Myopia Consortium UK branding guidelines by Adam Turney

BRANDING GUIDELINES

MYOPIA CONSORTIUM UK

contents typographic usage the typeface 6 working with type 7 accessibility 8 commissioning a professional 8

A0 landscape poster 32 info graphics 34 charts and graphs 35 partner logos 36

colour palette

imagery usage

all the pretty colours

using the palette 12 legibility 14

the photos 38 machinery 39 children 40

logo

wording

different sizes 16 logo colour palette 18 clear space 20 alternate 20

the audience 42 key texts 44

the lock up different applications 22 business card 23 letterhead 23 A3 portrait poster 26 A3 landscape poster 28 A0 portrait poster 30

T Y P O G R A P H I C US AG E

ADCDEFGHIJKLM NOPQURSTUVWXYZ abcdefghijklmnopqu rstuvwxyz Hypatia Sans Bold

ADCDEFGHIJKLM NOPQURSTUVWXYZ abcdefghijklmnopqu rstuvwxyz Hypatia Sans Semibold

ADCDEFGHIJKLM NOPQURSTUVWXYZ abcdefghijklmnopqu rstuvwxyz Hypatia Sans Regular Hypatia Sans is the only typeface to be used within any piece of work. When writing running text always use Hypatia Sans Regular, and when forming sub-headings use Hypatia Sans Semibold to create emphasis. Only use Hypatia Bold for headings to create greater emphasis. 6

working with type Maintain a consistent size for running text, try not to make it too big or too small. A maximum of thirteen words are allowed within one line of text. Always align type to the left, never set type centred as it will impair the readibility of the text, when justifying to the right only do so with text that is less than 100 words. Only ever justify text to the right if it is juxtaposed to an image to the right (as shown in the below example).

Similiti istrum lam, sequamus, offici officab orepudae. Bitio. Epernatum iur aut volupis

Allow running text breathing space, setting type in a tight leading will have a negative impact on the readability. Try and space out the text.

7 TYPOGRAPHIC USAGE

accessibility Itâ&#x20AC;&#x2122;s important to note that you should never set any text below the size of 10pt. apart from small print, by choosing to reduce the size of type you run the risk of compromising readability that in turn will render it in-accessible to the visually impaired.

when commissioning professional printed material A3 posters use a running text of 10pt. with a leading of 18pt. this emphasises a clear readable piece of text. Headings should be set in 30pt with a leading of 36pt. Reference and acknowledgement text should be set in 8pt with a leading of 9pt. A1/A0 documents use a running text of 16pt. with a leading of 24pt, it is important to recognise that users will need to view the poster from a distance, therefore the running text size is increased. Reference and acknowledgement text should be set at 8pt. with a leading of 12pt. Headings are to be set at 72pt. with a leading of 96pt. By using a set ruling for typography measurements, a consistent look will be created through out your brand. Never space running text or lower case text.

C O LO U R PA L E T TE

P 109-5 C

P 139-4 C

P 165-2 C

P 26-2 C

P 86-3 C

CMYK

RGB

P 108- 7 C

P 139-6 C

P 165-6 C

P 28-5 C

P 86-8 C

CMYK

RGB

P 105-16 C

P 147-15 C

P 168-16 C

P 25-16 C

P 82-16 C

CMYK

RGB

61% 21% 0% 0% 91% 167% 220% #5aabdb

88% 31% 0% 0% 0% 140% 207% #008ccf

100% 68% 0% 39% 0% 60% 119% #003c77

47% 0% 44% 0% 137% 205% 167% #88ada7

75% 0% 71% 0% 39% 182% 122% #27667a

77% 0% 87% 52% 0% 105% 52% #076933

9% 0% 40% 20% 193% 198% 146% #c2c692

18% 0% 78% 39% 143% 153% 64% #909940

11% 0% 100% 65% 116% 117% 0% #747500

0% 22% 39% 19% 211% 172% 134% #d3ac87

0% 48% 75% 19% 206% 128% 68% #ce8045

21% 29% 14% 0% 200% 178% 198% #c7b2c0

48% 67% 32% 0% 148% 105% 135% #946987

0% 57% 100% 35% 9% 99% 0% 58% 172% 95% 15% #ac600e

117% 0% 73% #750349

all the pretty colours The consortium has an array of fifteen colours to choose. The colours have been specifically chosen to blend with the partner universities of the consortium. Each colour from the middle row has a corresponding lighter and darker colour. 10

