Why You Should Hire an Architect

2010 September 8
by squadron

An architect is a well qualified expert who has experience in planning, designing and the construction of buildings and the oversight of construction projects.

Also, one is not considered an architect until he or she has properly passed all the necessary education and accredited programs to procure a license in order to practice architecture. When practicing architecture, the architect can have free reign to design the building or group of buildings, as well as the space around it that still counts as part of the project. These ideas form the planning stage of the project and can take months to finalise.

The reason why architects are so important to the success of any building plan is simple: they can put your ideas into a feasible and plausible reality. If you have great ambitions for your home or place of business, then an architect can ensure that those dreams will come true.

But aside from the actual design of the building, there are so many other complex factors (beyond the scope of inexperienced people) that need to be examined, and these are also covered in the responsibilities of the architect.

For example, there are some architectural firms that not only design the building for you, but they also prepare the bid documents for the costing of of the entire project, and are the ones that most commonly talk to the contractors, stakeholders and any third parties involved in the assignment.

When you engage an architect, you will not have to be confused by by all the small technical details. All you have to be concerned about is if whether or not the building is coming along according to the plans originally established with the help of the architect.

The architect is also very helpful before construction begins. If you do not have an actual plan but do have an idea on what you want your structure to look like, then that is where the professional can help you on the endeavor.

All you have to do is to present them with some ideas and they can be the ones to take care of site analysis, the assistance you may need in zoning and planning, any environmental impact studies you may need, tendering and contract negotiation with the contractor and his men, and so much more.

The architect that you hire will be involved in all of the aspects of your project. Essentially, you are hiring an architect because you require a trained professional to take charge of planning and designing the building or dwelling as well as provide the necessary feedback and support throughout the entire assignment.

Hiring an architect is like taking on a business partner for your project, one who is knowledgeable, knows the risk areas around the project and knows how to minimize those risks, has the necessary people skills to work with contractors in order to hire additional resources within budget.

A good architect will treat the project as though it is his or her own and will devise creative ideas and plans to the manager, and discuss in great detail the advantages, disadvantages, any hindrances of a particular strategy.

These are just some of the many important benefits and key reasons why you should hire an architect. There are so many more reasons that really prove that any project worth going through with has to be under the supervision of a highly qualified architect. In the end, it all boils down to the fact that you have a dream construction project, and your architect is the person to make all these dreams become reality.

Looking for Brisbane architects? For renovation architects Brisbane, contact Dion Seminara Architecture. They are leading home improvement architects. Brisbane office is located in Morningside.

Tents and Marquees

2010 September 2
by squadron

marquees-pavillion-3Event Tents, such as wedding tents are used when you want to make a remarkable outdoor scene. They are generally structures installed at a location for a period of time.

Why A Tent?
Commercial Tents are used as protection from the sun, rain or a gathering place. They can make a stunning and creative atmosphere for any event.

Tent Rentals
Tents can be rented or leased for a day, a weekend, weeks, months, etc. For one or two day events, the Tents are usually installed a few days before the event, depending on scheduling and weather, and remain until a few days after the event. Many rentals are quoted for the entire week, allowing for time to set up and design the interior and exterior. Some Tents are built for exceedingly long-term events and have been installed and remain installed for years.

What Kind of Tent Should I Rent?
Tent rental companies come in all sizes – from small-sized companies with just a few Tents to exceedingly large-sized companies – carrying dozens of several sizes and styles of Tents. Some general rental companies rent from tent rental companies to accommodate their client’s needs.

You may know you want to use a standard Tent for your event, or your event planner may already have in mind to use a Tent. You have options! There are lots of other spectacular
structures and Tent styles out there. Some are unique and make a statement of their own. Ask the rental company you’re working with for a list of the type styles they have on hand.

Usually, the varying types of Tents available in most companies are (the names vary depending of the company):

Folding Tents Easy and fast to use and always in demand. Very popular, because usually is the less expensive tent. Fast, flexible, cost effective and long lasting.

