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Myopia Consortium UK branding guidelines

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BRANDING GUIDELINES

MYOPIACONSORTIUMUK

contentstypographic usage

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

colour palette

all the pretty colours 10using the palette 12legibility 14

logo

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

the lock up

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

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

imagery usage

the photos 38machinery 39children 40

wording

the audience 42key texts 44

4

TY

PO

GR

APH

IC U

SAG

E

ADCDEFGHIJKLMNOPQURSTUVWXYZabcdefghijklmnopqurstuvwxyzHypatia Sans Bold

ADCDEFGHIJKLMNOPQURSTUVWXYZabcdefghijklmnopqurstuvwxyz Hypatia Sans Semibold

ADCDEFGHIJKLMNOPQURSTUVWXYZabcdefghijklmnopqurstuvwxyz Hypatia Sans RegularHypatia 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

Similiti istrum lam, sequamus, offici officab

orepudae. Bitio. Epernatum iur aut

volupis

working with typeMaintain 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).

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

accessibilityIt’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 materialA3 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.

8

CO

LOU

R P

ALE

TT

E

all the pretty coloursThe 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.

P 109-5 CCMYK

61% 21% 0% 0%RGB

91% 167% 220%#5aabdb

P 108- 7 CCMYK

88% 31% 0% 0%RGB

0% 140% 207%#008ccf

P 105-16 CCMYK

100% 68% 0% 39%RGB

0% 60% 119%#003c77

P 139-4 CCMYK

47% 0% 44% 0%RGB

137% 205% 167%#88ada7

P 139-6 CCMYK

75% 0% 71% 0%RGB

39% 182% 122%#27667a

P 147-15 CCMYK

77% 0% 87% 52%RGB

0% 105% 52%#076933

P 165-2 CCMYK

9% 0% 40% 20%RGB

193% 198% 146%#c2c692

P 165-6 CCMYK

18% 0% 78% 39%RGB

143% 153% 64%#909940

P 168-16 CCMYK

11% 0% 100% 65%RGB

116% 117% 0%#747500

P 26-2 CCMYK

0% 22% 39% 19%RGB

211% 172% 134%#d3ac87

P 28-5 CCMYK

0% 48% 75% 19%RGB

206% 128% 68%#ce8045

P 25-16 CCMYK

0% 57% 100% 35%RGB

172% 95% 15%#ac600e

P 86-3 CCMYK

21% 29% 14% 0%RGB

200% 178% 198%#c7b2c0

P 86-8 CCMYK

48% 67% 32% 0%RGB

148% 105% 135%#946987

P 82-16 CCMYK

9% 99% 0% 58%RGB

117% 0% 73%#750349

10

11 COLOUR PALETTE

using the paletteThe 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 you’re designing a poster which in-corporates a lot of type and a strong image, it is key that you don’t use the darker tone for a background colour as it will divert the user’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.

12

legibilityAllowing 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

The program aims to develop a new generation of  optical products

The program aims to develop a new generation of  optical products

The program aims to develop a new generation of  optical products

The program aims to develop a new generation of  optical products

The program aims to develop a new generation of  optical products

The program aims to develop a new generation of  optical products

The program aims to develop a new generation of  optical products

The program aims to develop a new generation of  optical products

The program aims to develop a new generation of  optical products

14

TH

E LO

GO

MYO PIA CO NSO RTI UMU K

MYOPIA CONSORTIUMUK

MYOPIA CONSORTIUMUK

MYOPIA CONSORTIUMUK

MYOPIA CONSORTIUMUK

45m

m35

mm

25m

m15

mm

10m

m

different sizesAbove 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.

A5

A4

A3

A2

A1/0

16

MYOPIA CONSORTIUMUK

MYOPIA CONSORTIUMUK

MYOPIA CONSORTIUMUK

MYOPIA CONSORTIUMUK

MYOPIA CONSORTIUMUK

MYOPIA CONSORTIUMUK

MYOPIA CONSORTIUMUK

MYOPIA CONSORTIUMUK

MYOPIA CONSORTIUMUK

MYOPIA CONSORTIUMUK

MYOPIA CONSORTIUMUK

MYOPIA CONSORTIUMUK

MYOPIA CONSORTIUMUK

MYOPIA CONSORTIUMUK

MYOPIA CONSORTIUMUK

MYOPIA CONSORTIUMUK

MYOPIA CONSORTIUMUK

PANTONE 109-5 C

PANTONE PROCESS BLACK - B

PANTONE 139-4 C

PANTONE 165-2 C

PANTONE 26-2 C

PANTONE 28-3 C

PANTONE 139-6 C

PANTONE 165-6 C

PANTONE 28-5 C

PANTONE 86-8 C

PANTONE 146-7 C

PANTONE 165-16 C

PANTONE 25-16 C

PANTONE 82-16 C

PANTONE 108-7 C

PANTONE 165-6 C

PANTONE 104-16 C

17 THE LOGO

logo colour paletteThe 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.

