31 Jul 10 How to Create a Style Guide
How many times have you sent business cards to print and collected yet another version of your corporate colour? Ever been enthusiastic to see your advert in the latest newspaper and then caught that the crucial tag line is missing or your logo has been wrecked.
There is only one way to prevent this from happening and that is to create a style guide. Not only will a style guide help you control the reproduction of your logo - it will also help you extend your brand recognition – which many argue is one of the strongest selling tools.
We have placed the below steps together for you as a starting point.
Step 1 : Outline the audience for your Style Guide. Is this for staff to utilize in-house or is this for suppliers and contractors to refer to?
Step 2 : Mark what your output uses are. This is important because you will require different logos and file formats for example, black and white publication adverts in comparison to vehicle graphics.
Step 3 : Define the tone for the copy and content required. For example you may wantcopy rules for printed content and then copy rules for website content.
Content rules cover all punctuation rules and how to attribute to the business and team.
Step 4 : Ensure you layout all the design templates so it is clear how and where the logo and branding lies on all the different pieces of collateral that may be repeated.
Step 5 : Assure to accommodate any contributing logos or logos of business that are correlated with you. It’s also important that you send a copy of the layout to these companies to guarantee they approve the layout of their logo as they too may have their own Style Guide and hierarchy layout rules.
Step 6 : Ensure that grammar, spelling and contact details are correct.
Step 7 : Ensure that when suppliers are using the Style Guide they understand~know~discern~apprehend} that a proof needs to be dispatched~sent~mailed~commissioned}to you to be approved as correct.
Get your Style Guide finished and as secure as possible. Then have it saved in an email friendly file format and have a couple printed. Once this is done we strongly advocate a training session – whereby your design studio comes in and trains your staff on how to work the Style Guide and most importantly your brand.
For graphic design Brisbane, logo design Brisbane and web design Brisbane, contact Bydaughters today. We help your brand build business.
Sphere: Related Content19 Jul 10 Projectors: LCD Verses DLP (The downfall of DLP technology)
The common question that is asked when buying a new projector for the home, office, or classroom is: do I purchase an LCD projector or a DLP projector? LCD, an acronym for ‘liquid crystal device’ and DLP, short for ‘digital light processing’ are the two most common projector imaging technologies. With so many business brands and different models available, it can be difficult for consumers to choose between these technologies. The fact is that LCD projectors provide far superior image quality and colour accuracy. The article below will tell you why DLP projectors struggle with reproducing a similar grade of image quality.
It’s like a set of blinds in your home covering your bedroom window. By pulling a rod you can make the shutters open or closed, depending on if you want to let light in or not. And such is exactly how an LCD projector operates. Each pixel works like a single shutter on a set of blinds to either allow light through or to block it. DLP on the other hand is constructed of millions of microscopic mirrors or ‘pixel elements’ as the experts like to call them. Each pixel element operates to either reflect light or block it.
How the light source is processed from the point at which the projector is turned on to when the content reaches your screen is vitally significant with regard to image quality, brightness and colour accuracy. LCD projectors project white light from the lamp by splitting it into red, blue and green components, by three mirrors which send the coloured light to 3 different LCD panels. The 3 LCD panels make the elements of the image by processing each pixel on and off. The pixels are then combined in a glass prism to deliver the projector image. Something important to understad about LCD projectors is that all three colours are delivered onto your screen at the same time. The way a DLP projector operates is vastly different and even the produced image looks is not the same. With DLP, white light from the lamp is sent through a turning colour wheel with transparent red, blue and green segments, at speeds up to 11,000 rpm/s. This method of making an image requires a sequence of red, blue and green light. The millions of micro mirrors as described above reflect the coloured light on the pixels to create the image elements. The elements of the image are sent in sequence on the screen, one colour at a time. The viewer’s eye will then draw each coloured element of the image into the single total image. In LCD projectors, all colours are available all the time to offer high brightness and spectacular colour accuracy. In DLP, just one colour is available at a time, and so resulting in lower colour brightness and accuracy. Some developers have put a white segment for the colour wheel to improve overall brightness, but this then degrades colour accuracy.
I find in forums all the time that DLP has a higher contrast ratio and thus must be superior quality. For those who don’t know, the contrast ratio is a measure of a display system defined as the ratio of the luminance of the brightest white to that of the darkest black that the system is capable of. DLP projectors do possess high contrast specifications compared to most LCD projectors. Initially, this must be a plus, however, in reality, the true black level is determined by the ambient light in the room in which the projector is being used. Do not be duped by contrast specifications on websites and in brochures.