They are used by:

  • Corporate brands across most industries
  • Government & Council buyers
  • SME business marketers
  • Franchisees
  • Agricultural exhibitors
  • Emergency services & community groups
  • Folding Tents create brand exposure opportunities.
  • You can reach your audience at the right time, in the right place with the right message.

Inflatable Tents An exciting and entertaining alternative Tent. Easy & fast to set up. Be sure they have removable printed roof because in that way you can share the investment with other licences.

What Size Tent Will I Need?

The size of Tent depends on a few factors:

1. The number of guests you expect
2. Layout or seating arrangements or the style of event:

* Reception with what type of tables?
* Speaker engagement with what type of seating?
* Will you need a dance floor?
* Will you need display areas for your products?

If you are interested in a Tent, you can expect to need about 2,000 – 2,500 square feet for 200-seated guests. That could mean a 40 x 60 size Tent (Always ask the Tent rental vendor directly and they’ll give you the best informationabout the size of Tent you’ll need).

Therefore, the key rule is; know what you are going to use your tent for. The choice of tents is incredible, almost on par with the choice of cars that you can buy.

So if you need a tent for the family BBQ, for example, your needs are fairly fundamental
and your budget may be low. Look for cheap tents that offers a waterproof Polyester roof and a decent warranty for under $600.

If you need a tent for a school or sports club you will need a range of sizes, and colours. Most plain colour Tents s range between $995- $2900. If you are keen to promote yourself, you can have your names printed for around $150-$300. Printing logos usually cost a little more.

In the last 5 years, portable Tents have become important to businesses for their marketing. The essential need for these buyers is a prominent and premium reproduction of their logo. Sign written or printed Tents can be as dull as a website address or they can be a design masterpiece.

Remember, if it is for commercial purposes, the aim is to build awareness of your company with your printed Tent. Printed corporate Tents range in price from $1500- $4000. Good ones will really catch your eye.

Once you have decided on what sort of buyer you are and how you are going to use your Tents, a good Tents company will offer you a choice of frames, a warranty of between 3-5 years and help with designing the printing-if you need it.

For more information about tents, contact Extreme Marquees. We have a range of cheap tents, for all sorts of home and business applications.

New Zealand’s Top Holiday Cities

2010 August 23

New Zealand has a radiant array of amazing landscapes. Like huge mountain ranges, sweeping coastlines, abundant rainforests, deep fiords, snow capped mountains and steaming volcanoes. These picturesque wonders have all made New Zealand an appealing destination for all kinds of holidays.

Awesome travel packages and holiday specials are available on quality accommodation in modern city hotels and luxurious wilderness lodges at slashed prices. Among the top holiday cities in New Zealand, Queenstown, Christchurch and Auckland would definitely be there. Travel Online is a celebrated online specialist travel operator and provides astounding tourist services for New Zealand. Travel Online provides an instant quote and booking service for accommodation in cities right across the country.

Queenstown
The international resort town of Queenstown is situated on the shoreline of Wakatipu Lake. This beautiful region is among the most scenic locations on the globe. Throughout the year adventurous and exciting sports like jet boating, bungy jumping, and white water rafting take place. This town is the epicentre of the entire world’s bungy jumping activities too. With the advent of winter, the town gets transformed to an alpine wonderland with snowboarders and skiers from all corners of the world assembling at the annual Winter Festival.

There is constant request for Queenstown Accommodation all round the year and Travel Online offers a select group of hotels best suited for New Zealand holidays. 1, 2, 3 or 4 bedroom apartments, with luxurious facilities, gyms, spas and fantastic views are available at various holiday retreats across the city. Bigger apartments with more bedrooms, tennis courts, private jetties and fitness centres are also available at a higher price. Luxury complexes with studio rooms in the vicinity of cafes, bars, and restaurants are also found in Travel Online’ Queenstown Accommodation selection.

