DOCSLIB.ORG

CHEAT SHEET Western Wilds Is All About Discovery and Taking the Road Less Travelled

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
CHEAT SHEET Western Wilds Is All About Discovery and Taking the Road Less Travelled CHEAT SHEET Western Wilds is all about discovery and taking the road less travelled. We started from a very practical place, taking inspiration from navigation and signage. We took typographic cues from the stretched road type and part of the design language was informed by highway signage systems. We looked to the attitude of the Western Tasmania brand and explored the usage of some brand assets (typography, colours, photography, tone-of- voice) to better integrate this unique experience with the region. Standard Logo: The Western Compass plays on the idea that there is only one direction to go – west. The identity references the compass guiding our travellers in the right direction. The core idea behind this concept has an off-beat humour in keeping with the Western Tasmanian attitude. The compass device also fits easily into a broader and more versatile communications system that draws on the language and signage of being on the road. Story Logo: How To Implement Kerning Examples: The Story Logo: Kerned at +240 The type or ‘Story Ring’ around the compass is made from our secondary font - Work Sans Bold. To set the size of the font, refer to the diagram below. The point size should be set to half the size of the ‘W’ on the compass. 50% Kerned at +300 The system creates a united The outer copy ring is versatile, and recognisable (but flexible) allowing space for specific identity system. story stops. The central compass symbol Overall the system is designed and wordmark are the to facilitate ownership among The kerning can range between consistent core elements, story stops and build intrigue +220 & +350 depending on the creating recognition and among visitors driving the length of the copy. Place a ‘-’ coherence across all Western Wilds. between each story with a touchpoints. space either side. If you end Kerned at +350 up with un-even spaces, adjust the space between stories to make the type spread evenly. See examples to the right. Primary Font: Side Track Headlines: Taken straight from the tarmac to your screen. Work Sans Using the Western Tasmanian Bold ‘Side Track’ font, we have Headlines: manipulated it to reflect the style of type you see printed on roads all over Work Sans the planet. Semi Bold The best way to achieve Sub Headlines: this is to set the type first, then outline it and stretch Work Sans accordingly. Try to make it dynamic and varied as opposed to out of Medium Body Copy: proportion and distorted. Rule: Work Sans Don’t stretch the type more than double its original size. Regular Body Copy: THIS IS A MORE SIGN TO TREES Work Sans SAY YOU’RE LESS LOST PEOPLE Light Make nature feel big & mysterious. We want to tell a story with the image. The main reason we do this is to make the photography mainly about the landscape, after all that’s what will bring people to Western Tasmania. So keep the landscape at 90% and the people within in it at 10%. It also creates a sense of intrigue and mystery around the imagery. We can access some imagery from the West Coast Council. For licensing contact Christine Gray at West Coast Council. e: [email protected] 10 9 8 7 6 5 4 3 2 1 All images by Oliver Khe As with our typography, our colour palette comes from road signage and the nature that surrounds it. Try to use contrasting colourways and try to stick to 2 colours as seen below. The Western Wilds brand is honest about the remoteness and wildness of the region. Our tone of voice is directive and opinionated - like a compass that always points west. Whether we’re describing the rugged terrain, the people who thrive on the road less travelled, or calling out the experiences not-to-be missed, we are straight up and proud of just how remote and isolated Western Tasmania is. Off-beat humour is an important part of our voice, in keeping with the Western Tasmanian attitude. We aren’t funny for funny’s sake, but we call out observations that Wild Green Wild Orange Wild Blue Wild Black Wild Grey Wild Brown Wild Earth Wild White are quirky or unique to the region to build intrigue C:82 R:43 C:9 R:221 C:100 R:0 C:75 R:0 C:55 R:110 C:39 R:158 C:13 R: 106 C:9 R: 230 about Western Tasmania. M:36 G:107 M:71 G:104 M:88 G:41 M:68 G:0 M:49 G:108 M:35 G:150 M:12 G: 102 M:6 G: 231 Y:75 B:79 Y:74 B:77 Y:36 B:87 Y:67 B:0 Y:55 B:100 Y:44 B:130 Y:22 B: 92 Y:6 B: 232 K:24 K:0 K:34 K:90 K:19 K:3 K:0 K:0 For instance, instead