Aussie Web Directory

July 31, 2010

How to Create a Style Guide

Filed under: Interesting — Bradley Fraser @ 7:36 am

How many times have you commissioned 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 recognized that the crucial tag line is missing or your logo has been squashed.

There is only one way to avoid this from happening and that is to set up a style guide. Not only will a style guide aid you control the reproduction of your logo - it will also help you reinforce 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 use in-house or is this for suppliers and contractors to refer to?

Step 2 : Define what your output uses are. This is important because you will want 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 refer to the business and team.

Step 4 : Make certain 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 : Confirm to include any contributing logos or logos of business that are linked with you. It’s also important that you mail a copy of the layout to these companies to insure they agree with the layout of their logo as they too may have their own Style Guide and hierarchy layout rules.

Step 6 : Make certain that grammar, spelling and contact details are correct.

Step 7 : Assure 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 confirmed as correct.

Have your Style Guide finished and as tight as possible. Then have it saved in an email friendly file format and have a couple printed. Once this is done we strongly suggest a training session – whereby your design studio comes in and trains your staff on how to put 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 Content

July 19, 2010

Projectors: LCD Verses DLP (The downfall of DLP technology)

Filed under: Interesting — Tags: , — Bradley Fraser @ 1:35 pm

The typical question heard when acquiring a new projector for the home, office, or classroom is: should I purchase an LCD projector or a DLP projector? LCD, which stands for ‘liquid crystal device’ and DLP, which stands for ‘digital light processing’ are the two most common projector imaging technologies. With so many brands and models available, it can be difficult for clients to choose between the two technologies. The simple fact of the matter is that LCD projectors have far superior image quality and colour accuracy. The article below will explain why DLP projectors struggle with bringing up a similar rate of image quality.

Think of a set of blinds in your household covering your bedroom window. By pulling a rod you can have the shutters open or closed, according to if you want to let light in or not. That is exactly how an LCD projector works. Each pixel works like its own 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 professionals like to call them. Each pixel element operates to either reflect light or block it.

How the light source is processed from the time the projector is turned on to when the image reaches your screen is extremely significant with regard to image quality, brightness and colour accuracy. LCD projectors project white light from the lamp by dividing it into red, blue and green components, by three mirrors which project the coloured light to 3 different LCD panels. The 3 LCD panels create the elements of the image by shining each pixel on and off. The pixels are then combined in a glass prism to deliver the projector image. A point to remember about LCD projectors is that all three colours are projected onto your projected surface all at the same time. The way a DLP projector operates is vastly different and even how an image appears is not the same. With DLP, white light from the lamp is processed through a rotating colour wheel with transparent red, blue and green segments, at speeds up to 11,000 rpm/s. This way of projecting an image casts a sequence of red, blue and green light. The millions of micro mirrors as described above reflect the coloured light on the pixels to produce the image elements. The elements of the image are sent in sequence on the screen, one colour at a time. The viewer’s eyes will then draw each coloured element of the image into a full image. With LCD projectors, all colours are available all the time to create the highest brightness and spectacular colour accuracy. In DLP, just one colour is available at a time, resulting in lower colour brightness and accuracy. Some DLP designers have put a white segment in the colour wheel to improve overall brightness, but this also damages colour accuracy.

I read in forums all the time that DLP gives a higher contrast ratio and ergo must be superior. For those who are uncertain, 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 able to produce. DLP projectors do possess high contrast specifications in comparison to a majority of LCD projectors. At a glance, this seems to be an advantage, however, in the real world, the true black level is determined by the ambient light in the room where the projector is used. Do not be fooled by contrast specifications on websites and in brochures.

When the content you want to bring to life has moving images, DLP projection technology also has image marks, or ‘artifacts’. The most common artifact that a DLP projector shows with moving images is colour break up. Colour break up is inherent in DLP systems because moving images change between the time red, blue and green colours are shone. LCD projectors do not have this disadvantage because all the colours are projected simultaneously. DLP manufacturers have come up with 3DLP solutions using 3 chips to solve the colour break up problem, but the cost of these projectors make them almost impossible for many businesses and consumers.