18

MYOPIA CONSORTIUMUK

MYOPIA CONSORTIUMUK

MYOPIA CONSORTIUMUK

MYOPIA CONSORTIUMUK

MYOPIA CONSORTIUMUK

MYOPIA CONSORTI-UMUK

MYOPIA CONSORTIUMUK

Never use outer or inner glow

Never use drop shadow

Never distort or re-shape text or image.

Never use different colour for text.

Never outline text or image

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

Never bevel or emboss

Never hyphenate text.

Never use gradients or pattern overlay.

Always stick to Hypatia Sans typeface.

19 THE LOGO

MYOPIACONSORTIUMUK

x y

x

x y

y

x

x

clear spaceIt 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 logoThe 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.

20

TH

E LO

CK

UP

Optical contributions to blur sensitivity variance in refractive error groups

MYOPIACONSORTIUMUK

Background:

Th e depth of focus of the eye has been shown to

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

reduced sensitivity to blur has been proposed as a

source of greater accommodative lag in myopes 3,4.

Aim:

To investigate how perceptual demand in the test

target aff ects blur sensitivity in myopes and whether

this is aff ected by optical aberrations.

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

References1. Rosenfi eld, M and Abraham-Cohen, JA. Blur sensitivity in myopes.

Optometry and Vision Science.. 1999; 76:303-3072. Vasudevan, B, Ciuff reda, KJ and Wang, B. Objective blur thresholds in free space for diff erent refractive error groups. Current Eye Research. 2006;31: 111-118.3. Gwiazda, J, Th orn, F, Bauer, J and Held, R. Myopic children show

insuffi cient 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 diff erences between emmetropia and late-onset myopia. Investigative Ophthalmology and Visual Science. 1997; 38:1511-1516.

Methods:

Blur sensitivity was assessed in the right eye of

23 participants following cycloplegia. Wavefront

aberrations were assessed with the COAS

aberrometer and objective refractive error with the

Shin-Nippon SRW5000 auto-refractor. Targets were

presented via a Badal optometer with participant

viewing through a 5mm artifi cial pupil. Th ree types of

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

(resolve sinusoidal grating), moderate

(recognise lett ers in a high contrast grid of Snellen

lett ers) 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 signifi cantly worse blur sensitivity

than emmetropes for fi rst noticeable blur (ANOVA:

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

resolvable (ANOVA: F =3.7, p = 0.044) as shown in

fi gure 2.

Th e point where targets became non- resolvable was

signifi cantly correlated with refractive error for all

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

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

Th e sinusoidal grating showed the smallest depth of

focus and the text block the greatest. Mean depth of

focus for each target type and h refractive error group

is shown in fi gure 3.

Blur sensitivity with the text target was signifi cantly

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

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

(p=<0.05).

0  

5  

10  

15  

20  

25  

30  

0  

5  

10  

15  

20  

25  

30  

35  

1   2   3   4   5   6  

fi gure 2

fi gure 3

MYOPIACONSORTIUMUK

Dear sir/madam Offi cilia 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 offi catiur modi re lam dit esequaectur, in corit et lit offi cianti aut est maio eatio. Ita quos exerfera inim untor sitatur amus. Rum aut offi c 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 offi cit 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 offi cip 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

Robert Smith

Anglia Ruskin UniversityEast RoadCambridge

MYOPIACONSORTIUMUK

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

References

1. Rosenfi eld, M and Abraham-Cohen, JA. Blur sensitivity in myopes. Optometry and Vision Science.. 1999; 76:303-3072. Vasudevan, B, Ciuff reda, KJ and Wang, B. Objective blur thresholds in free space for diff erent refractive error groups. Current Eye Research. 2006; 31: 111-118. 3. Gwiazda, J, Th orn, F, Bauer, J and Held, R. Myopic children show insuffi cient 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 diff erences between

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)

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

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

ETRDS MNRead

-0.14 logMARlogMAR

-0.21

-0.10 logMAR

-0.11 logMAR

-0.05 logMAR

-0.14 logMAR

Th e young boy held his hand high to ask questions in class

300cm

68 cm

40cm

40cm

-0.22 logMAR

different applicationsThe 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.

