Business Podcasting Blog

How many times have you mailed business cards to print and procured 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 nowhere to be found or your logo has been squashed.

There is only one way to avoid this from happening and that is to use a style guide. Not only will a style guide help you oversee the reproduction of your logo - it will also help you extend your brand recognition – which many argue is one of the strongest selling tools.

We have placed the below steps together for you as a starting point.

Step 1 : Outline the audience for your Style Guide. Is this for staff to put 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 need 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 : Ensure 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 : Make sure to include any contributing logos or logos of business that are associated with you. It’s also important that you mail a copy of the layout to these companies to insure they approve the layout of their logo as they too may have their own Style Guide and hierarchy layout rules.

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

Step 7 : Make sure 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.

Get 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 advocate 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.

The typical question customers ask when buying a new projector for the home, office, or classroom is: do I purchase an LCD projector or a DLP projector? LCD, standing for ‘liquid crystal device’ and DLP, which stands for ‘digital light processing’ are the two top projector imaging technologies. With so many company brands and models available, it can be difficult for consumers to make a choice between those technologies. The simple fact of the matter is that LCD projectors have far superior image quality and colour accuracy. The article below explains why DLP projectors struggle with creating an equal level of image quality.

Think of a set of blinds in your room covering your bedroom window. By a twist of a rod you can have the shutters open or closed, depending on whether you want to let light in or not. And this is exactly how an LCD projector operates. Each pixel functions like its own shutter on a set of blinds to either pass light through or to block it. DLP on the other hand is formed of millions of microscopic mirrors or ‘pixel elements’ as pros like to call them. Each pixel element operates to either reflect light or block it.

How the light source is processed from the point at which the projector switches 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 separating it into red, blue and green components, by three mirrors which direct the coloured light to 3 individual LCD panels. The 3 LCD panels cast the elements of the image by turning each pixel on and off. The pixels are then meshed in a glass prism to create the projector image. Something important to know about LCD projectors is that all three colours are projected onto your screen simultaneously. The way a DLP projector runs is very different and even the produced image looks 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 method of making an image creates 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 displayed in sequence on the screen, one colour at a time. The viewer’s vision will then pull together each coloured element of the image into a single complete image. Using LCD projectors, all colours are available all the time to create the best brightness and fantastic colour accuracy. In DLP, only one colour is available at a time, resulting in lower colour brightness and accuracy. Some manufacturers have included a white segment for the colour wheel to improve all over brightness, but this goes and detracts from colour accuracy.

I see in forums all the time that DLP gives a higher contrast ratio and thus must be better. 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 able to produce. DLP projectors do possess high contrast specifications in comparison to many LCD projectors. At a glance, this must be an advantage, however, in the real world, the true black level is determined by the ambient light in the room while the projector is being used. Do not be tricked by contrast specifications on websites and in brochures.

When the content you are trying to see includes moving images, DLP projection technology can also have image imperfections, or ‘artifacts’. The most often seen artifact that a DLP projector displays with moving images is colour break up. Colour break up is to be expected in DLP systems because moving images keep changing between the time red, blue and green colours are projected. LCD projectors do not have this problem because all the colours are projected at once. DLP developers have come up with 3DLP solutions using 3 chips to answer the colour break up issue, but the cost of these projectors make them hardly practical for many businesses and consumers.

Another variance between LCD and DLP is how they match the balance for the refractive qualities of light. Jump back to high school science, and remember how various colours of light refract different amounts when passing through the same lens. The disadvantage 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 not the same and refract light at different levels. Usually with a DLP projector, some yellow colour will show above and a superfluous blue will appear below an image of something as simple as a lone black line. In building LCD projectors can be set to remove these effects on the projected image, as each colour is directed on its own LCD panels.

The isolated real advantage (excluding price) with going with a DLP projector is its overall smaller size and weight. However, this is only relevant with regard to transporting the device and must be traded off against the image advantages of LCD projectors. If the outcome of the picture quality is vital to you, then the decision is a no-brainer. Go with an LCD projector! LCD projectors will consistently make bright, colourful images with fewer image mistakes. If you need to find out more about LCD technology in more detail, check out this fabulous resource website: Explore 3LCD. If you have any further questions, go to Projector Central and send me an email.

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

As the Dutch came to preeminence in sea power during the 17th century, the initial yacht had been a pleasure craft used first by royalty and later by the burghers in the canals and then in the protected and unprotected waters of the Low Countries. Yacht racing was incidental, coming out of private challenges. English yachting started with King Charles II of England during his exile in the Low Countries. On his restoration to the English royalty in 1660, the city of Amsterdam presented him with a 20-metre (66-foot) pleasure boat with a beam (maximum width) of 5.6 m (18 feet), which he then named Mary. Charles and his brother James, the duke of York (James II, reigned 1685–88), made more yachts and in 1662 raced two of them from the Thames, from Greenwich, to Gravesend, and returning, on a £100 punt. Yachting rose as classy among the wealthy and royalty, but after that period the trend did not last.