Another differentiation between LCD and DLP is how they balance for the refractive qualities of light. Think back to high school science, and recall how different colours of light refract varied amounts when passing through the same lens. The problem with DLP projectors is that they use the one same panel for the same lens to project Red, Blue and Green. All 3 colours are different and refract light in a different way. Usually with a DLP projector, a spill of yellow colour will be projected above and some extra blue will come up below something as simple as a single black line. While being built LCD projectors can be fixed to take away these effects on the projected image, because each colour is processed on a separate LCD panels.

The one veritable plus (excluding price) with going with a DLP projector is its smaller total size and weight. However, this is only relevant to mobility and cannot be traded off against the image advantages of LCD projectors. If resulting picture quality is crucial to you, then the solution is a no-brainer. Take an LCD projector! LCD projectors will consistently produce bright, colourful images with fewer image blips. If you want to find out more about LCD technology in more detail, have a gander at this spectacular resource website: Explore 3LCD. If you have any persisting questions, get onto Projector Central and send me an email.

Jonathan King is the sales and marketing manager with Projector Central, Australia’s top online store for projectors. Based in Brisbane, Projector Central has been serving Australia for 15 years. For data projectors in Brisbane and Interactive Whiteboards, contact Projector Central today.

Sphere: Related Content

July 16, 2010

Yachting and Yacht Clubs

Filed under: Interesting — Tags: , — Bradley Fraser @ 7:59 am

As the Dutch came to preeminence in sea power during the 17th century, the early yacht became a leisure craft used first by royalty and secondly by the burghers in the canals and the protected and unprotected waters of the Low Countries. Yacht racing was incidental, borne from private challenges. English yachting began with King Charles II of England during his exile in the Low Countries. On his return to the English throne in 1660, the city of Amsterdam gave him a 20-metre (66-foot) leisure boat with a beam (maximum width) of 5.6 m (18 feet), which he then named Mary. Charles and his brother James, the duke of York (James II, ruled 1685–88), built additional yachts and in 1662 raced two of them from the Thames, from Greenwich, to Gravesend, and returning, on a £100 wager. Yachting became classy with the wealthy and aristocracy, but after that time the trend did not last.

The first yacht group in the British Isles, the Water Club, was formed around about 1720 at Cork, Ire., as a cruising and unofficial coast guard association, and had great naval panoply and gravity. The closest thing to racing was the “chase,” for which the “fleet” pursued an imaginary enemy. The club went on, mostly as a social club, until 1765, and in 1828, when conglomerating with other clubs, it became the Cork Yacht Club (later the Royal Cork Yacht Club).

Yacht racing was first seen in some organized fashion on the Thames in the mid-18th century. The duke of Cumberland instigated the Cumberland Fleet for Thames racing in 1775. When George IV ascended to monarchy in 1820, it came to be named the Fleet to His Majesty’s Coronation Sailing Society. The Thames Yacht Club seceded after a racing dispute, to become the Royal Thames Yacht Club in 1830. The first English yacht society 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 location of British racing. The organisation at Cowes became the Royal Yachting Club, also at the ascension of George IV. Each member was required to possess boats of at least 20 tons (20,321 kg). Sailing races for great bids were held, and the social life was splendid. It came to be that the Royal Yachting Club boats increased in size to bigger than 350 tons.

In North America, yachting started with the Dutch in New York in the 17th century and went on when the English had power. Sailing was mostly for leisure and reached its high point in George Crowinshield’s Cleopatra’s Barge (1815), which sailed on the Mediterranean Sea and created a standard of luxury and elegance for the later yachts in that area from the late 19th century. The first enduring American yacht organisation, the Detroit Boat Club, was instigated in 1839. In 1844, John C. Stevens instigated the New York Yacht Club aboard his schooner Gimcrack.

Kinds of sailboats
Early sailing yachts took the design of such naval craft as brigantines, schooners, and cutters from the 17th century through the later half of the 19th century. The style of bigger yachts was first heavily affected by the victory of America, which was designed by George Steers for a club led by John C. Stevens, and it was the boat for which the America’s Cup (q.v.) was named after its victory at Cowes in 1851. Earlier yachts were not designed and crafted in the modern sense, with just a model for an outline. Not until the later half of the 19th century did what was called naval architecture come into action. Not until the 1920s did the application of the study of aerodynamics do for the craft of sails and rigging what such science had done earlier for hulls.

