Why You Should Hire an Architect

2010 September 8
by squadron

An architect is a well trained professional who has experience in planning, designing and the construction of buildings and the management 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 freedom to design the building or group of buildings, as well as the space around it that still counts as part of the property. 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 concrete 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 pricing 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 bogged down 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 your 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 project.

Engaging 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 problems of a particular strategy.

These are just some of the many important benefits and key reasons why you should use 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 for when you want to make a daring 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 splendid
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 different 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 fun 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 astounding, 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 rudimentry
and your budget may be tight. Look for cheap tents that offers a waterproof Polyester roof and a solid warranty for under $600.

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

In the last 5 years, portable Tents have become important to businesses for their marketing. The key need for these buyers is a prominent and identical reproduction of their logo. Sign written or printed Tents can be as boring 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 majestic array of breathtaking landscapes. Like huge mountain ranges, endless coastlines, breathtaking rainforests, deep fiords, snow capped mountains and steaming volcanoes. These panoramic wonders have all made New Zealand an inspired 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 prominent 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 picturesque 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 demand 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 cutting-edge 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 attractive 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 great festivals, shopping spots, theaters and art galleries. Hotels overlooking Victoria Square provide visitors with an insight in to the city’s English history.

Individuals staying 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. Luxurious 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 splendidcountryside surrounding the city.

Auckland
Auckland, also known as the City of Sails, is situated in between 2 harbors and has more boats per person than anywhere on the planet. Within minutes a person has the chance of sailing away on yachts to isolated nearby islands, living the sweet life in the casino, surfing at endless beaches or tasting the exotic wines at local vineyards. Hotels come in stylish and comfortable studios, and spacious 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 wonderful, 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 fantastic holidaying experience. Visitors to Auckland adore visiting the Antarctic Encounter, which showcases the only penguins present in the sub-Antarctic region. More encounters 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 unprofessional 24 hour carpet cleaner show up to repair your water damaged carpets. These are the signs you should be aware of:

Overcharging. An unprofessional water restoration carpet cleaner may build the job up with extra extras. E.g. using dehumidification for drying the water damaged carpets isn’t always needed.

Having the correct equipment. They can use equipment from hire places for drying the carpet. This is all right, but an experienced water damage restorer will own all their equipment so they offer a quicker response and hopefully a better value job.

The right moisture metre. If they don’t have the right moisture meter, they won’t be able to know if the carpet is dry. This furthers the danger of future mould growth. Mould removal in future may be required.

Specialised. There are a whole lot of “Carpet Cleaners” in this industry who do restoration repairs on the “side.” i.e. they aren’t those who deal with this sort of job each day. Be aware of this. Restoring carpet water damage is an art. Reinstalling carpets on the gripper strips is best to be taken on by a professional, otherwise they can be permanently damaged.

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

What size is their Yellow Pages ad slot: This can be an indication as to how much work they are getting already. A full-size Yellow Pages ad slot can cost about $50 000. When they have paid for a large ad, you can have some expectation that they are established.

Where do they rank in Google? The higher they are in Google, the more click-ins there have been for their 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 source them for their water damage jobs? This is a very good indicator. If insurance companies source them, the business is probably going to be excellent at their job. Insurance companies generally use the businesses that grant them the better value for their money.

What Equipment do they have? They should own about 100 Air movers. If they have this many, this shows they have been going for a while. Our business took 8 years to accumulate that many wet carpet drying air movers.

What level of commitment can you get with them with a phone call? Try to pin them down to a fee for water extraction, water removal and initial inspection. If they don’t give you a fee for this at the least, you know they are not willing to assist you, so move on.

Response Time – Our Water Damage business based in Brisbane operates to a 59 minute response time to a water damage emergency. The restoration needs to be responded to ASAP. Mould can develop after a 24 hour period.

If you focus on these tips you are sure to come up with 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 charge of getting your site established by a developer and understand the process it will save you money and attain you a site that actually works the intended purpose!

1. Understanding your business and how you are currently established in your market.
In order to formulate a site that truly meets your requirements; you first need to have a full understanding 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 furnished with example sites and more importantly the elements of the site you like so they can acquire an understanding of what you would like to see on your site and also what you find frustrating about other sites. This will construct 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 fast development. The more interaction and information you accord them in the beginning the more time you will save everybody in the long run by achieving 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 acquire the general layout of this concept and then create the inner page template. It is this template that will be replicated for most of your pages for your site.
Provide your content in a pre-proofed word processed document; don’t get 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 inferred that you do use bolding, underlining, headings and sub heading though ,as these highlights are transferred into the site and are crucial later on in not only interacting with the reader but for Search Engine Optimisation.
One last tip for content; present a decent amount of content but formulate it in a way that a reader may acquire a summary of what you are trying to infer 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 use and comprehend 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 avialable on the internet for free!

