How to Create a Style Guide
How many times have you commissioned business cards to print and picked up yet another version of your corporate colour? Ever been fired up to see your advert in the latest newspaper and then observed that the crucial tag line is gone or your logo has been squashed.
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 direct 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 : Mark the audience for your Style Guide. Is this for staff to work 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 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 requirecopy 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 : Confirm you layout all the design templates so it is clear how and where the logo and branding sits on all the different pieces of collateral that may be reprinted.
Step 5 : Insure to take into account any contributing logos or logos of business that are affiliated with you. It’s also important that you mail a copy of the layout to these companies to ensure they accept 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 know that a proof needs to be dispatchedto you to be confirmed as correct.
Make your Style Guide completed 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 advise a training session – whereby your design studio comes in and trains your staff on how to utilize 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.
Projectors: LCD Verses DLP (The downfall of DLP technology)
The typical question customers ask when purchasing a new projector for the home, office, or classroom is: will I purchase an LCD projector or a DLP projector? LCD, an acronym for ‘liquid crystal device’ and DLP, which stands for ‘digital light processing’ are the two top projector imaging technologies. With so many business brands and models available, it can be confusing for customers to choose between these technologies. The fact is that LCD projectors have far superior image quality and colour accuracy. The article below will explain why DLP projectors struggle with projecting a similar level of image quality.
It’s like a set of blinds in your household on your bedroom window. By pulling on a rod you can make the shutters open or closed, depending on whether you want to let light in or not. And that is exactly how an LCD projector functions. Each pixel functions like a single shutter on a set of blinds to either allow light through or to block it. DLP on the other hand is created of millions of microscopic mirrors or ‘pixel elements’ as the pros like to call them. Each pixel element works to either reflect light or block it.
How the light source is processed from the point when the projector turns on to when the content reaches your screen is vitally important in regard to image quality, brightness and colour accuracy. LCD projectors process white light from the lamp by cutting it into red, blue and green components, by three mirrors which project the coloured light to 3 separate LCD panels. The 3 LCD panels cast the elements of the image by processing each pixel on and off. The pixels are then combined in a glass prism to send the projector image. Something to remember about LCD projectors is that all three colours are delivered onto your screen all at the same time. The way a DLP projector works is totally different and even the way an image comes out 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 making an image casts a sequence of red, blue and green light. The millions of micro mirrors mentioned above reflect the coloured light on the pixels to form the image elements. The elements of the image are projected in sequence on the screen, one colour at a time. The viewer’s eyes will then pull together each coloured element of the image into the complete image. In LCD projectors, all colours are available all the time to offer the best brightness and spectacular colour accuracy. In DLP, only one colour is available at any given time, and so causing lower colour brightness and accuracy. Some manufacturers have added a white segment into the colour wheel to improve overall brightness, but this further damages colour accuracy.
I read in forums all the time that DLP has a higher contrast ratio and thus must be superior quality. For those who do not 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 able to produce. DLP projectors do have high contrast specifications as compared to a majority of LCD projectors. Initially, this seems to be a benefit, however, in the real world, the true black level is determined by the ambient light in the room when the projector is being utilised. Do not be hoodwinked by contrast specifications on websites and in brochures.
When the content you want to view includes moving images, DLP projection technology also creates image imperfections, or ‘artifacts’. The most typical artifact that a DLP projector displays with moving images is colour break up. Colour break up is inherent in DLP systems because moving images change up between the time red, blue and green colours are projected. LCD projectors do not have this characteristic because every colour is sent simultaneously. DLP designers have created 3DLP solutions using 3 chips to answer the colour break up error, but the price tag of these projectors make them impractical for most businesses and consumers.
Another differentiation between LCD and DLP is how they make up for the refractive qualities of light. Think back to high school science, and they taught you how various colours of light refract various amounts when passing 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 different and refract light in a different way. Usually with a DLP projector, a spill of yellow colour will appear above and some extra blue will be projected below an image as simple as a lone black line. While being built LCD projectors can be adjusted to minimize these effects on the projected image, because each colour is directed on its own LCD panels.
The sole true advantage (excluding price) with buying a DLP projector is its overall smaller size and weight. However, this is only relevant for transport and needs to be traded off against the image plusses of LCD projectors. If the outcome of the picture quality is vital to you, then the decision is simple. Go for an LCD projector! LCD projectors will consistently produce bright, colourful images with fewer image errors. If you desire to know more about LCD technology in more detail, have a gander at this spectacular 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 shop 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.