When the content you are trying to view includes moving images, DLP projection technology can also have image imperfections, or ‘artifacts’. The most typical artifact that a DLP projector forms with moving images is colour break up. Colour break up is inherent in DLP systems because moving images change position between the time red, blue and green colours are pulled up. LCD projectors do not have this downside because the colours are processed with the others. DLP developers have created 3DLP solutions using 3 chips to fix the colour break up error, but the cost of these projectors make them impractical for the majority of businesses and consumers.
Another differentiation between LCD and DLP is how they compensate for the refractive qualities of light. Take yourself back to high school science, and remember when they taught you how various colours of light refract different amounts when shone through the same lens. The disadvantage with DLP projectors is that they have the one same panel for the same lens to project Red, Blue and Green. All 3 colours are not the same and refract light differently. Usually with a DLP projector, a superfluous yellow colour will come up above and a spill of blue will come through below an image as simple as a lone black line. While being built LCD projectors can be fixed to remove these effects on the projected image, as each colour is projected on its own LCD panels.
The one true benefit (excluding price) with picking a DLP projector is its smaller size and weight. However, this is only relevant to portability and has to be traded off against the image benefits of LCD projectors. If resulting picture quality is crucial to you, then the answer is easy. Go with an LCD projector! LCD projectors will consistently create bright, colourful images with fewer image mistakes. If you need to find out more about LCD technology in more detail, see this fabulous resource website: Explore 3LCD. If you have any additional questions, go to Projector Central and send me an email.
Jonathan King is the sales and marketing manager of Projector Central, Australia’s top online provider for projectors. Brisbane based, Projector Central has been servicing Australia for 15 years. For data projectors in the Gold Coast and Interactive Whiteboards, contact Projector Central today.
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16 Jul 10 Yachting and Yacht Clubs
As the Dutch found preeminence in sea power during the 17th century, the early yacht was a leisure craft used initially by royalty and later by the burghers for the canals and then in the protected and unprotected waters of the Low Countries. Racing yachts was incidental, borne from private matches. English yachting originated with King Charles II of England during his exile in the Low Countries. On his return to the English royalty in 1660, the city of Amsterdam presented him with a 20-metre (66-foot) pleasure boat with a beam (maximum width) of 5.6 m (18 feet), which he named Mary. Charles and his brother James, the duke of York (James II, reigned 1685–88), ordered for other yachts and in 1662 raced two of them from the Thames, from Greenwich, to Gravesend, and returning, on a £100 bet. Yachting became popular among the rich and royalty, but after that time the fashion did not last.
The first yacht association in the British Isles, the Water Club, was formed in about 1720 at Cork, Ire., as a cruising and unofficial coast guard association, and had large naval panoply and formality. The closest thing to racing was the “chase,” for which the “fleet” pursued a fictional enemy. The club went on, for the large part as a social club, until 1765, and in 1828, by joining with other groups, it was known as the Cork Yacht Club (later the Royal Cork Yacht Club).
Yacht racing began in some ordered manner on the Thames around the mid-18th century. The duke of Cumberland founded the Cumberland Fleet for Thames racing in 1775. When George IV came to monarchy in 1820, it was known as the Fleet to His Majesty’s Coronation Sailing Society. The Thames Yacht Club seceded with a racing dispute, to become the Royal Thames Yacht Club in 1830. The first English yacht association had been started at Cowes on the Isle of Wight in 1815, and royal patronage made the Solent - the strait between the mainland and the Isle of Wight - the perpetual setting of British yacht racing. The organisation at Cowes became the Royal Yachting Club, also at the accession of George IV. Every member was required to have boats of at least 20 tons (20,321 kg). Sailing races for high bids were held, and the club life was superlative. Eventually Royal Yachting Club boats grew in size to over 350 tons.
In North America, yachting was first accomplished with the Dutch in New York in the 17th century and persisted when the English held control. Sailing was for the most part for pleasure and reached its apogee in George Crowinshield’s Cleopatra’s Barge (1815), which cruised on the Mediterranean Sea and created a minimum of luxury and elegance for the later yachts in that area from the late 19th century. The first enduring American yacht society, the Detroit Boat Club, was formed in 1839. In 1844, John C. Stevens instigated the New York Yacht Club aboard his schooner Gimcrack.
