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Why You Should Hire an Architect

An architect is a highly trained expert who has experience in planning, designing and the construction of buildings and the management of construction jobs.

Also, one is not considered an architect until he or she has properly passed all the necessary courses 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 project. These ideas form the planning stage of the project and can take months to finalise.

The reason why architects are so crucial 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 business, then an architect can make sure that those plans 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 considered, 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 the plans originally established with the help of the architect.

The architect is also very helpful before the actual construction. 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 project.

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, bidding 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 expert 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 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.

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New Zealand’s Top Holiday Cities

New Zealand has a splendid array of breathtaking landscapes. Like imposing mountain ranges, majestic coastlines, bountiful rainforests, deep fiords, snow capped mountains and steaming volcanoes. These panoramic wonders have all made New Zealand an attractive destination for all kinds of holidays.

Amazing travel packages and holiday specials are available on quality accommodation in modern city hotels and luxurious wilderness lodges at discounted prices. Among the top holiday destinations 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 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 modern 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 beautiful 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 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. Spacious 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 radiantcountryside 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 flexibility 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 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 breathtaking, 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 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.

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

Don’t let an inexperienced 24 hour carpet cleaner come to repair your carpets damaged by water. These are the cautions you must be aware of:

Overcharging. An amateur water restoration technician may fill the job up with superfluous steps. E.g. using dehumidification for drying the damaged carpets when it is not needed.

Not using the correct equipment. They may hire equipment from hire businesses to dry the carpet. This is ok to do, but a professional water damage professional will possess all their equipment so they provide a faster response and hopefully a better value job.

The right moisture metre. If they don’t have the right moisture meter, they will not be able to tell whether the carpet is dry enough. This furthers the danger of future mould growth. Removal of this may be required.

They are not Specialised. There are a whole lot of “Carpet Cleaners” in this industry who do restoration jobs on the “side.” i.e. they aren’t the ones who do this sort of work often. Be aware of this. Fixing carpet water damage is an art. Taking carpet off the gripper strips then reinstalling them is best to be completed by a professional, otherwise the carpet can be damaged beyond repair.

You could be asking, how do I locate a proper Flood Restoration professional? Below I have set out some pointers to look out for when hunting around for a carpet flood damage business:

What size is their Yellow Pages ad: This can indicate how much work they have already. A full-size Yellow Pages ad can cost around $50 000. When they have invested in a larger ad, you get some expectation that they are established.

Where do they rank in Google? The higher their rank in Google, the more click-ins there are for the business.

What Qualifications do they have? The minimum qualification they need is a IICRC qualification for Applied Structural Drying and Water Damage Restoration.

Do Insurance companies hire them for their carpet water damage jobs? This is a better indicator. If insurance companies use them, the business is bound to be excellent at their job. Insurance companies generally use the providers that give them the best value for the money.

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

What kind of commitment can you get with them on the phone? Ask if you can pin them down to a set price for water extraction, water removal and initial inspection. If they wouldn’t give you a price for this at the least, you know they are not going to serve you, so keep looking.

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

If you go by these tips you are sure to choose a Flood Damage Restoration business 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.

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Podiatry as a Career in Australia

As a practicing podiatrist in Brisbane, Australia, I am frequently asked by patients if podiatry would be a good career for a school leaver to consider . There are many things to recommend a career in podiatry including:

  • You can be self employed: This is a option that is increasingly being denied to other health care providers such as optometrists and even GPs . Big Business controls a lot of health practices. Consider how often you see an independent optometrist these days – can they compete on price with the multinational chains?
  • Legal Issues: In Australia (unlike the USA where things are very different), podiatrists very, very rarely get sued . The nature of podiatry practice does not lend itself to accidentally harming one’s patients. Also, you never have to give your patients the bad news that their condition will be terminal.
  • Working Hours: Emergency call outs are very unlikely. This is welcome news for those among us who like their sleep uninterrupted.
  • Financial Reward: Whilst it is true that podiatry doesn’t pay as well as being a medical practitioner or dentist , the remuneration is generally commensurate with other allied health providers.
  • Instant Gratification: One of the most rewarding aspects of a career as a podiatrist is the instant gratification! People come in with pain and leave happy. You will consult on a plethora of bite-sized jobs each day, many with a cure you can provide immediately. From someone that has worked with unanimously grumpy customers in a past career, believe me when I tell you, it makes the day much more rewarding when people leave you smiling.
  • Philanthropy: Podiatry will provide you a great deal of opportunity to help resolve the suffering of your fellow human beings.
  • Self – Determination: Podiatry provides a professional the power to determine their own course of action for the benefit of their patients. This is unlike a career in nursing for instance where one works under the instruction of a doctor.
  • Clear Job roles: The only people who can work as a podiatrist are those with a podiatry qualification. The clear roles that this demarcates relieves the need to find your ‘niche’ after university – as someone with a more generic Bachelor of Science degree might need to do.
  • Got the urge to travel? There are many places in the world that do not qualify their own podiatrists including Tasmania, the Northern Territory, all of Asia and all of the Middle East. If you want to work around the the world, Australian podiatrists can work in any Commonwealth country and are especially in demand in Singapore, Egypt, United Arab Emirates and other far flung fields.
  • Variety: In any given day, a podiatrist will see a large range of complaints. There might be an ingrown toenail or two, an excruciating corn, a sports injury, some lower back pain and at least a couple of painful arches . The essence of being a good podiatrist is to be a great problem solver. Each patient is an individual with a unique problem requiring a well considered solution.

