Digital Artwork - Raster vs. Vector

I've been asked many times to explain the difference between these two file types. Artwork integrity really does depend on the file quality, and determining the final application is the best starting point.
 Raster files are made up of pixels. Pixels are little cubes of colour linked together to create an image. The number of cubes determines what we refer to as resolution. Once the resolution is set in an image it remains the fixed detail and sharpness. When scaled, these files commonly suffer resolution issues such as staircasing (jagged edges, refer to this link for illustration - http://joelsbackyardposts.blogspot.ca/2010/11/new-years-resolution.html). There are some programs available to reduce this however they also have limits. When pushed beyond those limits they will create unsightly artifacts. The colour mode of these images is usually confined to either RGB (Red - Green - Blue) or cmyk (cyan - magenta - yellow - black). Some raster images can have special colours added in Photoshop using a spot colour channel, however this is an expert use of this file format and not accessible to most unless you have a program capable of executing this process. Common file formats for raster images are jpeg (jpg) tiff (tif) Photoshop (psd) Encapsulated Postscript (eps) and Portable Document File (pdf)
 Vector files are actual digital line drawings. Because the edges of an image are determined by vectors it is completely scalable to larger sizes and will remain sharp throughout that process. It is also useful to other digital platforms that can read vector files. (embroidery, CAD, CNC) These platforms, unlike printing have no other file formats that will effectively work to reproduce an image.
 Vector files often include spot colours as well. Most companies have their logo available in vector file format. This ensures quality control and integrity. A vector file can be easily rasterized to pixels, however to convert a raster file to vector is not as simple. When someone tells you that your logo needs to be digitized, this is what they are talking about. Common file formats include Encapsulated Postscript (eps), Portable Document File (pdf), Adobe Illustrator (ai). All of these file formats can also be raster images as well - they are not guaranteed to be vector. Opening the file in a vector program will help determine usefulness.
 This illustration explains visually what a designer sees in preview mode (left, fixed resolution, raster is top image) and then artwork mode (right, scalable, vector is bottom image).

 If you do not have vector files of your logo and would like to have a package to use when required, RGS offers a service called Logo Recovery. Having this logo package will help you avoid paying the same expensive artwork charges over and over again, and will also ensure the integrity of your brand in all of your visual and marketing materials.

Photoshopped - anything's possible!

photoshopped: when a photo has been digitally edited using photoshop.

That's how the Urban Dictionary describes image retouching. While Photoshop and digital photography are relatively new technologies, the opportunity to take a not so great picture and modify it into something usable has been around for almost as long as photography.
The tools of the trade have changed dramatically as have the job skills. We've gone from paint brushes and colour palettes to airbrushed photos to expensive front ends on commercial scanning equipment and now we have accessible digital manipulation on desktop systems. At a recent meeting, after I explained what was possible to my referral partners, one of them mentioned I should post the images online - a picture speaks 1000 words... so then, I'll stop typing and post a few before and after images for all to see and evaluate. Thanks to my friend Vlad for the suggestion!

 

Turning your world upside down!

 No excuses - I've been delinquent! I've absolutely ignored my blog, and recently had a conversation with one of those communication type people that convicted me. So here I am, back at it with a new sense of purpose and possibly some fresh ideas.
 We're moving - yes, we sold our house and found something better suited to our lifestyle and business goals. Hopefully we'll get a better return on our money as well. Most people say that you really can't go wrong with real estate investment, and I think we made a good one. Needless to say, it has turned our world upside down - well, temporarily anyway!
 But speaking of turning our world upside down, here's a tip. I know it works, tested and true... and dad used to do this too. When storing leftover paint, make sure the lid is hammered down (sealed) and store the can upside down. This will prevent that awful skin from forming on top and will also make it easier to mix. (paints tend to separate when stored for months/years and usually need a really good mix)
 In preparing to stage our house, things came off the walls, holes were patched and sanded an then came time to touch up. The last paint job was when we had the Home Renovation Tax Credit, I think 2009. The leftover paint was stored in a dark corner of the basement - upside down. I cleverly identified the bottom of each can with a marker, knowing this little exercise would save time and it did. Turned over the first can, popped the lid and Voila!, no skin to remove. Gave it a good stir, took out my brush, feathered a paint job and those touch up areas literally faded away into the wall, never to be seen again! For those wondering, feathering is best done with a good quality brush. It's brushing paint in every direction so the brushstrokes aren't as noticeable. (another trick dad taught me)
 There are other things you can turn upside down.
 We tend to buy a lot of berries around here, and we always store the clam shells upside down in the fridge - especially blueberries. It seems to make a difference when you have a lot of them. They're well traveled right side up, so the guys on the bottom get a breather from that crushing experience this way - I think they last longer too .
 Since the last post, Robert Graphic Services has become distributors of several lines of promotional products. Some of the areas we've been able to help our customers with are custom branded bags, pens, shirts, usb drives, portfolios, golf umbrellas and calendars. Here are a few links to some online catalogues that we currently are distributors of:
http://www.esppromo.com/
http://www.jay-line.com/
http://www.windmillcanada.ca/
http://www.magnuspen.com/
 If you see anything that interests you, call me and we'll get things started. If you're looking for something and don't see it there, chances are I can get it - there are many more opportunities!
 And of course, we design, print and deliver - just about anything.
"Make your best Impression, call Robert Graphic Services"
http://www.rgsonline.ca