of: Straight to message bank No phone signal next 50km P147-14U P45-14u P103-16u P179-16U P170-10U P169-8U P13-1U P179-2U Eat local grub Suggested Colourways We say… Always lost No phone, no reception, nowhere More trees, less people If you’re not lost, you’re not here Off the grid, on the road A guide to nowhere Nothing up ahead Est. B.C. A longcut 4569km from work Adventure takes time Discover nowhere West of centre A road never travelled Discover quiet Be quiet Discover nothing No one else will be here A road less travelled You won’t see a soul JCDecaux Posters Bumper Sticker westernwilds.com.au 11 Sticht Street PO Box 63 Queenstown, TAS 7467 P: 03 64 714 700 When a visitor encounters E: [email protected] a Story Stop they need to be rewarded with a good story that piques their interest, makes the smile, brings a tear to their eye, or promotes a conversation. Dear Tom, Specifcally, each Story Stop should... Lorem ipsum dolor sit amet, consectetur adipiscing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip • Tell a story of the location in a creative ex ea commodo consequat. Duis aute irure dolor in reprehenderit in voluptate velit esse cillum dolore eu and interesting way, through an object /item, installation, artifact or even audio fugiat nulla pariatur. Excepteur sint occaecat cupidatat non proident, sunt in culpa qui offi cia deserunt mollit anim id est laborum. • Can be as small as something on the back of a restaurant menu, room compendiums, Each Story Stop will require through your tour commentary and separate consideration of the Sed ut perspiciatis unde omnis iste natus error sit voluptatem accusantium doloremque laudantium, totam The themes for the Story Stops interpretation materials. requirements depending on rem aperiam, eaque ipsa quae ab illo inventore veritatis et quasi architecto beatae vitae dicta sunt explicabo. need to interpret one or more • Can be sculptural or incorporate a installation its size, scale and location Nemo enim ipsam voluptatem quia voluptas sit asper natur aut odit aut fugit, sed quia consequuntur magni of some form of the following themes in dolores eos qui ratione voluptatem sequi nesciunt. Neque porro quisquam est, qui dolorem ipsum quia (Hero/Local) and location. • Reuse an existing structure or object(s), some way. dolor sit amet, consec tetur, adipisci velit, sed quia non numquam eius modi tempora incidunt ut labore sculptural, landscaping, technological, et dolore magnam aliquam quaerat voluptatem. Ut enim ad minima veniam, quis nostrum exercita tionem structural, industrial, monumental, etc. As an owner of a Story Stop, • Flaura/Fauna ullam corporis suscipit laboriosam, nisi ut aliquid ex ea commodi consequatur? Quis autem vel eum iure • Can be event based/linked organisations/business reprehenderit qui in ea voluptate velit esse quam nihil molestiae conse quatur, vel illum qui dolorem eum • Landscapes • Be iconic wilderness stories based on the site, /individuals would need to fugiat quo voluptas nulla pariatur? • Indigenous informed by and inspiring to the local communities consider the following: • Industry • Appeal to a wide range of visitor groups Regards, • Conservation/Environment • If possible, be ‘shareable’ on social media, The overarching concept of Instagram, YouTube,Facebook, etc. • Get the local community on-board with the idea Western Wilds each Story Stop in the Western • Encourage visitors to seek out other Story Stops • Identifying the location, place marker and story Wilds Project is to provide site • Include the Western Wilds logo • Permissions/Development Applications if required interpretation and storytelling. • Funding STORY STOPS ARE NOT: • Site/location preparation • Graphics panels (need to defi ne this further?) • Insurance if required • Interpreted through lengthy text panels • Ongoing maintenance of story stop and surrounding area/facilities • About your business (unless your business is the story i.e. Paragon Theatre) • Temporary • Disrespectful/Divisive WESTERNWILDS.DISCOVERY Story Stops Guide Letter Head it! These d of Stic rou ke p rs d ar an e fo ry r o y t o s u s t ld o i u W s n e r e a t s s y A GUIDE TO NOWHERE SPRING 2018 A GUIDE TO NOWHERE SPRING 2018 e o W u e s e h t e f fi o t . t r O a n p t r h u e o y f r s o t n a t h t o f w y o o h u S ’ r . e r e m t s e i n g u e r , i e n h t y o n u o r , s w h o o d p n i w Touring Route FRANKLIN RIVER Much of the Wild Rivers landscape has been shaped by ancient glaciers and is FRANKLIN RIVER Much of the Wild Rivers landscape has been shaped by ancient glaciers and is remote and rugged.