11 COLOUR PALETTE

using the palette The darker colour works well with type, however it is important to consider the implications of readability and the use of incorporating images, charts and graphics when producing your document. For example if youâ&#x20AC;&#x2122;re designing a poster which in-corporates a lot of type and a strong image, it is key that you donâ&#x20AC;&#x2122;t use the darker tone for a background colour as it will divert the userâ&#x20AC;&#x2122;s attention away from the text and to solely on the image (unless you want the attention to be driven to the feature image). Never use white as a background colour, especially within posters as it is likely the poster will be placed onto a white wall. The colour white as a background colour for letterheads is acceptable.

legibility Allowing the user the ability to clearly read the text is of importance, keeping a good contrast between the text and the background colour is key. When working with a pale background use a negative type and when working with a dark background colour use positive type.

13 COLOUR PALETTE

The program aims to develop a new generation of optical products

TH E LO G O

10mm

MYOPIA CONSORTIUM UK

15mm

MYOPIA CONSORTIUM UK

45mm

35mm

25mm

MYOPIA CONSORTIUM UK

A1/0

MYO PI A CO NSO RTI U M UK

different sizes Above are the versions of the logo, and the recommended size of paper the logo should be placed on. (Documents of the logo will be found within the CD accompanied with these guidelines). The minimum and maximum size of the logo are placed and stated above. 16

MYOPIA CONSORTIUM UK

PANTONE PROCESS BLACK - B

PANTONE 165-6 C

MYOPIA CONSORTIUM UK

PANTONE 109-5 C

PANTONE 108-7 C

PANTONE 104-16 C

MYOPIA CONSORTIUM UK

PANTONE 139-4 C

PANTONE 139-6 C

PANTONE 146-7 C

MYOPIA CONSORTIUM UK

PANTONE 165-2 C

PANTONE 165-6 C

PANTONE 165-16 C

MYOPIA CONSORTIUM UK

PANTONE 26-2 C

PANTONE 28-5 C

PANTONE 25-16 C

MYOPIA CONSORTIUM UK

PANTONE 28-3 C

PANTONE 86-8 C

PANTONE 82-16 C

17 THE LOGO

logo colour palette The opposite page shows examples of how to use the colour palette when working with the logo; when working with a white or off-white background, either set the logo in black or green (pantone 165-6). The colour boxes on the opposite page represents how the logo can be incorporated with different colours from the palette. Never cram the logo into a coloured box. To optimise typeface legibility use the examples to clarify what colour to set the logo when working with light and dark background colours. When working wth lighter background colours set the logo negative, and when using darker background colours set the logo positive.

MYOPIA CONSORTIUM UK

Never use outer or inner glow

MYOPIA CONSORTIUM UK

Never use a colour that is different to the colour palete.

MYOPIA CONSORTIUM UK

Never use drop shadow MYOPIA CONSORTIUM UK

Never distort or re-shape text or image.

Never bevel or emboss MYOPIA CONSORTIUM UK

Never hyphenate text.

MYOPIA CONSORTIUM UK

Never use different colour for text.

Never use gradients or pattern overlay.

MYOPIA CONSORTIUM UK

Never outline text or image

19 THE LOGO

Always stick to Hypatia Sans typeface.

MYOPIA CONSORTIUM UK x

clear space It is important to never squash the logo against other objects, this couldn’t be more important when juxtaposing the logo against partner or rival universities/ consortiums/companies as you want the logo to stand out. To achieve this use the length of X (the height of the wording ‘MYOPIA CONSORTIUM UK’) as a basis. The length of X will be used to create clear space around the logo at all times. The length of ‘Y’ (the height of ‘myopia consortium’) will be used as a basis for clear space on the left.

alternate logo The logo icon can also be used as an alternate, without the use of text. This can be applied to the business card and on the back of publications. Use the alternate as little as possible, less is more, remember that the consortium is not established so it is important to emphasise the primary logo, which will be more effective in raising awareness of the name. The alternate logo is to only accompany the logo in a separate part of a publication.