Christchurch
When choosing a place to stay in Christchurch look for hotels that give views over the wonderful Victoria Square, across the transfixing Avon River or towards the epochal Anglican Cathedral. Situated on New Zealand’s South Island, this cosmopolitan city is always abuzz with colourful festivals, shopping spots, theaters and art galleries. Hotels overlooking Victoria Square provide visitors with an insight in to the city’s English history.

Individuals accommodated in the vicinity of the Christchurch Cathedral will find hotel rooms with a Manhattan-style feel. Tradition and elegance are everywhere in these hotels along with a keen eye on service excellence. Huge bedrooms with full-fledged kitchen facilities are common, along with hi-tech conference facilities, resort-like leisure features like spas, saunas, gyms, and swimming pools. Many of these hotels provided by Travel Online are located in the vicinity of the Technology Park, the International Antarctic Centre, and the airport. Travelers who want to stay away from the hustle and bustle of the cosmopolitan life will find suitable accommodation in the stunningcountryside surrounding the city.

Auckland
Auckland, also known as the City of Sails, is located in between 2 harbors and has more boats per person than anywhere on the planet. Within minutes a person has the choice of sailing away on yachts to isolated nearby islands, living the sweet life in the casino, surfing at lots of beaches or tasting the exotic wines at local vineyards. Hotels come in stylish and comfortable studios, and luxurious executive / marina suites. Travel Online caters to the tastes of corporate and business tourists and can beat any price seen on Auckland accommodation advertised. Auckland harbor is majestic, and is seen perfectly from atop Sky City and the surrounding accommodation.

Affordable and comfortable apartments are available for casual tourists, equipped with kitchens, laundries, and balconies to provide a memorable holidaying experience. Visitors to Auckland love visiting the Antarctic Encounter, which showcases the only penguins present in the sub-Antarctic region. More adventures include cage-bereft shark dives, scuba expeditions and snorkel safaris. New Zealand is waiting.

Travel Online has a wide range of Queenstown accommodation close to all the snow action and cosmopolitan Christchurch accommodation surrounded by all that theatre and art. For holidays in and around the water, Auckland accommodation is as good as anywhere in the world.

Repairing Flooded Carpet: A cheap job is a good job right? Wrong….

2010 August 18
by squadron

Don’t allow an inexperienced 24 hour carpet cleaner show up to repair your water damaged carpets. These are the things you need to be wary of:

Overcharging. An inexperienced water restoration carpet cleaner may fill the job up with superfluous inclusions. E.g. using dehumidification for drying the flooded carpets unnecessarily.

Using the correct equipment. They sometimes borrow equipment from hire businesses to dry the carpet. This is acceptable, but an experienced water damage restorer will possess all their equipment to provide a faster response and hopefully a better value job.

Proper moisture metre. If they don’t have the correct moisture meter, they will not be able to tell whether the carpet is dry. This increases the danger of future mould. Mould removal may be required.

Specialised. There are many “Carpet Cleaners” in this industry who do restoration work on the “side.” i.e. they do not take on this type of repair often. Be wary of it. Fixing carpet water damage is an art. Taking carpet off the gripper strips then reinstalling them should be taken on by a professional, otherwise the carpet can be permanently damaged.

You could be pondering, how do I find a professional Flood Restoration Business? Below I have set out some things to look for when you are calling around for a carpet flood damage business:

What size is their Yellow Pages advertisement: This can be a sign of how much work they have already. A full-size Yellow Pages ad can cost about $50 000. If they have paid for a bigger ad, you can at least have some indication that they are professionals.

Where do they come up in Google? The higher they are in Google, the more “online votes” there have been for that business.

What Qualifications do they have? The base qualification needed is a IICRC qualification about Applied Structural Drying and Water Damage Restoration.

Do Insurance companies hire them for their carpet damage jobs? This is a top indicator. If insurance companies source them, the business is probably going to be efficient at their work. Insurance companies will use the companies that grant them the top value for the money.

