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Men and women are motivated to remove excess facial and body hair for many reasons, including social acceptance, aesthetic, hygienic and religious reasons. Several hair removal processes have gone in and out of fashion over time, but the most effective to date is laser hair removal, which has experienced enormous popularity lately.

Traditional hair removal processes include shaving, waxing, depilatory creams and plucking or tweezing. These methods temporarily remove hair, leaving the skin smooth but can leave unwanted side-effects such as razor rash, irritation, ingrown hairs, and even scarring. In addition to these side-effects these methods can be time consuming and must be repeated regularly to maintain the desired results.

Both time and technology have resulted in advances in hair removal methods, and none is as effective as laser hair removal. It focuses on the melanin pigment in the hair allowing the laser energy to destroy the cells at the base of the hair follicle. This process progressively reduces the number of hairs in the targetted area, and after several of treatments results in a permanent hair reduction. Laser hair removal leaves little to no side-effects and in fact is a very effective treatment for ingrown hairs commonly caused by waxing or plucking.

Laser treatments can cover a large area in a small amount of time, with people able to have a treatment in their lunchtime or on their way home from work. Treatments take from 5–60 minutes to complete and are usually spaced at six weekly intervals.

Laser Hair Removal will save you the ongoing cost in both time and price of hair removal products such as wax, creams or razors, and will free you from worrying about daily, weekly or monthly upkeep, as it leaves the skin smooth and free from hair long-term.

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Once again, Honda World Motocross will face their final competitive match before the MX1 World Championship starts in Sevlievo, Bulgaria on April 9 to 10. After racing in the final round of the Italian Championship, Evgeny Bobryshev and Rui Goncalves will now build a momentum that will surely take them successfully to the beginning of their campaign for the 2011 World Championship.

Evgeny Borbryshev is familiar with the new Honda 450R due to his experience in 2010 when he rode for the CAS Honda team. He exhibited his awe-inspiring form from pre-season to last season preparations and scored a great win in Faenza. As Rui Goncalves joined the Honda World Motocross team, it represented his return to the manufacturer he used to race for during the early years of his career. This season will be his first time riding 450cc machines for the MX1 championship campaign.

“It feels good to be back with Honda, and it actually seems like I am on my way home. After competing for several championship races and succeeding as a member of Honda Portugal, I developed a good relationship with them so it almost feels like I never even left the team,” Rui says. He also mentioned that Evgeny is great to work with and believes that they can help each other ride better on the dirt bike tracks.

After changing from the 350R to the 450R, Rui also shared several insights on how he has adapted to the big change. Although he has already raced with a 450R bike before, he hadn’t ever used it for a full championship and he admits that the last Honda trail bike he rode was not even a 4-stroke engine. However, its increased torque, improved power delivery, and linear power curve makes it easier to ride smoothly and also to punch out of corners so he believes that it will positively affect his riding.

Now that Rui Goncalves has confirmed his return to the Honda team, spectators expect to see plenty of action and excitement in the upcoming Motocross World Championship.

Until the late 20th century, the graphic-design area had been based on hand-craft processes: layouts were drawn by hand so as to visualize a design; type was specified and ordered from a typesetter; and type proofs and photostats of images were placed in position on heavy paper or board for photographic copying and platemaking. Over the course of the 1980s and early ’90s, however, rapid advances in digital computer hardware and software radically changed graphic design.

Software for Apple’s 1984 Macintosh pc, such as the MacPaint program created by computer programmer Bill Atkinson and graphic designer Susan Kare, had a majorly revolutionary human interface. Tool icons controlled by a mouse or graphics tablet allowed designers and artists to use computer graphics in a new, intuitive manner. The Postscript™ page-description language from Adobe Systems, Inc., allowed for pages of type and images to be placed onto graphic designs on-screen. By the mid-1990s, the transition of graphic design from drafting-table action to an on-screen computer action was essentially complete.

Digital computers placed typesetting tools into the realm of individual designers, and so a period of experimentation began in the creation of new and unusual type and page layouts. Type and images were layered, fragmented, and disfigured; type columns were overlapped and run at very long or short line lengths, and the sizes, weights, and fonts were sometimes changed within single headlines, columns, and words. Much of this type of research occurred in design education at art schools and universities. American designer David Carson, art director of Beach Culture magazine in 1989-91, Surfer in 1991-92, and Ray Gun magazine in 1992-96, captured the imagination of a youthful audience by taking this kind of experimental approach into graphic design.