The Missing Link

 Charles Darwin never did find what he was looking for, and U2 wrote a song about it. But that's not really what this is about, it's about being linked in.
 Linked In is now a public company. If you somehow missed this bandwagon last year, it's not too late to jump on. In fact, you probably should - it's free! I like to think of it as my electronic business card file. It's with me wherever me and my "Blueberry" go.
 Do not make the mistake of seeing this as an alternative Facebook account. This is business. The object of the game is not to have the most connections but it is about having quality connections. You don't need to say yes to everyone who asks for a connection.
 For example, I belong to a networking group, and we meet once a week. Our relationships are built on mutual trust. I have the confidence that I can refer them to even my closest friends and they will not let me down, but also return compliments after services are performed. These are some of the people I have connection with on Linked In. Sure, some are friends and associates that I personally do little or no business with, but like business cards, someday the accessible connection may prove useful.

Some Linked In tips:
1 - Complete your profile. There are several benefits to this.
2 - Protect your information. Do you give prospects your business card file? Why would you then allow access to everyone? Select in the settings that only you can see your connections. Shared connections are visible.
3 - Join industry groups. This will help keep you up to date on what's going on around you.
4 - Participate in industry group discussions. Share your knowledge - this will set you apart as an expert.
5 - Search your industry for local events.

Here's a link to a Slideshare presentation some might find useful:
http://www.slideshare.net/abelniak/getting-the-most-out-of-linkedin-13656454

Size Matters...

 Most of us get caught up in the Christmas rush, or so many retailers would hope you do. One of the growing trends in the last couple of years is offering a custom size to consumers. We see this mainly in the food industry however it's starting to spill over into other areas of consumable goods, such as cleaning supplies, paper products and everyday staples.  In today's manufacturing environment, 1 gram times a million packages amounts to a million grams, and while the value of 1 gram is debatable, 1 million grams gets the attention of most CEOs and CFOs.
 Because it's Christmas time, and because we love these at our house, let's take a look at Turtles. There was a time, not so long ago, when a box of Turtles was a box of Turtles - everyone had the same size and packaging. These ads are all from local flyers from the first week of December.

 Note the different sizes and pricing. Pricing is an art, and sometimes certain strategies work, however liberal deception can come back to haunt you.
 Here's another example, a little easier to calculate. We buy a lot of blueberries - it's one of our favorites around here. The clamshell packaging looks the same, and it's the same surface area. The difference is in the weight and depth. (and price of course)

 

  And finally, this one is really interesting. Which one is it - 375 or 500 grams?

 

 I wasn't trying to turn this entry into a trip to the grocery store, but more a marketing awareness opportunity. To maintain a good reputation and build a loyal customer base it's important to be consistent with your current market. If you try to deceive or take advantage of customers, you may get away with it once or twice, but eventually people will recognize what you've done and we all know how difficult it is to regain the trust of a "lost" customer. This principle will apply just about anywhere, not just at the grocery store.

I Miss the Mob

Don't punish everyone for one person's mistake

September... the best time to fish!

 We love September - no kids, no bugs, good fishing and quiet times.
Just back from two weeks at Agnew Lake Lodge. The first week was unbelievably nice - walking around in a tshirt and bathing suit most of the time!
 Fishing was good, but not the best we've seen - in our second week a cold front blew in and everything turned off for about three days, then really slow fishing followed. In all fairness, we may have spent more time socializing with friends than fishing, but we did manage to eat walleye pretty much every day - we ate smallies and pike a couple of times too. All in all a good vacation.
Here's some pictures.