What Equipment do they have? They should own at minimum 100 Air movers. If they possess this many, this indicates they have been up and running for a while. Our business took 8 years to own that many wet carpet drying air movers.

What type of commitment can you get with them by calling them? Ask if you can pin them down to a price for water extraction, water removal and initial inspection. If they can’t give you a rate for this only, you know they are not going to serve you, so look elsewhere.

Response Time – Our Water Damage business in Brisbane is premised to a 59 minute response time for water damage emergency. The business needs to be attended to ASAP. Mould can appear after a 24 hour period.

If you focus on these tips you are sure to locate a Flood Damage Restoration professional who knows how to do the job right.

If you have carpet water damage Brisbane, call us for flooded wet carpet drying. Brisbane storm season is approaching and you may need storm damage carpet cleaning. Brisbane and surrounding areas serviced.

Eight Steps to Great Web Design

2010 August 7
by squadron

Take control of getting your site established by a developer and know the process it will save you money and gain you a site that actually works the intended purpose!

1. Understanding your business and how you are currently positioned in your market.
In order to create a site that truly meets your requirements; you first need to have a full comprehension of your business including your products, and/or services and more importantly their market position. You then have to acknowledge how you want to explain your business and what it offers in 7 seconds or less. Sounds impossible? Well that is the average time that a user will consider the point “is this site I searched for?”.

2. Budget and estimation
Have a budget in mind and don’t be afraid to let the developers know what it is. In saying this: BE REALISTIC, $500 will never see a great web site created, nor will they be anything left in the bank to market it.

3. The creative process
Be loaded with example sites and more importantly the elements of the site you like so they can achieve an understanding of what you would like to see on your site and also what you find frustrating about other sites. This will build a good profile and analyze not only what type of site to construct for you but your tolerance to colours, animations, layouts etc. for your requirements which will allow for efficient development. The more interaction and information you confer them in the beginning the more time you will save everybody in the long run by becoming what you want 1st time round. Check with the designers on how many rounds of changes come with the contract, most will allow for a total conceptual redesign only once and 2 rounds of changes after that.

4. Production and Content
After the home page design is made, the developers will more than likely take the general layout of this concept and then create the inner page template. It is this template that will be duplicated for most of your pages for your site.
Submit your content in a pre-proofed word processed document; don’t become too creative with the document fonts etc. as these will not be preserved when the content is copied into the code of the site. It is preferred that you do use bolding, underlining, headings and sub heading though ,as these highlights are transferred into the site and are essential later on in not only establishing with the reader but for Search Engine Optimisation.
One last tip for content; present a decent amount of content but present it in a way that a reader may acquire a summary of what you are trying to present across in the 1st couple of paragraphs and an image or to. The rest of the paragraphs that get into finer details ARE FOR GOOGLE !

5. Development Programming and CMS
If your website contains Content Managed Areas (CMS) or has any other dynamic sections the developers will wrap your design around a content management program such as Joomla or Drupal or they may have a custom built system. Make sure that you get to see how the CMS system operate on another site they have developed or an example site they may have. it is essential that you know that you can utilize and understand the system when your site is complete.

6. Testing and training
We work closely with the developers to test your site especially if there are any CMS or special programs that have been created for you. You can guarantee if it is has just been written for you then it will not work 100% first time round. This is a where things can get ugly in the process you must understand the way the program operates and test it as if you were normal website user. If it doesn’t make sense to you, odds are it won’t make sense to your audience. Make sure you test your website on more than just your browser, try to test it on Internet Explorer, Firefox and Safari. All of these browsers are available to download on the internet for free!

7. Launch – going live
When the developers are ready to make your site live make sure you have completed the above testing step until you are pleased that this website is the best representation of your business / product it can be. Remember even though you can change things after going live it is still a poor reflection on your business if there are spelling mistakes or broken images when you launch.

8. Marketing
There is little point in having a website if nobody visits it, make sure as part of you contract you have considered search engine optimisation and or search engine marketing as part of your website build. This is the absolute most important factor of the whole process. If you are the only one looking at your site then you are in trouble.

