Australian Content Blog

July 31, 2010

How to Create a Style Guide

Filed under: Uncategorized — The Editor @ 5:36 pm

How many times have you commissioned business cards to print and procured yet another version of your corporate colour? Ever been excited to see your advert in the latest newspaper and then spotted that the crucial tag line is gone or your logo has been wrecked.

There is only one way to stop this from happening and that is to use a style guide. Not only will a style guide help you conduct 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 utilize in-house or is this for suppliers and contractors to refer to?

Step 2 : Outline 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 attribute to the business and team.

Step 4 : Assure 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 reprinted.

Step 5 : Confirm to include any contributing logos or logos of business that are correlated with you. It’s also important that you mail a copy of the layout to these companies to ensure they approve 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 advocate a training session – whereby your design studio arrives and trains your staff on how to use 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.

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July 19, 2010

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

Filed under: Uncategorized — Tags: , — The Editor @ 11:35 pm

The typical question heard when purchasing a new projector for the home, office, or classroom is: do I get an LCD projector or a DLP projector? LCD, which stands for ‘liquid crystal device’ and DLP, an acronym for ‘digital light processing’ are the two commonplace projector imaging technologies. With so many business brands and models available, it can be confusing for customers to make a decision between those technologies. The simple fact of the matter is that LCD projectors provide better image quality and colour accuracy. The article below will explain why DLP projectors struggle with projecting a similar grade of image quality.

Think of a set of blinds in your house covering your bedroom window. By a twist of a rod you can turn the shutters open or closed, according to whether you want to let light in or not. Such is exactly how an LCD projector behaves. Each pixel functions like its own shutter on a set of blinds to either allow light through or to block it. DLP on the other hand is made up 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 turns on to when the content reaches your screen is ultimately significant for image quality, brightness and colour accuracy. LCD projectors shine white light from the lamp by dividing it into red, blue and green components, by three mirrors which send the coloured light to 3 separate LCD panels. The 3 LCD panels form the elements of the image by processing each pixel on and off. The pixels are then simultaneously processed in a glass prism to send the projector image. Something to understad about LCD projectors is that all three colours are sent onto your wall at the same time. The way a DLP projector functions is vastly different and even the produced image appears is not the same. With DLP, white light from the lamp is projected through a rotating colour wheel with transparent red, blue and green segments, at speeds up to 11,000 rpm/s. This approach to making an image requires a sequence of red, blue and green light. The millions of micro mirrors as mentioned above reflect the coloured light on the pixels to construct 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 combine each coloured element of the image into a single complete image. From LCD projectors, all colours are available all the time to form the top level of brightness and superb colour accuracy. In DLP, just one colour is available at a time, and so causing lower colour brightness and accuracy. Some manufacturers have put a white segment into the colour wheel to improve overall brightness, but this also damages colour accuracy.

I see in forums all the time that DLP provides a higher contrast ratio and as such must be better quality. For those unaware, 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 machine is capable of producing. DLP projectors do provide high contrast specifications when compared to most LCD projectors. Initially, this can seem to be a benefit, however, in the real world, the true black level is determined by the ambient light in the room where the projector is being utilised. Do not be hoodwinked by contrast specifications on websites and in brochures.

When the content you want to bring to life has moving images, DLP projection technology can also have image errors, or ‘artifacts’. The most commonplace artifact that a DLP projector shows with moving images is colour break up. Colour break up is inherent in DLP systems because moving images keep changing between the time red, blue and green colours are shone. LCD projectors do not have this downside because the colours are sent with the others. DLP builders have formed 3DLP solutions using 3 chips to solve the colour break up error, but the cost of these projectors make them hardly practical for most businesses and consumers.

Another differentiation between LCD and DLP is how they make up for the refractive qualities of light. Remember back to high school science, and recall when they taught you how different colours of light refract various amounts when projected through the same lens. The downfall with DLP projectors is that they take the one same panel and the same lens to project Red, Blue and Green. All 3 colours are not the same and refract light in a different way. Most of the time with a DLP projector, a spill of yellow colour will appear above and a spill of blue will come up below an image as simple as a straight black line. While being built LCD projectors can be adjusted to take away these effects on the projected image, because each colour is processed on separate LCD panels.

The one actual buy point (excluding price) with picking a DLP projector is its smaller size and weight. However, this is only relevant for portability and needs to be traded off against the image plusses of LCD projectors. If the result of the picture quality is important to you, then the answer is a no-brainer. Choose an LCD projector! LCD projectors will constantly make bright, colourful images with fewer image mistakes. If you desire to know more about LCD technology in more detail, check out this fabulous resource website: Explore 3LCD. If you have any more questions, go to Projector Central and send me an email.

Jonathan King is the sales and marketing manager for Projector Central, Australia’s leading online store for projectors. Brisbane based, Projector Central has served Australia for 15 years. For data projectors in the Gold Coast and Interactive Whiteboards, contact Projector Central today.