Nice catch - lunchtime!

Geese flying south at sunrise

Walleye - 20+"

Nice Smallmouth Bass

September sunrise

Sunset fishing

Paper weights?

 A few of my customers have expressed interest in learning more about the markings on the packages when it comes to buying paper. Here's paper weights explained in layman's terms.

What Does a Paper's Weight Mean?
Paper is measured in pounds per 500 sheets (one Ream of paper) of a standard size of sheet based on the group or category of papers the grade. The different types of grades are Bond, Book, Text, Cover etc. Each group of the grade of paper is assigned a standard size that all weights are referred to. The basics of this standard are as follows:
Bond has a standard size of 17 x 22" and this is the size that is measured for 500 sheets. If 500 sheets of this size weigh 20lbs., then the paper is classified as a 20lb. bond. Heavier and lighter stocks will obviously be thicker or thinner than the 20lb. Therefore 16lb. Bond or 24lb. Bond will be the variations on this.
Bond
Bond stocks (often referred to as "Writing") traditionally are uncoated stocks and are normally used around the office such as letterheads, photo copier and laser printer paper. The standard weight utilized is 20lb., with 24lb. being the heavier alternative, and 16lb. being the lighter alternative.
Writing is a grade similar to bond, but made with a shorter fiber, yielding a softer sheet which can be made with a variety of finishes and which accepts ink more readily. Writing is generally more expensive than bond and is used for higher end applications like company stationery. Some bond and writing papers have distinctive watermarks in the sheet.
Uncoated offset is made specifically for the rigors of commercial offset presses and is often used for the same applications as bond.
The basis size of bond/writing papers is 17 x 22", whereas offset papers is 25 x 38".
 Equivalent bond/writing and offset weights:
16lb bond or writing = 40lb offset
20lb bond or writing = 50lb offset
24lb bond or writing = 60lb offset
28lb bond or writing = 70lb offset
32lb bond or writing = 80lb offset
Book
Both Coated and Uncoated stocks are available under the category of Book Papers. Weights vary from 30lb. bible stock (very thin - mostly utilized for bibles) to a maximum around 115lbs. This classification is the most common for posters, catalogues, booklets and publication magazines.
The basis size of Book papers is 25 x 38"
Text
Gaining on quality above the book grades, Text stocks are utilized in projects requiring a better grade of paper and usually range from a low of around 60lb to a high of 100lb.
The basis size of Text papers is 25 x 38"
Cover
Cover papers, as the name denotes, is heavier and is utilized for post cards, business cards, rack cards, door hangers etc. The ranges of weights for Cover are from a low of 60lb. to a high of just over 100lb.
The basis size of Cover papers is 24 x 36"

Colour Scheme Designer

I posted this link on my fb page also. It's a great tool once you get the hang of it.
http://colorschemedesigner.com/

Creating a Buzz at the Trade Fair

 I don't think anyone missed the $50 bill stuck to my name tag - it got LOTS of attention!

A+ Executive Administrative Solutions set up a nice display - Executive Virtual Assistant par excellence! Graphics by RGS.

 The button add on is from the 70's. Dad's old button collection came in useful...again. Wrapping the cards was to give it the investment look. Anyone need a Dragon? The binder featured recent work I've completed with printed samples - call 647-409-1196 to have a look.

 My friends from Catering by Gregory's joined me - showcasing some of the work I've completed with them, as well as their wide range of catering abilities.

Everybody Wins!

 I call this the Charlie approach - everybody wins! If you're going to make an offer, make everyone a grand prize winner. It works! Why? Because everybody wants to be a winner.
Some of the most successful marketing campaigns are those that include everyone. If they perceive they won the grand prize - even better. Print cash, give it away... you'll be noticed, guaranteed!

Target Marketing

This ad raises the bar - appeared in the Brampton Board of Trade magazine, Trade Talks. The agency that created it - Soda & Tonic.

Back to the Future?

 Thought I'd share this - I found it very interesting...