Remember Search Engine Optimisation is about 30% Onsite (getting your site correct for Search Engine to index correctly) and 70% Promotion. Any developer who tells you otherwise hasn’t been in the industry too long.

For more information about web design Brisbane, contact Web Site Blue. Our web designers understand marketing as well as design.

Tips to Creating a New Business Logo

2010 August 6

A logo is a decisive step to forming a business. It is the face of your business. And like your face conveys the tone of your business, gestures the service and screams the professionalism or lack there of.

People spend a lot of money on the creation of their logo and walk away with no artwork files. Then a couple months down the track when they need to put signage on their new building they cannot track the design studio down that formulated the original logo for them and so incur costs to have it recreated. This is needless and may cause complications when trying to replecate the logo exactly as determined originally.

We have created some basic tips you for to think about when creating a logo. Hopefully these will help you from experiencing any future difficulties.

Tip 1
First things first – you need to decide if you would like your logo to have an accompanying icon. It is suggested that if your service or product name is not in your business name then perhaps an icon will help in portraying a clear message across to your target audience.

An icon can add an extra element to your branding in that you could use the icon on its own on collateral where perhaps you are looking for a more illustrative finish without losing recognition.

A perfect example of this is the well-known and executed Nike logo.

Tip 2
Colour can be an crucial decision as it not only could influence the output costs but can also limit your output use. Consider the end result and what you will be bringing your branding onto in the future. Make sure your designer is aware of this as they should design accordingly.

Tip 3
Insure you get a back up disk of your logo as a master file and ensure that it includes all the files required for the different printing formats.

Creative software updates frequently and some programmes become obsolete. Make sure you have a copy of your logo as a PDF – with the text converted to curves.

Tip 4
Using images in your logo is not very easy to accomplish. For example it is troublesome to reverse into black and white. Images also have limitations when it comes to size – they can only be reproduced to a certain size before they start pixilation.

Tip 5
Using gradients in your logo is not recommended. This too can have limitations when it comes to output for ie: gradients are hard to reproduce when embroidering fabrics.

Tip 6
Make sure sure the font is legible. Some logos need to be reproduced on small pieces of collateral ie: post stamps. It is important that in this case the text is
legible.

Tip 7
Insure that you collect a copy of your logo in CMYK high resolution 300 dpi (for printing use) and RGB 72 dpi(for web use).

Tip 8
It is important to have a style guide of your logo. It will clearly show you how to use your logo so it looks exactly the same every time it is reproduced. This allows you to keep your corporate image consistent.

Tip 9
Make sure that you get a letter from the design studio declaring that you own the copyright to your logo.

If you follow these tips then not only will you receive a well-designed logo but you will also own the artwork. And when it comes to reproducing your collateral you will be doing it the most cost effective way.

For logo design Brisbane and web design Brisbane, contact Bydaughters today for a free two hour consultation.

How to Create a Style Guide

2010 July 31
by squadron

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

There is only one way to prevent this from happening and that is to use a style guide. Not only will a style guide aid 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 : Define 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 : 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 refer to the business and team.

Step 4 : Make sure 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 : Make sure 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 guarantee they accept the layout of their logo as they too may have their own Style Guide and hierarchy layout rules.

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

Step 7 : Confirm 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 approved as correct.

Get 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 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.

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

2010 July 19

The typical question asked when buying a new projector for the home, office, or classroom is: do I buy 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 brands and different models available, it can be challenging for consumers to make a decision between the two technologies. It comes down to the fact that LCD projectors have better image quality and colour accuracy. The next paragraph will explain why DLP projectors struggle with bringing up a comparable rate of image quality.

Visualise a set of blinds in your room over your bedroom window. By pulling on a rod you can turn the shutters open or closed, depending on whether you want to let light in or not. That is exactly how an LCD projector works. Each pixel works like a unique 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 the experts like to call them. Each pixel element works to either reflect light or block it.