TH E LO C K U P

MYOPIA CONSORTIUM UK

Variation in visual acuity at differenctviewing distances: a comparison of results with two different chart designs ETRDS

MNRead 300cm The young boy held his hand high to ask

-0.21

questions in class

68 cm -0.14 logMAR logMAR

-0.11 logMAR

-0.10 logMAR 40cm -0.22 logMAR -0.05 logMAR

Figure 1. Mean logMAR acuity scores with

40cm

the ETDRS and MNRead charts at four veiwing

-0.14 logMAR

distances

MYOPIA CONSORTIUM UK

Optical contributions to blur sensitivity variance in refractive error groups

• • •

• •

Purpose: To investigate the variation in visual acuity measurement at different distances using the same chart design To compare the visual acuity results achieved with two different chart designs; a letter-based chart (ETDRS) and a functional reading chart (MNRead) To establish normative values for letter and functional reading chart formats at far and near distances Results: (Figures 1 & 2) There was a good correlation between ETDRS and MNRead acuity scores for 300cm and 40cm although MNRead acuities were significantly better at 300, 40 and 28cm (p≤0.05) Repeated measures ANOVA showed a significant effect of viewing distance for each chart (F= 13.304; p<0.001) with the greatest difference between far and closer near distance for ETDRS (p<0.001) and between far and intermediate and far and closer near for MNRead (p<≤0.002)

• • •

MYOPIA CONSORTIUM UK

Anglia Ruskin University East Road Cambridge

Optical contributions to blur sensitivity variance in refractive error groups

Dear sir/madam Officilia natibusda se maio dolupta turerae. Lantios qui del ipitatam lant odit, sa cus dolor autet quassit qui omnis es magnient prae porem fugiati atatia cus molest, es enimpore voluptatis milite core conest, coriand aerrum aut eius renimus, vendam, occusam quam fugitam qui doluptur? Ferum dolorepuda nonemporro odi conetumquid et, in conse vollam dolo volut etur? Ut ommoluptam, quidia volute lam quate sam si ut lique eatur modi omnihil iquostio to vendiani officatiur modi re lam dit esequaectur, in corit et lit officianti aut est maio eatio. Ita quos exerfera inim untor sitatur amus. Rum aut offic tetur simolor alibuscius. Ratusant laccab ium quiae quate volorpo riatumque niendae preici beresec epudicae. Antur aut quo et ella con perumen tiorum vero minciam, seque la plibus esti dundanienim aut volorporerum rere dernatium con nonsero to et officit min re comni aut voloruptam nonet ad molenim eri bernate nducius. Empore, cus denduci entemol orerum aut archil et quis et eniendi dolupta temporeresed qui ut volum quoditionem et officip ieniste a velesequisci occum re nonem hariatum quis sequo volore deroritatius adis con nobit iur molorepe doluptatur minullant undigendit autem ame voluptust alitibus, quod molupta spietur aligenda consedit explitatem es ilit excepelit reptur rem aborerum reptat. yours sincerely

1.50 to 4.50D; high myopes, n=7, > 4.50 to 9.00D.

25 20

Background:

Results:

The depth of focus of the eye has been shown to be

Participants were divided into three groups based on

larger in myopes than emmetropes 1,2. and this reduced

refractive error; emmetropes, n=7; low myopes, n=9, 1.50 to

sensitivity to blur has been proposed as a source of greater

4.50D; high myopes, n=7, > 4.50 to 9.00D.

accommodative lag in myopes 3,4.

Myopes showed significantly worse blur sensitivity than emmetropes for first noticeable blur (ANOVA: resolvable (ANOVA: F =3.7, p = 0.044) as shown in

figure 2.

significantly correlated with refractive error for all

Background:

Methods:

The depth of focus of the eye has been shown to

Blur sensitivity was assessed in the right eye of

be larger in myopes than emmetropes 1,2. and this

23 participants following cycloplegia. Wavefront

Blur sensitivity with the text target was significantly

reduced sensitivity to blur has been proposed as a

aberrations were assessed with the COAS

correlated with refractive error (r = -0.545; p = 0.08)

source of greater accommodative lag in myopes 3,4.

aberrometer and objective refractive error with the

and third order Zernike aberrations 3,3 (p<0.05) 3-3

Shin-Nippon SRW5000 auto-refractor. Targets were

(p=<0.05).

Aim:

presented via a Badal optometer with participant

To investigate how perceptual demand in the test

viewing through a 5mm artificial pupil. Three types of

target affects blur sensitivity in myopes and whether

targets were used (figure v1.) : those that required low

this is affected by optical aberrations.

(resolve sinusoidal grating), moderate

References 1. Rosenfield, M and Abraham-Cohen, JA. Blur sensitivity in myopes.

significantly correlated with refractive error for all target types (grating: r = 0.451, p = 0.031; letter: r = 0.436, p =

Blur sensitivity was assessed in the right eye of 23

0.037;text: r = 0.472, p = 0.023).

is shown in figure 3.

