thoughtful attention to the package design, it’s the kind of piece you can’t wait to open.

An actual sample. Don’t pass up an opportunity to share an actual sample of your work, especially when it tastes good. Tomorrow Partners designed a wonderful candy-bar-sized brochure for Scharffen Berger and sent it, along with an 8-oz. sample of the real thing, to a hand-culled list of editors. Yum.

Anything special. I love getting anything in the mail from Robert Valentine, whether it’s his eponymous annual mailing (a lush valentine that doubles as a limited-edition print), an invitation to his annual charity event or a sample of his latest work for InterfaceFLOR. I imagine editors react similarly; everything Robert touches is beautiful and tasteful—great design and even greater PR, because he makes the recipient feel special.

Say thank you. An editor recently confided to me, “These days, you would be surprised at how many people don’t say thank you.” OK, three things: When someone writes about you, say thank you. Second, when you say thank you, make it personal. And third, if you want to make a lasting impression, make your thank you memorable. Enough said.

PROVIDE REAL NEWS
Expecting to land that major feature in Fast Company with a news release? Sorry, publicity doesn’t generally work that way. A story like that usually starts with a telephone call from a writer who has discovered you or a pitch to a writer or editor—with a news release to back it up.

News releases have a vital place in your communications arsenal, and in many industries, news releases are still picked up verbatim (that’s how one of our clients became known as the leader in papers for digital printing; we just kept saying it, and now the editors do, too). The rule: Send a news release when you have legitimate news. News: launching a new firm, publishing a book, opening an office overseas. Not news: hiring an office manager, retaining a PR firm. That said, posting news on your website to announce industry awards, speaking engagements and new hires is smart.

STICK, BUZZ OR VIRAL?
When starting a new PR program, decide if you are looking for stickiness (introducing a brilliant idea or concept), buzz (persuading people to talk about it) or viral (getting people to spread the word). Or create a brilliant idea like Someguy, an “anonymous” Bay-area designer who has achieved all three with little promotion. “Writers just started contacting me, and the project ended up in The New York Times, San Francisco Chronicle and Entertainment Weekly,” says Someguy.

How did he do it? It started as an experiment. Someguy wondered what would happen if he created 1000 journals, sent them to friends and colleagues, then attempted to follow the journals throughout their travels. In September 2003, one of the 1000 (number 526) returned, filled with entries. What happened to the other 999? Interest in the project led to a book by Chronicle Books and a documentary by Andrea Kreuzhage that debuted at the AFI International Film Festival (www.1000journalsfilm.com). And it’s truly brilliant PR. Find out who Someguy is when SF MoMA presents the exhibit, The 1000 Journals Project, later this year (more at www.1000journals.com).

Hey, Someguy: Want to come work with us?

BE MEDIA READY
Prepare. Once conversation has passed the “hello” stage, be ready for the media. Writer/designer Terry Lee Stone says, “When the presses are ready to roll, not only do you have to have the goods to flaunt, but also the know-how to package and deliver your message to the public.” Terry offers great advice in “Ready for Your Closeup?” at www.aiga.org/content.cfm/ready-for-your-close-up.

Press kit. IDEO is synonymous with innovation. On the firm’s website, media—or anyone, for that matter—can download a personalized packet of information (www.ideo.com/to-go). Don’t have IDEO’s resources? Create a simple press section on your website. Visit my blog to find out what to include.

Editor-ready copy. VSA Partners estimates their work is seen annually by nearly 12 million investors and others in corporate audiences. That’s just one sentence from the history section on the VSA website, which positions the firm as an innovator in corporate communications. VSA’s approach is super-smart: Writers on deadline (like me) need ready information. VSA makes it easy for writers by providing usable, engaging information.

CONNECT
Online networks are constantly creating opportunities to participate with new communities in new ways. Many designers use Facebook and MySpace as ways to get involved in special interest groups, meet new people, build relationships or simply stay in touch. LinkedIn is more often used for pure networking. The editor of this magazine “facebooks” (yet another neologism brought to us courtesy of the web), as do many of the several dozen professionals mentioned in this story. Bill Drenttel lives in the country and has limited access to community. “I’m on Facebook all day long,” he says, “and I enjoy it immensely.” Drenttel doesn’t use Facebook for business per se, but says, “The idea of Facebook is informing other work we do. And I’m continually finding new groups being formed for good reasons besides publicity.”

Circle of influence. Which communities are important to you? If you are expert in packaging design for footwear, join the AAFA (look it up!). If your work involves professional services, join the Legal Marketing Association. If you care about the planet, join Alex Steffen. And if you care about your future and the future of the design profession, join AIGA. Get involved in the communities that are important to your work and create relationships.

DESIGN COMPETITIONS
Ed O’Brien (Hybrid Design) entered his remarkable work for Impact Teen Drivers into national design competitions this year. He won the top award in the Mohawk Show. The visibility for O’Brien and Hybrid will extend well beyond the show book, website presence and globe-traveling exhibition in which the work will appear. The Mohawk Show jury had a lively discussion about Hybrid’s work; the firm is now on the radar of each of the jurors. And now you know about it, too. See how one good thing leads to the next?

If you’re asked to judge a design competition, do it. You’ll benefit from seeing the work of your peers, you’ll get an inside view of the judging process and you’ll see why some entries are more award-worthy than others.

DO “GOOD” WORK
Pro bono work is one of the best ways to demonstrate your personal passions, interests and convictions. And it’s one of the best ways to use your design and communication skills to create social change. Pro bono work is good PR, no matter how you look at it.

