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All of us receive interesting and informative ideas by email that we like to pass along. Sometimes the message is so compelling that we immediately forward the message to our friends and families without checking for it’s accuracy or authenticity.

The video below is about Spam — made by the folks at “Glove and Boots” — manages to make what could be a tremendously dry topic, funny and informative instead.

Best of all.. it features the puppets, Mario and Fafa.

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Visit these websites to help stop SPAM before it happens!

Presented here for your education, inspiration and enjoyment by:

Will Sherwood
CEO/Chief Creative Officer
The Sherwood Group: Graphic Design & Website Design
Santa Clarita and Los Angeles, California, USA

Professional links:
Graphic Design/Web Design | Color Printing | YouTube Introduction

Social media links:
LinkedIn | Facebook Design | Facebook Printing | Twitter


Success Secrets from David Schimmel:

  • Figure out what your vision is, what your interests are and where you want to focus — and then spend the time when you’re not designing pursuing clients in that area.
  • People work with people they want to work with, not necessarily those who are best for the job. And it’s not always fair. Instead of fighting, try to embrace it, and then you can succeed.
  • Take advantage of coaching and consulting resources and surround yourself with smart people who you can learn from.
  • Business development is the last of the blood sports, and it’s vital. You’ve got to make time for it.

A Designer at 16:

So I’m 16, my job at the mall just fell through and I need something to do for the summer. I had taken a course in commercial art that year and had always been artistic, so it seemed time for something more. Off I went door to door at that same mall to drum up business for what I now considered my new summer job: freelance graphic designer.

This being Miami, my first stop was a Brazilian swim shop. It turned out the guy behind the counter owned the line of bathing suits and was looking for someone to design a catalog. I talked a good game, and they gave me a shot. I called a photographer I knew, a couple of friends to help with props, and turned this job into a networking game of finding anybody who could make me look like I knew what I was doing.

So there I am, 16, and on a South Beach photo shoot with four bikini models, catering, a stylist, the works. And I’m thinking: last week, I could have been folding sweaters.

Entering the Profession:

Basically I’ve always been entrepreneurial. When I was younger it was baseball cards. Then, well, the bikini models. And on and on.

I ended up in New York and met a slew of designers while trying to size up the market and find my place. Like everybody else, I was looking for the typical junior design job at a traditional firm. Then I walked into Young & Rubicam Advertising, just to meet somebody in their creative studio. He sent me up to a group creative director and two hours and two beers later, the CD offered me a job to start a brand-new design group at the ad agency. Design was on the brink of being more than a value-added service and they wanted to integrate this capability into their ad offerings.

So there I was at 22 with a totally huge opportunity. Believe it or not, I said I’d think about it. I was young and thought I was selling my soul to the devil by going into advertising. At that time, there was a big divide between graphic design and advertising and once you crossed to the dark side, that was it.

Or, so I thought. I ended up going back the next week and accepted the offer. It was the best move I ever made — although I had no idea why at the time.

Deciding Factors about Starting His Business

I believe that you have to have luck. I mean at the end of the day you can have all the talent in the world, but then you’ve got to have luck and you’ve got to put yourself out there. Woody Allen always says, “90% of success in life is just showing up.” And it’s really true.

At Y&R, I created the branding for an organization that brought together some of the most powerful women in business, real heavy hitters. And we designed all the environmental graphics for their conference in Palm Beach. I was sent out to oversee it all, and in between straightening signs and checking banners I met one of the keynote speakers, who happened to be the founder of a $5 billion real estate company here in NYC. She somehow had gotten word that I designed the event and wanted me to do work for her. I jotted down my number and shortly thereafter she called. I couldn’t believe it.

We met a few days later and two weeks later I was in business. My own business! The rest is history. It’s been a rollercoaster and June 2009 will be our tenth anniversary which is nuts.

Building His Business:

The two hardest parts of building a business are going after business and building a strong team. And it’s especially difficult doing both at the same time. I was 23 when I started out with, thankfully, a very plum piece of business. My family, friends, and everybody I knew tried to give me business to help get me started.

But after about a year, it got hard because those friendly relationships reached that exhaustion point. Everybody has what they need and by then you’re either a viable business or not.