The point where targets became non- resolvable was

Methods:

0.436, p = 0.037;text: r = 0.472, p = 0.023).

focus and the text block the greatest. Mean depth of

=3.7, p = 0.044) as shown in figure 2.

affects blur sensitivity in myopes and whether this is affected

focus for each target type and h refractive error group

p=0.014) and when it became non-resolvable (ANOVA: F

To investigate how perceptual demand in the test target

target types (grating: r = 0.451, p = 0.031; letter: r =

The sinusoidal grating showed the smallest depth of

Aim:

by optical aberrations.

The point where targets became non- resolvable was

Myopes showed significantly worse blur sensitivity than emmetropes for first noticeable blur (ANOVA: F(22,2)=5.3,

figure 2

F(22,2)=5.3, p=0.014) and when it became non-

Acknowledgements: This study was supported by Anglia Ruskin University Research Capability Funs and VisionCRC.

Robert Smith

figure 3

participants following cycloplegia. Wavefront aberrations 1

were assessed with the COAS aberrometer and objective

The sinusoidal grating showed the smallest depth of focus

refractive error with the Shin-Nippon SRW5000 auto-

and the text block the greatest. Mean depth of focus for

refractor. Targets were presented via a Badal optometer

each target type and h refractive error group is shown in

with participant viewing through a 5mm artificial pupil.

figure 3.

Three types of targets were used (figure v1.) : those that required low (resolve sinusoidal grating), moderate

Blur sensitivity with the text target was significantly

(recognise letters in a high contrast grid of Snellen letters)

correlated with refractive error (r = -0.545; p = 0.08) and

and high (read a block of high contrast Times New Roman

third order Zernike aberrations 3,3 (p<0.05) 3-3 (p=<0.05).

print) perceptual demand.

Acknowledgements: This study was supported by Anglia Ruskin University Research Capability Funs and VisionCRC. References 1. Rosenfield, M and Abraham-Cohen, JA. Blur sensitivity in myopes. Optometry and Vision Science.. 1999; 76:303-307 2. Vasudevan, B, Ciuffreda, KJ and Wang, B. Objective blur thresholds in free space for different refractive error groups. Current Eye Research. 2006;

31: 111-118. 3. Gwiazda, J, Thorn, F, Bauer, J and Held, R. Myopic children show insufficient accommodative response to blur. Investigative Ophthalmology and Visual Science. 1993; 34:690-694. 4. Jiang, B-C. Integration of a sensory component into the accommodation model reveals differences between emmetropia and late-onset myopia. Investigative Ophthalmology and Visual Science. 1997; 38:1511-1516. References 1.

Optometry and Vision Science.. 1999; 76:303-307 2. Vasudevan, B, Ciuffreda, KJ and Wang, B. Objective blur thresholds in free space for different refractive error groups. Current Eye Research. 2006; 31: 111-118. 3. Gwiazda, J, Thorn, F, Bauer, J and Held, R. Myopic children show

insufficient accommodative response to blur. Investigative Ophthalmology and Visual Science. 1993; 34:690-694. 4. Jiang, B-C. Integration of a sensory component into the accommodation model reveals differences between emmetropia and late-onset myopia. Investigative Ophthalmology and Visual Science. 1997; 38:1511-1516.

2. 3.

Rosenfield, M and Abraham-Cohen, JA. Blur sensitivity in myopes. Optometry and Vision Science.. 1999; 76:303-307 Vasudevan, B, Ciuffreda, KJ and Wang, B. Objective blur thresholds in free space for different refractive error groups. Current Eye Research. 2006; 31: 111-118. Gwiazda, J, Thorn, F, Bauer, J and Held, R. Myopic children show insufficient accommodative response to blur. Investigative Ophthalmology and Visual Science. 1993; 34:690-694. Jiang, B-C. Integration of a sensory component into the accommodation model reveals differences between

different applications The relationship between the elements on the page and the composition of them is called the lock up, it can be implemented to different applications. The idea is that a standard default design is created that will bring to mind the nature of the consortium whenever a user views it. As you can see each document contains a clear column on the left hand side, this is deliberate and gives the brand a distinctive and recognisable look. Keep note of the clear column and make use of it.

business card Always align the logo to the left in any document, apart from the front of the business card. The front of the business card contains the alternate logo placed in the centre. The logo, which is aligned left on the back of the business card, is 4mm away from the top and the side. The information text is placed 50mm from the left side and 14mm from the top.

letterhead The letterhead consists of a 6mm horizontal grid, which means the height between each line is 6mm apart, starting from the top of the page The logo is to be placed 16mm from the top of the page and 16mm from the left of the page. The text box is to be placed 68mm from the left of the page and 34 mm from the top. When finishing a document leave five spaces between â&#x20AC;&#x2DC;yours sincerelyâ&#x20AC;&#x2122; and your name to place your signature.