7. Launch – going live
When the developers are ready to put your site onlive make sure you have finished the above testing step until you are certain 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 very important step to forming a business. It is the face of your business. And like your face conveys the tone of your business, indicates the service and displays 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 unnecessary and may cause complications when trying to recreate the logo exactly as done 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 hinted that if your service or product name is not in your business name then perhaps an icon will assist in conveying 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 searching for a more illustrative finish without losing recognition.

A excellent example of this is the well-known and executed Fedex logo.

Tip 2
Colour can be an extremely important decision as it not only could change the output costs but can also hinder your output use. Think about the end result and what you will be putting your branding onto in the future. Make sure your designer is aware of this as they should design accordingly.

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

Creative software updates frequently and some programmes become obsolete. Make certain 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 arrange. For example it is hard to 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
Ensure 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
Assure that you receive 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 collect 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 graphic design Brisbane today for a free two hour consultation.

How to Create a Style Guide

2010 July 31
by squadron

How many times have you sent business cards to print and obtained yet another version of your corporate colour? Ever been enthusiastic to see your advert in the latest newspaper and then observed that the crucial tag line is missing or your logo has been squashed.

There is only one way to thwart this from happening and that is to create a style guide. Not only will a style guide aid you steer the reproduction of your logo – it will also help you strengthen 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 require 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 : Insure 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 certain to include any contributing logos or logos of business that are associated with you. It’s also important that you issue a copy of the layout to these companies to ensure they agree with the layout of their logo as they too may have their own Style Guide and hierarchy layout rules.

Step 6 : Confirm 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 approved as correct.

Get your Style Guide completed and as established 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 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)

2010 July 19

The typical question asked when purchasing a new projector for the home, office, or classroom is: will I take 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 top projector imaging technologies. With so many different brands and different types available, it can be overwhelming for consumers to make a choice between these technologies. Ultimately LCD projectors provide superior image quality and colour accuracy. The following article tells you why DLP projectors struggle with reproducing the same level of image quality.

It’s like a set of blinds in your home over your bedroom window. With the twist of a rod you can have the shutters open or closed, depending on if you want to let light in or not. And this is exactly how an LCD projector works. Each pixel works like a single shutter on a set of blinds to either pass light through or to block it. DLP on the other hand is constructed of millions of microscopic mirrors or ‘pixel elements’ as experts 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 is switched on to when the picture reaches your screen is ultimately important for image quality, brightness and colour accuracy. LCD projectors project white light from the lamp by cutting it into red, blue and green components, by three mirrors which direct the coloured light to 3 individual LCD panels. The 3 LCD panels make the elements of the image by switching each pixel on and off. The pixels are then simultaneously processed in a glass prism to create the projector image. Something to understad about LCD projectors is that all three colours are sent onto your projector screen at the same time. The way a DLP projector functions is widely different and even the final product of how an image comes out is not the same. With DLP, white light from the lamp is projected through a turning colour wheel with transparent red, blue and green segments, at speeds up to 11,000 rpm/s. This approach to making an image creates 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 projected 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 full image. In LCD projectors, all colours are available all the time to offer the top level of brightness and great colour accuracy. In DLP, just one colour is available at any given time, and so resulting in lower colour brightness and accuracy. Some manufacturers have placed a white segment in the colour wheel to improve brightness overall, but this then detracts from colour accuracy.

I find in forums all the time that DLP offers a higher contrast ratio and as such must be superior 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. DLP projectors do offer high contrast specifications when compared to the majority of LCD projectors. At first glance, this appears 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 used. Do not be fooled by contrast specifications on websites and in brochures.

When the content you want to bring to life needs moving images, DLP projection technology can also have image imperfections, or ‘artifacts’. The most commonplace artifact that a DLP projector shows 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 disadvantage because the colours are delivered with the others. DLP developers have developed 3DLP solutions using 3 chips to fix the colour break up error, but the price tag of these projectors make them hardly practical for most businesses and consumers.

Another variance between LCD and DLP is how they make up for the refractive qualities of light. Jump back to high school science, and they taught you how the different colours of light refract various amounts when shone through the same lens. The problem with DLP projectors is that they have the one same panel for the same lens to project Red, Blue and Green. All 3 colours are obviously different and refract light in a different way. Often with a DLP projector, some extra yellow colour will come through above and a superfluous blue will come through below something as simple as a single black line. In building LCD projectors can be adjusted to minimize these effects on the projected image, because each colour is directed on separate LCD panels.