Load more

Recommended publications
  • West Coast Land Use Planning Strategy
    " " " " " " " " " !"#$%&'(#$%&')*&+,%,(*-%)#"%.,(**+*/%#$0($"/1%" " #".$"23"0%4567% " " " " " " " " " " " " " " " " " " " " " " " " " " " Prepared for West Coast Council" " By:" ႛ Integrated Planning Solutions; ႛ Essential Economics; and ႛ Ratio Consultants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
    [Show full text]
  • Around the Bend
    Cultural Studies Review volume 18 number 1 March 2012 http://epress.lib.uts.edu.au/journals/index.php/csrj/index pp. 86–106 Emily Bullock 2012 Around the Bend The Curious Power of the Hills around Queenstown, Tasmania EMILY BULLOCK UNIVERSITY OF TASMANIA Approaching the town of Queenstown you can’t help but be taken aback by the sight of the barren hillsides, hauntingly bare yet strangely beautiful. This lunar landscape has a majestic, captivating quality. In December 1994 after 101 years of continuous mining—A major achievement for a mining company—the Mount Lyell Mining and Railway Company called it a day and closed the operation thus putting Queenstown under threat of becoming a ghost town. Now, with the mine under the ownership of Copper Mines of Tasmania, the town and the mine are once again thriving. Although Queenstown is primarily a mining town, it is also a very popular tourist destination offering visitors unique experiences. So, head for the hills and discover Queenstown—a unique piece of ‘Space’ on earth.1 In his discussion of the labour of the negative in Defacement: Public Secrecy and the Labour of the Negative, Michael Taussig opens out into a critique of criticism. ISSN 1837-8692 Criticism, says Taussig, is in some way a defacement, a tearing away at an object that ends up working its magic on the critic and forging a ‘curious complicity’ between object and critic.2 Taussig opens up a critical space in which to think with the object of analysis, cutting through transcendental critique, as a critical defacement, which, in the very act of cutting, produces negative energy: a ‘contagious, proliferating, voided force’ in which the small perversities of ‘laughter, bottom-spanking, eroticism, violence, and dismemberment exist simultaneously in violent silence’.3 This complicity in thinking might be charged by critical methodologies which engage in, and think through, peripatetic movements.
    [Show full text]
  • Wild Yoga on the Franklin River with Rebecca Wildbear
    Wild Yoga on the Franklin River with Rebecca Wildbear March 1 – 9, 2019 Yoga • Raft • Soul Journey in Tasmania, Australia A river soul journey that combines yoga, dreamwork, conversations with the more-than-human world, deep imagination, and a rafting trip on the Franklin River. oul yearns to feel the rhythm of Sthe river’s song. Living in river consciousness, what will stir in your imagination? The river follows the natural pull of gravity as it fows over, around, and through the quartzite and limestone gorge. What moves you? Rebecca Wildbear, M.S. On this 9-day journey, you’ll awaken your wild animal body and be invited Rebecca is a river and soul guide, to enter the underworld river of your compassionately helping people tune in to the mysteries that live own life and open to non-ordinary ways within the wild Earth community, of perceiving. Immerse yourself in the Dreamtime, and their own wild presence and wisdom of the river and Nature. She gently ushers people to surrender into the heart of your own the underground river of their greater particular way of belonging to the world. story, so they may surrender to their Enter into a deep love afair with your- soul’s deepest longing and embrace their sacred gifts. A therapist and self as you foat through this ancient wilderness guide since 1997, Rebecca and majestic river canyon and root utilizes her training and experience yourself in relationship with the animate, natural world. Discover life-altering glim- with yoga, meditation, Hakomi, and mers of your greater purpose, unique artistry, and role in the larger Earth community.