23 THE LOCK UP

MYOPIA CONSORTIUM UK

hollie smith consultant cambridge

MYOPIA CONSORTIUM UK

Anglia Ruskin University East Road Cambridge

Robert Smith

A3 portrait poster The A3 poster also consists of a 6mm horizontal grid; the logo is to be placed on the left hand side, 20mm from the left hand side and 13mm from the top. The black box depicted on the opposite page is your feature box and will be the most dominant part of the poster, the space will be used for any important images and/or charts you wish your user to group to view first. The size of the feature box is 173mm by 90mm. The lock up is an un-even three-column grid, a margin of 20mm is placed on the left (nothing should be paced within the margin). The first column is 70mm wide and the majority of the space should be clear (apart from logo and partner logos). The second column is 84mm wide and is separated with a guttering of 5mm to form another 84mm wide column. The partner logos should be placed at the very bottom on the first column, 20mm from the bottom of the page. (use the example of the lock up on the opposite page to guide you) To maintain a consistent lock up that features an asymmetrical style it is important you never compromise the design by placing any content, that is not intended to be, within the first column. Content should be placed with in the middle, which includes the title, text, the feature box, graphs and images, below the logo and above the partner logos within the grid structure as showed on the example on the opposite page. The lower text consists of acknowledgements and references that are separated by the main running text with a horizontal rule. The reference text should be set in a small size (see typography usage for guidelines on size).

25 THE LOCK UP

90 173

MYOPIA CONSORTIUM UK

margin

Optical contributions to blur sensitivity variance in refractive error groups

Background:

Results:

The depth of focus of the eye has been shown to be

Participants were divided into three groups based on

larger in myopes than emmetropes 1,2. and this reduced

refractive error; emmetropes, n=7; low myopes, n=9, 1.50 to

sensitivity to blur has been proposed as a source of greater

4.50D; high myopes, n=7, > 4.50 to 9.00D.

accommodative lag in myopes 3,4.

Myopes showed significantly worse blur sensitivity than emmetropes for first noticeable blur (ANOVA: F(22,2)=5.3,

Aim:

p=0.014) and when it became non-resolvable (ANOVA: F

To investigate how perceptual demand in the test target

=3.7, p = 0.044) as shown in figure 2.

affects blur sensitivity in myopes and whether this is affected by optical aberrations.

The point where targets became non- resolvable was significantly correlated with refractive error for all target

Methods:

types (grating: r = 0.451, p = 0.031; letter: r = 0.436, p =

Blur sensitivity was assessed in the right eye of 23

0.037;text: r = 0.472, p = 0.023).

participants following cycloplegia. Wavefront aberrations were assessed with the COAS aberrometer and objective

The sinusoidal grating showed the smallest depth of focus

refractive error with the Shin-Nippon SRW5000 auto-

and the text block the greatest. Mean depth of focus for

refractor. Targets were presented via a Badal optometer

each target type and h refractive error group is shown in

with participant viewing through a 5mm artificial pupil.

figure 3.

Three types of targets were used (figure v1.) : those that required low (resolve sinusoidal grating), moderate

Blur sensitivity with the text target was significantly

(recognise letters in a high contrast grid of Snellen letters)

correlated with refractive error (r = -0.545; p = 0.08) and

and high (read a block of high contrast Times New Roman

third order Zernike aberrations 3,3 (p<0.05) 3-3 (p=<0.05).

print) perceptual demand.

Acknowledgements: This study was supported by Anglia Ruskin University Research Capability Funs and VisionCRC.

References 1. Rosenfield, M and Abraham-Cohen, JA. Blur sensitivity in myopes. Optometry and Vision Science.. 1999; 76:303-307 2. Vasudevan, B, Ciuffreda, KJ and Wang, B. Objective blur thresholds in free space for different refractive error groups. Current Eye Research. 2006;