Kinds of sailboats
Early sailing yachts followed the style of such naval craft as brigantines, schooners, and cutters from the 17th century until the latter half of the 19th century. The style of sizeable yachts was first heavily put upon by the success of America, which was designed by George Steers for a association started by John C. Stevens, and it was the boat for which the America’s Cup (q.v.) was named after its success at Cowes in 1851. Early yachts were not designed and built in a contemporary sense, with only a model for an outline. Not until the latter half of the 19th century did what was labeled naval architecture come into action. Not until the 1920s did the employment of the science of aerodynamics do for the structure of sails and rigging what science had previously done for hulls.
Because almost all sailboats had been individually manufactured, there came a desire for handicapping boats before the one-design class boats were built. Thus, a rating rule came into being, which resulted in the International Rule, accepted in 1906 and amended in 1919. Today, one of the most rapidly blossoming areas in the field of sailing is that of one-design class boats. All boats in a one-design class are built to single requirements in length, beam, sail area, and other areas (for an example of a two-person sailboat, see illustration). Racing such boats can be had on an even playing field with no handicapping required. A great example is the uniform International America’s Cup Class taken on for participants in the 1992 America’s Cup race.
As long as yachting belonged mostly for the nobility and the wealthy, money was no issue, and the size of boats increased, in both length and weight. The ascendancy and popularity of smaller craft occurred in the second half of the 19th century out of the sailing of the Englishmen R.T. McMullen, a stockbroker, and E.F. Knight, a barrister and journalist. A journey around the world (1895–98) captained single-handedly by the naturalized American captain Joshua Slocum in the 11.3-metre Spray made plain the hardiness of small craft. Later in the 20th century, notably after World War II, smaller racing and recreational boats became commonplace, down to the dinghy, a popular training boat, of 3.7 m. In the late 20th century, yachts of less than 3 m were setting sail single-handedly across the Atlantic Ocean.
Kinds of power yachts
Post the decade 1840–50, at which point steam started to take the place of sail power in market craft, the steam engine, and later the internal-combustion engine, were used increasingly in pleasure vessels. Sizeable power yachts were developed to a high degree, and long-distance travel became a favoured occupation of the affluent. The earliest power yachts were paddle-wheel boats; these then gave rise to boats powered by the fully submerged screw or propeller type of propulsion. As in the case of naval and merchant boats, auxiliaries possessing both sail and power were the yacht standard for several years. By the latter half of the 20th century, several yachts were still auxiliaries, but the majority were solely power yachts containing gasoline or diesel engines.
In the last decade of the 19th century there was a push in the design of more sizeable steam yachts. Notably among these was the Mayflower (1897) of 2,690 tons, containing triple-expansion engines, twin screws, and a compartmented iron hull, and was manned by a crew of at least 150. The Mayflower, purchased by the United States Navy in 1898, was the official yacht of the president of the United States until 1929 and gave active service for World War II.
As more sizeable and better quality internal-combustion engines were created, many large boats were using them for power. The development of the diesel engine, using heavy oil for fuel, advanced during World War I. During the decade following that, large power-yacht manufacture flourished, climaxing in the Orion (1930) at 3,097 tons. From that time the best auxiliary yacht constructed was the four-masted, steel, barque-rigged Sea Cloud (1931) of 2,323 tons.
The manufacture of large power craft declined after 1932, and the fashion thereafter was in preference of smaller, less pricey boats. From World War II, many small naval craft were bought by private owners for conversion to yachts. By the late 20th century, yachting is a globally loved competition enjoyed by thousands of yachtsmen who are actually owning and upkeeping their own small recreational craft. The popularity of boats and sailors increased steadily, not only in the traditional places along the beach but also on inland waterways and lakes.
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08 Jul 10 Proportional, Progressive, and Regressive taxes
Taxes can be differentiated by the impact they have on the allocation of income and wealth. A proportional tax is a tax that puts the same relative burden on all the taxpayers—i.e., when tax liability and income grow in the same levels. A progressive tax is recognisable by a more than proportional growth in the tax liability in regard to the growth in income, and a regressive tax is characterized by a less than proportional growth in the relative liability. Hence, progressive taxes are thought of as removing the lack of equality in income distribution, while regressive taxes might increase these inequalities.
The taxes that are usually regarded as progressive include individual income taxes and estate taxes. Income taxes that are initially progressive, however, could become less so in the upper-income demographic—in particular if a taxpayer is permitted to reduce his tax base by declaring deductions or by taking some certain income components from his taxable income. Proportional tax rates that are applied to lower-income groups could also be more progressive if personal exemptions are made.