The one veritable plus (excluding price) with going with a DLP projector is its overall smaller size and weight. However, this is only relevant in regard to mobility and must be traded off against the image plusses of LCD projectors. If the result of the picture quality is crucial to you, then the solution is a no-brainer. Take an LCD projector! LCD projectors will definitely make bright, colourful images with fewer image blips. If you desire to find out more about LCD technology in more detail, check out this fabulous resource website: Explore 3LCD. If you have any other questions, go to Projector Central and send me an email.

Jonathan King is the sales and marketing manager for Projector Central, Australia’s number one online retailer 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.

Yachting and Yacht Clubs

2010 July 16

As the Dutch found preeminence in sea power during the 17th century, the early yacht had been a leisure craft used initially by royalty and later by the burghers for the canals and the protected and unprotected waters of the Low Countries. Yacht racing was incidental, borne from private challenges. English yachting originated 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, sovereign 1685–88), made more yachts and in 1662 raced two of them from the Thames, from Greenwich, to Gravesend, and returning, on a £100 wager. Yachting became classy for the wealthy and royalty, but after that period the habit did not last.

The first yacht association in the British Isles, the Water Club, was instigated around about 1720 at Cork, Ire., as a cruising and unofficial coast guard association, with large naval panoply and formality. The closest thing to racing was the “chase,” for which the “fleet” pursued an imagined enemy. The club went on, mostly as a social club, until 1765, and in 1828, when conglomerating with other societies, it became known as the Cork Yacht Club (later the Royal Cork Yacht Club).

Yacht racing began in some ordered method on the Thames in the mid-18th century. The duke of Cumberland funded the Cumberland Fleet for Thames racing in 1775. When George IV came to the throne in 1820, it was known as the Fleet to His Majesty’s Coronation Sailing Society. The Thames Yacht Club seceded with a racing dispute, to become the Royal Thames Yacht Club in 1830. The first English yacht society had been formed 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 continued location of British racing. The association at Cowes became the Royal Yachting Club, likewise at the accession of George IV. Every member was required to possess boats of at least 20 tons (20,321 kg). Sailing matches for great bets were held, and the club life was superlative. It came to be that the Royal Yachting Club boats increased in size to bigger than 350 tons.

In North America, yachting started with the Dutch in New York in the 17th century and continued when the English held dominance. Sailing was for the most part for pleasure and reached its apogee in George Crowinshield’s Cleopatra’s Barge (1815), which cruised on the Mediterranean Sea and established a standard of luxury and sophistication for the later yachts in the area from the late 19th century. The first enduring American yacht group, the Detroit Boat Club, was formed in 1839. In 1844, John C. Stevens began the New York Yacht Club while aboard his schooner Gimcrack.

Kinds of sailboats
The first sailing yachts were within the design of such naval craft as brigantines, schooners, and cutters from the 17th century through to the second half of the 19th century. The craft of bigger yachts was originally largely put upon by the victory of America, which was drawn by George Steers for a club started by John C. Stevens, and it was the boat for which the America’s Cup (q.v.) had its namesake after its win at Cowes in 1851. Earlier yachts were not designed and built in a contemporary sense, with just a model for an outline. Not until the later half of the 19th century did what was known as naval architecture come about. Not until the 1920s did the application of the science of aerodynamics do for the craft of sails and rigging what science had earlier done for hulls.

Because almost all sailboats were individually manufactured, there came a need for handicapping boats before the one-design class boats were made. Therefore, a rating rule came into being, which ended up in the International Rule, adopted in 1906 and amended in 1919. In modern times, 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 manufactured to the same dimensions in length, beam, sail area, and other elements (for an example of a two-person sailboat, see illustration). Racing those boats can be had on an even playing field with no handicapping necessary. A great example is the standard International America’s Cup Class adopted for participants in the 1992 America’s Cup race.

