Printer ink that’s pricier than champagne: Black cartridge costs 51p a millilitre but Dom Perignon is just 15p!
- A set of replacement cartridges for a home printer costs £45, far less than a bottle of Dom Perrignon at £109
- But, drop for drop, the ink becomes far more expensive
- Machines also waste a lot of ink during the printer head cleaning process
- A printer can use 600 per cent more ink to produce 50 pages on an occasional basis than in one
For most cash-strapped families, splashing out £109 on a bottle of Dom Perignon would be an unthinkable extravagance.
Printer ink? A necessary expenditure. But, drop for drop, the champagne is actually far cheaper. The black ink in a standard cartridge for a home printer costs 51p per millilitre – around 240 per cent more than the 15p per millilitre price of a bottle of Dom Perignon.
The startling figures have been revealed by consumer organisation Which?
On average, a set of replacement cartridges for a home printer costs £45, far less than a bottle of Dom Perignon, at £109, or a bottle of 40-year-old Tawny vintage port, at £125.
Drop for drop, however, the ink becomes far more expensive.
The champagne comes in at 15p per millilitre, while the port costs 17p for each millilitre.
By comparison, Canon charges around 51p per millilitre for black ink, and as much as £1.05 per millilitre for coloured ink, which comes in yellow, magenta and cyan.
A 19ml cartridge of its black ink is £9.69, while each 9ml colour cartridge costs £9.49.
Which? also revealed how many machines are routinely wasting large amounts of ink during the printer head cleaning process, which either starts automatically every time the power is turned on, or after a set period.
It means a printer can use 600 per cent more ink to produce 50 pages on an occasional basis than in one session
The waste is good news for manufacturers, who sell the machines relatively cheaply and then make huge profit margins on the replacement cartridges. The problem is identified in the latest issue of Which? Computing, which complained: ‘Inkjet printers seem to have a fascination with keeping themselves clean.
Switch one on, or finish printing some documents, and often a printer will initiate a cleaning cycle. ‘This involves spitting ink into an ink absorber within the printer with the aim of keeping the ink nozzles clear and in tip-top condition. But, cleaning cycles can be very wasteful of ink.’ Which? tested five inkjet printers from major manufacturers, including HP, Epson, Canon and Brother. It found huge differences in the cost of printing 50 pages in one go, compared with printing the same number of pages on an occasional basis over eight weeks. For an HP Officejet Pro 8500A Plus eAIO, it cost £2.50 on a one-off basis, compared with £17.48 over eight weeks – a mark-up of 600 per cent. HP refused to comment. Canon said the system is needed ‘to provide the print quality users expect’. And Epson rather cryptically said ‘there are many factors that influence the yield of an ink cartridge’.
So, what is the reason for this article?
Blueprint can print it cheaper than you can using your home printer. Its simple, our commercial equipment uses different inks to a home inkjet, our inks are produced in huge volumes, hence it will always be cheaper to use us than printing your own at home!
For example, I recently printed 200 A5 flyers at home and it used 5 new cartridges in total + whatever ink was in the one I started with and what is used from the 6th one I put in too, I got these in Tesco and they cost me £74.95, the same leaflets bought from Blueprint would have only cost £39.00, a saving of £35.95, so almost half price!
My quick and easy guide to the rituals of exchanging business cards in South East Asia.
- Do exchange business cards at the beginning of your meeting. It should be considered as an important part of your greeting when you first meet your Asian associates.
- Don’t pass your business cards out as though you are dealing a deck of playing cards.
- Do bow slightly and present your business card with both hands with the non-English side facing up.
- Do not take someone’s business card, give it a cursory glance, and then stuff it away in your pocket to refer to later!
- Do not keep taking people’s business cards out to check their names. It is worth trying to remember their name when they give you their card! It is considered an insult if you have to keep checking their card to remember a name.
- Study the other person’s business card for while and make a mental note of their name, and then put it away in a card holder. Alternatively, if there are a number of members present in your meeting, you can lay all the cards out on the table in front of you and leave them there until the end of the meeting.
- Do not write on people’s business cards (at least, not in front of them): it is considered a direct insult.
Beatrice Warde was a believer in the power of the printed word to defend freedom, Warde wrote and designed the famous Monotype broadsheet This is a printing office (1932), using Eric Gill’s Perpetua typeface. Rejected the avant-garde in typography as introspective, believing that classical typography proved a ‘clearly polished window’ through which ideas could be communicated. The Crystal Goblet: Sixteen Essays on Typography (1955) is an anthology of her writings.
This is a Printing Office.
Crossroads of civilization.
Refuge of all the arts against the ravages of time.
Armoury of fearless truth against whispering rumour.
Incessant trumpet of trade.
