Each year Pantone selects a colour to define the year ahead. They describe it as, "A symbolic color selection; a color snapshot of what we see taking place in our global culture that serves as an expression of a mood and an attitude."

Just released today, the colour chosen for 2017 is called, Greenery, or PMS 15-0343. 

"A refreshing and revitalizing shade, Greenery is symbolic of new beginnings. Greenery is a fresh and zesty yellow-green shade that evokes the first days of spring when nature’s greens revive, restore and renew. Illustrative of flourishing foliage and the lushness of the great outdoors, the fortifying attributes of Greenery signals consumers to take a deep breath, oxygenate and reinvigorate.

Greenery is nature’s neutral. The more submerged people are in modern life, the greater their innate craving to immerse themselves in the physical beauty and inherent unity of the natural world. This shift is reflected by the proliferation of all things expressive of Greenery in daily lives through urban planning, architecture, lifestyle and design choices globally. A constant on the periphery, Greenery is now being pulled to the forefront - it is an omnipresent hue around the world.
​
A life-affirming shade, Greenery is also emblematic of the pursuit of personal passions and vitality."

So, expect to see a lot of green in the coming year in fashion, furniture and design. 

Source: ​https://www.pantone.com/color-of-the-year-2017

Did you know that what you can't see helps people read what you can see? The empty space surrounding text actually affects the speed and rate of understanding of the brain in decipher words. There two kinds of spacing. Leading is the space between lines of text, while kerning is the space between individual letters and words.  Most typeface designers and design software programs take basic spacing into consideration, but sometimes some fine tuning can really help increase the legibility of your message.   

Below are two examples of extreme spacing between words to demonstrate. Too much space in the first example causes the brain to pause between the words, leaving you wondering if they are connected. In the second example too little space leaves the brain trying to determine whether the text is one word or several. 

When designing on screen, it's always a good idea to get up, take a step or two back from your desk and look at your monitor. Can you read it easily? Do your eyes pause? Do you get confused as to what line of text is next? If you find yourself pausing as you read, some tweaks in spacing may be in order. ​

Cathy Vandergeest, RGD

The interaction of the online and offline world became apparent during a recent running event at Steamwhistle Brewery. 

Las Vegas boasts the 'Welcome to Las Vegas' sign, London has the iconic underground logo signs for it's subway and Los Angeles welcomes tourists with it's typographic hillside Hollywood letters.

What about Toronto? What signs are most recognizable in the city?

Honest Eds
If go anywhere near the intersection of Bloor Street West and Bathurst, you won't be able to miss this sign, reported to have 23,000 lightbulbs. http://www.blogto.com/city/2009/11/honest_eds_is_quirky_kitsch_and_odd_beauty_in_a_toronto_landmark/

Street signs
The city annually replaces about 1,500 signs with larger, easier-to-read signs. The replaced signs are either old or damaged. Some of the signs went up for auction in 2014.  http://news.nationalpost.com/toronto/toronto-street-sign-auction-off-to-a-roaring-start-but-not-everyone-happy-some-will-be-signed-by-celebrity

Sam the Record Man
The iconic spinning Sam the Record Man sign lit up Yonge Street for 47 years before being removed when the building was demolished. There was a lot of controversy over where the sign would go. Recent news say it will be placed high above Yonge Dundas Square. http://news.nationalpost.com/toronto/city-planning-to-pull-iconic-sam-the-record-man-sign-from-storage-and-put-it-above-yonge-dundas-square

TTC subway station signs
Regular TTC subway riders will tell you they recognize their stop by unique variation in the colours of the tiles and station name. These signs were created using the 'Toronto Subway' typeface from the 1950s.   
http://www.blogto.com/arts/2010/12/the_ttc_font_gets_the_poster_treatment/

The Toronto sign in Nathan Phillips Square
Probably the most recognized sign for Torontonians in 2015. The sign was installed as a temporary feature to welcome athletes and visitors during the Pan Am and Para Pan Am games. The sign received an incredible amount of attention and will be kept in the Square until the end of 2016.  http://www.thestar.com/news/gta/2015/09/13/toronto-sign-staying-at-nathan-phillips-square.html

Has this happened to you?
Have you ever spent a long time picking just the right colour for your design only to find that the colour looks completely different on the printed piece from what you were seeing on your screen?

Why does this happen?
When you design a printed piece, you do so using a computer which displays all colours--even CMYK and Pantone colour palettes--using an RGB colour monitor. When you send your design to print, the printer translates your colour settings to the closest equivalent ink mixture. Sometimes this conversion in colour results in something that is very close to what you saw on your screen, while other times it looks completely different.