How the light source is processed from when the projector is switched on to when the image reaches your screen is extremely significant with regard to image quality, brightness and colour accuracy. LCD projectors shine white light from the lamp by splitting it into red, blue and green components, by three mirrors which direct the coloured light to 3 individual LCD panels. The 3 LCD panels form the elements of the image by switching each pixel on and off. The pixels are then combined in a glass prism to create the projector image. Something important to understad about LCD projectors is that all three colours are projected onto your wall at once. The way a DLP projector operates is vastly different and even the produced image shows up is not the same. With DLP, white light from the lamp is directed through a spinning colour wheel with transparent red, blue and green segments, at speeds up to 11,000 rpm/s. This way of forming an image casts a sequence of red, blue and green light. The millions of micro mirrors as 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 vision will then combine each coloured element of the image into a single whole image. From LCD projectors, all colours are available all the time to offer the top level of brightness and fantastic colour accuracy. In DLP, just one colour is available at once, causing lower colour brightness and accuracy. Some DLP manufacturers have put a white segment into the colour wheel to improve all over brightness, but this then lessens colour accuracy.

I find in forums all the time that DLP gives a higher contrast ratio and therefore must be superior quality. For those who are unsure, 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 technology is capable of producing. DLP projectors do have high contrast specifications when compared to many LCD projectors. Initially, this appears to be an advantage, however, in truth, the true black level is determined by the ambient light in the room in which the projector is in use. Do not be hoodwinked by contrast specifications on websites and in brochures.

When the content you plan to see has moving images, DLP projection technology can also create image imperfections, or ‘artifacts’. The most often seen artifact that a DLP projector creates with moving images is colour break up. Colour break up is incontrovertible in DLP systems because moving images change between the time red, blue and green colours are displayed. LCD projectors do not have this downside because the colours are delivered with the others. DLP builders have formed 3DLP solutions using 3 chips to fix the colour break up problem, but the price of these projectors make them impractical for many businesses and consumers.

Another differentiation between LCD and DLP is how they balance for the refractive qualities of light. Think back to high school science, and remember when they taught you how various colours of light refract differing amounts when passing through the same lens. The downside with DLP projectors is that they take the one same panel with the same lens to project Red, Blue and Green. All 3 colours are obviously different and refract light in a different way. Usually with a DLP projector, a superfluous yellow colour will come through above and a spill of blue will come up below an image of something as simple as a lone black line. During manufacturing LCD projectors can be set to minimize these effects on the projected image, because each colour is projected on its own LCD panels.

The isolated veritable plus (excluding price) with going with a DLP projector is its smaller overall size and weight. However, this is only relevant to portability and cannot be traded off against the image superiority of LCD projectors. If resulting picture quality is vital to you, then the solution is simple. Go with an LCD projector! LCD projectors will always make bright, colourful images with fewer image imperfections. If you desire to learn more about LCD technology in more detail, have a gander at this fantastic 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 with Projector Central, Australia’s number one online retailer for projectors. Based in Brisbane, Projector Central has served Australia for 15 years. For data projectors in Brisbane and Interactive Whiteboards, contact Projector Central today.

Yachting and Yacht Clubs

2010 July 16

As the Dutch came to preeminence in sea power during the 17th century, the first yacht had been a pleasure craft used initially by royalty and secondly by the burghers in the canals and then in the protected and unprotected waters of the Low Countries. Yacht racing was incidental, borne from private matches. English yachting originated with King Charles II of England during his exile in the Low Countries. On his reaffirmation to the English monarchy in 1660, the city of Amsterdam sent him a 20-metre (66-foot) leisure boat with a beam (maximum width) of 5.6 m (18 feet), which he named Mary. Charles and his brother James, the duke of York (James II, sovereign 1685–88), built more yachts and in 1662 raced two of them from the Thames, from Greenwich, to Gravesend, and back, on a £100 wager. Yachting was found to be fashionable among the affluent and nobility, but after that period the fashion did not last.