Fast growth in onscreen software also enabled designers to make elements transparent; to stretch, scale, and bend elements; to layer type and graphics in space; and to amalgamate imagery into complex montages. For example, in a United States postage stamp from 1998, designers Ethel Kessler and Greg Berger digitally montaged John Singer Sargent’s portrait of Frederick Law Olmsted with a photo of New York’s Central Park, a site plan, and botanical art to commemorate the landscape architect. Interwoven, these images evoke a rich expression of Olmsted’s life and work.

The electronic advancement in graphic design was followed quickly by public access to the internet. A completely new sphere of graphic design activity blossomed in the mid-1990s when Internet commerce became a growing sector of the world-wide economy, causing organisations and businesses to quickly establish Web sites. Designing a website involves layout of screens of information rather than of physical pages, but approaches to the use of type, images, and colour are similar to those used for print. Web design, however, requires a host of new considerations, including designing for navigation through the website and for using hypertext links to jump to additional information. An example of strong Web design is the Herman Miller for the Home Web site, designed by BBK Studio in 1998. These designers developed a strong visual identity, effective navigation, and informational clarity. Attributes that contributed to the effectiveness of this web-site included a consistent colour palette, an informative use of pictures of products, and a scrolling imagery of products.

Because of the world-wide usefulness and reach of the internet, the graphic-design sphere is becoming increasingly global in scope. Moreover, the merging of motion graphics, animation, video feeds, and music into web-site design has brought about the merging of traditional print and broadcast media. As kinetic media expand from motion pictures and basic television to scores of cable-television channels, video games, and animated Web sites, motion graphics are becoming an increasingly important area of graphic design.

In the 21st century, graphic design is ubiquitous; it is the main component of our complex print and electronic information systems. It permeates contemporary society, bringing information, product identification, entertainment, and persuasive messages. The ongoing advance of technology has changed dramatically the way graphic design is created and distributed to a mass market. However, the basic role of the graphic designer, adding creative form and clarity of content to communicative messages, remains the same.

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Marketing a law firm is primarily based on promoting the solicitor as the product, so your biography is an essential element to selling your services. This article provides five essential ideas to ensure you get your biography just right!

Developing a bio, for marketing a lawyer on web-sites or in printed material is often given very little consideration and invariably done in little time. Worse still are those that the lawyer hasn’t been involved in creating and another worker has had to scrape together from a resume.

If this is true of your firm or your bio then you have a serious flaw in your marketing strategy. You must be aware that marketing for lawyers, especially those in repeat business areas of law, is based around the principle that the lawyer is the product. That is why the staff page of a law firm web-site is almost always the most popular page after the home or landing page. If you charge an hourly rate for your time, you are the ‘product’, and any potential clients will wish to be aware of what they are buying!

It’s true that some companies base their marketing on a general sales pitch, or branding in one area of law, but generally, the success of a marketing strategy will come down to whether the client believes they are getting good value when they buy the services of the solicitor that is doing the work. So, hopefully having convinced you of the importance of a strong bio, here are five ideas for putting one together:

Essential Tips for writing a compelling Lawyer Bio

Provide all the relevant information
It’s bewildering how many law firm websites have bios of their team that do not include relevant information. And this doesn’t mean which law school they went to. Make sure to start the bio with a full name, your position within the firm, the type of work you excel in, and any other firm responsibilities. And remember, you’re not writing this for other lawyers to read.

As a lawyer I was very happy the day I was admitted to the Supreme Court in my state. But honestly, most clients don’t have a clue what this means. So remember to include information that could be relevant to your client, not just facts that will impress other lawyers. By all means mention qualifications, positions on legal committees and the like, but unless it’s something your clients will understand and consider important, then leave it to the end of the bio. It may help to involve a third party. Have someone outside the legal industry read your bio and offer some feedback.