Admail, is it the answer?
A new decade is upon us, and with that has come a renewed sense of optimism. Marketers may not know exactly what’s in store for the economy this year or beyond (we’ll leave the predictions to the economists), but many do have a better understanding of how to leverage their media mix to drive greater ROI. That’s because—and if there’s a silver lining to the recession, this is it—marketers have had to scrutinize and justify every marketing dollar spent. That has led to some aha moments for many direct marketers. Take the Web, for example. There was a time, not all that long ago, when many companies believed email—and other digital communications like mobile—would mean the end of direct mail. Yet, when we look at what’s happening today, nothing could be further from the truth.
In some instances, email is, in fact, the right communication tactic, and in others, direct mail (particularly those with a brand building objective). But what has surprised many marketers is that often times they work best in partnership, delivering a much stronger ROI together than they ever could apart.

The Great Email Vs Direct Mail Debate
 DM has played second fiddle to email in recent years and the consequence is empty mailboxes. When study participants were asked about how they treat DM, 40% said that they opened them all the time, 27% said they opened them occasionally, while only 33% said they never open them. DM is tangible, and, when done right, makes a lasting impression.
DM is a non-intrusive channel that appeals to consumers’ five senses, evoking emotional reactions that drive purchase behaviours, explains Nadia Fiore, former marketing manager at Canada Post.
“When you think about the consumer, it makes a lot of sense,” says Fiore. “When they receive a direct mail piece and then a similar promotional email message or vice versa, the recall component comes into play. That recall is very influential in terms of purchasing behaviour.”
According to a 2009 Canada Post study, capitalizing the best of both tools, in the right circumstances, can attain a 300% lift in purchasing intent.
This finding is supported by a 2008 Belgium post office survey that showed combined email and DM lifted purchasing activity by 255%, and reduced cost per response by 25%.
Combining email and DM gets better results in the B2B arena, as well, according to OgilvyOne’s Stevenson. “It has a halo effect on email. DM is tangible and it can quickly raise the core value proposition to make one more predisposed to email, which makes quick click-through responses more likely.” Stevenson adds that permission-based email prospects are incredible catches. “If someone gives you their email at an early stage in the prospecting relationship, their close rate increases by up to 45%. This is because giving you an email address is a careful consideration, it’s a value exchange.”
Fiore points out that it’s important to keep in mind that consumers prefer to receive certain types of message one way or the other. For example, evidence shows that email is preferred for invitation to a webinar, newsletters and confirmation of purchases, while addressed mail is preferred to communicate special offers, information about new products, while also building customer relationships and strengthening your brand. And therein lies the fundamental fact to keep in mind when choosing the right media, for the right consumer, at the right time. “What’s the number one mega trend we’ve seen the last five years?” asks Stevenson.
“The consumer is in control.” They want a level of customized control, such as the choice between receiving a personalized paper communication in the mail or a digital file delivered through email, based on their preferences. So at the end of the day, reaching your consumer still involves a basic rule of thumb it would appear…“Know thy customer.”

Back To The Future 1 - Original Teaser

PMS can be a problem...

 While we're on the subject of colour, I thought this might be a good addition. I remember when this colour system was first introduced to me. I was a film stripper in a screen print shop at King and Spadina, (1980ish) and at first Pantone was giving away colour guides to us. Then after a year or so, we were paying $5 each, then $10, then $15 and now the guides cost hundreds.
 The problems associated with Pantones are conversion to CMYK. Many of the new digital printers are adding shades of base colour (light cyan, medium cyan, light magenta, medium magenta, ect.) to more accurately render PMS colours, however traditional print in CMYK is still only 4 colours and limited in gamut.
 The following write up was gleaned from the Pantone website, and provides a brief history and description of the Pantone Matching System®.

The Pantone Matching System®
and Pantone Formula Guides.

The year was 1963. Hundreds of ink manufacturers were producing ink for thousands of printers. Ink manufacturers provided swatches of their inks that did not match or “translate” from manufacturer to manufacturer. Corporations produced color standard guidelines for the two or three colors associated with their brands. But a universal color reference library to identify and communicate color along the product development workflow from designer - manufacturer - marketer - printer - retailer -consumer, did not exist. The Pantone Matching System and Pantone Formula Guides were created to fill this void.