The first yacht association in the British Isles, the Water Club, was formed in about 1720 at Cork, Ire., as a cruising and unofficial coast guard group, with large naval panoply and gravity. The closest thing to racing boats was the “chase,” when the “fleet” pursued an imagined enemy. The club endured, mostly as a social club, until 1765, and in 1828, when conglomerating with other groups, it was known as the Cork Yacht Club (later the Royal Cork Yacht Club).

Yacht racing was seen in some ordered manner on the Thames around the mid-18th century. The duke of Cumberland instigated the Cumberland Fleet for Thames racing in 1775. When George IV rose to the throne in 1820, it was called the Fleet to His Majesty’s Coronation Sailing Society. The Thames Yacht Club seceded following a racing fight, to become the Royal Thames Yacht Club in 1830. The first English yacht group 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 location of British racing. The association at Cowes became the Royal Yachting Club, also at the accession of George IV. All members were required to possess boats of at least 20 tons (20,321 kg). Sailing matches for large bets were held, and the society life was wonderful. Eventually Royal Yachting Club boats were raised in size to more than 350 tons.

In North America, yachting was first accomplished with the Dutch in New York in the 17th century and went on when the English took power. Sailing was largely for pleasure and found its high point in George Crowinshield’s Cleopatra’s Barge (1815), which cruised on the Mediterranean Sea and established a minimum of luxury and sophistication for the later yachts in the area from the late 19th century. The first continuing American yacht club, the Detroit Boat Club, was started in 1839. In 1844, John C. Stevens instigated the New York Yacht Club aboard his schooner Gimcrack.

Kinds of sailboats
Early sailing yachts took the style of such naval craft as brigantines, schooners, and cutters from the 17th century through the second half of the 19th century. The design of bigger yachts was first largely impacted by the success of America, which was drawn by George Steers for a association headed 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 a contemporary sense, with just a model being used. Not until the later half of the 19th century did what was called naval architecture come into action. Not until the 1920s did the application of the study of aerodynamics do for the structure of sails and rigging what such study had previously done for hulls.

Because almost all sailboats had been individually custom-built, there came a need for handicapping boats previous to the one-design class boats were made. Hence, a rating rule was created, which is found in the International Rule, taken on in 1906 and amended in 1919. In the present day, one of the 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 specifications in length, beam, sail area, and other elements (for an example of a two-person sailboat, see illustration). Racing such boats can be had on an even playing field with no handicapping required. A great example is the uniform International America’s Cup Class taken on for participants in the 1992 America’s Cup race.

As long as yachting was done largely for the aristocracy and the rich, expense was no issue, and the size of boats grew, in both length and weight. The ascendancy and preference of smaller boats came in the second 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 voyage around the world (1895–98) led single-handedly by the naturalized American captain Joshua Slocum in the 11.3-metre Spray demonstrated the value of less sizeable boats. Thereafter in the 20th century, for the larger part after World War II, smaller racing and recreational yachts became commonplace, down to the dinghy, a popular training boat, of 3.7 m. In the late 20th century, boats of less than 3 m were traveled in single-handedly across the Atlantic Ocean.

Kinds of power yachts
Following the decade 1840–50, when steam began to replace sail power in public vessels, the steam engine, and later the internal-combustion engine, were increasingly employed in leisure vessels. Sizeable power yachts were developed to a high standard, and long-distance travel turned into a favourite pastime of the wealthy. The earliest power yachts were paddle-wheel boats; they then made way to those powered by the fully submerged screw or propeller type of propulsion. As well as naval and merchant craft, auxiliaries carrying both sail and power were the yacht standard for a number of years. By the latter half of the 20th century, a lot of yachts were still auxiliaries, but the majority were exclusively power yachts with gasoline or diesel engines.

From the last decade of the 19th century there was a boom in the design of large steam yachts. Notably within these was the Mayflower (1897) of 2,690 tons, with triple-expansion engines, twin screws, and a compartmented iron hull, and was operated by a crew of over 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 was used in active service in World War II.