Because nearly all sailboats had to be individually built, there came a requirement for handicapping boats previous to the one-design class boats were designed. Hence, a rating rule was decreed, which resulted in the International Rule, taken on in 1906 and amended in 1919. In the present day, one of the most rapidly growing areas in the sailing industry is that of one-design class boats. All boats in a one-design class are manufactured to standard specifications in length, beam, sail area, and other aspects (for an example of a two-person sailboat, see illustration). Racing those boats can be held on an even par with no handicapping necessary. A great example is the generic International America’s Cup Class taken on board for participants in the 1992 America’s Cup race.

As long as yachting was an activity primarily for the royal and the wealthy, money was no problem, and the size of boats developed, in both length and weight. The promotion and preference of smaller craft happened in the later half of the 19th century in the sailing of the Englishmen R.T. McMullen, a stockbroker, and E.F. Knight, a barrister and journalist. A trip around the world (1895–98) captained single-handedly by the naturalized American captain Joshua Slocum in the 11.3-metre Spray proved the value of small craft. Following this in the 20th century, notably after World War II, smaller racing and pleasure craft became more common, down to the dinghy, a favourite training boat, of 3.7 m. In the late 20th century, craft of less than 3 m were traveled in single-handedly across the Atlantic Ocean.

Kinds of power yachts
Following the decade 1840–50, during which steam was set to emulate sail power in market craft, the steam engine, and later the internal-combustion engine, were increasingly favoured in personal vessels. Large power yachts were developed to a high standard, and long-distance cruising was a preferred pastime of the rich. The first power yachts were paddle-wheel boats; these then gave rise to yachts powered by the fully submerged screw or propeller type of propulsion. Like naval and merchant craft, auxiliaries possessing both sail and power were the yacht fashion for several years. By the latter half of the 20th century, many yachts were still auxiliaries, but the large part were only power yachts that had gasoline or diesel engines.

In the last decade of the 19th century there was a push in the construction of bigger steam yachts. Conspicuous of these was the Mayflower (1897) of 2,690 tons, containing triple-expansion engines, twin screws, and a compartmented iron hull, and was sailed by a crew of at least 150. The Mayflower, commissioned by the United States Navy in 1898, was the official yacht of the president of the United States until 1929 and saw active service during World War II.

As bigger and more reliable internal-combustion engines were created, many large boats began using them for power. The development of the diesel engine, using heavy oil for fuel, progressed during World War I. During the decade after that, big power-yacht creation grew, hitting a climax in the Orion (1930) at 3,097 tons. In that period the biggest auxiliary yacht manufactured was the four-masted, steel, barque-rigged Sea Cloud (1931) of 2,323 tons.

The manufacture of big power yachts fell away from 1932, and the fashion after that was in preference of smaller, less costly boats. Following World War II, a lot of small naval craft were traded by private owners for conversion to yachts. In the late 20th century, yachting is a globally loved sport enjoyed by thousands of yachtsmen personally owning and upkeeping their own small recreational craft. The number of boats and sailors has increased steadily, not only in the traditional locations on the sea but also on inland waterways and lakes.

Looking for yacht detailing Gold Coast ? Talk to Elite Yacht Services. We do great work at competitive prices.

Sphere: Related Content

July 8, 2010

Proportional, Progressive, and Regressive taxes

Filed under: Interesting — Tags: , — Bradley Fraser @ 5:54 am

Taxes are differentiated by the impact they have on the allocation of income and wealth. A proportional tax is one that applies the same relative liability on every taxpayer—i.e., when tax liability and income move in equal levels. A progressive tax is recognised by a more than proportional increase in the tax liability relative to the increase in income, and a regressive tax is characterized by a less than proportional growth in the relative burden. Ergo, progressive taxes are thought of as taking away inequity in income distribution, while regressive taxes are found to cause an increase in these inequalities.

The taxes that are usually believed to be progressive include individual income taxes and estate taxes. Income taxes that are categorically progressive, however, might become less so in the upper-income demographic—in particular if a taxpayer is permitted to reduce his tax base by claiming deductions or by excluding some income components from his taxable income. Proportional tax rates which are applied to lower-income demographics will also be more progressive if such exemptions of a personal nature are claimed.