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July 16, 2010

Yachting and Yacht Clubs

Filed under: Uncategorized — Tags: , — The Editor @ 5:59 pm

As the Dutch rose to preeminence in sea power during the 17th century, the first yacht was a leisure craft used first 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, coming out of private games. English yachting started with King Charles II of England during his exile in the Low Countries. On his restoration to the English monarchy in 1660, the city of Amsterdam gave him a 20-metre (66-foot) pleasure 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, reigned 1685–88), built other yachts and in 1662 raced two of them from the Thames, from Greenwich, to Gravesend, and returning, on a £100 punt. Yachting rose as popular among the rich and nobility, but after that point the habit did not last.

The first yacht club in the British Isles, the Water Club, was instigated around about 1720 at Cork, Ire., as a cruising and unofficial coast guard group, and had great naval panoply and gravity. The closest thing to racing was the “chase,” in which the “fleet” pursued an imagined enemy. The club endured, largely as a social club, until 1765, and in 1828, after conglomerating with other organisations, it was known as the Cork Yacht Club (later the Royal Cork Yacht Club).

Yacht racing began in some stipulated method on the Thames about the mid-18th century. The duke of Cumberland funded the Cumberland Fleet for Thames racing in 1775. When George IV rose to the throne in 1820, it was named the Fleet to His Majesty’s Coronation Sailing Society. The Thames Yacht Club seceded following 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 sponsorship made the Solent - the strait between the mainland and the Isle of Wight - the perpetual setting of British racing. The association at Cowes became the Royal Yachting Club, likewise at the rise of George IV. Each member was required to have boats of at least 20 tons (20,321 kg). Sailing matches for large stakes were held, and the club life was superlative. Eventually Royal Yachting Club boats increased in size to more than 350 tons.

In North America, yachting started with the Dutch in New York in the 17th century and persisted when the English held control. Sailing was mostly for fun and rose to 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 those waters from the late 19th century. The first enduring American yacht organisation, 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
The Early sailing yachts were within the style of such naval craft as brigantines, schooners, and cutters from the 17th century through the later half of the 19th century. The design of bigger yachts was initially greatly put upon by the success of America, which was created by George Steers for a group started by John C. Stevens, and it was the boat for which the America’s Cup (q.v.) had its namesake after its victory at Cowes in 1851. The first yachts were not designed and crafted in today’s sense, with only a model for an outline. Not until the second half of the 19th century did what was known as naval architecture come into action. Not until the 1920s did the use of the science of aerodynamics do for the craft of sails and rigging what it had done earlier for hulls.

Because nearly all sailboats were individually manufactured, there arose a need for handicapping boats previous to the one-design class boats were built. Thus, a rating rule was written, which resulted in the International Rule, adopted in 1906 and revised in 1919. Today, one of the most rapidly flourishing areas in the sailing industry is that of one-design class boats. All boats in a one-design class are created to single requirements in length, beam, sail area, and other aspects (for an example of a two-person sailboat, see illustration). Racing for these boats can be done on an even par with no handicapping at all. A prime example is the generic International America’s Cup Class taken on board for participants in the 1992 America’s Cup race.

For the time that yachting was done primarily for the nobility and the affluent, expense was no issue, and the size of boats developed, in both length and weight. The promotion and popularity 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) sailed single-handedly by the naturalized American captain Joshua Slocum in the 11.3-metre Spray made plain the seaworthiness of small craft. Thereafter in the 20th century, for the larger part after World War II, smaller racing and pleasure craft became more common, down to the dinghy, a preferred training boat, of 3.7 m. In the late 20th century, boats of less than 3 m were setting sail single-handedly across the Atlantic Ocean.

Kinds of power yachts
Following the decade 1840–50, when steam was set to replace sail power in commercial vessels, the steam engine, and later the internal-combustion engine, were used increasingly in leisure boats. Large power yachts were furthered to a high element, and long-distance cruising turned into a preferred activity of the wealthy. The earliest power yachts were paddle-wheel boats; they then gave rise to boats powered by the wholly submerged screw or propeller kind of propulsion. As in the case of naval and merchant craft, auxiliaries carrying both sail and power were the yacht standard for many years. By the later half of the 20th century, a lot of yachts were still auxiliaries, but the majority were only power yachts that had gasoline or diesel engines.

In the last decade of the 19th century there was a rise in the design of more sizeable steam yachts. Conspicuous within these was the Mayflower (1897) of 2,690 tons, that had triple-expansion engines, twin screws, and a compartmented iron hull, and was manned by a crew of over 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 saw active service in World War II.

As more sizeable and more reliable internal-combustion engines were produced, many large yachts began using them for power. The development of the diesel engine, with heavy oil for fuel, advanced in World War I. From the decade after that, big power-yacht creation flourished, reaching a climax in the Orion (1930) at 3,097 tons. During that period the biggest auxiliary yacht constructed was the four-masted, steel, barque-rigged Sea Cloud (1931) of 2,323 tons.