The first yacht club 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 large naval panoply and formality. The closest thing to a race was the “chase,” when the “fleet” pursued an imagined enemy. The club endured, mostly as a social club, until 1765, and in 1828, after conglomerating with other clubs, it was known as the Cork Yacht Club (later the Royal Cork Yacht Club).

Yacht racing began in some stipulated method on the Thames around the mid-18th century. The duke of Cumberland founded the Cumberland Fleet for Thames racing in 1775. When George IV ascended to the throne in 1820, it came to be called the Fleet to His Majesty’s Coronation Sailing Society. The Thames Yacht Club seceded following a racing argument, to become the Royal Thames Yacht Club in 1830. The first English yacht association had been initiated 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 continued setting of British yacht racing. The club at Cowes became the Royal Yachting Club, also at the rise of George IV. Every member was required to own boats of at least 20 tons (20,321 kg). Sailing matches for great bets were held, and the social life was lovely. Eventually Royal Yachting Club boats were raised in size to more than 350 tons.

In North America, yachting began with the Dutch in New York in the 17th century and continued when the English took control. Sailing was mostly for leisure and rose to its epitome in George Crowinshield’s Cleopatra’s Barge (1815), which sailed 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 continuing American yacht association, the Detroit Boat Club, was started in 1839. In 1844, John C. Stevens began the New York Yacht Club while on board his schooner Gimcrack.

Kinds of sailboats
The first sailing yachts were within the style of such naval craft as brigantines, schooners, and cutters from the 17th century until the second half of the 19th century. The design of sizeable yachts was originally largely affected by the victory of America, which was designed by George Steers for a syndicate 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. Early yachts were not designed and crafted in today’s sense, with only a model being used. Not until the latter half of the 19th century did what was known as naval architecture come into being. Not until the 1920s did the application of the research of aerodynamics do for the structure of sails and rigging what such science had already done for hulls.

Because most of all sailboats had been individually manufactured, there arose a desire for handicapping boats as this was before the one-design class boats were designed. Therefore, a rating rule was decreed, which is found in the International Rule, adopted in 1906 and edited 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 built to the same dimensions in length, beam, sail area, and other elements (for an example of a two-person sailboat, see illustration). Racing between these boats can be held on an even playing field with no handicapping at all. A perfect example is the standard International America’s Cup Class taken on for participants in the 1992 America’s Cup race.

So long as yachting was an activity largely for the aristocracy and the wealthy, expense was no object, and the size of boats grew, in both length and weight. The ascendancy and preference of smaller boats 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 journey around the world (1895–98) captained single-handedly by the naturalized American captain Joshua Slocum in the 11.3-metre Spray demonstrated the value of less sizeable craft. Thereafter in the 20th century, notably after World War II, smaller racing and recreational boats became more common, down to the dinghy, a preferred training boat, of 3.7 m. In the late 20th century, craft of less than 3 m were sailed single-handedly across the Atlantic Ocean.

Kinds of power yachts
Post the decade 1840–50, when steam started to emulate sail power in market craft, the steam engine, and later the internal-combustion engine, were increasingly employed in leisure yachts. Large power yachts were progressed to a high element, and long-distance travel was a fond pastime of the rich. The early power yachts were paddle-wheel boats; those then made way to yachts powered by the fully submerged screw or propeller kind of propulsion. Like naval and merchant craft, auxiliaries with both sail and power were the yacht fashion for a number of years. By the later half of the 20th century, several yachts were still auxiliaries, but the majority were only power yachts containing gasoline or diesel engines.

In the last decade of the 19th century there was a boom in the design of bigger steam yachts. In particular among these was the Mayflower (1897) of 2,690 tons, that had triple-expansion engines, twin screws, and a compartmented iron hull, and was operated by a crew of more than 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 gave active service in World War II.

As larger and better quality internal-combustion engines were created, many large boats began using them for power. The establishment of the diesel engine, with heavy oil for fuel, progressed from World War I. In the decade following that, big power-yacht building blossomed, hitting a climax in the Orion (1930) at 3,097 tons. In that time the best auxiliary yacht constructed was the four-masted, steel, barque-rigged Sea Cloud (1931) of 2,323 tons.

The building of larger power yachts fell away from 1932, and the fashion thereafter was in preference of smaller, less expensive craft. Following World War II, many small naval vessels were traded by private owners for conversion to yachts. At the late 20th century, yachting has become a internationally popular sport enjoyed by thousands of yachtsmen who are actually manning and keeping their own small recreational craft. The amount of boats and sailors increased steadily, not only in the traditional areas by the sea but also on inland waterways and lakes.