As more sizeable and more reliable internal-combustion engines were developed, many large craft started using them for power. The development of the diesel engine, with heavy oil for fuel, was furthered during World War I. From the decade following that, bigger power-yacht manufacture grew, hitting a climax in the Orion (1930) at 3,097 tons. From that time the largest auxiliary yacht manufactured was the four-masted, steel, barque-rigged Sea Cloud (1931) of 2,323 tons.

The construction of large power craft declined after 1932, and the fashion after that was in preference of smaller, less costly yachts. From World War II, lots of small naval boats were traded by private owners for conversion to yachts. In the late 20th century, yachting had become a internationally beloved sport enjoyed by thousands of yachtsmen personally manning and upkeeping their own small pleasure craft. The number of boats and sailors is increasing steadily, not only in the traditional locations by the seacoasts but also on inland waterways and lakes.

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Proportional, Progressive, and Regressive taxes

2010 July 8

Taxes are distinguished by the effect they have on the allocation of income and wealth. A proportional tax is a tax that imposes the same relative requirement on all taxpayers—i.e., in the case where tax liability and income grow in relative levels. 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 characterized by a less than proportional growth in the comparable burden. So, progressive taxes are thought of as taking away inequity in income distribution, but regressive taxes can have the effect of increasing these inequalities.

The taxes that are generally considered progressive include individual income taxes and estate taxes. Income taxes that are declarably progressive, however, might become less so for the upper-income demographic—in particular if a taxpayer is permitted to lower his tax base by nominating deductions or by removing some certain income elements from his taxable income. Proportional tax rates that are applied to lower-income classes can also be more progressive if exemptions of a personal nature are claimed.

Income measured over the course of a given period might not necessarily give the most appropriate measure of taxpaying requirements. For example, transitory increases in income might be saved, and within temporary declines in income a taxpayer may choose to provide for consumption by decreasing savings. Ergo, if taxation is regarded with “permanent income,” it can be less regressive (or more progressive) than if it is compared with annual income.

Sales taxes and excises (excepting those on luxuries) are mostly regressive, because the portion of individual income consumed or spent for a specific good decreases as the rate of personal income grows. Poll taxes (also known as head taxes), calculated as a standard amount per capita, obviously are regressive.

It is difficult to term corporate income taxes and taxes on business as progressive, regressive, or proportionate, principally due to the uncertainty surrounding the ability of businesses to shift their tax expenses (see below Shifting and incidence). This difficulty of determining who bears the tax burden depends crucially on whether a national or a subnational (that is, provincial or state) tax is being debated.

In analysing the economic effects of taxation, it is relevant to distinguish between various points of tax rates. The statutory rates will include those specified in the legislation; often these are marginal rates, but for some cases they are median rates. Marginal income tax rates note the fraction of incremental income taken by taxation when income grows by one dollar. Thus, if tax onus rises by 45 cents when income increases by one dollar, the marginal tax rate is 45 percent. Income tax regulations often contain graduated marginal rates—i.e., rates that grow as income grows. Careful analysis of marginal tax rates should review provisions apart from the formal statutory rate structure. If, for example, a particular tax credit (reduction in tax) decreases by 20 cents for each one-dollar growth in income, the marginal rate is 20 percentage points higher than specified within the statutory rates. Since marginal rates display how after-tax income increases or decreases in response to changes in before-tax income, they are the necessary ones for regarding incentive effects of taxation. It is even more difficult to know the marginal effective tax rate to apply to income from business and capital, as it may rely 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 portion of total income that is demanded 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 rises with income. Average income tax rates generally grow with income, both because personal allowances are permitted for the taxpayer and dependents and because marginal tax rates are graduated; on the flip side, preferential treatment of income received for the most part by high-income households can swamp these effects, allowing regressivity, as shown by average tax rates that fall as income increases.

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