Well, I was young and didn’t come from New York City, so I had to establish my whole network and do that all while I was also doing the work.

It was really hard. And there’s no right way to do it — no guidebook or road map. And Partners was largely built on intuition and instinct.

Of course, PR played a big part including a lot of mailings. This was before the Internet was as big as it is today. Every time we won an award or got into a magazine, we’d photocopy the cover and the page(s) where we were featured, put it inside a big bright red envelope and mail it to everybody on our list; designers, the press, prospects, you name it. And everybody would get these red envelopes about every 6 weeks. This became a multi-pronged approach to help us stay present. Our thinking was that when the time came that a company started looking, we’d make sure they had already heard of us. And that really was how we grew. It was slow and a lot of seeds got planted and sometimes it took years for them to blossom. But it worked. In fact, the head of marketing at a Fortune 500 hired us simply from one of our red envelopes.

New Business Development Today:

Business development is the last of the blood sports, and it’s vital. You’ve got to make time for it. Our Director of Business Development is my #2 person here and that’s her focus. We do it together and we do it quite well. We have a couple of areas of business that we’re proactively going after. With that, we take the stuff that comes our way and decide whether it’s the right fit.

Thoughts on Business Referrals:

We also have wonderful relationships with established principals of award winning firms that refer business on occasion. They are great projects that are overflow for them or not the right fit or a conflict. It’s not an everyday occurrence, but a referral from peers is a choice–and much appreciated–source of business.

In fact, I think it’s always good to keep people (loosely) in the loop on what you’re working on, because anybody, from clients to the press, can send you work. I believe design is a people business more than anything.

David’s Favorite Accomplishments:

Just having done what I’ve done is quite gratifying. I don’t realize as I’m working everyday, but there’s a permanence to much of the work we produce and it’s really an amazing feeling. For example, we do our share of real estate marketing and when I walk by a building that has our logo engraved on the signage outside, well, it just feels great! Similarly, when I read about a corporate client in the business press and I know we had a part in shaping their corporate image, it feels personal and I’m proud of that.

Similarly, when we walk into an awards show or a conference, and learn that people have seen our work and know our firm, it’s exciting to think that we built something that didn’t exist 10 years ago. To me that’s probably the most gratifying.

David’s Thoughts on The Keys to Success:

It’s all about work ethic, tenacity and obsession for design. For me, there’s a passion and love for this business and for what we do. It’s a part of our lives, not just what we do Monday through Friday.

And then it’s the people. More than anything it’s always been about people. It’s not necessarily the best designers who have all of the opportunities. Sometimes it’s about personality and temperament. People work with who they want to work with — not always who is best for a particular job. And it’s not always fair. But work on those relationships and you will win, more than enough. That’s the catch and that’s the crazy thing. It’s wonderful because it fosters a level of loyalty from clients and makes it rewarding because when they appreciate what you do they come back to you again and again.

On Doing Things Differently:

There are times when I wonder how things might be if I had made different choices along the way. The short answer is probably, “No, I wouldn’t change a thing,” because it could never happen the same way twice. But there’s a part of me that wonders where I’d be had I worked for someone else for five or so years before I went off on my own. “Would it be easier? Would I be more successful?” I know I’ve had to learn a lot of lessons the hard way and it’s been difficult because of the way I began.

When I was in my 20’s I was naïve and thought, I can do this, I know more than the 30-something guy does. But there’s something intangible that experience brings, and there’s a reason why people in their early 20’s don’t typically start businesses. I now understand that if I had worked five years at an already established firm it probably would have made a big difference as to how And Partners grew.

Punc’t is a limited edition series of 24 posters created by 26 New York-based designers. The series was conceived/art directed by And Partners, Client: Neenah Paper. Shown Above: Em/en dash: Todd St. John. Below: Question mark: Steff Geissbuhler.

David’s Thoughts on Business Seminars, Workshops, Business Consultants and Coaches:

They’re invaluable. Everybody needs a coach. When you’ve exhausted your friends and family and the first round of clients, a coach or business consultant can be like a compass.

