Archive for July, 2010

How to Create a Style Guide

Saturday, July 31st, 2010

How many times have you commissioned 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 recognized that the crucial tag line is nowhere to be found or your logo has been ruined.

There is only one way to thwart this from happening and that is to create a style guide. Not only will a style guide assist you steer the reproduction of your logo - it will also help you fortify 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 put 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 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 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 : Ensure 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 insert any contributing logos or logos of business that are affiliated with you. It’s also important that you deliver 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 : Assure that grammar, spelling and contact details are correct.

Step 7 : Insure 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 validated as correct.

Make your Style Guide finished and as secure as possible. Then have it saved in an email friendly file format and have a couple printed. Once this is done we strongly suggest 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.

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

Monday, July 19th, 2010

The common question asked when looking for a new projector for the home, office, or classroom is: should I get an LCD projector or a DLP projector? LCD, short for ‘liquid crystal device’ and DLP, which stands for ‘digital light processing’ are the two most common projector imaging technologies. With so many different brands and types available, it can be difficult for the buyer to choose between these technologies. It comes down to the fact that LCD projectors provide superior image quality and colour accuracy. The next paragraph will explain why DLP projectors struggle with reproducing the same standard of image quality.

Think of a set of blinds in your house on your bedroom window. By pulling a rod you can have the shutters open or closed, depending on if you want to let light in or not. This is exactly how an LCD projector functions. Each pixel operates like an individual shutter on a set of blinds to either send light through or to block it. DLP on the other hand is constructed 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 the point at which the projector switches on to when the content reaches your screen is ultimately significant to image quality, brightness and colour accuracy. LCD projectors shine white light from the lamp by separating it into red, blue and green components, by three mirrors which send the coloured light to 3 separate LCD panels. The 3 LCD panels make the elements of the image by shining each pixel on and off. The pixels are then projected in a glass prism to deliver the projector image. Something important to remember about LCD projectors is that all three colours are projected onto your projector screen simultaneously. The way a DLP projector operates is totally different and even the way an 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 creating an image forms 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 eye will then draw each coloured element of the image into the single complete image. Using LCD projectors, all colours are available all the time to form the top level of brightness and great colour accuracy. In DLP, only one colour is available at once, causing lower colour brightness and accuracy. Some designers have added a white segment for the colour wheel to improve all over brightness, but this also degrades colour accuracy.

I read in forums all the time that DLP gives a higher contrast ratio and as such must be superior. 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 projector is capable of. DLP projectors do provide high contrast specifications in comparison to the majority of LCD projectors. At a glance, this seems to be a benefit, however, in reality, the true black level is determined by the ambient light in the room while the projector is being used. Do not be fooled by contrast specifications on websites and in brochures.

When the content you want to bring to life includes moving images, DLP projection technology also creates image errors, or ‘artifacts’. The most typical artifact that a DLP projector forms with moving images is colour break up. Colour break up is incontrovertible in DLP systems because moving images change position between the time red, blue and green colours are pulled up. LCD projectors do not have this characteristic because all the colours are projected simultaneously. DLP builders have formed 3DLP solutions using 3 chips to solve the colour break up issue, but the price of these projectors make them impractical for most businesses and consumers.

Another point of difference between LCD and DLP is how they match the balance for the refractive qualities of light. Take yourself back to high school science, and they taught you how the various colours of light refract different amounts when passing through the same lens. The problem with DLP projectors is that they use the one same panel and the same lens to project Red, Blue and Green. All 3 colours are obviously different and refract light in different ways. Most of the time with a DLP projector, some extra yellow colour will come up above and a spill of blue will show below an image containing something as simple as a straight black line. In building LCD projectors can be adjusted to remove these effects on the projected image, because each colour is processed on its own LCD panels.

The isolated real buy point (excluding price) with going with a DLP projector is its smaller total 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 outcome of the picture quality is vital to you, then the solution is no-brainer. Go for an LCD projector! LCD projectors will consistently show bright, colourful images with fewer image imperfections. If you want to know more about LCD technology in more detail, check out this spectacular resource website: Explore 3LCD. If you have any additional 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 store for projectors. Based in Brisbane, Projector Central has serviced Australia for 15 years. For data projectors in the Gold Coast and Interactive Whiteboards, contact Projector Central today.

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Yachting and Yacht Clubs

Friday, July 16th, 2010

As the Dutch rose to dominance in sea power during the 17th century, the early yacht was a pleasure craft used mostly by royalty and later by the burghers in the canals and the protected and unprotected waters of the Low Countries. Racing was incidental, borne from private games. English yachting started with King Charles II of England during his exile in the Low Countries. On his return to the English throne in 1660, the city of Amsterdam gave 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 returning, on a £100 punt. Yachting was found to be fashionable among the wealthy and aristocracy, but after that point the trend did not last.