Your client is looking for a solution
As hard as it may be for your ego to accept, the client is not engrossed in you as individual. They are looking for a solicitor they believe can best solve their problem or most successfully undertake their project. So give them information that will convince them you’re the right person for the job. In printed documents you should aim to include examples of how you’ve helped people, but online bios often need to be very short. So try to cover this one with phrases like, “More than ten years experience in”, “Recognised within the X business community for assisting with”, “A certified specialist in the area of”, or “Successfully negotiated more than 200 rural property contracts”.

Connect with the real world, not just the legal world
If your firm or practice provides services that are based in a particular city or region you can help your marketing efforts by demonstrating a connection to that community. Being recognised as a “local” by potential clients by demonstrating a connection with the region’s major industry eg. ” from a family with a long involvement in the coal mining industry”, helps to build a connection with the reader.

Add a little personality
Don’t be afraid to add a little personal to your bio. This doesn’t just have to be the usual “Married with 2.5 children”. By all means include personal information if it helps with point number 4 above, but more than that, you ought to consider your ‘flavour’ and the type of “client experience” you provide. Are you a ” fiercely determined approach”, a “collaborative practitioner focussed on keeping costs down” or a “down to earth, with a knack for easing clients concerns”. Finding a genuine point of difference in how you practice communicates that you are a real person with a real personality” and not the same as all those other lawyers out there busily marketing themselves.

John Gray is a practising lawyer and the Senior Marketer at John Gray Marketing, an Australian specialist law firm and legal marketing consultancy. If you are interested in law firm marketing, legal marketing and marketing for lawyers, contact John Gray today.

Whether a painting reaches completion by considered stages or was implemented directly by a hit-or-miss alla prima method (in which pigments are laid on in a single application) was once largely decided by the ideals and established techniques of its cultural tradition. For instance, the medieval European illuminator’s painstaking procedure, by which a detailed linear pattern was gradually enriched with gold leaf and precious materials, was contemporary with the Sung Chinese Zen practice of immediate, calligraphic brush painting, following a restive period of disciplined self-preparation. More recently, the artist has decided the technique and working method best suited to his desired outcome and temperament. In France in the 1880s, for instance, Seurat might be working in his studio on drawings, tone studies, and colour schemes in preparation for a large composition at the same time that, outdoors, Monet was working to emulate the effects of afternoon light and atmosphere, while Cézanne analyzed the structure of the mountain Sainte-Victoire with deliberated brush strokes, laid as irrevocably as mosaic tesserae (small pieces, such as marble or tile).

This type of relationship established between creator and patron, the site and subject matter of a painting commission, and the physical properties of the medium employed may also dictate working procedure. Peter Paul Rubens, for example, followed the business-like 17th-century tradition of creating a small oil sketch, or modella, for his patron’s approval before carrying out a full-sized commission. Inherent problems specific to mural painting, such as spectator eye level and the size, architecture, and function of a building interior, had first to be solved in preparatory drawings and sometimes with the use of wax figurines or scale models of the interior. Scale working drawings are crucial to the speed and precision of execution required by quick-drying mediums, such as buon’ fresco (see below Fresco) on wet plaster, and acrylic resin on canvas. The drawings traditionally are covered with a network of squares, or “squared-up,” for enlarging on the surface of the support. Some modern painters prefer to outline the enlargement of a sketch projected directly onto the support by epidiascope (a projector for images of both opaque and transparent objects). In Renaissance painters’ workshops, pupil assistants not only ground and mixed the pigments and prepared the supports and painting surfaces but often laid in the outlines and broad masses of the painting from the master’s design and studies.

The specific properties of a medium or the atmospheric conditions of a site may themselves preserve a painting. The wax solvent binder of encaustic paintings (in which after application, the paint is fixed by heat [see below Mediums], for example) both keeps the strength and variation of the original colours and protects the surface from damp. And, while prehistoric rock paintings and buon’ frescoes are preserved by natural chemical action, the tempera pigments believed to be bound only with water on many ancient Egyptian murals are conserved by the very dry climate and unvarying temperature of the tombs. It has, however, been customary to varnish oil paintings, both to protect the surface against damage by dust and handling and to restore the tonality lost when some darker pigments dry out into a higher key. Unfortunately, varnish can darken and yellow with time into the sometimes disastrously imitated “Old Masters’ mellow patina.” Once admired, this amber-gravy film is now usually removed to reveal colours in their original intensity. Glass started to replace varnish towards the end of the 19th century, when artists wished to retain the fresh, luminous finish of pigments applied directly to a pure white ground. The air-conditioning and temperature-control systems of modern museums make both varnishing and glazing unnecessary, except for older and more fragile exhibits.