I hired a consultant who worked with me for about a year on general business strategy. What type of work should we be going after? What’s most lucrative? What type of clients are right for us? And what type of clients should we shy away from? He was a former president of one of the large branding firms and he was invaluable to me at the time.

We’ve hired other consultants since then, specifically for new business and strategy. I also hired a coach to help me improve my skills at public speaking. I can’t count how many designers I’ve listened to who bored me to tears and I sure as hell don’t want to be the guy who makes everybody fall asleep.

Tips on Building and Sustaining a Career:

You have to have vision and know what you like and don’t like.

Figure out your vision, your focus, and your interests and then spend time (when you’re not designing) pursuing clients in those areas. This is probably the best move for figuring out who you want to work with.

And, you have to be willing to struggle through the period of time it takes to ramp up. In other words, if you’re going to go off on your own, don’t do it unless you have a client who is sizeable enough to carry the business for a while. Then you’ve got to ask yourself “Now that I have this great opportunity, what do I really want to do when I grow up? And what do I want to focus on?”

Also, when you can, aim for clients that give you a good vibe. There’s nothing worse than dreading your own client.

Thoughts on Specializing:

I suggest specializing in an industry, a service, or a particular market that you love.

For me it was upscale consumer marketing and real estate. I have a personal interest in both areas and so we started pursuing both markets. It took about 4 years to build the practice before we started to get some traction. Knock wood that we’ll be able to continue to sustain and grow this business.

When I first started out I looked at companies that I admired and thought, they do great stuff. They work on non-profit, for profit, banking, fashion, food, restaurants, candy, you name it, they do it.
I thought that’s what I wanted.

So we sought out projects in publishing, hospitality, real estate, corporate communications and annual reports and it was all very eclectic. I didn’t understand why we were struggling even though I had been doing it for 4 or 5 years. I didn’t understand why it was so hard and why we were pitching for business, but one thing wasn’t leading to another. It wasn’t until we started to focus on just a couple of areas that we started to see that happen.

Maintaining Balance:

I work out. I love to run. I’m an avid golfer and an skier. I love to travel and eat and cook.

We have summer Fridays – everyone can pick one Friday each month to do whatever they choose. It helps keep people fresh and gives them time off to relax and recharge their batteries when things are slower.
I always encourage travel. Travel is one of the great influences for me with my own work because it gives me perspective and a fresh way of looking at the world.

David’s Toughest Challenge:

Without a doubt, the toughest challenges are making the hard decisions in the office and building a strong team that has a short hand in working together.

Additional Thoughts for Someone Just Starting Out:

The world around us, especially with the pace of ever-changing technology, is going to impact your business or career. It is hugely important to never stop learning, reading, educating and staying on top of trends.

Far too often designers get into a rut. They figure something out and they start doing that over and over. They become known for it and stop experimenting. Those who are the most successful for a sustained period of time are like chameleons. They possess an ability to continually learn and assimilate knowledge in different areas and apply their creativity to different applications. That’s something I will always encourage and strive for personally and professionally.

About David:

Considered one of the top emerging designers in the U.S., David began as a design director at Young & Rubicam, then launched his own firm at the age of 23. He has collaborated with many of the world’s most sophisticated clients, earning multiple awards for his work.

David graduated in 1998 from Washington University in St. Louis with degrees in art and business and was immediately hired by Y&R Advertising as design director. In this role, he extended brand imagery from advertising to diverse target-directed media for top Y&R clients such as AT&T, Sony, DuPont and Citibank.

Acting on his desire to create the core brand itself, David founded And Partners in 1999 to provide branding, graphic identity, literature, and collateral for up-market consumer and professional-service companies. The firm has enjoyed steady growth and recognition while expanding into multi-media and environments.

David serves on the advisory board of Portfolio Center in Atlanta and teaches at The School of Visual Arts in New York City. A standing member of the New York City Board of Education’s Advisory Committee in the area of occupational education since 1999, David was honored for his dedication to the Virtual Enterprise program.

David has been featured in Communication Arts, Dynamic Graphics, Graphic Design USA, Graphis, HOW, I.D., PRINT and STEP Inside Design and was named among Graphic Design USA’s “People to Watch” in 2003. In 2005, he was awarded a pencil from British Design and Art Direction, a Gold Pencil at the One Show and numerous Gold ARC Awards.