The building of large power craft declined in 1932, and the trend from then was toward smaller, less pricey yachts. After World War II, a lot of small naval boats were traded by private owners for conversion to yachts. In the late 20th century, yachting had become a internationally beloved competition enjoyed by thousands of yachtsmen who are actually manning and upkeeping their own small leisure boats. The number of yachts and owners has increased steadily, not only in the traditional areas by the sea but also on inland waterways and lakes.

Looking for yacht cleaning Brisbane ? Talk to Elite Yacht Services. We do great work at competitive prices.

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July 8, 2010

Proportional, Progressive, and Regressive taxes

Filed under: Uncategorized — Tags: , — The Editor @ 3:54 pm

Taxes are distinguished by the effect they have on the allocation of income and wealth. A proportional tax is a tax that applies the same relative liability on every taxpayer—i.e., when tax liability and income grow in the same scale. A progressive tax is characterizable by a greater than proportional increase in the tax burden in relation to the increase in income, and a regressive tax is characterizable by a less than proportional increase in the comparable burden. Ergo, progressive taxes are thought of as reducing a lack of equality in income distribution, but regressive taxes are seen to have the result of an increase in these inequalities.

The taxes that are often thought to be progressive include individual income taxes and estate taxes. Income taxes that are initially progressive, however, may become less so for the upper-income demographic—in particular if a taxpayer is permitted to lower his tax base by declaring deductions or by leaving out particular income components from his taxable income. Proportional tax rates if applied to lower-income groups would also be more progressive if personal exemptions are claimed.

Income measured over the period of a given year might not necessarily provide the most suitable measure of taxpaying requirement. For example, transitory increases in income could be saved, and during temporary declines in income a taxpayer could elect to provide for consumption by decreasing savings. So, if taxation is held in comparison with “permanent income,” it would be less regressive (or more progressive) than when 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 declines as the amount of personal income rises. Poll taxes (aka head taxes), calculated as a standard amount per capita, patently are regressive.

It is difficult to determine corporate income taxes and taxes on business as progressive, regressive, or proportionate, due to uncertainty around the ability of businesses to shift their tax expenses (see below Shifting and incidence). This difficulty of deciding who bears the tax burden is dependant essentially on whether a national or a subnational (that is, provincial or state) tax is being decided.

In assessing the economic effects of taxation, it is essential to distinguish between differing concepts of tax rates. The statutory rates will include those dictated in legislature; generally these are marginal rates, but in some cases they are average rates. Marginal income tax rates signify the fraction of incremental income that is demanded by taxation when income rises by one dollar. Thus, if tax onus increases by 45 cents when income grows by one dollar, the marginal tax rate is 45 percent. Income tax statutes generally contain graduated marginal rates—i.e., rates that increase as income grows. Heavy analysis of marginal tax rates should take into account provisions as well as the formal statutory rate structure. If, for example, a particular tax credit (reduction in tax) declines 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 display how after-tax income moves in response to changes in before-tax income, they are the appropriate ones for regarding incentive effects of taxation. It is even more complicated to understand the marginal effective tax rate applicable to income from business and capital, since it may rely on such factors 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 zero under a consumption-based tax.

Average income tax rates determine the portion of total income that is demanded in taxation. The pattern of average rates is the one that is important for appraising the distributional equity of taxation. Under a progressive income tax the average income tax rate grows with income. Average income tax rates usually 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 flip side, preferential treatment of income received fundamentally by high-income households might dwarf these effects, forcing regressivity, as signified by average tax rates that decline as income rises.

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

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July 1, 2010

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

Filed under: Uncategorized — The Editor @ 10:18 pm

beach-front-21-300x225Tangalooma Island Resort is a haven located in Tangalooma, Queensland in Australia. It was formerly a whaling station and was formed into an island resort because of its unique flora and fauna and its glorious views. Couples or families trying to find a super holiday destination would certainly cherish a Tangalooma Island Resort holiday.

This earthly paradise is situated on the west side of Moreton Island, right near Moreton Bay. It is infamous for its fabulous white beaches and for having been a whale reserve since the year 1962, when the whaling station was closed down.

When experiencing a Tangalooma Island Resort holiday, you can expect to be assisted by friendly and helpful staff while being left breathless by the fabulous white sand beaches. You might also take on a lot of activities from wreck diving to feeding and playing with the dolphins. You cannot help but fully enjoy every minute of your vacation.

Tangalooma has a tiny population of 300, but tourism has helped this small township to thrive and keep the panoramic and stunning glory of the island. At least 3500 holidaymakers frequent the resort each week, and even more during peak seasons. The local government has also established a Centre for Marine Education and Conservation, to tell and train the local population as well as tourists about the urgency of maintaining the marine life in the area. The centre has employed marine biologists to hold information awareness drives and programs, which is part of the nature tour package for holidaymakers.

During a Tangalooma Island Resort getaway, everyone will definitely enjoy their holiday as they have more than eighty activities to choose from - but it may be the highlight of your holiday would be the opportunity to experience the beauty of nature. Tourists can go sight-seeing and feel the glorious sunrise and sunset on 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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