The frames supporting early altarpieces, icons, and cassone panels (painted panels on the chest used for a bride’s household linen) were often structural parts of the support. With the introduction of portable easel pictures, heavy frames not only provided some protection from theives and damage but were also considered an aesthetic enhancement to a painting, and frame making became a specialized craft. Gilded gesso moldings (consisting of plaster of paris and sizing that forms the surface for low relief) in exuberant presentations of fruit and flowers certainly seem almost an extension of the restless, exuberant design of a Baroque or Rococo painting. A substantial frame also provided a proscenium (in a theatre, the area between the orchestra and the curtain) in which the picture was isolated from its immediate surroundings, thus adding to the window view an illusion intended by the artist. Deep, ornate frames are unsuitable for many modern paintings, where the artist’s intention is for his creation to appear to advance toward the spectator rather than be viewed as if through a wall opening. In contemporary Minimalist paintings, no effects of spatial illusionism are wanted; and, in order to emphasize the physical shape of the support itself and to emphasise its flatness, these abstract, geometrical designs are often displayed without frames or are merely edged with thin protective strips of wood or metal.

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For most people travelling overseas is a fantastic experience, a rite of passage or a well-deserved reward for working hard. Unfortunately there are instances where holidays have not gone exactly to plan and travellers are involved in accidents that result in injuries, hospitalisation or even death. Each year, Australian Consular Offices handle over 25,000 cases involving Australians in difficulty overseas including 1,200 hospitalisations, 900 deaths and 50 evacuations for medical purposes.

In these instances, where individuals are not covered by travel insurance, such personal misfortunes are exacerbated with long-term financial burdens. Hospitalisation, medical evacuations and the return of a deceased’s remains to their home country can become quite expensive. Where travellers are not covered by travel insurance they are themselves liable for covering any incurred medical and associated expenses. In some cases, individuals and families have been forced to sell off assets including their houses, in order to ensure the safety and wellbeing of their loved ones.

Kinds of travel insurance include coverage for trip cancellation/interruption, medical insurance, baggage loss/delay, flight delay/cancellation and travel document protection. Whether you travel overseas often, occasionally or are planning a once-in-a-lifetime journey, travel insurance is very important. The cost of travel insurance is dependent on the type of coverageneeded, the age of the policy holder, travel destination, how long you intend to stay and any pre-existing medical conditions. It is important to buy the right form of travel insurance to suit your particular requirements and it is essential that you fully explain any factors that may impact your insurance otherwise you may not be covered in the event of illness or injury.

Like other insurance policies there are standard general exclusions on most types of travel insurance and these can include acts of civil unrest, self-inflicted injury, loss/theft of unattended baggage, loss/theft of cash and pre-existing medical conditions. Some insurance policies may be invalidated where injuries are sustained due to being under the influence of drugs or alcohol or during “dangerous or extreme activity” such as surfing, snowboarding, rock climbing, bungee jumping and underwater activities involving the use of artificial breathing apparatus so travellers should scan the fine print of their policy to ensure their insurance is right for them.

The consequences of not taking out travel insurance far outweigh the costs associated with purchasing a policy. The common consensus is that is you can’t afford travel insurance then you can’t afford to travel. It is also essential that you are protected for the entire period you will be abroad and not allow your coverage to run out before you return home.

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Currently, Yamaha Motorcycles is famous for inventing many of the most popular motorcycles around the world. However, unbeknownst to the general public, Yamaha has been around for many years, not just as a motorcycle manufacturer, but in other industries as well. They did, however, excel in creating motorcycles, thus becoming well-known in that field.

Through the years, Yamaha has created many different kinds of motorcycles. Although they began by building air-cooled, 2-stroke, single cylinder motorbikes, they became well known for creating the DT-1, the first ever trail bike. The trail bike phenomena pushed Yamaha to create their own dirt bike, which then prospered hugely.