The first yacht association in the British Isles, the Water Club, was instigated in about 1720 at Cork, Ire., as a cruising and unofficial coast guard group, and held large naval panoply and gravity. 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, when conglomerating with other societies, it became the Cork Yacht Club (later the Royal Cork Yacht Club).

Yacht racing began in some stipulated fashion on the Thames around the mid-18th century. The duke of Cumberland instigated the Cumberland Fleet for Thames racing in 1775. When George IV came to the throne in 1820, it was then named the Fleet to His Majesty’s Coronation Sailing Society. The Thames Yacht Club seceded following a racing dispute, to become the Royal Thames Yacht Club in 1830. The first English yacht association had been initiated at Cowes on the Isle of Wight in 1815, and royal sponsorship made the Solent - the strait between the mainland and the Isle of Wight - the perpetual site of British racing. The association at Cowes became the Royal Yachting Club, likewise at the accession of George IV. Each member was required to possess boats of at least 20 tons (20,321 kg). Sailing races for large bids were held, and the society life was lovely. Eventually Royal Yachting Club boats grew in size to over 350 tons.

In North America, yachting started with the Dutch in New York in the 17th century and continued when the English took dominance. Sailing was mostly for leisure and found its high point in George Crowinshield’s Cleopatra’s Barge (1815), which traveled on the Mediterranean Sea and set a benchmark of luxury and elegance for the later yachts in those waters from the late 19th century. The first continuing American yacht society, the Detroit Boat Club, was formed in 1839. In 1844, John C. Stevens founded the New York Yacht Club while aboard his schooner Gimcrack.

Kinds of sailboats
The Early sailing yachts took the design of such naval craft as brigantines, schooners, and cutters from the 17th century until the second half of the 19th century. The style of sizeable yachts was originally heavily affected by the win of America, which was designed by George Steers for a group started by John C. Stevens, and it was the boat for which the America’s Cup (q.v.) was named after its victory at Cowes in 1851. The first yachts were not designed and manufactured in a contemporary sense, with only a model for an outline. Not until the latter half of the 19th century did what was known as naval architecture come into action. Not until the 1920s did the application of the study of aerodynamics do for the craft of sails and rigging what it had previously done for hulls.

Because almost all sailboats were individually custom-built, there arose a need for handicapping boats as this was previous to the one-design class boats were made. Hence, a rating rule was written, which ended up in the International Rule, accepted in 1906 and edited in 1919. In modern times, one of the fastest growing areas in the sailing industry is that of one-design class boats. All boats in a one-design class are created to single requirements in length, beam, sail area, and other elements (for an example of a two-person sailboat, see illustration). Racing between those boats can be held on an even par with no handicapping required. A great example is the generic 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 wealthy, expense was no problem, and the size of boats increased, in both length and weight. The promotion and popularity of smaller craft occurred in the later half of the 19th century out of the sailing of the Englishmen R.T. McMullen, a stockbroker, and E.F. Knight, a barrister and journalist. A trip around the world (1895–98) captained single-handedly by the naturalized American captain Joshua Slocum in the 11.3-metre Spray proved the hardiness of less sizeable boats. Later in the 20th century, notably after World War II, smaller racing and pleasure craft became more common, down to the dinghy, a popular 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, in which steam started to emulate sail power in market vessels, the steam engine, and later the internal-combustion engine, were employed increasingly in leisure vessels. Sizeable power yachts were developed to a high standard, and long-distance sailing became a favoured occupation of the rich. The earliest power yachts were paddle-wheel boats; these then made way to yachts powered by the completely submerged screw or propeller kind of propulsion. As in the case of naval and merchant craft, auxiliaries possessing both sail and power were the yacht fashion for several years. By the latter half of the 20th century, a lot of yachts were still auxiliaries, but the large part were exclusively power yachts that had gasoline or diesel engines.

In the last decade of the 19th century there was a boom in the manufacture of large steam yachts. Conspicuous among these was the Mayflower (1897) of 2,690 tons, with triple-expansion engines, twin screws, and a compartmented iron hull, and was sailed by a crew of more than 150. The Mayflower, purchased by the United States Navy in 1898, was the official yacht of the president of the United States until 1929 and saw active service during World War II.

As larger and more dependable internal-combustion engines were developed, many bigger craft started using them for power. The establishment of the diesel engine, with heavy oil for fuel, was furthered in World War I. During the decade that followed, big power-yacht manufacture grew, reaching a climax in the Orion (1930) at 3,097 tons. From that point the largest auxiliary yacht manufactured was the four-masted, steel, barque-rigged Sea Cloud (1931) of 2,323 tons.

The building of bigger power boats lessened in 1932, and the fashion after that was for smaller, less costly yachts. After World War II, lots of small naval vessels were sold to private owners for conversion to yachts. At the late 20th century, yachting had become a internationally loved activity enjoyed by thousands of yachtsmen who are actually manning and upkeeping their own small pleasure yachts. The popularity of craft and owners has increased steadily, not only in the traditional locations by the beach but also on inland waterways and lakes.

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