Because the Pantone Matching System concept was simple to understand and the Pantone Formula Guide was easy-to-use, consumer acceptance was immediate. By publishing a color reference library printed under tight quality standards, identifying each color by a unique number and linking each color to a precise ink mixing formula, everyone involved in the development process could accurately communicate color. And everyone understood the value in being able to specify a color as “Pantone 485” and having that shade of red look the same from design concept to finished product and from product packaging to product advertising. The original Formula Guide was called the Printers’ Edition and had 500 colors for offset printers. Though the current Formula Guide now includes 1,114 colors, the concept of the first Formula Guide hasn’t changed much since its inception nearly half a century ago. From these humble beginnings, Pantone Color Libraries have been developed for the graphic arts, textile, fashion & home and plastic industries. Today, specifications for thousands of Pantone Colors are built into design software and production equipment. Pantone, Inc. publishes a variety of products for color communication from printed guides to dyed textiles. All to provide a set of common languages recognized worldwide as international standards for the communication of color.

The Pantone Matching System

In contrast to the commonly recognized color spaces, the Pantone Matching System is a color communication system, with each color referred to as a Pantone Spot Color. The Pantone Matching System is not considered a color space but a color system. The result is not a gamut since there are a finite number of colors that are included in the Pantone Matching System. The colors in the Pantone Matching System have been selected to encompass as much of the visual color space as our ink set allows. There are Pantone Spot Colors spanning much of the CMYK and sRGB color spaces. However, when a CMYK or sRGB representation is not accurate enough, the use of spot colors ensures the perfect color every time.

Understanding the Pantone Formula Guide

14 PANTONE Basic Colors

The 14 Pantone Basic Colors found on pages 1.1 and 1.2 of the Formula Guide, plus Pantone Transparent White, are the building blocks of the Pantone Matching System. Precise mixtures of these Pantone Basic Colors, provided in parts and percentages, allow the ink mixer to accurately create the 1,114 unique spot colors in the current palette. In the development of a printed project, the mixed colors are compared to the color swatches printed by Pantone in the Formula Guide or chips book for a quality check of color match.

PMS Yellow PMS Purple PMS Yellow 012 PMS Violet PMS Orange 021 PMS Blue 072 PMS Warm Red	PMS Reflex Blue PMS Red 032 PMS Process Blue PMS Rubine Red PMS Green PMS Rhodamine Red PMS Black
Plus Pantone Transparent White

Without consistently accurate Pantone Basic Colors, the mixed spot color will vary. To ensure quality, Pantone tests every ink manufacturer’s version of the Pantone Basic Colors annually. Only when an ink manufacturer’s version of the Pantone Basic Colors matches the control version of the Pantone Basic Colors at Pantone, do we approve them as a Pantone Licensed Printing Ink Manufacturer.

The Center-line Concept

The Formula Guide is printed with seven colors per page and uses a “centerline” concept. The center-line color (usually, but not always, the color in the middle of the page) is a mixture of one or more of the 14 Pantone Basic Colors. Lighter colors are printed using the same ratio of Pantone Basic Colors as the center-line color plus increasing amounts of Pantone Transparent White. Darker colors are printed using the same ratio of Pantone Basic Colors as the center-line color plus increasing amounts of Pantone Black. Using page 11 C from the Pantone Formula Guide/solid coated guide as an example illustrates how the center-line concept works. Pantone 165 C is the center-line, and is a mixture of 50% Pantone Yellow and 50% Pantone Warm Red. Pantone 164 C, Pantone 163 C and Pantone 162 C get progressively lighter by adding increasing amounts of Pantone Transparent White. Pantone 166 C, Pantone 167 C and Pantone 168 C get progressively darker by adding increasing amounts of Pantone Black. Most Pantone Colors, such as Pantone 165 C, have the center-line color in the middle of the page. However, as colors were added, exceptions occurred. For example, on page 26.5 C, the Pantone Basic Color Violet is the center-line color but occupies position 5, just below the center of the page. The important thing to remember is the concept of adding Pantone Transparent White or Pantone Black to change the appearance of a center-line color, wherever the center-line color appears on the page.

Lost in Space - Danger Will Robinson, Danger!

Colour Space Explained
  It looked blue on my computer monitor, but when my print came back from the printer it was purple... what happened? It's all about colour space.
 Computer monitors transmit colour as RGB (red, green, blue) light. Although all colours of the visible spectrum can be produced by merging red, green and blue light, monitors are capable of displaying only a limited gamut of the visible spectrum.
 Monitors transmit light, inked paper absorbs or reflects specific wavelengths. Cyan, magenta and yellow pigments serve as filters, subtracting varying degrees of red, green and blue from white light to produce a selective gamut of spectral colours.
 Like monitors, printing inks also produce a colour gamut that is only a subset of the visible spectrum, however the range is not the same for both. Therefore, the same art displayed on a computer monitor may not match to that which is printed. Print processes normally use CMYK (cyan, magenta, yellow, black) inks requiring digital art to be converted from RGB to CMYK colour for print.