Bill Cahan (Cahan & Associates) was so inspired by reading an article on Victoria Hale, who started the world’s first nonprofit pharmaceutical company, The Institute for OneWorld Health, that he decided then and there to start the Circle Foundation—an organization dedicated to raising awareness and funds for nonprofits through branding, strategy and design. Cahan says he thinks it’s critical to give back to those in need. “It’s a karma thing. And they are so appreciative—it makes me feel like I am doing something good with my life.”

SHARE
Open your workspace. “Designing enduring brands” is the manifesto of Willoughby Design Group in Kansas City. The firm’s workspace, an extension of the Willoughby brand, represents a sustainable space for creativity, beauty and collaboration. Featured in a number of books and feature stories, Willoughby’s barn is a great example of how your workspace can be a signature, reflecting and extending your story.

Open your home. Pentagram’s Abbott Miller and writer/curator/illustrator Ellen Lupton opened their Baltimore home to D.I.Y. blog Design*Sponge (www.designspongeonline.com) and, later, to Hollywood. “Our house is an extension of our interests and sensibilities as designers. I think this is true of everyone, but for designers it is inevitable,” says Miller. “There are obviously close parallels between exhibition design and the way you think about your living space. The public/private boundary gets erased a little bit, but it’s interesting to see your home be published. That is why we allowed a Hollywood film crew to use our house for the Nicole Kidman/Daniel Craig disaster called The Invasion, a remake of Invasion of the Body Snatchers.”

Free stuff. “Steal this idea,” directs Neutron’s website, www.neutronllc.com. There, Marty Neumeier offers free downloads on such topics as naming styles, brand valuation and positioning. For Neutron, giving away hard-earned knowledge is one of its success factors. “Our biggest priority,” says Neumeier, “is to get everyone on the same page. We can’t do this by keeping our processes proprietary. We have to share. So we publish books, give workshops and offer free thinking tools on our website.”

How can Neutron make money by giving everything away? “First, we don’t give everything away,” Neumeier explains. “We have a lot of deep-domain knowledge and hands-on experience that we apply to client engagements. Second, we find that the faster we give knowledge away, the faster we replace it with new knowledge.”

BE A GREAT PARTNER
It’s important for creative people to be known as good partners with both clients and suppliers. Think not just about your customers, but also about your relationships with post-production houses, printers, writers, photographers and other designers. All relations are ultimately personal—and this applies especially to public relations. While you may think of PR as defined by media, the media are means to an end. And the end is creating personal relationships—even if you never meet the other people involved.

The proprietor of New York-based Open, Scott Stowell, says, “It took years for me to figure out that working as a designer was as much about managing relationships—with clients, colleagues and friends—as it is about anything else. It’s often as or more important than the work. Good people—and in our case, people from GOOD [magazine]—help good work happen.” Getting your work and your ideas out into the world isn’t just about attracting people you’d like to work with, says Stowell. It’s also about sending a message to the ones you don’t. “It’s helpful for everyone to be clear and let everyone know what you’re all about.”

BE YOURSELF
Joseph Essex wears mismatched socks (see below). The name Marc English immediately conjures cowboy hat and boots. Does anyone own more pairs of swanky eyeglasses than the San Francisco Academy of Art University’s Mary Scott? These are not superficial attempts to garner attention; they are each genuine expressions of “self.” Be you.

NOW, GET TO WORK
To the business world, PR stands for public relations. To me, PR stands for creating professional relationships that personally resonate. David Kohler, who’s now heading up the New York office of AdamsMorioka, wrote on Marc English’s website, “I used to think the whole idea of self-promotion was dirty. … Speaking as someone who avoided it for so many years, I can firmly say that humble position is bullshit. If you do good work and contribute to the quality of design and art, people should hear about it. Too many designers speak to themselves. I think we have more to offer than that.”

So what are you waiting for? You don’t need a PR firm to get exposure. Get out there, do great work, have something to say, and share. People will notice.

To access the author’s blog, e-mail her at pwilliams@williamsandhouse.com

BEING JOSEPH ESSEX: THE GUY WITH TWO-COLOR SOCKS
In his own words:
“In 1983 Vanity Fair, the magazine, came back to newsstands. The June issue’s cover was a photograph by David Hockney of his feet jutting out from a wooden dock over a small lake in France. Hockney was wearing white saddle oxford shoes with two different-colored socks. ‘The socks,’ I said out loud. One was red, the other was yellow. This was great. Why did they have to match? Why did they have to be the same? Why couldn’t I think about things in new ways all the time, back up, start from scratch, remove preconceived ideas?

“This was a big moment for me. It was a kind of permission to let myself off the hook and allow my ideas to start over. What was even better was that it was a powerful way to explain to clients the limitations of patterned or historical thinking. We didn’t have to do things the way they had always done them. It was OK, even reasonable, to examine old ideas and priorities for their relevance. Except when wearing running shoes, I have worn two different-color socks every day since.

“When clients ask ‘Why the two-color socks?’ I have a perfect opportunity to present my case, tell my story and engage them in the experience. Even today there is a security guard just outside the [Chicago] mayor’s office that announces me with, ‘The guy with two-color socks is here.’”

[TOP:] John Maeda speaking at TED2007 in Monterey, Calif. Watch his talk at www.ted.com. PHOTO BY ROBERT LESLIE, WWW.LESLIEIMAGE.COM