David Schimmel
And Partners
121 E. 24th St. Fl. 12
New York, NY 10010

General inquiries:

New Business:

Job Inquiries:

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This article is published by The Sherwood Group |Website Design | Graphic Design | Marketing Communications: The Sherwood Group has over 30 years of experience working with all sorts of companies, small and large. Our clients range from entrepreneurs to Fortune 500 firms, in nearly every business sector, from across the street to around the world (and yes, even Europe, China, and South America). Our goal is to create advertising,  graphic design, website design, and marketing communications that still look fresh and relevant 10-15 years later. Our mission is to stir your imagination and leave your competition shaken and wondering,  Now what do we do?”  We are located in North Myrtle Beach, South Carolina.

If you want help establishing yourself and/or getting new business, contact Will Sherwood, CEO of The Sherwood Group. He can help you reach your goals through offering ideas, suggestions and/or graphic and website design.

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Mike Salisbury (with Tina Turner)

Success Secrets and Tips from Mike Salisbury:
  • It is very competitive. To get work takes getting attention. The attention of clients and the attention of people who will steer clients to you.
  • There is a lot of stuff going on in graphic communications today. Unique and modern concepts and looks and a lot of creativity inspired by other periods.
  • There is almost too much good design. Is it the computer? That’s the tool to get it done—the look and the finish –and it is the resource to explore and experiment and learn. A resource we have never had before. And there are more people with knowledge creating.

Tell us about yourself:

I remember trying to get a job but had no resume I really didn’t want a resume because it just seemed so cold. Instead, I always created something visual to get a job. I was hired out of school by Playboy magazine in Chicago. I wanted to come back to California. So I created a cartoon strip resume with m as the main character, and I got hired from that.

What do you do:

By creating ads on my own that I though fit their style, I got my first job as an advertising agency art director.

You need to show potential clients or employers or schools what you can actually do. And you need to do it well, even if you’re only creating samples for portfolio pieces. And you must personalize this communication. How? Use your name in your business. And adding your photo or likeness to resumes or websites or your card in a creative and/or tasteful puts a person with the work.

What did you do:

Everything you communicate with should be a reflection of your taste and talent. You can communicate with humor if that reflects you and your work. You can communicate with an idea or style.
All of my stationery–envelopes, letterheads and labels for packages and discs–are designed with samples of my work and have a small logo sticker that attaches to any work presented. I have my logo on e-mails, I have printed t-shirts with my logo and mailed them to clients and potential clients. A lot of my materials have been a bit humorous to take hard sell edge off.

How do you get more:

Building my business has always been promoting, promoting, and more promoting. Even now, I’m trying out anew ways to promote. I even had a press agent at times. I have sent out weekly postcards announcing new work or awards, advertised in the entertainment trade magazines, created mailers that featured one piece of known work in each category I work in—editorial design, motion picture marketing, apparel advertising, video game branding, corporate identity, packaging and the amount possibly earned for clients with each example.

I speak at conferences and events about my work. And I wrote a book about my work– “Art Director Confesses.”

Get out there:

Take every opportunity to learn new things and meet new people and network. As a creative director at Wells Rich Green, and Foote Cone Belding, I had access to big deal clients with big deal budgets and I learned and created what I couldn’t have working alone. And I met and worked with people who later became my clients. For my business.

Attend seminars and take classes. I have attended a lot of seminars and I’ve spoken at them: AIGA, Idea. But I’ve also attended different kinds of seminars not just those relating to design or advertising. I attended a guerilla marketing seminar which very beneficial. It reminded me to do things I should do that we forget to do like taking notes and asking questions. And their book is a good one too. It told me how to promote with obvious, easy-to-understand things I could do. Things, which don’t cost a lot of money, like letters. I send out a lot of letters. And people read them and pass them on. And with e-mail today it can be easier but at times there is no substitute for the real thing in writing.

When I network with anyone, anywhere, I subtly promote what I do. If I am asked what am I up to, I reply with a work related informative short answer—but not “ Uh duuno.”