                  
                                               Red, Green, Blue - Additive colours

                
                                        Cyan, Magenta, Yellow - Subtractive colours

 Printers may prefer your files in the CMYK (Cyan/Magenta/Yellow/Black) mode, as this is the colour mode for the printing process. If an RGB (Red/Green/Blue) file is submitted, it must be converted to CMYK for print.

                                 
                                            Visible colour spectrum with print gamut

 It can sometimes be difficult to visualize the reason for colour shift in colour space conversion. The best way to see the differences between the CMYK and RGB colour spaces is to look at a colour gamut comparison chart. The chart above plots the visible colour spectrum as the larger area, and within this is a plot of the CMYK and RGB colours. Some areas of the RGB colour space are outside that of the CMYK space. It is these colours that are affected by a conversion from RGB to CMYK. Some digital printers have expanded to additional shades of cmyk expanding the gamut capabilities of traditional print, but for the most part expect some colours to be "out of range" to conventional printers.
 For all the "Lost in Space" fans out there...

                                  

New Year's Resolution

Understanding Image Resolution
 Let's start the new year with a good resolution. Ever wonder why the image you downloaded from the web looks all pixelated in print, but looked great on the web?

 Here's the short answer. Whatever we give the printer will determine the quality. Here's the explanation.
Images are made up of little "cubes" of colour named pixels. If you look at the illustration I provided, there are three different pixel counts displayed. These are all the exact same image. The 300 ppi (pixels per inch) is the original image resolution. I created the other two using Photoshop by reducing the pixel count.

 For good picture quality reproduction in printing, and to avoid the "staircasing" effect we require a minimum pixel count. This can vary depending on print process. For example, photographic prints will have reasonably good detail at 200 ppi, but 300 ppi will give you the best quality. Large format inkjet printers usually require a minimum of 75 ppi, however 100 ppi will produce a nice result. These resolution requirements need to be accurate at final reproduction size.
 For example, if a total image resolution is 2000 x 1000, divide by 100 = 20"x 10" to determine an inkjet reproduction size. Divide by 200, 10"x 5" would be a photo print size.
Some images that do not have enough resolution can potentially be used. There are programs available that "build" resolution into images, however capabilities are limited. Genuine Fractals is an excellent example and one of the better options - it works with machine language to construct resolution. Programs like Photoshop will interpolate image resolution, and are very limited in usefulness in this area.
 If you have any questions, feel free to email me at joel@rgsonline.ca.

Forks of the Credit on the fly

 Late September still offers excellent top water opportunities. You may need to work a little harder for big fish, but there's plenty of action with small brooks. This area has special regulations - artificial lures only, single barbless hooks, catch and possession (0) zero.

Getting there

 From Yorkdale Rd., take the 401 westbound to the 410. Follow the 410 north right to the end, and stay on hwy 10 to the Forks of the Credit Road. The Forks road is a scenic drive that will take you right to what is known as the Forks of the Credit. Park just before Dominion Street on the right shoulder. Parking is free, and this spot will give you access to both branches of the Credit and the south park entrance if you want to go up there.



Forks of the Credit from the
 Dominion St. Bridge



http://tinyurl.com/24e92r4

Forks of the Credit Provincial Park

 From the Dominion St. bridge, the south park entrance is about a 10 minute walk. (there is no parking allowed anywhere on Dominion St.)

The trails heading into the park are well groomed and markers identify which path you're on. It's easy going and there are several footpaths through the bush that will get you down to the river. The river is very tight up there except for a few locations, so you'll need to adjust your casting often. Roll casts are useful and can be rewarding to the persistent fisher. The park's nice, but I prefer south of the Forks myself.

South of the Forks

 This stretch of river is my favourite. It holds some very nice size Brooks and Browns. My personal best is an 18" Brook, but there are many in the 10 - 15" range that reside in this area. There are plenty of runs, holes, rocks and logs. Today I was fishing with a #14 Tan Caddis - dry fly. I hooked several small fish (5-8") and just missed a really nice one. It's good to see all the small ones - this appears to be a very healthy river at the top end. Let's hope it stays that way. Only a few more days and the season closes until next April. I'll try to get out again tomorrow.




Small Atlantic Salmon - kind of fun watching them come up and nab a fly.