As long as yachting was done mostly for the aristocracy and the rich, money was no problem, and the size of boats grew, in both length and weight. The rise and preference of smaller craft occurred in the later half of the 19th century from 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) sailed single-handedly by the naturalized American captain Joshua Slocum in the 11.3-metre Spray demonstrated the hardiness of smaller craft. Following this in the 20th century, particularly after World War II, smaller racing and recreational yachts became commonplace, down to the dinghy, a favourite 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
After the decade 1840–50, when steam started to emulate sail power in public craft, the steam engine, and later the internal-combustion engine, were used increasingly in pleasure craft. Sizeable power yachts were furthered to a high element, and long-distance cruising turned into a preferred activity of the rich. The earliest power yachts were paddle-wheel boats; those then made way to yachts powered by the wholly submerged screw or propeller type of propulsion. As in the case of naval and merchant vessels, auxiliaries possessing both sail and power were the yacht standard for several years. By the second half of the 20th century, many yachts were still auxiliaries, but the majority were solely power yachts with gasoline or diesel engines.

During the last decade of the 19th century there was a boom in the construction of more sizeable steam yachts. In particular of 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 more than 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 was used in active service in World War II.

As larger 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, progressed for World War I. From the decade following that, big power-yacht creation flourished, reaching a climax in the Orion (1930) at 3,097 tons. During that point the best auxiliary yacht manufactured was the four-masted, steel, barque-rigged Sea Cloud (1931) of 2,323 tons.

The manufacture of large power boats declined in 1932, and the trend thereafter was for smaller, less expensive boats. From World War II, a lot of small naval vessels were bought by private owners for conversion to yachts. At the late 20th century, yachting is a globally beloved sport enjoyed by thousands of yachtsmen who are actually manning and maintaining their own small pleasure boats. The number of boats and yachtsmen is increasing steadily, not only in the traditional places by the sea but also on inland waterways and lakes.

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Proportional, Progressive, and Regressive taxes

2010 July 8

Taxes can be differentiated by the effect they have on the distribution of income and wealth. A proportional tax is one that impinges the same relative liability on every taxpayer—i.e., in the case where tax liability and income grow in relative proportion. A progressive tax is characterized by a more than proportional increase in the tax liability in regard to the increase in income, and a regressive tax is characterizable by a less than proportional increase in the comparative burden. So, progressive taxes are regarded as taking away the lack of equality in income distribution, while regressive taxes are seen to increase these inequalities.

The taxes that are often considered progressive include individual income taxes and estate taxes. Income taxes that are initially progressive, however, might become less so for the upper-income demographic—particularly if a taxpayer is permitted to lower his tax base by declaring deductions or by excluding certain income aspects from his taxable income. Proportional tax rates when applied to lower-income demographics will also be more progressive if exemptions of a personal nature are claimed.

Income measured over a given year does not necessarily provide the most accurate measure of taxpaying requirements. For example, transitory rises in income might be saved, and during temporary declines in income a taxpayer might decide to pay for consumption by reducing savings. Thus, if taxation is made comparable along with “permanent income,” it should be less regressive (or more progressive) than if it is compared with annual income.

Sales taxes and excises (excepting luxuries) are usually regressive, because the spread of one’s income consumed or spent for specific goods lowers as the rate of personal income rises. Poll taxes (aka head taxes), levied as a fixed amount per capita, obviously are regressive.

It is difficult to dictate corporate income taxes and taxes on business as progressive, regressive, or proportionate, principally because of the 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 rests crucially on whether a national or a subnational (that is, provincial or state) tax is being considered.

In regarding the economic purposes of taxation, it is essential to differentiate between various ideas of tax rates. The statutory rates are those dictated in law; generally speaking these are marginal rates, but for some cases they are mean rates. Marginal income tax rates signify the fraction of incremental income that is taken by taxation when income is increased by one dollar. Therefore, if tax burden rises by 45 cents when income increases by one dollar, the marginal tax rate is 45 percent. Income tax laws often contain graduated marginal rates—i.e., rates that increase as income increases. Careful analysis of marginal tax rates need to review provisions other than the formal statutory rate structure. If, for example, a particular tax credit (reduction in tax) declines by 20 cents for each one-dollar rise in income, the marginal rate is 20 percentage points higher than nominated in the statutory rates. Since marginal rates indicate how after-tax income moves in response to changes in before-tax income, they are the relevant ones for appraising incentive effects of taxation. It is even more difficult to understand the marginal effective tax rate to apply to income from business and capital, because 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 shows that the marginal effective tax rate in income from capital is zero under a consumption-based tax.

Average income tax rates show the percentage of total income that is required in taxation. The pattern of average rates is the one that is relevant 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 rise with income, both because personal allowances are granted for the taxpayer and dependents and also due to that marginal tax rates are graduated; on the flip side, preferential treatment of income received mostly by high-income households could dampen these effects, producing regressivity, as indicated by average tax rates that decline as income increases.

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