Outside of work, my love of surfing and motorcycling and my interests in art and photography have created new opportunities and made new clients. I went surfing in Fiji with guys who were all in finance: stock brokers and bond brokers. They asked what I did, and I told them, and I ended up contributing to the bottom line of a lot of their companies.

From my experiences riding and surfing, I have been asked by people I meet from the surfing and motorcycle industries to create advertising campaigns and design and marketing materials and I have been asked by major magazines to write about surfing and motorcycling and design.

Show off:

Promoting is presentation and this business of advertising and design is presentation, presentation, presentation. I learned presentation studying architecture at the University of Southern California. This is one of the most valuable assets I have.

Something I developed creating for the motion picture business is conceiving and managing the creation of a lot of concepts to a lot of different directions for presentations. I have built entertaining and theatrical presentations once renting an empty new industrial space to hang teach two-page layout of a very large format brochure promoting a new movie, like an art gallery show. My presentations have been created in theatrical forms but explain the concepts very well.

Because of my presentations, I’ve been asked to create presentations for agencies for their clients or potential clients as well as –for Levi Strauss and Volkswagen–and to revise those presentations. And I can develop multitudes of revisions.

Business advisor advice:

I can be prolific with concepts and revisions because I have learned from my business consultants and from just working in advertising and editorial the value of research. And listening. I work by first developing concepts to my instincts re: the project and then work from the clients’ input and from research about the market, the product, the customer.

So, find good consultants. Two more heads of course are better than my little one. David Goodman has been an adviser of mine for over 10 years. He builds strategies with for solving client assignments and advises me on tactics for dealing with clients He is here in the LA area. Emily Cohen. Is another advisor from the East Coast. She writes my proposals and contracts. She at times has one point of view, and Dave has another. So together we construct proposals and I take advice. One thing I always disagreed with both of them on, is giving anybody revisions to a job at no cost to the client. I mean if the client’s not satisfied the first time, how are they going to be satisfied the second time, even if it’s for free?

Mike’s perspective on specializing:

I never specialized—magazine design, advertising, graphic design, illustration, photography, film, architecture, writing– I have done it all. That creates some problems in marketing myself. So, what I do is simply position myself as a sales tool. Today, branding is the best term to describe what I do.


I started taking pictures when I was a little kid, about six or seven. And I earned my camera selling greeting cards door to door. I could always draw, and I would draw for people’s attention especially girls’ attention. I still draw for the preliminary stages of working. With my sketches I have something to communicate to the people who work with me. And it doesn’t take a computer.

When I was about 9, I lived next door to an art director on the Kellogg’s account and he asked me to do some lettering that looked like a kid’s writing and that introduced advertising and me to design.

Take every opportunity to learn:

In junior high, I began a business painting flames, surrealistic murals and pin striping on cars.

I lived near George Barris Kustom Kars and I would ride my tricked out bicycle over there and just watch Von Dutch pinstripe and spray paint flames on the custom cars and hot rods. I practiced and practiced on everything and everywhere. My entire bedroom was pinstriped. I then went on the road painting at car shows and drag races.

Pin striping took concentration to make designs symmetrical with just a brush. Also in junior high I learned to set type. Learning both skills took concentration and both were invaluable in my work.
Words are the coin of the realm..make them look good like money.

Take every opportunity:

I like to believe I always picked what I wanted to do. I wanted to design a magazine so I promoted myself to the editor, John Severson, for the job as the first art director of Surfer magazine. Being in that arena brought me design work for clients like Gordon and Smith and Birdwell Beach Britchs. Later, that beach industry experience got my own firm hired to create memorable ad campaigns for Gotcha.

That was after I wanted to be in advertising. After Surfer, I picked the agency that I thought was doing the best work and prepared those sample ads to show what I could do and I was hired.

I say I like to believe I always picked what I wanted to do and just did it but I was fortunate that when and where I started, there wasn’t a lot of competition for creative jobs.

And, I could see opportunities that other people couldn’t see. For example, when I went to be the art director of West, everyone said it was horrible. It was a supplement of the LA Times, and they wouldn’t be interested. To me it was like a blank canvas. They had a circulation of two million and they really didn’t have a format or a look.