From this place words may fly abroad, not to perish on waves of sound, not to vary by the writer’s hand but fixed in time, having been verified by proof.
Friend, you stand on sacred ground.
This is a Printing Office.
by Beatrice Warde
- low contrast and simple strokes with a consistent weight and thickness
- generous x-height
- generous width and letter spacing
- generous punch width (space within letters)
With those points in mind, you should be in a position to begin looking beyond the common Web fonts. So, what are the design principles you should bear in mind when thinking about typeface choice?
Read the full article here: http://designfestival.com/what-characterizes-a-good-screen%c2%a0font/
- Who is the client?
- Who is the audience?
The logo will grow from the answers to these questions. The graphic designer is the problem solver, but rather than imposing an idea on to the problem, the problem itself should dictate the solution.
Who is the client? This question addresses the company’s goals, values, current and future business. Where does the company want to be in five years or ten years time? Finding out what the client is offering and promising to their audience is very important.
Who is the audience? Is it females who love Pilates? Is it teenage boys who enjoy running? Is it children (or their parents) who like building blocks?
To find out the answer to these big questions, the designer needs to ask more questions.
About The Company
- What is the client’s business? What is their purpose?
- What is the marketing objective and why do they want a new logo?
- What are the current goals?
- What are the long term goals? What is the plan for 5 years, 10 years, 20 years time?
- Who are the client’s main competitors?
- What is the culture of the client? Are there certain behaviors that make it different to its competitors?
- Leaving economics behind, what is the client’s mission?
About The Audience
- Who is the client’s current audience? Where? When? Why?
- Is the client attempting to gain a new audience?
- How does the audience currently view the client?
- How does the client want the audience to see the new brand?
- What response should the target audience have to it?
Answering these questions helps to get down to the nitty gritty of what the company and their audience is about. Once you figure this out, only then is it time to start talking about colors, type, and symbolism.
Tip: a great way to present and receive answers to these questions is to formulate them into a client worksheet for the client to fill out either alone or with you. Keep an eye out for a coming article that will explore client worksheets.
What other questions would you add to this list that would help you find out more about the company and its audience? Please add your own questions.
For the full story take a look here: http://designfestival.com/5-questions-every-logo-designer-should-ask/
1. Know your readers:
Who’s your audience? Who will be most interested in your product or service? If you just aim at a general audience, don’t expect to get any response! You need to know who’s out there so you direct your attention right at them. What do they care about? What motivates them? What turns them off? Remember to aim at those most likely to buy, than to waste your time with the rest.
2. Study the product info before writing:
If you start writing before you know all the specs and features, you’ll end up with copy that’s scattered.
3. Review competitors copy:
Find out what your competitors are writing about this or a similar product. While this may give you some great ideas and input, don’t fall into a trap. Often what our competitors are writing is crap, so don’t give it more importance then it really deserves. Remember, we need to do better! But then again, we might be able to steal some great ideas!
4. Keep copy flowing:
Keep it moving, keep their interest, if you slow down they have a chance to jump off. Be very fearful of boring them. Too many details or technical terms can bore them. Watch out for good grammar that can be so boring. Forget about what you learned in English class, write like you would talk to someone.
5. Keep thoughts in logical order:
Don’t go off on a tangent, avoid those dead-end roads. Make sure each step flows seamlessly from one step to the next as well as in a logical order.
6. Speak the reader’s language:
Are you trying selling to chemical engineers? Better know their language. Not only will it be more comfortable for your audience, but there’s less of a chance of you looking like an outsider.
7. Stress benefits, not features:
I’m sure you’ve heard this one before, but it just might be the most important of all these tips. Take all those features and translate them into how they most benefit your audience.
8. Identify your products most important benefit and emphasise it:
Once you figure out the most important benefit, fit all the others around this one.
9. Write on a one-to-one basis and in a conversational tone:
I personally, feel that this is the most important part of copywriting that you can master. Forget the grammar and style, actually talk to that person. And remember, even though this copy you are writing may be read by millions, you need to write it to one individual. When you start writing a sales letter with “Dear Friends” you know you have started off on the wrong foot. Make sure it reads “Dear Friend” and you can’t go wrong!
10. Be friendly:
That’s so very important. Being friendly gets their guard down. To get a new customer you have to make a friend first.
11. Don’t let good grammar get in the way and ruin your message:
We covered this earlier, good grammar is too formal and boring. There’s no place for good grammar in sales copy.
12. Beware of pet words that you overuse:
We all have these words and phrases we keep using. We may not even realise it. But be careful, they can be a turnoff. (One of mine might be “make sure” and another one might be “might be! I also use too many exclamation points!)
13. Don’t state the obvious:
Another way to bore your audience. It may even be insulting to some.