    [Show full text]
  • West Coast Council, Zeehan Landfill Wetlands, Extension
    Environmental Assessment Report Zeehan Landfill Wetland Zeehan Waste Depot, Zeehan West Coast Council July 2021 Environmental Assessment Report – West Coast Council – Zeehan Landfill Wetland, Zeehan Waste Depot, Zeehan 1 Environmental Assessment Report Proponent West Coast Council Proposal Zeehan Landfill Wetland Location Zeehan Waste Depot, 3990 Henty Road, Zeehan Tasmania 7467 NELMS no. PCE 10460 Permit Application No. 2021/13 West Coast Council Electronic Folder No. EN-EM-EV-DE 261742-001 Document No. D21-26020 Class of Assessment 2A Assessment Process Milestones 25 May 2020 Notice of Intent lodged 01 July 2020 Guidelines Issued 02 March 2021 Permit Application submitted to Council 03 March 2021 Application received by the Board 13 March 2021 Start of public consultation period 27 March 2021 End of public consultation period 6 May 2021 Date draft conditions issued to proponent 7 May 2021 Statutory period for assessment ends, extension agreed until 21 May 2021 21 May 2021 Proponent submits amended layout to EPA with amended activity area and prepares to submit Permit Application. 12 June 2021 Start of public consultation period 26 June 2021 End of public consultation period 6 May 2021 Conditions forwarded to proponent for comment Environmental Assessment Report – West Coast Council – Zeehan Landfill Wetland, Zeehan Waste Depot, Zeehan 2 Acronyms 7Q10 Lowest 7 day average flow in a 10 year period AMD Acid and Metalliferous Drainage AMDMP Acid and Metalliferous Drainage Management Plan AMT Accepted Modern Technology ANZECC Guidelines Australian and New Zealand Guidelines for Fresh and Marine Water Quality 2000 (co published by the Australian and New Zealand Environment and Conservation Council).
    [Show full text]
  • Smart Decisions. Strong Partnerships. Stronger Communities
    2025 smart decisions. strong partnerships. stronger communities. With Funding support from Australian Government through Primary Health 2 WEST COAST COMMUNITY PLAN 2025 contents the plan 03 Our Future 05 Our Place Our Lifestyle 11 Our Community Plan 20 Future Directions 23 What We Said our plan for action Our People Our Community 29 Our Economy 32 Our Infrastructure 34 Our Environment 36 Our Partnerships Our Leadership 37 3 WEST COAST COMMUNITY PLAN 2025 from the Mayor & General Manager our future t is with great pride that we present the We look forward to continuing these West Coast Community Plan 2025, a valued partnerships and connections, as the vision for the West Coast which will guide community moves forward with a whole-of- the Region over the next 10 years and community response to the vision provided Ibeyond. for the West Coast. West Coast’s Community Plan provides an The community embraced the opportunity opportunity to strategically plan a future that to be part of a vision for the Region, and the community, Council, government, non- that is reflected through the engagement government organisations, businesses and process and reflected in the Plan. West stakeholders can work towards together. Coast Council would like to sincerely thank the community for their enthusiasm The Community Plan has been developed and responsiveness to the West Coast by the West Coast community, for the Community Plan engagement process. community. More than 2,000 people were The visions, suggestions, and comments involved in some way in the development provided by the community have resulted of this plan, and it is the culmination of the in the development of the first West Coast ideas, vision, and concerns of our community.
    [Show full text]
  • Iconic Lands: Wilderness As a Reservation Criterion for World Heritage
    ICONIC LANDS Wilderness as a reservation criterion for World Heritage Mario Gabriele Roberto Rimini A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Institute of Environmental Studies University of New South Wales April 2010 1 ACKNOWLEDGEMENTS My gratitude goes to the Director of the Institute of Environmental Studies, John Merson, for the knowledge and passion he shared with me and for his trust, and to the precious advice and constant support of my co-supervisor, Stephen Fortescue. My family, their help and faith, have made this achievement possible. 2 TABLE OF CONTENTS CHAPTER I Introduction ………………………………………………………………………….…...…… 8 Scope and Rationale.………………………………………………………………………….…...…………. 8 Background…………………………………………………………………………………………………… 12 Methodology…………………………………………………………………………………………………. 22 Structure…………………………………………………………………………………………………….... 23 CHAPTER II The Wilderness Idea ……………………………………………………………………........ 27 Early conceptions …………………………………………………………………………………………..... 27 American Wilderness: a world model …………………………………………………….....………………. 33 The Wilderness Act: from ideal to conservation paradigm …………………………………........…………. 43 The values of wilderness ……………………………………………………………………….…………… 48 Summary ………………………………………………………………………………………….…………. 58 CHAPTER III Wilderness as a conservation and land management category worldwide …………......... 61 The US model: wilderness legislation in Canada, New Zealand and Australia …………………………… 61 Canada: a wilderness giant ………………………………………………………………………..…...........