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

Taxes can be categorized by the effect they have on the distribution of income and wealth. A proportional tax is the kind that places the same relative onus on every taxpayer—i.e., when tax liability and income increase in the same scale. A progressive tax is recognised by a higher than proportional increase in the tax liability in relation to the growth in income, and a regressive tax is characterized by a less than proportional rise in the related burden. Hence, progressive taxes are seen as taking away a lack of equality in income distribution, while regressive taxes are believed to result in an increase these inequalities.

The taxes that are usually considered progressive include individual income taxes and estate taxes. Income taxes that are categorically progressive, however, can become less so in the upper-income demographic—in particular if a taxpayer is permitted to lessen his tax base by claiming deductions or by taking particular income components from his taxable income. Proportional tax rates if applied to lower-income classes will also be more progressive if personal exemptions are claimed.

Income measured over a given year might not definitely offer the most appropriate measure of taxpaying ability. For example, transitory rises in income may be saved, and in temporary declines in income a taxpayer might elect to pay for consumption by taking from savings. Thus, if taxation is compared with “permanent income,” it should be less regressive (or more progressive) than if held in comparison with annual income.

Sales taxes and excises (excepting those on luxuries) tend to be regressive, because the spread of one’s income consumed or spent on a specific good lowers as the amount of personal income grows. Poll taxes (also known as head taxes), levied as a flat amount per capita, clearly are regressive.

It is not easy to determine corporate income taxes and taxes on business as progressive, regressive, or proportionate, principally due to a lack of certainty about the ability of businesses to shift their tax expenses (see below Shifting and incidence). This difficulty of nominating who bears the tax burden depends essentially on whether a national or a subnational (that is, provincial or state) tax is being considered.

In assessing the economic purpose of taxation, it is necessary to differentiate between varied concepts of tax rates. The statutory rates include those nominated in legislation; often these are marginal rates, but occasionally they are average rates. Marginal income tax rates denote the fraction of incremental income that is demanded by taxation when income is increased by one dollar. Ergo, if tax liability rises by 45 cents when income rises by one dollar, the marginal tax rate is 45 percent. Income tax statutes generally contain graduated marginal rates—i.e., rates that rise as income increases. Structured analysis of marginal tax rates need to regard provisions as well as 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 greater than specified by the statutory rates. Since marginal rates display how after-tax income changes in response to changes in before-tax income, they are the necessary ones for considering incentive effects of taxation. It is even more difficult to realise the marginal effective tax rate to apply to income from business and capital, because it may be dependant on factors including the structure of depreciation allowances, the deductibility of interest, and the provisions for inflation adjustment. A basic economic theorem grants that the marginal effective tax rate in income from capital is nil under a consumption-based tax.

Average income tax rates determine the fraction of total income that is required in taxation. The pattern of average rates is the one that is in consideration for assessing the distributional equity of taxation. Under a progressive income tax the average income tax rate rises with income. Average income tax rates generally rise with income, both because personal allowances are permitted for the taxpayer and dependents and also due to that marginal tax rates are graduated; on the other hand, preferential treatment of income received predominantly by high-income households might dwarf these effects, forcing regressivity, as signified by average tax rates that fall as income grows.

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

Tangalooma Island Resort is a haven located in Tangalooma, Queensland in Australia. Formerly, it was a whaling station and was changed into an island vacation hotspot because of its unique flora and fauna and its stunning views. Couples or families looking for a super holiday destination can expect to definitely love a Tangalooma Island Resort holiday.

This paradise lies on the west side of Moreton Island, right near Moreton Bay. It is infamous for its rare white beaches and it has been a whale sanctuary since the year the whaling station was closed down, the year 1962.

When going on a Tangalooma Island Resort vacation, you can expect to be greeted by friendly and accommodating staff while at the same time being carried away by the beautiful white sand beaches. You may also participate in a range of activities from wreck diving to feeding and playing with the dolphins. You are guaranteed to fully cherish every minute of your break.

Tangalooma has a very tiny population of 300, but its tourism has helped this small township to blossom and maintain the panoramic and spectacular glory of the island. Over 3500 visitors visit the resort every week, and even more during peak seasons. The local government has also created a Centre for Marine Education and Conservation, to instruct and train the local population and travelers about the importance of upkeeping the marine life in the area. The centre employs marine biologists to offer information awareness drives and programs, inclusive in the nature tour package for holidaymakers.

Throughout a Tangalooma Island Resort vacation, everyone is sure to love their holiday when they have over eighty activities to pick from - but it may be the best moment of your time away would be the chance to enjoy the beauty of nature. Visitors can go sight-seeing and feel 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.