I gave it a format and a look. The format organized the editorial material so it could be read, and I gave west a look with the content. I wanted to make it about Southern California and the culture we live in and LA is all about the visual.

And I used the magazine to promote what I did. I mailed copies all over the world. People could not get enough of California. I lived it and could tell the story and got more work to do that.

Another opportunity no one saw was the position of creative director for United Artists Records. I took the job and was nominated for a Grammy with one of my album covers. That led to me being hired as the art director of Rolling Stone. A magazine that never had a strong visual presence. That gave me the opportunity to create one for it.

Don’t stop:

My aunt was a high school English teacher who always gave me books. Learning to write has been a passion of mine so I started writing for magazines like Men’s Journal and Forbes because of my Rolling Stone connection.

From Rolling Stone I went to work creating ad campaigns for movies. A hard, supposedly dead end job but I did get to create the Jurassic Park and Raiders of the Lost Ark logos and as campaigns for over 300 motion pictures including Aliens and Moulin Rouge.

When the big time New York ad agency Wells Rich Greene opened their Los Angeles office they were looking for someone with entertainment industry experience. That was me. But, the guy that told them to hire me, worked at Wells and was a fan of West. I’ve always been in a place where I could see an opportunity especially one handed to me.

And either on my own, or working for a big company, I would use the opportunity to learn.

At West I had pushed myself learning more photography and I got assignments from magazines like Vogue and Esquire and I took pictures of recording stars like George Harrison. At Wells, I stayed long nights looking at reels learning all I could about commercials.

Mike Koelker was the Executive Creative Director on the Levis account at Foote Cone Belding in San Francisco. He hired me to be Director of Creative Services. I was asked why? Koelker does everything creatively for Levis and he does it great. At FCB, I introduced the 501 brand. That work was on billboards all over the country, on TV, featured in the Wall Street Journal and is in books sand museums. Howe many kids do you named Travis?

There were a lot of people who couldn’t understand why I would want to go to work for the LA Times for West Magazine, or people would ask why would I want to go back to work for an agency like Wells.

It was all opportunities to create, learn new things and meet new people–network. A lot of times the pay was really good, but there were other times when the pay wasn’t the issue. You know, and I know, salary jobs can’t always be the best paying jobs in the world.

So I look for what I’m going to get out of it, what I’m going to learn. And I get to work with that client’s money and make samples for myself. You know, going back to the Wells and Foote Cone agencies, they had big deal clients with big deal budgets, and I got to create things that I couldn’t have created working alone for myself. Sometimes people don’t see those kinds of opportunities.

Advice for someone just starting out:

My daughter Victoria graduated from college in fashion and she wanted to put together a resume, but she hadn’t done anything professionally. I suggested that she make a presentation piece, because she’s a fabulous designer, and she’s really good at the construction of fabulous high-end clothes and her designs have all been photographed. She did the presentation work.

She got hired and just completed the design of an entire line of women’s wear, which sold out when shown at a trade show.

The thing to do is always show people what you can do. The words aren’t going to do much in a resume for a visual person, unless you’re demonstrating market experience. And if you don’t have anything to show people, do what I did to get my first agency art director job at the Lansdale Agency. I saw what he did, the most clever stuff in LA at the time, I created ads that might have come out of his place, presented them to him, and got a job.

You need to show people what you can actually do. And you need to do it well, even if you’re only creating samples for portfolio pieces. No one really cares as long as long as they can see what you’re capable of.

About Mike (shown above with Tina Turner)

Mike Salisbury is recognized by his peers as one of the leading talents in American design and the man behind the imprint on a multitude of diverse products – Levi’s 501 jeans (a brand that Salisbury created), Michael Jackson’s white glove, Rolling Stone and Playboy magazines, O’Neil and Gotcha surfwear, along with some of the world’s most recognized corporate branding and product design for companies like Hasbro–the biggest toy company in the world, Volkswagen, Honda, Halo and Halo II–the world’s most popular video game.

His work is everywhere in the motion picture industry. Mike created marketing campaigns for over 300 movies including Aliens, Jurassic Park, Rocky, Romancing The Stone, Raiders of The Lost Ark, the new Planet of The Apes and Moulin Rouge. In the film The People vs. Larry Flynt, Flynt defends the First Amendment based on a concept Mike Salisbury created for Hustler.