Optical contributions to blur sensitivity variance in refractive error groups

MYOPIACONSORTIUMUK

Background:

Th e depth of focus of the eye has been shown to be

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

sensitivity to blur has been proposed as a source of greater

accommodative lag in myopes 3,4.

Aim:

To investigate how perceptual demand in the test target

aff ects blur sensitivity in myopes and whether this is aff ected

by optical aberrations.

Methods:

Blur sensitivity was assessed in the right eye of 23

participants following cycloplegia. Wavefront aberrations

were assessed with the COAS aberrometer and objective

refractive error with the Shin-Nippon SRW5000 auto-

refractor. Targets were presented via a Badal optometer

with participant viewing through a 5mm artifi cial pupil.

Th ree types of targets were used (fi gure v1.) : those

that required low (resolve sinusoidal grating), moderate

(recognise lett ers in a high contrast grid of Snellen lett ers)

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 signifi cantly worse blur sensitivity than

emmetropes for fi rst noticeable blur (ANOVA: F(22,2)=5.3,

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

=3.7, p = 0.044) as shown in fi gure 2.

Th e point where targets became non- resolvable was

signifi cantly correlated with refractive error for all target

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

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

Th e sinusoidal grating showed the smallest depth of focus

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

each target type and h refractive error group is shown in

fi gure 3.

Blur sensitivity with the text target was signifi cantly

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

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

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

References1. Rosenfi eld, M and Abraham-Cohen, JA. Blur sensitivity in myopes. Optometry and Vision Science.. 1999; 76:303-3072. Vasudevan, B, Ciuff reda, KJ and Wang, B. Objective blur thresholds in free space for diff erent refractive error groups. Current Eye Research. 2006;

31: 111-118.3. Gwiazda, J, Th orn, F, Bauer, J and Held, R. Myopic children show insuffi cient 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 diff erences between emmetropia and late-onset myopia. Investigative Ophthalmology and Visual Science. 1997; 38:1511-1516.

22

business cardAlways 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.

letterheadThe 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 ‘yours sincerely’ and your name to place your signature.

23 THE LOCK UP

MYOPIACONSORTIUMUK

hollie smithconsultantcambridge

MYOPIACONSORTIUMUK

Dear sir/madam Offi cilia 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 offi catiur modi re lam dit esequaectur, in corit et lit offi cianti aut est maio eatio. Ita quos exerfera inim untor sitatur amus. Rum aut offi c 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 offi cit 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 offi cip 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

Robert Smith

Anglia Ruskin UniversityEast RoadCambridge

4

6816

16

4

24

A3 portrait posterThe 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

Optical contributions to blur sensitivity variance in refractive error groups

MYOPIACONSORTIUMUK

Background:

Th e depth of focus of the eye has been shown to be

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

sensitivity to blur has been proposed as a source of greater

accommodative lag in myopes 3,4.

Aim:

To investigate how perceptual demand in the test target

aff ects blur sensitivity in myopes and whether this is aff ected

by optical aberrations.

Methods:

Blur sensitivity was assessed in the right eye of 23

participants following cycloplegia. Wavefront aberrations

were assessed with the COAS aberrometer and objective

refractive error with the Shin-Nippon SRW5000 auto-

refractor. Targets were presented via a Badal optometer

with participant viewing through a 5mm artifi cial pupil.

Th ree types of targets were used (fi gure v1.) : those

that required low (resolve sinusoidal grating), moderate

(recognise lett ers in a high contrast grid of Snellen lett ers)

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 signifi cantly worse blur sensitivity than

emmetropes for fi rst noticeable blur (ANOVA: F(22,2)=5.3,

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

=3.7, p = 0.044) as shown in fi gure 2.

Th e point where targets became non- resolvable was

signifi cantly correlated with refractive error for all target

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

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

Th e sinusoidal grating showed the smallest depth of focus

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

each target type and h refractive error group is shown in

fi gure 3.

Blur sensitivity with the text target was signifi cantly

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

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

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

References1. Rosenfi eld, M and Abraham-Cohen, JA. Blur sensitivity in myopes. Optometry and Vision Science.. 1999; 76:303-3072. Vasudevan, B, Ciuff reda, KJ and Wang, B. Objective blur thresholds in free space for diff erent refractive error groups. Current Eye Research. 2006;

31: 111-118.3. Gwiazda, J, Th orn, F, Bauer, J and Held, R. Myopic children show insuffi cient 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 diff erences between emmetropia and late-onset myopia. Investigative Ophthalmology and Visual Science. 1997; 38:1511-1516.