The best thing about the motocross bikes that Yamaha produces is that you can be assured of quality in every single purchase. They are lightweight, without compromising the essential strength and durability necessary. Yamaha stock tyres can often offer more grip than other market parts, something that is not available in most off-road bikes.

These bikes are perfect for off-road trails and adventures, and one short run on an off-road track will guarantee to prove the endurance that you will surely depend on in this wonderful pastime.

Motocross is a serious extreme sport that everyone should consider carefully before beginning. Obviously, an activity that involves a person riding a two-wheeled contraption with an engine propelling it to various heightened speeds can be extremely dangerous. By purchasing a Yamaha motorcycle which you can rely on for safety and dependability, you also lower the danger levels a notch! Whether you wish to ride on road or dirt, Yamaha motorcycles can give you what you need, when you need it. These are rugged bikes that can withstand years of use without any problems.

The philosophy and spirit of a particular era in painting have usually been reflected in many of its other visual arts. The ideals and aspirations of the ancient cultures, of the Renaissance, Baroque, Rococo, and Neoclassical periods of Western art and, more recently, of the 19th-century Art Nouveau and Secessionist movements were expressed in much of the architecture, interior design, furniture, textiles, ceramics, costume, and handicrafts, as well as in the fine arts, of their times. After the Industrial Revolution, with the reduced requirement of hand-craftmanship and the absence of direct expression between the fine craftsman and larger society, general society, idealistic efforts to unite the arts and crafts in service to the community were made by William Morris in Victorian England and by the Bauhaus in 20th-century Germany. Although their aims were not fully successful, their successors, like those of the short-lived de Stijl and Constructivist movements, have been colossal, particularly in architectural, furniture, and typographic design.

Michelangelo and Leonardo da Vinci were prodigous painters, sculptors, and architects. Although no artists have since excelled in such a wide range of creative forms, leading 20th-century painters conceptualized their thoughts in many other mediums. In graphic design, for example, Pierre Bonnard, Henri Matisse, and Raoul Dufy produced posters and illustrated books; André Derain, Fernand Léger, Marc Chagall, Mikhail Larionov, Robert Rauschenberg, and David Hockney designed for the theatre; Joan Miró, Georges Braque, and Chagall worked in ceramics; Braque and Salvador Dalí designed jewelry; and Dalí, Hans Richter, and Andy Warhol made films. Many of these, with other modern painters, have also been sculptors and printmakers and have designed for textiles, tapestries, mosaics, and stained glass, while there are few mediums of the visual arts that Pablo Picasso did not work in and revitalize.

In turn, painters have been inspired by the imagery, techniques, and design of other visual arts. One of these earliest influences was possibly from theatre, where the ancient Greeks are regarded as the first to employ the illusions of optical perspective. The application or reappraisal of design techniques and imagery from art-forms and techniques of other cultures has been a wonderful stimulus to the development of more modern phases of Western painting, whether or not their traditional significance have been appreciated. The influence of Japanese woodcut prints on Synthetism and the Nabis, for example, and of African sculpture on Cubism, and the German Expressionists helping to create visual vocabularies and syntax with which to express new inspirations and ideas. The creation of photography and film exposed the creative to new aspects of nature, while eventually causing others to abandon representational painting altogether. Painters of everyday life, such as Edgar Degas, Henri de Toulouse-Lautrec, Édouard Vuillard, and Bonnard, exploited the design tricks of camera cutoffs, close-ups, and unconventional viewpoints so as to provide the feeling of sharing an intimate picture space with the figures and forms in the painting.

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Water colour is colour pigment ground in gum, usually gum arabic, and applied with brush and water to a painting surface, usually paper; the term also denotes an artwork executed in this medium. The pigment is normally transparent but can be made opaque by mixing with a whiting and in this form is known as body colour, or gouache. It can also be blended with casein, a phosphoprotein of milk.

Watercolour can compete in range and quality with any other painting method. Transparent watercolour allows for a freshness and luminosity in its washes and for a deft calligraphic brushwork that makes it a most alluring medium. If there is one basic difference between transparent watercolour and all other heavy painting mediums, its transparency. The oil painter can paint one opaque colour over another until he has achieved his desired result. The whites are created with opaque white. The watercolourist’s approach is the opposite. In essence, instead of adding in he leaves out. The white paper creates the whites. The darkest accents may be painted on the paper with the pigment as it comes out of the tube or with a small amount of water mixed with it. Otherwise the colours are diluted with water. The greater amount of water in the wash, the more the paper affects the colours; for example, vermilion, a warm red, will eventually turn into a cool pink as it is diluted with more water.

