I used to feel uneasy about color forecasts. Some people are discomfited by crowded elevators or long airplane trips or mayonnaise on white bread or mimes on street corners or illegal immigrants or cellphone addicts or even the slightest hint that Al Gore may seek a comeback. To each his own. For me, it was color forecasts because they stubbornly refuse to adhere to strict rules of cause and effect but, instead, promote the altogether disconcerting notion that many influences can lead to many outcomes. I like simple explanations. Concern for the environment? The color trends are blue, green and brown. The Gulf War? Red, white and blue. The Pope is making a world tour? Think purple! China as an emerging superpower? Lacquered red interiors. The Olympics in Australia? The golden glow of a Fosters. One cause, one effect.
Fortunately, over time I have been educated — within the limits of what is possible — by smart and subtle minds such as Leatrice Eiseman at the Pantone Color Institute and Margaret Walch at the Color Association of the United States. Slowly but surely, I have come to see truth and beauty in the complexity and variability of these forecasts, and to look forward with great anticipation to our annual roundup.
This year is no exception. Among the themes presented for your contemplation: a movement toward colors that are dependable and traditional, have meaning and heritage, and evoke a sense of restoration and well-being; a retreat to cooler, calmer colors given geopolitical turmoil and tensions; the powerful influence of Earth and the environment in the directional palettes; a backlash away from technology toward artisanship, crafts, depth, solidity, tactility and textures; the rise of metallics, effects and hue-changing colors; the effects of an aging population; and the impact of growing multiculturalism within our borders and globalization without. It’s about graphic communication, but it’s also about life, health, politics, society, economics and religion.
Even hair. Without giving away too much, let me suggest that you stop with the blond, streaky highlights. I know I have.
One final point. Graphic artists are the bridge between color theory, practice, production and output. Accordingly, we are pleased and honored to have Agfa as corporate sponsor of this Color Forecast issue. Agfa is a world leader in prepress solutions for the design, printing and publishing industries, and has a proud heritage in color and the development of color technologies. For two decades, I have known and worked with the people of Agfa, even attending the memorable ribbon cutting ceremony at their current U.S. headquarters back in 1987. Theirs is a corporate culture rooted in quality, service, responsibility and commitment to the graphic arts community. It is especially appropriate that the venerable Agfa logo is orange, the color of the decade and “a powerful force in everything from fashion and interior design to politics and corporate identity,” according to a very recent Financial Times story.
Harmonious Match
It is roughly the mid-point of the entry submission period for the American Graphic Design Awards program. Though many of you have already received entry forms via direct mail, we are including another copy in this month’s magazine and continue to post a downloadable version on gdusa.com. As you may have noted, Adobe is the exclusive sponsor of the 2006 competition and the 300-page Design Annual planned for later in the year.
Adobe and creative excellence. A harmonious match for many reasons, and here are just two: In our recent 500th Issue poll, GDUSA readers voted six Adobe products among the top ten “must have” items. And our readers also named Adobe one of the top five most influential corporate design departments of the era. More on the significance of Adobe’s participation as the year progresses, including the exciting possibility that selected winners may be showcased on the Adobe website, within the Adobe Stock Photo service, in print advertising and more.
Fortunately, over time I have been educated — within the limits of what is possible — by smart and subtle minds such as Leatrice Eiseman at the Pantone Color Institute and Margaret Walch at the Color Association of the United States. Slowly but surely, I have come to see truth and beauty in the complexity and variability of these forecasts, and to look forward with great anticipation to our annual roundup.
This year is no exception. Among the themes presented for your contemplation: a movement toward colors that are dependable and traditional, have meaning and heritage, and evoke a sense of restoration and well-being; a retreat to cooler, calmer colors given geopolitical turmoil and tensions; the powerful influence of Earth and the environment in the directional palettes; a backlash away from technology toward artisanship, crafts, depth, solidity, tactility and textures; the rise of metallics, effects and hue-changing colors; the effects of an aging population; and the impact of growing multiculturalism within our borders and globalization without. It’s about graphic communication, but it’s also about life, health, politics, society, economics and religion.
Even hair. Without giving away too much, let me suggest that you stop with the blond, streaky highlights. I know I have.
One final point. Graphic artists are the bridge between color theory, practice, production and output. Accordingly, we are pleased and honored to have Agfa as corporate sponsor of this Color Forecast issue. Agfa is a world leader in prepress solutions for the design, printing and publishing industries, and has a proud heritage in color and the development of color technologies. For two decades, I have known and worked with the people of Agfa, even attending the memorable ribbon cutting ceremony at their current U.S. headquarters back in 1987. Theirs is a corporate culture rooted in quality, service, responsibility and commitment to the graphic arts community. It is especially appropriate that the venerable Agfa logo is orange, the color of the decade and “a powerful force in everything from fashion and interior design to politics and corporate identity,” according to a very recent Financial Times story.
Harmonious Match
It is roughly the mid-point of the entry submission period for the American Graphic Design Awards program. Though many of you have already received entry forms via direct mail, we are including another copy in this month’s magazine and continue to post a downloadable version on gdusa.com. As you may have noted, Adobe is the exclusive sponsor of the 2006 competition and the 300-page Design Annual planned for later in the year.
Adobe and creative excellence. A harmonious match for many reasons, and here are just two: In our recent 500th Issue poll, GDUSA readers voted six Adobe products among the top ten “must have” items. And our readers also named Adobe one of the top five most influential corporate design departments of the era. More on the significance of Adobe’s participation as the year progresses, including the exciting possibility that selected winners may be showcased on the Adobe website, within the Adobe Stock Photo service, in print advertising and more.