Why can’t every colour be represented in each colour mode?
The human eye is capable of visualizing a much broader range of colour than can ever be produced on screen or in print. Colour gamut describes the portion of the visual spectrum of colour that can be accurately represented by a particular colour mode. Portions of each colour mode gamut do overlap--meaning that some colours can be converted to produce similar results. That being said, there are also portions of each gamut that do not overlap meaning those colours simply cannot be created in that colour mode. For example, you selected a bright, vibrant RGB colour that looks amazing on screen, but are disappointed to find the printed result is dull or muddy after being converted to a printable CMYK format. This is due to the colour being ‘out of gamut’ and thus the closest equivalent that could be used was quite a distance away--a very different colour.

What are the different modes of colour?
The RGB colour mode describes the colours red, green and blue that when mixed together in varying amounts create the colours seen on televisions, smart phones, tablets and computer monitors. This mode is device dependent, meaning that the same colour may look different on different monitors based on factors such as manufacturer, age and calibration.

The CMYK colour mode describes the colours cyan, magenta, yellow and black. These four colours make up the inks used in digital and offset printing.

The Pantone company created specific colours in attempt to bring standardization to printed results. Colours are shown in books of samples swatches, each with a number and details on what ink ratios are needed to create that colour. Pantone colours can be used on their own or in combination with CMYK inks. The goal of Pantone was to create colour ‘recipes’ that any printer could blend. While this may sound good in theory, there are still a number of things that can affect the result of this recipe. Paper stock (coated vs uncoated), paper brightness, finishing coats and whether the person mixing up the ink components gets the recipe correct!

How to get more predictable print colour results
Never pick a print colour based solely on what you see on your screen. Refer to colour sample books (a CMYK process colour manual or Pantone colour books) to determine how the colours on your screen will translate into print. When initially selecting a new corporate or logo colour, use a ‘colour bridge’ to select a colour that has similar results in RGB, CMYK and Pantone colour modes. Last but not least, provide your print supplier with a Pantone number or a sample of the colour you are expecting. A good printer should be willing and able to help you achieve the result you are looking for and help you avoid any surprises!

© Cathy Vandergeest, RGD, gawck group inc. 

There are many different file formats in the design world. You may have seen or been asked for files with the following extensions:.ai, .jpg, .png, .eps, .psd or .tif. How do you know the difference between these formats and what they are best used for? Choosing the wrong one for your design could result in a very disappointing piece, especially when working with large format items. We’ll explain the most common file formats you’ll encounter in the design world, and let you know which is ideal for putting together your poster, sign or banner.

RASTER & VECTOR: TWO CLASSES OF DESIGN FILES 
RASTER FILES are made up of tiny dots called pixels. The number of pixels in this type of file remains constant, so if you try to make a raster image bigger, the pixels become more visible, thus appearing ‘pixelated’ or blurry. When using a raster file, it is important to get a photo that is of sufficient size, measured in pixels, for your needs. 

Common raster file formats:
JPG 
Best for: Web design, on-screen and for home/office applications such as Word or PowerPoint. Digital photographs typically originate in JPG format. JPG files are smaller than some other raster formats due to compression. Be aware that each time you open, edit and resave a JPG file, it further compresses the file which results in a loss in quality each time it is saved. Large format tips: You can use JPG files in large format projects, but they need to be photographed with a sufficient number pixels and adjusted in design software to the ideal print settings. 

GIF
Best for: Web or on-screen images that contain large areas of uniform colour and fewer than 256 colors. GIF files are small, prone to pixelization and do not resize well. Large format tips: GIF files are not typically used in large format design.

BMP
Best for: Web or on-screen images. The BMP format stores colour information for every single pixel. While all this information means they can represent beautiful images, BMPs are very large and do not scale up or down well. Large format tips: BMP files are not typically used in large format design. 

PNG
Best for: Web or on-screen images. PNG files are superior to GIFs because they support millions of colours while offering small file sizes. While PNG is a newer format, it is now supported by the majority of web browsers. Large format tips: PNG files are not typically used in large format design.

TIF
Best for: Professional printing, high quality images. This format creates large file sizes, but unlike JPGs, TIF files do not lose information when edited and saved. Large format tips: As long as the image is created with enough pixels, this is an excellent format for large format design. 

RAW
Best for: A relatively new format often used by professional digital photographers. Generally, this format is used for in-camera storage and files need to be converted to JPG, TIF or PSD once the photographer transfers them to a computer. Large format tips: As long as the image is created with enough pixels, this is an excellent format for large format design. It must first be converted to a usable format using design software. 