    [Show full text]
  • Lake Margaret Power Scheme a Conservation Management Plan
    Lake Margaret Power Scheme A Conservation Management Plan Volume 1 March 2006 Paul Davies Pty Ltd Architects Heritage Consultants Lake Margaret Power Scheme Paul Davies Pty Ltd Conservation Management Plan March 2006 Lake Margaret Power Scheme Paul Davies Pty Ltd Conservation Management Plan March 2006 Contents 1 INTRODUCTION................................................................................................. 1 1.1 Background ................................................................................................ 1 1.1.1 How to Use the Plan....................................................................... 1 1.1.2 Limitations ...................................................................................... 2 1.1.3 Authors ........................................................................................... 2 1.1.4 Acknowledgments .......................................................................... 2 1.1.5 Identification of the Place ............................................................... 3 2 HISTORICAL BACKGROUND........................................................................... 6 2.1 Preface....................................................................................................... 6 2.2 Summary History........................................................................................ 6 2.3 Major Stages of Development of the site ................................................... 7 2.4 Development of the Power Station Building............................................
    [Show full text]
  • A Review of Geoconservation Values
    Geoconservation Values of the TWWHA and Adjacent Areas 3.0 GEOCONSERVATION AND GEOHERITAGE VALUES OF THE TWWHA AND ADJACENT AREAS 3.1 Introduction This section provides an assessment of the geoconservation (geoheritage) values of the TWWHA, with particular emphasis on the identification of geoconservation values of World Heritage significance. This assessment is based on: • a review (Section 2.3.2) of the geoconservation values cited in the 1989 TWWHA nomination (DASETT 1989); • a review of relevant new scientific data that has become available since 1989 (Section 2.4); and: • the use of contemporary procedures for rigorous justification of geoconservation significance (see Section 2.2) in terms of the updated World Heritage Criteria (UNESCO 1999; see this report Section 2.3.3). In general, this review indicates that the major geoconservation World Heritage values of the TWWHA identified in 1989 are robust and remain valid. However, only a handful of individual sites or features in the TWWHA are considered to have World Heritage value in their own right, as physical features considered in isolation (eg, Exit Cave). In general it is the diversity, extent and inter-relationships between numerous features, sites, areas or processes that gives World Heritage significance to certain geoheritage “themes” in the TWWHA (eg, the "Ongoing Natural Geomorphic and Soil Process Systems" and “Late Cainozoic "Ice Ages" and Climate Change Record” themes). This "wholistic" principle under-pinned the 1989 TWWHA nomination (DASETT 1989, p. 27; see this report Section 2.3.2), and is strongly supported by the present review (see discussion and justification of this principle in Section 2.2).
    [Show full text]
  • Reimagining the Visitor Experience of Tasmania's Wilderness World
    Reimagining the Visitor Experience of Tasmania’s Wilderness World Heritage Area Ecotourism Investment Profile Reimagining the Visitor Experience of Tasmania’s Wilderness World Heritage Area: Ecotourism Investment Profile This report was commissioned by Tourism Industry Council Tasmania and the Cradle Coast Authority, in partnership with the Tasmanian Government through Tourism Tasmania and the Tasmanian Parks and Wildlife Service. This report is co-funded by the Australian Government under the Tourism Industry Regional Development Fund Grants Programme. This report has been prepared by EC3 Global, TRC Tourism and Tourism Industry Council Tasmania. Date prepared: June 2014 Design by Halibut Creative Collective. Disclaimer The information and recommendations provided in this report are made on the basis of information available at the time of preparation. While all care has been taken to check and validate material presented in this report, independent research should be undertaken before any action or decision is taken on the basis of material contained in this report. This report does not seek to provide any assurance of project viability and EC3 Global, TRC Tourism and Tourism Industry Council Tasmania accept no liability for decisions made or the information provided in this report. Cover photo: Huon Pine Walk Corinna The Tarkine - Rob Burnett & Tourism Tasmania Contents Background...............................................................2 Reimagining the Visitor Experience of the TWWHA .................................................................5
    [Show full text]
  • West Coast Wilderness
    WEst COast WILDERNESS WAY This route links the three World Heritage START: Cradle Mountain EXPLORE: Tasmania’s West Coast Areas of Cradle Mountain, the wild rivers of DURATION: 3-4 days the Franklin and lower Gordon River and NATIONAL PARKS ON THIS ROUTE: the land and 3,000 lakes that surround > Franklin-Gordon Wild Rivers National Park Lake St Clair. The route starts from Cradle Mountain and explores the unique post- settlement history of the region that includes convicts, miners and railway men and their families. LEG TIME / DISTANCE Cradle Mountain to Zeehan 1 hr 35 min / 106 km Zeehan to Strahan 41 min / 44 km Strahan to Queenstown 37 min / 41 km Queenstown to Lake St Clair (Derwent Bridge) 1 hr / 86 km Cradle Mountain - Zeehan > After enjoying the Cradle Mountain experience make your next stop Tullah, a town with a chequered history of mining and hydro development that now caters to visitors. > Stop for refreshments at Tullah Lakeside Lodge or maybe a bit of fishing on Lake Rosebery. > The town of Rosebery, a short drive farther southwest, is a working mine township proud of its environmental management. Tour the mine’s surface infrastructure. > Nearby is a three-hour return walk to Tasmania’s tallest waterfall, Montezuma Falls. > Continue on to Zeehan, once Tasmania’s third-largest town with gold and silver mines, numerous hotels and more than 10,000 residents. Now it’s at the centre of the west coast’s mining heritage, with the West Coast Heritage Centre, the unusual Spray Tunnel and the Grand Hotel and Gaiety Theatre.