George Lucas collects Salisbury’s work and recommended him to Francis Ford Coppola who used Salisbury for the prototype for the photographer’s role in Apocalypse Now. The exploding boxing gloves that interpreted Rocky IV to the world – a Salisbury image so hot it became the visual symbol for the film that didn’t need the title for identification. This visual symbol became Salisbury’s most copied graphic.

Whenever guest post author Chris Spooner of Blog Spoon Graphics is ever in need of an inspiration fix he looks no further than typographic poster designs. As creative people, we all love the combination of design and typography to convey a message with feeling and emotion. This article brings together 30 creative typography designs in one showcase to fuel your inspiration. As always, follow each link to see more great work by each talented designer.

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Written and compiled by Chris Spooner of Blog Spoon Graphics

Original Source

Presented here for your education, inspiration and enjoyment by:

Will Sherwood
CEO/Chief Creative Officer
The Sherwood Group: Graphic Design & Website Design
Santa Clarita and Los Angeles, California, USA

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As you may know, most of us forget to send our friends birthday wishes, be it on Facebook, via phone call or whatever. It may not be a big deal to forget birthdays but it is nice to show your friends that you are there for them. Being too busy to remember is not a cool way to explain your absent-mindedness, when now you can easily find the time to prepare a birthday greeting for them.


So what can you do to keep up with birthday wishes on Facebook? What is the most efficient way to automate birthday wishes? Thanks to this info from Mustaza Mustafa, of, every time a birthday arrives, your birthday greeting will be automatically posted on your their Facebook Wall. Cool, huh? You can even specify when in the day it will arrive. And, you can do all this with BirthdayFB, a web application that automates your Facebook birthday greetings.

Connect Facebook with BirthdayFB

To get started, go to the official page of BirthdayFB and connect with your Facebook account.

BirthdayFB Connect Facebook

Once connected, you will be redirected to the main page, where you will see a list of upcoming birthdays of your friends on Facebook.

upcoming list

Scheduling birthday wishes with BirthdayFB

Scheduling birthday message is easy: click on the ‘Write Messages’ tab and you will be redirected to a page where you can write your birthday messages.

Write Messages

As you can see on the above screenshot, there are 4 sections to fill up and the steps are as follow;

  1. Firstly, select the wish you want to post on your friend’s wall. You can use the dropdown menu to select ‘canned’ messages. Canned messages are pre-set messages you have saved earlier, or that are prepared by BirthdayFB.
  2. Use the text box to write your own messages, if you prefer to not use the ‘canned’ messages from the dropdown menu.
  3. If you write your own message and you want to save it as a canned message, check the ‘Save as a canned message’ option so you can use it again.
  4. Click ‘Save’ when you are ready to schedule the message.

Canned messages

Canned messages are saved and re-usable messages. Every time when you save a new message, it will appear in your collection.

To manage your canned messages, click on the ‘Canned Messages’ tab. To create a new pre-set or canned message, click on ‘+New Canned Messages’. You can also edit or remove the existing messages by clicking on ‘Edit’ or ‘Remove’ buttons on the right side of every message.

Canned Messages

The canned messages that you can edit are those that you saved, but the ones prepared by BirthdayFB will remain as such.

Scheduled Messages

The messages once scheduled, will be posted on your friend’s wall during the wee hours of their birthdays; that said, you will only be able to edit those messages before it gets posted.

To edit, click on ‘Scheduled Messages’ tab and click on the ‘Edit’ button to customize your messages.

Scheduled Messages


With this Facebook ‘helper,’ you don’t have to worry about forgetting or having to rush and post birthday wishes on your friends’ Facebook Wall for their birthdays. Yay!

, author of this article, is a traveller, social media lover and a freelance web designer with years of experience working collaboratively over the Internet.

Original Source

Presented here for your education, inspiration and enjoyment by:

Will Sherwood
CEO/Chief Creative Officer
The Sherwood Group: Graphic Design & Website Design
Santa Clarita and Los Angeles, California, USA

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