The dry-brush technique, the application of the brush containing pigment but little water, dragged over the rough surface of the paper—creates various granular effects similar to those of a crayon sketch. Whole compositions can be made in this way. This technique also may be brushed over dull washes to enliven them.

Three hundred years before the late 18th-century English watercolourists, Albrecht Dürer had predicted their approach to transparent colour washes in a remarkable series of plant studies and panoramic landscapes. Until the emergence of the English school, however, watercolour became a medium merely for colour tinting outlined drawings or, combined with opaque body colour to produce effects similar to gouache (see below Gouache) or tempera, was used in preliminary sketches for oil paintings.

The main formulators of the English method were Thomas Girtin, John Sell Cotman, John Robert Cozens, Richard Parkes Bonington, David Cox, and Constable. Their contemporary J.M.W. Turner, however, true to his unorthodox genius, added white to his watercolour and utilized rags, sponges, and knives to craft stunning impressions of light and texture. Victorian artists, such as Birket Foster, used a time consuming method of colour washing a monochrome underpainting, similar in principle to the tempera-oil technique. Following the direct, vigorous watercolours of the French Impressionists and Postimpressionists, however, the medium was established in Europe and America as an expressive picture medium in its own right. Notable 20th-century watercolourists have been Wassily Kandinsky, Paul Klee, Dufy, and Georges Rouault; the U.S. artists Thomas Eakins, Maurice Prendergast, Charles Burchfield, John Marin, Lyonel Feininger, and Jim Dine; and the English painters John and Paul Nash, Eric Ravilious, Edward Bawden, Edward Burra, and Patrick Procktor.

In the “pure” watercolour technique, often referred to as the English method, no white or other opaque colour is applied, colour intensity and tonal depth being built up by successive, transparent washes on damp paper. Patches of white paper are left untouched to represent white objects and to create effects of reflected light. These flecks of untouched paper produce the sparkle characteristic of pure watercolour. Tonal gradations and soft, atmospheric qualities are formed by staining the paper when it is very wet with differing proportions of pigment. Sharp accents, lines, and coarse textures are introduced when the paper has dried. The paper should be of the type sold as “handmade from rags”; this is generally thick and grained. Cockling is avoided when the surface dries out if the dampened paper has been first stretched across a special frame or held in position during painting by an edging of adhesive tape.

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After releasing a wide range of motocross bikes, some of the primary Honda motorcycles were subjected to a major overhaul. The long wait is now over finally with the release of 2011 Honda CRF250R and 2011 Honda CRF450R dirt bikes. Evolving from major models of motocross bikes, both the 250R and 450R continue to receive positive input from motocross enthusiasts and bike riders alike.

Honda CRF450R comes with a four-valve Unicam motor that can deliver low and mid-range power. A 46mm body is also incorporated into its improved engine tuning in order to improve its throttle response. Along with unique suspension settings, this dirt bike also got improved on its linkage. With lighter cartridge cylinders inside its fork as well as updated valves, Honda believes that these changes resulted in better rear-wheel traction and added luxury to their traditional Honda motorcycles. Dealerships are expected to offer the new and improved CRF450 by October 2011.

Honda also re-invented the 2011 CRF250R motorcycle in a very impressive way. With its new fuel-injected engine, it is expected to deliver superior performance and exceptional throttle response. Although its specifications are not yet available, the 250R seems to hold plenty of similarities with the big bike. Its improved midrange and low power, new suspension valves, and larger Honda Progressive Steering Damper (HPSD) piston make it appear like a sound investment. Both 250R and 450R also operate on a 94-decibel limit through their improved exhaust mufflers.

CRF50F and CRF70F, two of Hondas smallest dirt bikes, also received a major readjustment. Honda revised their image with bolder designs and changed the colour of their upper fork tubes to create a new exciting look and feel to their small yet powerful motocross bikes. CRF230F, CRF80F, and CRF100F are still available in dealerships but bike riders can still wait for the launching of new and improved Honda motorcycles by October.