PSD
Best for: Professional designers who need to edit or prepare an image for high quality printing. PSD is the proprietary file format of Adobe Photoshop, and allows designers to create complex images using a multitude of layers. You must have Adobe Photoshop in order to open a PSD file. Large format tips: As long as the image is created with enough pixels, this is an excellent format for large format design. 

VECTOR FILES are made up of mathematically-defined lines, objects and fills. They can only be created using illustration design software such as Adobe Illustrator. The huge benefit of vector files is that they can be scaled from the size of a postage stamp up to the size of a house--while maintaining quality. Additionally, specific colours (i.e., Pantones) can be used in the design. This makes vector files excellent for logo design. While raster items (e.g., photos, or a raster version of a logo) can be opened by illustration software, that item will never have the same scaling attributes of a vector file. Unless an item is actually created in an illustration based program, it cannot be simply 'saved as' a vector file. In order to view and edit an vector file, you will require illustration based software. It is always best to keep a safe copy of the original vector file on hand in case it is needed for edits or printing in the future. Consider this the ‘master copy’ of your logo. 

Common vector file formats:
AI
Best for: Graphic designers creating or editing logos, digital illustrations and for professional printers. AI is the proprietary file format of Adobe Illustrator and can only be opened using that program. Large format tips: Excellent format for use in large format design as it can be scalable to whatever size you’d like! When sending an AI file that contains text to a printer, be sure to save a master copy of the file. On the copy your are sending, convert the text to outlines, so there is no change to your selected fonts.

EPS
Best for: Graphic designers creating or editing logos, digital illustrations and for professional printers. EPS is considered to be the universally accepted vector format. Large format tips: Excellent format for use in large format design as it can be scalable to whatever size you’d like! When sending an EPS file that contains text to a printer, be sure to save a master copy of the file. On the copy your are sending, convert the text to outlines, so there is no change to your selected fonts. 

PUTTING THEM ALL TOGETHER:
Graphic designers use Adobe InDesign (INDD files) and / or Quark Xpress (QXD files) software to assemble logos, images and text into your poster, sign or banner. Once everything is finalized, they can send those files to the printer packaged with all of the components used, or they can create a press-ready file called a PDF which assembles everything into one document and makes it ready for print. This format can be viewed by virtually anyone on any computer platform. A PDF cannot be edited however, so you must return to the original creation software to make any changes. 

Knowing the different types of file formats can be handy when you need an image or logo for a specific project. Understanding that some formats are better at some things than others will ensure your final product looks as great as you intended!  

© Cathy Vandergeest, RGD, gawck group inc. 

 Gloss, matte, silk, lustre, smooth, satin, flat, wet and dull. These are just some of the terms used to describe the glossiness of paper, vinyl and other materials that you can choose when printing posters, banners, signs and more. Unfortunately there is little consistency found among material and service providers when using these different terms. How do you make sense of them all? How do you know what to expect and how do you choose? 
At gawck, we decided to simplify things by using just four terms to describe the finish of any one of our products. Matte, Satin, Light Gloss and High Gloss. We use these terms to describe a scale that ranges from no gloss to very glossy, and have created a simple guide to help determine which to choose in different situations.

GLOSS EXPLAINED
For our purposes in large format printing, think of gloss as the amount of light that reflects off the surface of the material you are using. The glossier the material, the more reflection you get off of the surface. 
For example, hold a sheet of standard unprinted photocopy paper under a bright light and you’ll see no reflection, no gloss. Do the same with a piece of glass or anything else you normally would have described as ‘glossy’ and you will see a lot of reflection. This amount of reflection comes into play when deciding on the level of gloss to best suit the design and use of your poster, sign or banner.

FOUR LEVELS OF GLOSS
The scale below shows the levels of gloss that relate to the four terms we use at gawck. In each gawck product description, you will find one of the following terms to describe the level of gloss. 
​
Matte: No gloss. Zero shine, zero light reflects off of both the printed and unprinted areas. Has a slightly chalky look across the entire surface. 

Satin: No gloss in unprinted areas, a little bit of gloss in printed areas, creating a contrast between the two. A smooth and soft finish.  

Light gloss: A small amount of reflection in both printed and unprinted areas. Gives the appearance of having a light coating across the entire surface. 
​
High gloss: Very glossy, a large amount of reflection in both printed and unprinted areas. Almost wet looking or glass-like.


WHAT TO CHOOSE AND WHEN?
Deciding what level of gloss to choose depends on both the use of the item and the desired visual effect. Satin and Light Gloss are by far the most popular and versatile choices. Matte is typically used when an item is text or information heavy, and a high gloss finish is used sparingly for visual effect. If ever in doubt, select a Satin or Light Gloss finish. 