Income measured over the period of a year does not absolutely come up with the most accurate measure of taxpaying requirement. For example, transitory growth in income may be saved, and within temporary declines in income a taxpayer could choose to pay for consumption by taking from savings. Thus, if taxation is held in comparison along with “permanent income,” it should be less regressive (or more progressive) than if held in comparison with annual income.

Sales taxes and excises (with the exception of those on luxuries) are mostly regressive, because the spread of personal income consumed or spent for a specific good lessens as the rate of personal income rises. Poll taxes (also called head taxes), levied as a set amount per capita, obviously are regressive.

It is not easy to term corporate income taxes and taxes on business as progressive, regressive, or proportionate, principally because of the uncertainty surrounding the ability of businesses to shift their tax expenses (see below Shifting and incidence). This difficulty of dictating who bears the tax burden depends crucially on whether a national or a subnational (that is, provincial or state) tax is being decided.

In regarding the economic purposes of taxation, it is essential to differentiate between differing points of tax rates. The statutory rates will be specified in legislation; generally speaking these are marginal rates, but occasionally they are median rates. Marginal income tax rates denote the fraction of incremental income that is demanded by taxation when income increases by one dollar. Hence, if tax burden rises by 45 cents when income increases by one dollar, the marginal tax rate is 45 percent. Income tax statutes commonly contain graduated marginal rates—i.e., rates that grow as income grows. Heavy analysis of marginal tax rates are required to regard 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 growth in income, the marginal rate is 20 percentage points higher than indicated by the statutory rates. Since marginal rates specify how after-tax income is changed in response to changes in before-tax income, they are the necessary ones for regarding incentive effects of taxation. It is even more difficult to understand the marginal effective tax rate applied to income from business and capital, since it may be reliant on considerations such as the structure of depreciation allowances, the deductibility of interest, and the provisions for inflation adjustment. A basic economic theorem shows that the marginal effective tax rate in income from capital is nothing under a consumption-based tax.

Average income tax rates display the percentage of total income that is demanded in taxation. The pattern of average rates is the one that is relevant for considering the distributional equity of taxation. Under a progressive income tax the average income tax rate grows with income. Average income tax rates commonly rise with income, both because personal allowances are permitted for the taxpayer and dependents and due to that marginal tax rates are graduated; on the other hand, preferential treatment of income received fundamentally by high-income households might dampen these effects, allowing regressivity, as shown by average tax rates that lower as income increases.

For MYOB Brisbane expert advice, contact Stone Consulting today. Stone Consulting also runs MYOB training in Brisbane.

Sphere: Related Content

July 1, 2010

Tangalooma Island Resort Holiday: One of the Best Holiday Destination in Australia

Filed under: Interesting — Bradley Fraser @ 12:18 pm

beach-front-21-300x225Tangalooma Island Resort is an earthly haven found in Tangalooma, Queensland in Australia. It was originally a whaling station and was made into an island vacation hotspot because of its distinctive flora and fauna and its wonderful views. Couples or families looking for a super vacation destination will certainly treasure a Tangalooma Island Resort holiday.

This paradise is situated on the west side of Moreton Island, close by Moreton Bay. It is famous for its fabulous white beaches and having been a whale reserve since the whaling station closed in 1962.

When taking a Tangalooma Island Resort vacation, you can expect to be met by friendly and helpful staff while being left breathless by the fabulous white sand beaches. You can also enjoy a wide range of activities from wreck diving to feeding and playing with the dolphins. You cannot help but absolutely treasure every moment of your time away.

Tangalooma has a very small population of 300, but tourists has helped this small township to flourish and maintain the picturesque and stunning glory of the island. At least 3500 visitors stay at the resort each week, and even more in peak seasons. The local government has also formed a Centre for Marine Education and Conservation, to tell and train the local population along with travelers about the importance of protecting the marine life in the area. The centre has employed marine biologists to lead information awareness drives and programs, just part of the nature tour package for holidaymakers.

Throughout a Tangalooma Island Resort holiday, everyone will definitely cherish their getaway with about eighty activities to select from - but perhaps the best moment of your holiday will be the chance to enjoy the beauty of nature. Visitors can go sight-seeing and see the wonderful sunrise and sunset by the beach, or play with the dolphins that swim around the resort.

Want to visit Tangalooma Island? For Tangalooma Island accommodation or Moreton Island accommodation, check out Moreton View.

Sphere: Related Content

Powered by WordPress