Yachting and Yacht Clubs
As the Dutch found dominance in sea power during the 17th century, the early yacht was 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. Racing was incidental, borne from private matches. English yachting started 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 presented him with a 20-metre (66-foot) pleasure boat with a beam (maximum width) of 5.6 m (18 feet), which he called Mary. Charles and his brother James, the duke of York (James II, reigned 1685–88), made additional yachts and in 1662 raced two of them from the Thames, from Greenwich, to Gravesend, and the same way back, on a £100 punt. Yachting was found to be classy among the wealthy and nobility, 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 group, and held much naval panoply and rigour. The closest thing to racing boats was the “chase,” for which the “fleet” pursued an imagined enemy. The club persisted, mostly as a social club, until 1765, and in 1828, after merging with other societies, it was known as the Cork Yacht Club (later the Royal Cork Yacht Club).
Yacht racing was seen in some stipulated fashion on the Thames around the mid-18th century. The duke of Cumberland funded the Cumberland Fleet for Thames racing in 1775. When George IV came to monarchy in 1820, it came to be known as 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 group had been formed 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 continuing site of British yachting. The club at Cowes became the Royal Yachting Club, likewise at the ascension of George IV. All members were required to own boats of at least 20 tons (20,321 kg). Sailing matches for high bets were held, and the social life was superlative. Ultimately Royal Yachting Club boats were raised in size to bigger than 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 power. Sailing was mostly for leisure and found its apogee in George Crowinshield’s Cleopatra’s Barge (1815), which cruised on the Mediterranean Sea and established a benchmark of luxury and elegance for the later yachts in that area from the late 19th century. The first persisting American yacht association, the Detroit Boat Club, was formed in 1839. In 1844, John C. Stevens founded the New York Yacht Club aboard his schooner Gimcrack.
Kinds of sailboats
The Early sailing yachts took the lines of such naval craft as brigantines, schooners, and cutters from the 17th century through to the latter half of the 19th century. The design of large yachts was first greatly affected by the victory of America, which was drawn by George Steers for a group headed by John C. Stevens, and it was the boat for which the America’s Cup (q.v.) found its namesake after its success at Cowes in 1851. The first yachts were not designed and built in a contemporary sense, with only a model used. Not until the second half of the 19th century did what was known as naval architecture come about. Not until the 1920s did the use of the research of aerodynamics do for the structure of sails and rigging what it had already done for hulls.
Because almost all sailboats had been individually built, there came a desire for handicapping boats as this was before the one-design class boats were built. Thus, a rating rule was decreed, which resulted in the International Rule, taken on in 1906 and edited in 1919. Today, one of the fastest growing areas in the sailing industry is that of one-design class boats. All boats in a one-design class are created to single dimensions in length, beam, sail area, and other elements (for an example of a two-person sailboat, see illustration). Racing between such boats can be held on an even basis with no handicapping required. A great example is the uniform International America’s Cup Class adopted for yachts in the 1992 America’s Cup race.
So long as yachting was done primarily for the aristocracy and the wealthy, cost was no problem, and the size of boats grew, 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 made plain the hardiness of less sizeable craft. Following this in the 20th century, particularly after World War II, smaller racing and leisure yachts became more popular, down to the dinghy, a popular training boat, of 3.7 m. In the late 20th century, yachts of less than 3 m were sailed single-handedly across the Atlantic Ocean.
Kinds of power yachts
Following the decade 1840–50, during which steam started to emulate sail power in commercial vessels, the steam engine, and later the internal-combustion engine, were employed increasingly in personal vessels. Large power yachts were furthered to a high degree, and long-distance travel turned into a favourite pastime of the wealthy. The first power yachts were paddle-wheel boats; these then gave rise to those powered by the wholly submerged screw or propeller type of propulsion. As in the case of naval and merchant craft, auxiliaries carrying both sail and power were the yacht archetype for a number of years. By the second half of the 20th century, many yachts were still auxiliaries, but the large part were solely power yachts containing gasoline or diesel engines.
During the last decade of the 19th century there was a rise in the manufacture of large steam yachts. In particular 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, bought 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 developed, many big yachts were using them for power. The creation of the diesel engine, employing heavy oil for fuel, progressed for World War I. During the decade following, big power-yacht manufacture blossomed, climaxing in the Orion (1930) at 3,097 tons. During 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 boats fell away in 1932, and the style from then was in preference of smaller, less expensive boats. After World War II, lots of small naval craft were sold to private owners for conversion to yachts. By the late 20th century, yachting is a globally loved competition enjoyed by thousands of yachtsmen individually manning and keeping their own small pleasure craft. The amount of yachts and owners increased steadily, not only in the traditional areas by the seacoasts but also on inland waterways and lakes.