Matte: If you have a large amount of text and information, a matte finish is a good choice. It keeps your text legible, particularly in direct sunlight or interiors with bright, direct lighting. Some people purposely choose a matte finish to give artwork a soft, washed, somewhat chalky look, similar to what you would find in a watercolor painting. 

Satin: Satin is a very popular finish because it allows you to achieve professional commercial graphics with an upscale or artistic look. It works well with designs dominated by images, by text, or both. The contrast between printed and unprinted areas make it very versatile from a design standpoint. Consider the use of the item, as a satin finish is somewhat susceptible to abrasion and dirt if it will be handled. Excellent for use under spotlights or other direct light applications  where even a small amount of gloss will make a design difficult to see. 

Light gloss: Light gloss is also a very popular finish as the consistent coated appearance is preferred by many in commercial advertising. It provides a polished look without the mirror effect found in a high gloss finish. It is good for bringing out the vibrancy of rich colours and is excellent for designs dominated by images as opposed to fine text. It is also durable, having the highest degree of abrasion and dirt resistance among the four types of finishes.  

High gloss: People are often surprised to learn that a high gloss finish is the least popular option when producing large printed graphics. The reason is that the glare off of a very glossy surface will make text and most artwork difficult to see clearly in most situations. That said, it can indeed create stunning visual effect if it suits your intended purpose. Use it sparingly.   

PRINTED SAMPLES
The physical characteristics of different materials we use at gawck makes some inherently more glossy than others. For instance, any unprinted poster paper will look and feel different than an unprinted vinyl banner or decal. 
If a picture is worth a thousand words, a sample is worth a million, so please feel free to contact us for pre-printed samples of any material you may be considering.

For years psychologists have studied the effect that colour can have on an individual’s physical and mental state and have found a strong link between colour and emotional response. Colour is a powerful communication tool that can signal action, influence mood and cause physiological reactions. When selecting a colour for your design, it is important to consider that your choice may affect how your brand is viewed and whether you will get the response you intended.

Researchers have found that each colour can trigger certain feelings, effects or messages. That said, personal experience, preference, age, gender and cultural background can also alter the typical response. For example, in some cultures black is considered to be a colour of mourning, while in others, it is white. Another thing to consider is the shade of a given colour. For instance a pale blue can be associated with infancy and babies, while a dark blue may be associated with power and stability.

Below are examples of typical emotions, effects and messages that relate to a given colour:

RED
-Danger
-Important
-Strength
-Anger
-Love
-Energy
-Bold
-Stimulates appetite

Uses  
-To draw attention to important elements as an accent colour
-For bold statements and to create urgency in a retail environment, eg: Sale!

ORANGE
-Lighthearted
-Young
-Courageous
-Fun
-Warm
-Friendly
-Movement
-Health

Uses
-Often used as a call to action when red is too strong
-Relays a friendly, positive message


YELLOW
-Happy
-Energizing
-Stimulates the brain
-Optimism
-Creative
-Hope
-Curiousity

Uses
-To inspire happiness
-Often used for children’s products


BLUE
-Calming
-Power
-Trust
-Established
-Loyalty
-Security
-Cooling
-Peace
-Masculine

Uses
-Popular colour for logos
-People often describe it as their favourite colour
-Curbs appetite
-Encourages productivity
-Used to establish feeling of trust and loyalty


PURPLE
-Creativity
-Royalty
-Success
-Wisdom
-Spiritual
-Calming effect

Uses
-Encourages creativity
-Sometimes used for luxury brands

​
GREEN
-Nature
-Fertility
-Health
-Growth
-New beginnings
-Tranquility
-Abundance
-Reduces anxiety and conveys balance

Uses
-Frequently used for environmental messages
-Health related messages


BROWN
-Earth
-Wood
-Dependable
-Simple
-Warmth
-Utility
-Longevity
-Stability
-Approachability

Uses
-Often used as a neutral background colour
-Conveys feeling of wholesomeness


PINK
-Romance
-Fun
-Youthfulness
-Beauty
-Friendship
-Sweet
-Femininity
-Reduces aggression
-Increases sugar cravings

Uses
-Sometimes used to encourage action
-Often used in messages directed towards women


GREY
-Neutral
-Stable
-Conservative
-Corporate
-Practical
-Timeless
-Calm

Uses
-Works well with other colours
-Communicates longevity
-Often used as a background colour