A3 landscape poster As the same with the A3 portrait poster, the landscape consists of a 6mm horizontal grid; the logo is to be placed on the left hand side, 20mm from the left hand side and 15mm from the top. Your feature box and will be the most dominant part of the poster, the space will be used for any important images of charts you wish your user to group to view first. The size of the feature box is 157mm by 90mm, which is different to the measurements of the portrait. The lock up is a four-column grid, the first being a different size to the others. A margin of 20mm is placed on the left (nothing should be paced within the margin). The first column is 70mm wide and the majority of the space should be clear (the only items that should be placed are the logo and the partner logos). The second column is 76mm wide and is separated with a guttering of 5mm to form another 76mm wide column followed by another guttering of 5mm. The following space can be used for additional charts and images allowing a 5mm guttering. The partner logos should be placed at the very bottom on the first column, 10mm from the bottom of the page. (use the example of the lock up on the opposite page to guide you) Content should be placed with in the middle, which includes the title, text, the feature box, graphs and images, below the logo and above the partner logos within the grid structure as showed on the example on the opposite page. To maintain a consistent lock up that features a asymmetrical style it is important you never compromise the design by placing any content, that is not intended to be, within the first column.

27 THE LOCK UP

15 90 15 10

margin

MYOPIA CONSORTIUM UK

Optical contributions to blur sensitivity variance in refractive error groups

(recognise letters in a high contrast grid of Snellen letters) and high (read a block of high contrast Times New Roman print) perceptual demand. Results: Participants were divided into three groups based on refractive error; emmetropes, n=7; low myopes, n=9, 1.50 to 4.50D; high myopes, n=7, > 4.50 to 9.00D. Myopes showed significantly worse blur sensitivity than emmetropes for first noticeable blur (ANOVA: F(22,2)=5.3, p=0.014) and when it became nonresolvable (ANOVA: F =3.7, p = 0.044) as shown in figure 2. The point where targets became non- resolvable was significantly correlated with refractive error for all target types (grating: r = 0.451, p = 0.031; letter: r = 0.436, p = 0.037;text: r = 0.472, p = 0.023). The sinusoidal grating showed the smallest depth of focus and the text block the greatest. Mean depth of

Background:

Blur sensitivity was assessed in the right eye of

Methods:

correlated with refractive error (r = -0.545; p = 0.08)

Blur sensitivity with the text target was significantly

focus for each target type and h refractive error group The depth of focus of the eye has been shown to

23 participants following cycloplegia. Wavefront

and third order Zernike aberrations 3,3 (p<0.05) 3-3

is shown in figure 3.

be larger in myopes than emmetropes 1,2. and this

aberrations were assessed with the COAS

presented via a Badal optometer with participant

reduced sensitivity to blur has been proposed as a

viewing through a 5mm artificial pupil. Three types of

(p=<0.05).

Aim:

targets were used (figure v1.) : those that required low

aberrometer and objective refractive error with the

To investigate how perceptual demand in the test

(resolve sinusoidal grating), moderate

target affects blur sensitivity in myopes and whether

Shin-Nippon SRW5000 auto-refractor. Targets were

source of greater accommodative lag in myopes 3,4.

this is affected by optical aberrations.

Acknowledgements: This study was supported by Anglia Ruskin University Research Capability Funs and VisionCRC. References 1. Rosenfield, M and Abraham-Cohen, JA. Blur sensitivity in myopes.

30 25 20 15

figure 2

35 30 25 20 15 10 5 0

figure 3

A0 portrait poster The A0 poster consists of a 8.5mm horizontal grid starting from the top of the page. The logo is to be placed on the left hand side, 30mm from the left hand side and 29mm from the top. Your feature box will be the most dominant part of the poster, you should use the space for any important images or charts you wish your user to group to view first. The size of the feature box is 497mm by 300mm The lock up is an un-even three column grid, a margin of 30mm is placed on the left (nothing should be paced with in the margin). The first column is 190mm wide and the majority of the space should be clear (the only content that should be placed within the column should be the logo and the partner logos). The second column is 239mm wide and is separated with a guttering of 19mm to form another 2239mm wide column. The partner logos should be placed at the very bottom on the first column, 55mm from the bottom of the page. (use the example of the lock up on the opposite page to guide you) Content should be placed with in the middle, which includes the title, text, the feature box, graphs and images, below the logo and above the partner logos within the grid structure as showed on the example on the opposite page.