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Proportional, Progressive, and Regressive taxes
Taxes can be distinguished by the effect they have on the placement of income and wealth. A proportional tax is a tax that applies the same relative requirement on each taxpayer—i.e., when tax liability and income grow in relative scale. A progressive tax is characterizable by a higher than proportional growth in the tax liability relative to the growth in income, and a regressive tax is characterizable by a less than proportional growth in the comparable onus. Ergo, progressive taxes are seen as taking away the lack of equality in income distribution, but regressive taxes are seen to increase these inequalities.
The taxes that are usually considered progressive include individual income taxes and estate taxes. Income taxes that are initially progressive, however, may become less so for the upper-income group—particularly if a taxpayer is allowed to lessen his tax base by nominating deductions or by taking some certain income elements from his taxable income. Proportional tax rates that are applied to lower-income categories could also be more progressive if personal exemptions are declared.
Income measured over the period of a year does not definitely offer the most suitable measure of taxpaying requirement. For example, transitory rises in income could be saved, and in temporary declines in income a taxpayer may opt to pay for consumption by reducing savings. Thus, if taxation is compared alongside “permanent income,” it can be less regressive (or more progressive) than if it is held in comparison with annual income.
Sales taxes and excises (excepting luxuries) are generally regressive, because the dissemination of individual income consumed or spent on specific goods lessens as the rate of personal income is raised. Poll taxes (also termed head taxes), nominated as a set amount per capita, clearly are regressive.
It is hard to determine corporate income taxes and taxes on business as progressive, regressive, or proportionate, due to a lack of certainty around the ability of businesses to shift their tax expenses (see below Shifting and incidence). This difficulty of nominating who bears the tax burden is dependant crucially 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 necessary to differentiate between several concepts of tax rates. The statutory rates are specified in the law; usually these are marginal rates, but occasionally they are mean rates. Marginal income tax rates note the fraction of incremental income that is taken by taxation when income increases by one dollar. Hence, if tax burden grows by 45 cents when income increases by one dollar, the marginal tax rate is 45 percent. Income tax legislation often contain graduated marginal rates—i.e., rates that increase as income rises. Careful analysis of marginal tax rates must regard provisions other than the formal statutory rate structure. If, for example, a particular tax credit (reduction in tax) lessens by 20 cents for each one-dollar rise in income, the marginal rate is 20 percentage points more than indicated in the statutory rates. Since marginal rates signify how after-tax income is changed in response to changes in before-tax income, they are the important ones for appraising incentive effects of taxation. It is even more complicated to know the marginal effective tax rate applicable to income from business and capital, as it may be reliant on factors including 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 show the fraction of total income that is taken in taxation. The pattern of average rates is the one that is necessary for judging the distributional equity of taxation. Under a progressive income tax the average income tax rate increases with income. Average income tax rates usually increase with income, both because personal allowances are provided for the taxpayer and dependents and also because marginal tax rates are graduated; on the other side of things, preferential treatment of income received for the most part by high-income households can dwarf these effects, producing regressivity, as displayed 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.
Tangalooma Island Resort Holiday: One of the Best Holiday Destination in Australia
Tangalooma Island Resort is an earthly paradise that can be found in Tangalooma, Queensland in Australia. It was formerly a whaling station and was turned into an island resort because of its rare flora and fauna and its wonderful views. Couples or families hunting down a good holiday destination can expect to definitely cherish a Tangalooma Island Resort holiday.
This earthly haven is found on the west side of Moreton Island, right near Moreton Bay. It is infamous for its spectacular white beaches and it has been a whale sanctuary since the year 1962, when the whaling station closed down.
When having a Tangalooma Island Resort getaway, you can expect to be greeted by friendly and understanding staff whilst being taken aback by the glorious white sand beaches. You can also participate in a range of activities from wreck diving to feeding and playing with the dolphins. You can’t help but definitely cherish every moment of your break.
Tangalooma has a very small population of 300, but its tourism has helped this small township to flourish and ensure the panoramic and spectacular glory of the island. Above 3500 tourists enjoy the resort every week, and even more throughout peak seasons. The local government has also established a Centre for Marine Education and Conservation, to instruct and train the local population along with travelers of the necessity of upkeeping the marine life in the area. The centre has employed marine biologists to offer information awareness drives and programs, inclusive in the nature tour package for tourists.
On a Tangalooma Island Resort getaway, everyone will love their holiday as they have about eighty activities to pick from - but perchance the best moment of your vacation could be the possibility to experience the beauty of nature. Visitors can go sight-seeing and experience the stunning sunrise and sunset by 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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