WHITE
-Clean
-Peace
-Innocent
-Simple
-Purity

Uses
-Creates negatives space in logos
-’White space’ helps other colours and message stand out
-Works well with all other colours


BLACK
-Bold
-Simple
-Evil
-Classic
-Traditional
-Mysterious

Uses
-Messages of sophistication
-Is the standard for text colour
-Often used in modern, bold design
-Works well with other colours


References:
http://www.huffingtonpost.com/brian-honigman/psychology-color-design-infographic_b_2516608.html 

https://www.verywell.com/color-psychology-2795824

http://www.smashingmagazine.com/2010/01/28/color-theory-for-designers-part-1-the-meaning-of-color/

http://sbinformation.about.com/cs/advertising/a/colors.htm

© Cathy Vandergeest, RGD, gawck group inc.

Designing effective posters, signs and banners requires somewhat of a unique approach when compared to the design of smaller items such as postcards and brochures. Larger format items are typically viewed from a distance, sometimes for a just a few seconds or while the viewer is on the move. The typefaces you choose and the way you use them can have a big impact on whether you capture the attention of your audience and get your message across. Want to ensure your message gets noticed? Read on for tips and information.

Keep it simple 
Decorative typefaces are harder to decipher quickly and from a distance, while clean, simple typefaces increase readability in a large format design. Choose a traditional, clean typeface over unique, delicate, script or ornamental typefaces.

Elaborate effects applied to type can distract or interfere with the message. Keep your type clean and use effects with care.

Research has found that it is harder to read words set in all uppercase letters. The brain recognizes letters and words based on their overall shape including ascenders and descenders. When text is set in all capitals, the letters are all the same height making them harder to decipher. Use all caps sparingly. 

Avoid placing your type on a busy background or one that does not offer enough contrast to your text. 

Don’t distract from your message by using many different typefaces in your large format design. Sticking to one or two keeps your message clean.

Keep it short
Even though you have a large surface to fill, it doesn’t mean you should. Your message will have more impact if it is short and to the point. 

White space / blank space increases readability. Make sure your type has breathing room between elements and from the edges. 

You may need to fine-tune your leading and kerning to avoid unsightly gaps that become more visible in a large format layout.

Determine what part of your message is most important and use hierarchy in your typography to lay out your piece. 

Make it big 
Before starting your design, determine where the item will be placed and where people will be viewing it from. The chart below provides suggested letter heights based on viewing distance. Bear in mind that there are additional factors to consider when selecting type size, including the typeface used, colours and backgrounds, lighting, the viewer’s eyesight and the amount of viewing time, but this chart is a good starting point. 

Generally, a ratio of one inch of letter height will provide ten feet of ideal readability for your message. As the viewing distance increase, readability decreases.

Step back 
When designing, we are used to sitting close to our screens, zooming in and out to better see details. A quick way to judge legibility, is to stand up and step back from your computer monitor...and keep stepping back. Can you read what is there? Does your message stand out? This is a good periodic and final check to help you determine if you have been successful with your typography or if you’ve still got some tweaking to do.

© Cathy Vandergeest, RGD, gawck group inc.  

Designing effective posters, signs and banners requires somewhat of a unique approach when compared to the design of smaller items such as postcards and brochures. Larger format items are typically viewed from a distance, sometimes for a just a few seconds or while the viewer is on the move. This gives the viewer only seconds to absorb your message visually, and creates a unique set of design requirements. We created the following tips to assist you as you design your large format piece. 

Five things to consider when designing a large format piece: 
What is it? Where will it be placed? At what distance will people be viewing it? How much time will people have to look at it? What is the desired effect?

With these thoughts in mind, try to avoid the following:

1. Delicate, decorative or bulky fonts can be distracting and decrease legibility.
2. Be aware of the space between lines.
3. As you increase the size of the font, watch the spacing between characters. White space helps the viewer read your message.
4. Do not use all capital letters in a script font.
5. Do not use too many fonts. 
6. Ensure your images are high enough resolution as clarity will be reduced as you enlarge them. Avoid multiple or busy images that distract from your message.
7. Avoid placing text over an image. Ensure your message stands out clearly from the background.
8. Contrast in text colour increases legibility. 
9. Make sure your text can be read at a distance. 
10. Keep text simple. Special effects reduce legibility. 
11. Watch out for colour combinations that ‘vibrate.’
12. Keep your message short and simple.
13. Don’t feel the need to fill every inch of the surface. 
14. Vertical text is harder to read than horizontal text.

A simple way for you to test the legibility of your piece: keep taking steps back from your computer screen to see if you can still quickly and easily read the message. If you need us to design your poster, sign or banner for you, simply contact us.​