29 THE LOCK UP

497 160

239

MYOPIA CONSORTIUM UK

Variation in visual acuity at differenctviewing distances: a comparison of results with two different chart designs ETRDS

MNRead 300cm The young boy held his hand high to ask

-0.21

questions in class

68 cm

300

-0.14 logMAR logMAR

-0.11 logMAR

-0.10 logMAR 40cm -0.22 logMAR -0.05 logMAR

margin

Figure 1. Mean logMAR acuity scores with the ETDRS and MNRead charts at four veiwing distances

• • •

Results: (Figures 1 & 2) There was a good correlation between ETDRS and MNRead acuity scores for 300cm and 40cm although MNRead acuities were significantly better at 300, 40 and 28cm (p≤0.05) Repeated measures ANOVA showed a significant effect of viewing distance for each chart (F= 13.304; p<0.001) with the greatest difference between far and closer near distance for ETDRS (p<0.001) and between far and intermediate and far and closer near for MNRead (p<≤0.002)

• •

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40cm -0.14 logMAR

Methods: • VA was measured for 29 subjects with each of the two chart types at 300cm , 68cm, 40cm and 28cm • VA was recorded in logMAR format, scored to the nearest le:er (ETDRS) or word (MN Read) • Corrections to the logMAR chart score were made to account for viewing distance with an additon of 0.15 logMAR at 28cm and a subtrac*on of 0.23 logMAR at 68cm

• • •

Conclusions: A given chart when used interchangeably at different viewing distances will over or under estimate acuities, with lowest acuities found at the closest viewing distance Visual acuities assessed with letter based and reading charts will not be comparable at equivalent distances. Clinicians should beware of this when interchanging charts or viewing distances

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References 1. 2.

Gwiazda, J, Thorn, F, Bauer, J and Held, R. Myopic children show insufficient accommodative response to blur. Investigative Ophthalmology and Visual Science. 1993; 34:690-694. 4. Jiang, B-C. Integration of a sensory component into the accommodation model reveals differences between emmetropia and late-onset myopia. Investigative Ophthalmology and Visual Science. 1997; 38:1511-151

25 55

A0 landscape poster The A0 poster consists of a 8.5mm horizontal grid starting from the top of the page. The logo is to be placed on the left hand side, 30mm from the left hand side and 29mm from the top. Your feature box will be the most dominant part of the poster, you should use the space for any important images or charts you wish your user to group to view first. The size of the feature box is 521mm by 244m. The box should be placed below the main title and above the text. The lock up is an un-even three-column grid, a margin of 30mm is placed on the left (nothing should be paced with in the margin). The first column is 190mm wide and the majority of the space should be clear (the only content that should be placed within the column should be the logo and the partner logos). The second column is 251mm wide and is separated with a guttering of 19mm to form another 251mm wide column followed by a 19mm guttering to form another 251mm column followed by 19mm guttering to form a space for additional graphs and images. The partner logos should be placed at the very bottom on the first column, 55mm from the bottom of the page. (use the example of the lock up on the opposite page to guide you) Content should be placed with in the middle, which includes the title, text, the feature box, graphs and images, below the logo and above the partner logos within the grid structure as showed on the example on the opposite page.

31 THE LOCK UP

29 244 25 55

margin

190 160

MYOPIA CONSORTIUM UK

23 251

521

251

Methods: VA was measured for 29 subjects with each of the two chart types at 300cm , 68cm, 40cm and 28cm VA was recorded in logMAR format, scored to the nearest le:er (ETDRS) or word (MN Read) Corrections to the logMAR chart score were made to account for viewing distance with an additon of 0.15 logMAR at 28cm and a subtrac*on of 0.23 logMAR at 68cm Conclusions: A given chart when used interchangeably at different viewing distances will over or under estimate acuities, with lowest acuities found at the closest viewing distance Visual acuities assessed with letter based and reading charts will not be comparable at equivalent distances. Clinicians should beware of this when interchanging charts or viewing distances Onsequi aspiendunt. Ommos et iduciet faccusamus quis et voluptate preperi atinull icipicimpori siminve nempore occabo. Em. Nemolup taectemos quas et pore, simust, sumque rectiae. Et quodis nimenia que verovid quatio. Ditatatius quia volumquo exceptae inimporeped quos eratur? Ehenimodi dollorp orerae quo et modisit est plibeatempor arum sa dolore vellam, tem et quam nist liquas exped que prae voluptatem es apid quiam sim et quos quo di cus mi, simint es dunt untem essit fuga. Tur aut quae nobitat iatur?

•

• • •

Variation in visual acuity at differenctviewing distances: a comparison of results with two different chart designs

• • •

• •

251

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info-graphic When producing an info-graphic keep in mind clear space, you donâ&#x20AC;&#x2122;t want to confuse the user by cluttering the page. The info-graphic should not be too big or small, you may want to do some rough print outs to test how well the info-graphic communicates. Remember to adhere to the lock up and to the colour scheme.

commissioning a professional to create info-graphic Using a professional can be beneficial when producing info-graphics, and they will be likely to more effectively communicate data to your user group.