Income measured over a given period may not definitely come up with the most suitable measure of taxpaying status. For example, transitory rises in income can be saved, and within temporary declines in income a taxpayer may decide to pay for consumption by taking from savings. Ergo, if taxation is made comparable alongside “permanent income,” it should be less regressive (or more progressive) than when it is held in comparison with annual income.
Sales taxes and excises (except those on luxuries) are mostly regressive, because the share of one’s income consumed or spent on a specific good lessens as the amount of personal income grows. Poll taxes (also known as head taxes), calculated as a set amount per capita, clearly are regressive.
It is not simple to dictate corporate income taxes and taxes on business as progressive, regressive, or proportionate, principally due to uncertainty about the ability of businesses to shift their tax expenses (see below Shifting and incidence). This difficulty of determining who bears the tax burden rests essentially on whether a national or a subnational (that is, provincial or state) tax is being considered.
In considering the economic purpose of taxation, it is relevant to distinguish between several points of tax rates. The statutory rates include those nominated in legislature; generally these are marginal rates, but occasionally they are median rates. Marginal income tax rates indicate the fraction of incremental income demanded by taxation when income grows by one dollar. Thus, if tax burden rises by 45 cents when income increases by one dollar, the marginal tax rate is 45 percent. Income tax legislature usually contain graduated marginal rates—i.e., rates that rise as income grows. Careful analysis of marginal tax rates should consider provisions other than the formal statutory rate structure. If, for example, a particular tax credit (reduction in tax) falls by 20 cents for each one-dollar increase in income, the marginal rate is 20 percentage points greater than indicated by the statutory rates. Since marginal rates signify how after-tax income changes in response to changes in before-tax income, they are the relevant ones for assessing incentive effects of taxation. It is even more complicated to nominate the marginal effective tax rate to apply to income from business and capital, because it may depend on such considerations as the structure of depreciation allowances, the deductibility of interest, and the provisions for inflation adjustment. A basic economic theorem holds that the marginal effective tax rate in income from capital is zero under a consumption-based tax.
Average income tax rates show the percentage of total income that is demanded in taxation. The pattern of average rates is the one that is relevant for appraising the distributional equity of taxation. Under a progressive income tax the average income tax rate grows with income. Average income tax rates generally increase with income, both because personal allowances are allowed for the taxpayer and dependents and also due to that marginal tax rates are graduated; conversely, preferential treatment of income received predominantly by high-income households may dwarf these effects, allowing regressivity, as signified by average tax rates that lessen as income grows.
For MYOB Brisbane expert advice, contact Stone Consulting today. Stone Consulting also runs MYOB training in Brisbane.
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01 Jul 10 Tangalooma Island Resort Holiday: One of the Best Holiday Destination in Australia
Tangalooma Island Resort is a haven found in Tangalooma, Queensland in Australia. Originally, it was a whaling station and was made into an island holiday destination because of its rare flora and fauna and its stunning views. Couples or families hunting down a choice holiday destination will undoubtedly enjoy a Tangalooma Island Resort holiday.
This earthly paradise is situated on the west side of Moreton Island, near Moreton Bay. It is famous for its majestic white beaches and for having been a whale reserve since the year the whaling station closed down, in 1962.
When taking a Tangalooma Island Resort holiday, you can expect to be met by friendly and understanding staff whilst at the same time being taken back by the fabulous white sand beaches. You should also take on a lot of activities from wreck diving to feeding and playing with the dolphins. You will absolutely treasure every minute of your stay.
Tangalooma has a tiny population of 300, but its tourist industry has assisted this small township to grow and ensure the visual and spectacular glory of the island. At least 3500 visitors enjoy the resort each week, and even more through peak seasons. The local government has also created a Centre for Marine Education and Conservation, to tell and train the local population along with travelers about the necessity of keeping up the marine life in the area. The centre employs marine biologists to lead information awareness drives and programs, just part of the nature tour package for tourists.
With a Tangalooma Island Resort holiday, everyone is sure to enjoy their vacation as they have about eighty activities to select from - but perhaps the highlight of your holiday could be the chance to see the beauty of nature. Tourists can go sight-seeing and enjoy the majestic sunrise and sunset at the beach, or play with the dolphins that live around the resort.
Want to visit Tangalooma Island? For Tangalooma Island accommodation or Moreton Island accommodation, check out Moreton View.
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