20 70

1390

9020

20

84 845

173

mar

gin

26

A3 landscape posterAs 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

Optical contributions to blur

sensitivity variance in refractive error groups

M

YOPIA

CON

SORTIU

MU

K

Background:

Th e depth of focus of the eye has been shown to

be larger in myopes than em

metropes 1,2. and this

reduced sensitivity to blur has been proposed as a

source of greater accomm

odative lag in myopes 3,4.

Aim

:

To investigate how perceptual dem

and in the test

target aff ects blur sensitivity in myopes and w

hether

this is aff ected by optical aberrations.

Acknow

ledgements:

Th is study was supported by A

nglia Ruskin University Research

Capability Funs and VisionCRC.

References1. Rosenfi eld, M

and Abraham

-Cohen, JA. Blur sensitivity in m

yopes.

Optom

etry and Vision Science.. 1999; 76:303-3072. Vasudevan, B, Ciuff reda, KJ and W

ang, B. Objective blur

thresholds in free space for diff erent refractive error groups. Current Eye Research. 2006;31: 111-118.3. G

wiazda, J, Th orn, F, Bauer, J and H

eld, R. Myopic children show

insuffi cient accomm

odative response to blur. Investigative O

phthalmology and Visual Science. 1993; 34:690-694.

4. Jiang, B-C. Integration of a sensory com

ponent into the accom

modation m

odel reveals diff erences between em

metropia

and late-onset myopia. Investigative O

phthalmology and Visual

Science. 1997; 38:1511-1516.

Methods:

Blur sensitivity was assessed in the right eye of

23 participants following cycloplegia. W

avefront

aberrations were assessed w

ith the COA

S

aberrometer and objective refractive error w

ith the

Shin-Nippon SRW

5000 auto-refractor. Targets were

presented via a Badal optometer w

ith participant

viewing through a 5m

m artifi cial pupil. Th ree types of

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

(resolve sinusoidal grating), moderate

(recognise lett ers in a high contrast grid of Snellen

lett ers) and high (read a block of high contrast Times

New

Roman print) perceptual dem

and.

Results:

Participants were divided into three groups based on

refractive error; emm

etropes, n=7; low m

yopes, n=9,

1.50 to 4.50D; high m

yopes, n=7, > 4.50 to 9.00D.

Myopes show

ed signifi cantly worse blur sensitivity

than emm

etropes for fi rst noticeable blur (AN

OVA

:

F(22,2)=5.3, p=0.014) and when it becam

e non-

resolvable (AN

OVA

: F =3.7, p = 0.044) as shown in

fi gure 2.

Th e point where targets becam

e non- resolvable was

signifi cantly correlated with refractive error for all

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

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

Th e sinusoidal grating showed the sm

allest depth of

focus and the text block the greatest. Mean depth of

focus for each target type and h refractive error group

is shown in fi gure 3.

Blur sensitivity with the text target w

as signifi cantly

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

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

(p=<0.05).

0   5  

10  

15  

20  

25  

30  0   5  

10  

15  

20  

25  

30  

35  

1  2  

3  4  

5  6  

fi gure 2

fi gure 3

margin

7676

55

76

2015

7010

25

15 90

28

A0 portrait posterThe 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

MYOPIACONSORTIUMUK

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

References

1. Rosenfi eld, M and Abraham-Cohen, JA. Blur sensitivity in myopes. Optometry and Vision Science.. 1999; 76:303-3072. Vasudevan, B, Ciuff reda, KJ and Wang, B. Objective blur thresholds in free space for diff erent refractive error groups. Current Eye Research. 2006; 31: 111-118. 3. Gwiazda, J, Th orn, F, Bauer, J and Held, R. Myopic children show insuffi cient 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 diff erences between emmetropia and late-onset myopia. Investigative Ophthalmology and Visual Science. 1997; 38:1511-151

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)

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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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Equi volutec erspit, ni sed quodis et labor reprores molumqu atius, officab ius alibus minverunt aut aut aut explit quibusa dia dentis dunt ut laborem. Illibus con por sum quae volorisint ressitae lacestis ex et, ipienistis ad ut doluptatiis erum velia dolorumquis dollici endant lam que adi simentur?