33 THE LOCK UP

MYOPIA CONSORTIUM UK

Depth of focus

Optical contributions to blur sensitivity variance in refractive error groups

emmetropes low myopes

high myopes

sinusoldal grating letter grid text block

30 25 20 15 10 5 0

35 30 25 20 15 10 5 0

charts and graphs When creating graphs and charts on excel, optimise the property settings of each chart. Stick to a consistent use of bar chart to set a theme, unless it is vital that you use another chart. Stick to one solid colour for each bar, using different shades to differentiate; never use colours that would clash within a chart, for example fluorescent orange and fluorescent green. The spacing of the chart is important, don’t tightly space bars. Use the colour palette as guidance for choice of colour.

35 THE LOCK UP

working with partner logos The number one rule you need to remember is adhering to the clear space guidelines for each logo, all of which can be found by typing in the institution’s branding guidelines into a search engine, give each logo plenty of space to breath. You don’t want to tightly place them within a space, doing so will compromise the design. For example Anglia Ruskin use a very simple rule when it comes to clear space, it recommends that you use the height of the capital letter ‘A’ as a marker to work out how close another object can be placed. Try to maintain a consistent size when it comes to measuring, you don’t want to emphasise one logo over another by its size. When it comes to colour make sure you only set the logo at either positive or negative, and don’t use lossy JPEG files of a partner logo off the internet. All partner logos should be isolated images and not feature a white background unless the background is part of the design (see below example for guidance). A number of PNG logos will be stored in the accompanying CD.

I M AG E RY US AG E

the photos When selecting images try to opt for ones that feature a sense of naturalness, happiness and intrigue the user, make use of images that include the sun to emphasise a natural feel. Since the sun is thought to be an element that can stop Myopia from happening, optimise its use. Use a mix of black and white and coloured photographs. If attempting to use editing software, such as Photoshop, remember that less is more and be very careful not to spoil the image. Never use filters, unless attempting to blur an image.

photos of machinery It is very likely that you will need to use images of machinery, when doing so make sure there is always a human element (unless it is not possible to do so). When there is a human element, it is important you select images that are happy. Photographs of machinery should never feature dated equipment, unless necessary (for example if you are informing the user of the past).

39 IMAGERY

photos for children When advertising to participants, who consist of children, it is important to remember that you are targeting them through their parents. We do not recommend you to use childish cartoon images, instead we suggest images of children that are fun and entertaining.

important to note Always make sure that the images you select are of the highest quality, never choose an image that appears lossy or pixelated. If you choose to use Photoshop to edit your photos, make sure you adjust the settings for print at 300dpi or higher and not web at 72dpi.

WO R D I N G

the audience Your audience is built up of an array of different cultures, ages, and classes, youâ&#x20AC;&#x2122;re expected to use a very scientific form of language when addressing members of your profession; But try to be less technological in your speech when when communicating with members of the public and children. When addressing the public and children Less is more, simplicity is key so use a form of simple language when communicating to people who are not within your professional trade. Try not to act as though youâ&#x20AC;&#x2122;re talking down to them, but be use simple, short words, A general rule When communicating to any audience try not to use a chatty tone, and avoid exclamation marks. In addition when writing do not use symbols as apposed to words, for example: and not & for example not e.g.

Do not use capitals within running text for example: The program aims to develop a new generation of optical products that control and/or arrest the progression of MYOPIA CONSORTIUM UK. The program aims to develop a new generation of Â optical products that control and/or arrest the progression of Myopia Consortium UK. as apposed to: THE PROGRAM AIMS TO DEVELOP A NEW GENERATION OF OPTICAL PRODUCTS THAT CONTROL AND/OR ARREST THE PROGRESSION OF MYOPIA CONSORTIUM UK Make the text interesting Nobody is going to be interested in the consortium if the text seems boring, when possible bring it to life and make the text as colourful as possible. It is understandable that a lot of the text will have to contain very technical and scientific information, considering the nature of your profession, but try to add some colour into your speech.

43 WORDING

key texts Crediting images It is of importance that you credit any form of image used. Multiple crediting can be applied, for example: Tony Smith/Jeremy Davidson/Jessica Young Additional important information It is key to adhere to the data protection act when producing work for â&#x20AC;&#x2DC;Myopia Consortium UKâ&#x20AC;&#x2122;, as a result you are only to collect images/graphics/ videos for use with authorisation, iStock.com contains a vast array of professional material that is eligible to use. For more details on the subject visit http://www.ico.gov.uk.

BR ANDING GUIDELINES