14. Make sure the copy matches the illustration:
This should be obvious. If the product is shown performing a certain function, make sure your copy is in tune with it, and not describing a different function.
15. Tell them why they should buy from you, be authoritative:
Yes, don’t be timid, and never be afraid to ask for that order.
16. Avoid long sentences:
Sentences with over 12 words could be more difficult to digest. Short snappy sentences slip into their minds easier.
17. Use short words whenever possible:
Along with those short sentences, use short words. Don’t try to impress someone with your long words. It won’t work. They’ll head for the door.
18. Be enthusiastic about that product:
This is so important. Some of the best copy I’ve written was about things I was very enthused about. If you aren’t enthused, you will never enthuse your reader. And if you can’t enthuse them, they won’t buy from you.
19. Let copy project the company image:
Need I say more? Try to get out what the company is all about. And there should be a continuous company connection from one product description to the next.
20. Write in the active, rather than passive tense:
So very important! And a line or two trying to describe this point won’t do it justice.
21. Keep copy timely:
Make sure your copy reflects a current timeline. Don’t use any terms or phrases that will date you. The more you can make it like a news story, the more powerful it will be.
22. Don’t be redundant:
Not only will you waste your time and theirs, but you will irritate them. (I stole that line from a t-shirt I once owned, it said something like “Never try to teach a pig to sing, not only will you waste your time and theirs, but you will irritate the pig).
23. Be consistent:
You may not notice a few inconsistencies, but your reader surely will. And once you lose your creditability, you lose your order!
24. Make them feel that the product is a good value:
OK, maybe this is a very expensive item and worse, it is priced higher than the competition. Explain all the benefits like they are exclusives to your product. Show that they get so much more from you that there is no way to compare prices. Demonstrate that when all these benefits are tallied up, they are really getting a bargain. This may be hard to do, but I’m sure you can do it!
25. Stress exclusivity:
Nothing sells like exclusivity! This purchase will bring them up to a new level. Only 3,000 others will be able to get one. They are a numbered collector’s edition. Their friends and neighbours will envy them! Be the first in their neighbourhood!
26. Be complete; cover all features and benefits as well as possible objections:
Sometimes we may be tempted to leave out something that may not look too good for our product, but this can be a powerful tool. First, they won’t fall for it, they are sceptical and will fill in the blanks for you, and won’t be kind about it either. So cover the objections before they do. And by bringing up something that’s not too positive about your products, this makes you seem more believable and they are more apt to believe the rest of your claims!
27. Stress newness when appropriate:
Always try to find something new about your product or offer. “New” is a powerful word.
28. Be believable:
Don’t exaggerate, or make your products seem too good, they just won’t believe you. Remember, it’s a rough audience out there, they are very sceptical. Get them over to your side.
Rising above the hot and dusty Maasai Steppe in northern Tanzania is a Mountain with its flat top white with snow stark against the blue African sky, it is Mount Kilimanjaro, the highest mountain in Africa, the highest free-standing mountain in the world, and one of the largest volcanoes ever to burst through the earths surface.
Situated only three degrees below the Equator with snow and glaciers covering its peak,and just under four miles high it can be seen from more than 100 miles away on a clear day.
Kilimanjaro is in fact a young mountain, roughly one million years ago there was probably a large river where it now stands. The formation of the Great Rift Valley two or three million years ago left deep fractures in the earths crust, and eventually many volcanoes broke through in the Kilimanjaro region.
Circa three quarters of a million years ago Mawenzi – Shira – Kibo broke through the surface to reach a height of about 16,000 ft, and stretched in an east-south-west direction for about forty miles.
Shira became extinct and collapsed and became a Caldera. The north – east side was covered by fresh eruptions from Kibo and the rest was eroded forming the present plateau with a height of 13,140 ft.
Mawenzi and Kibo grew until they reached almost 18,000 ft and their lava mixed forming the saddle.
Mawenzi became extinct first, its center collapsing like that of Shira.
In a explosion the entire eastern rim burst releasing debris and water over an area of over 400 miles, creating a spectacular gorge. Lava seeping through cracks formed “dykes” which eroded and gave Mawenzi its jagged outline and pinnacles reaching to 16,890 ft.
Climbers who come to Kilimanjaro will be surprised by ever-changing fauna, which is known as “vegetational zonation” a term used to describe the fact that certain plants will only grow at certain altitudes, leading to distinct bands of trees shrubs and flowering plants that change with height. within these types of habitat live animals that have adapted to certain extent to mountain life.
The bands of vegetation range from lush rain forests to permanent ice fields. Each zone occupies roughly 3,280 ft (1,000 meters) of altitude and generally the temperature falls about 1′C for every 656 ft (200m) increase in altitude.