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

ETRDS MNRead

-0.14 logMARlogMAR

-0.21

-0.10 logMAR

-0.11 logMAR

-0.05 logMAR

-0.14 logMAR

Th e young boy held his hand high to ask questions in class

300cm

68 cm

40cm

40cm

-0.22 logMAR

5525

80

1923160 239 2393029

300

497

mar

gin

30

A0 landscape posterThe 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

MY

OPIA

CO

NSO

RTIU

MU

K

Variation in visual acuity at differenctview

ing distances: a com

parison of results with tw

o different chart designs

Purpose:

• To investigate the variation in visual acuity m

easurement at different distances using the

sam

e chart design•

To compare the visual acuity results achieved w

ith two different chart designs; a

letter-based chart (ETD

RS) and a functional reading chart (MN

Read)•

To establish normative values for letter and functional reading chart form

ats at far and near distances

Results: (Figures 1 &

2)•

There was a good correlation betw

een ETDRS and M

NRead acuity scores for 300cm

and

40cm although M

NRead acuities w

ere significantly better at 300, 40 and 28cm (p≤0.05)

• Repeated m

easures AN

OVA

showed a significant effect of view

ing distance for each

chart (F= 13.304; p<0.001) with the greatest difference betw

een far and closer near

distance for ETDRS (p<0.001) and betw

een far and intermediate and far and closer near for

MN

Read (p<≤0.002)

Em apiet officiet res cum

quis repel ipsaniasi nonsedi tioribero bererun torehenis am hit aliquia aceris ad

mi, quibusa perovit earum

quo cum culparu m

quae. Heniam

qui demporem

ped ut magnia nim

dolupta tem

quae. Suntiat emporiore nobis doluptur alibusam

ent rempore ssitam

a idendi bea volorentem. Te

estiat.

M

ethods:•

VA w

as measured for 29 subjects w

ith each of the two chart types at 300cm

, 68cm, 40cm

and 28cm•

VA w

as recorded in logMA

R format, scored to the nearest le:er (ETD

RS) or word (M

N Read)

• C

orrections to the logMA

R chart score were m

ade to account for viewing distance w

ith an additon

of 0.15 logMA

R at 28cm and a subtrac*on of 0.23 logM

AR at 68cm

C

onclusions: •

A given chart w

hen used interchangeably at different viewing distances w

ill over or under

estimate acuities, w

ith lowest acuities found at the closest view

ing distance•

Visual acuities assessed w

ith letter based and reading charts will not be com

parable at

equivalent distances.•

Clinicians should bew

are of this when interchanging charts or view

ing distances

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quiatas sitas di sim fuga. A

t.

References

1. Rosenfi eld, M

and Abraham

-Cohen, JA. Blur sensitivity in m

yopes. Optom

etry and Vision Science.. 1999;

76:303-3072.

Vasudevan, B, Ciuff reda, KJ and Wang, B. O

bjective blur thresholds in free space for diff erent refractive error em

metropia and late-onset m

yopia. Investigative Ophthalm

ology and Visual Science. 1997; 38:1511-151

margin19

3023

521

160

190

251251

2512924455 25

80

1919

32

info-graphicWhen producing an info-graphic keep in mind clear space, you don’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-graphicUsing 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

Optical contributions to blur sensitivity variance in refractive error groups

MYOPIA CONSORTIUMUK

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

References1. Rosenfi eld, M and Abraham-Cohen, JA. Blur sensitivity in myopes. Optometry and Vision Science.. 1999; 76:303-3072. Vasudevan, B, Ciuff reda, KJ and Wang, B. Objective blur thresholds in free space for diff erent refractive error groups. Current Eye Research. 2006;

31: 111-118.3. Gwiazda, J, Th orn, F, Bauer, J and Held, R. Myopic children show insuffi cient 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 diff erences between emmetropia and late-onset myopia. Investigative Ophthalmology and Visual Science. 1997; 38:1511-1516.

Dep

th o

f foc

us

emmetropes

sinusoldal grating

letter grid

text block

low myopes high myopes

34

0  

5  

10  

15  

20  

25  

30  

0  

5  

10  

15  

20  

25  

30  

35  

1   2   3   4   5   6  

charts and graphsWhen 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 logosThe 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.

36

IMA

GER

Y U

SAG

E

the photosWhen 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.

38

photos of machineryIt 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 childrenWhen 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 noteAlways 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.

40

WO

RD

ING

the audienceYour audience is built up of an array of different cultures, ages, and classes, you’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 childrenLess 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 you’re talking down to them, but be use simple, short words,

A general ruleWhen 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.

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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 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.

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key textsCrediting imagesIt 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 informationIt is key to adhere to the data protection act when producing work for ‘Myopia Consortium UK’, 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.

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