    [Show full text]
  • Structure and Ideology in the Tasmanian Labor Party
    Structure and Ideology in the Tasmanian Labor Party: Postmaterialism and Party change ,- By Peter James Patmore LL.B., Dip. Crim. Submitted in fulfilment of the requirements fo r the degree of Doctor of Philosophy University of Tasmania, March 2000 II This thesis contains no material which has been accepted for a degree or diploma by the University or any other institution, except by way of background information and duly acknowledged in the thesis, and to the best of my knowledge and belief no material previously pubJished or written by another person except where due acknowledgment is made in the text ofthe thesis. ................�................. �---=;,.......... Peter Patmore 23" February 2000. III This thesis is not to be made available for loan or copying for two years fo llowing the date this statement is signed. Following that time the thesis may be made available for loan and limited copying in accordance with the Copyright Act 1968. Peter Pa tmore 23'" February 2000 iv ABSTRACT The Tasmanian Labor Party has found itself, like many western social democratic parties, recently subject to challenge; not from its traditional enemy, the economic right, but froma new postmaterialist left. This thesis considers the concept of postmaterialism, its rise and role in the fo rmation of new ecocentric political parties, and its impact on the structure, ideology and electoral strategy of the Tasmanian Labor Party. Maurice Duverger's typology of political parties has been used to elucidate and consider the characteristics and fo rmation of political parties and the importance of electoral systems - particularly proportional representation - in achieving representational success.
    [Show full text]
  • Council Email Address Web Site Mayor General Manager
    COUNCIL EMAIL ADDRESS WEB SITE MAYOR GENERAL MANAGER Break O'Day Council [email protected] http://www.bodc.tas.gov.au Mayor Mick Tucker Mr John Brown Brighton Council [email protected] http://www.brighton.tas.gov.au Mayor Tony Foster Mr James Dryburgh Burnie City Council [email protected] http://www.burnie.net Mayor Steve Kons Mr Andrew Wardlaw Central Coast Council [email protected] http://www.centcoast.tas.gov.au Mayor Jan Bonde Ms Sandra Ayton Central Highlands Council [email protected] http://www.centralhighlands.tas.gov.au Mayor Loueen Triffitt Ms Lyn Eyles Circular Head Council [email protected] http://www.circularhead.tas.gov.au Mayor Daryl Quilliam Mr Scott Riley Clarence, City Of [email protected] http://www.ccc.tas.gov.au Mayor Doug Chipman Mr Ian Nelson Derwent Valley Council [email protected] http://www.derwentvalley.tas.gov.au Mayor Ben Shaw Mr Dean Griggs Devonport City Council [email protected] http://www.devonport.tas.gov.au Mayor Annette Rockliff Mr Matthew Atkins Dorset Council [email protected] http://www.dorset.tas.gov.au Mayor Greg Howard Mr Tim Watson Flinders Council [email protected] http://www.flinders.tas.gov.au Mayor Annie Revie Mr Warren Groves George Town Council [email protected] http://www.georgetown.tas.gov.au Mayor Greg Kieser Mr Shane Power Glamorgan Spring Bay Council [email protected] http://www.gsbc.tas.gov.au Mayor Jenny Woods (A/g) Ms Marissa Walters (A/g) Glenorchy City Council
    [Show full text]