How do you qualify as a podiatrist ?

To qualify as a podiatrist means six Australian Universities:

  • Curtin University
  • La Trobe University
  • Charles Sturt University
  • Queensland University of Technology
  • University of South Australia
  • University of Western Sydney.

Last year, the entry score for the QUT was OP 8.

Stephanie Cosgrove graduated as a podiatrist from QUT in 1990 and with a Master’s degree in Applied Science (Podiatry) in 1996. Since 1991, she has worked in private practice as a Podiatrist Brisbane. She received three university prizes during her studies, including the award for excellence in design and manufacture of orthotics. Brisbane has been the site of her private practice since 1991 which has grown to four locations and eleven staff. If you want to Walk Without Pain consider a visit to Brisbane’s most innovative podiatry practice today. Call for an appointment now on 1300 A1 Feet.

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Eight Steps to Great Web Design

Take control of getting your site conceived by a developer and comprehend the process it will save you money and get you a site that actually works the intended purpose!

1. Knowing your business and how you are currently positioned in your market.
In order to establish 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 accomplish 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 actualize 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 give 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 formulate the inner page template. It is this template that will be duplicated for most of your pages for your site.
Present your content in a pre-proofed word processed document; don’t become too creative with the document fonts etc. as these will not be kept when the content is copied into the code of the site. It is suggested 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 getting the point across to the reader but for Search Engine Optimisation.
One last tip for content; formulate a decent amount of content but provide it in a way that a reader may attain 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. You need to know that you can utilize 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, chances 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 bring your site live make sure you have completed 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.

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Tips to Creating a New Business Logo

A logo is a imperative step to building a business. It is the face of your business. And like your face conveys the tone of your business, indicates the service and demonstrates 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 created the original logo for them and so incur costs to have it redone. This is needless and may cause difficulties when trying to recreate the logo exactly as created 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 obstacles.

Tip 1
First things first – you need to decide if you would like your logo to have an accompanying icon. It is advised that if your service or product name is not in your business name then perhaps an icon will assist in getting 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 sighting for a more illustrative finish without losing recognition.

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

Tip 2
Colour can be an essential decision as it not only could change the output costs but can also limit 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
Ensure you get a back up disk of your logo as a master file and confirm that it includes all the files needed for the different printing formats.

Creative software updates frequently and some programmes become obsolete. Insure 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 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
Confirm 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
Make sure 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 accept 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.

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How to Create a Style Guide

How many times have you mailed 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 not present or your logo has been squashed.

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 sustain 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 : Define 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 attribute to the business and team.

Step 4 : Make certain 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 reproduced.

Step 5 : Make sure to take into account any contributing logos or logos of business that are linked with you. It’s also important that you send a copy of the layout to these companies to insure they accept the layout of their logo as they too may have their own Style Guide and hierarchy layout rules.

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

Step 7 : Ensure 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.

Get 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 advocate a training session – whereby your design studio comes in and trains your staff on how to use 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)

The common question asked when looking for a new projector for the home, office, or classroom is: would I buy an LCD projector or a DLP projector? LCD, which stands for ‘liquid crystal device’ and DLP, which stands for ‘digital light processing’ are the two most common projector imaging technologies. With so many company brands and types available, it can be difficult for the buyer to pick between both technologies. Ultimately LCD projectors provide superior image quality and colour accuracy. The following article will explain why DLP projectors struggle with creating a comparable rate of image quality.

Think of a set of blinds in your household covering your bedroom window. By a twist of a rod you can have the shutters open or closed, depending on whether you want to let light in or not. That is exactly how an LCD projector operates. Each pixel works like a single shutter on a set of blinds to either shine light through or to block it. DLP on the other hand is made up of millions of microscopic mirrors or ‘pixel elements’ as professionals like to call them. Each pixel element functions to either reflect light or block it.

How the light source is processed from when the projector is turned on to when the content reaches your screen is ultimately significant for image quality, brightness and colour accuracy. LCD projectors direct white light from the lamp by splitting it into red, blue and green components, by three mirrors which send the coloured light to 3 individual LCD panels. The 3 LCD panels form the elements of the image by processing each pixel on and off. The pixels are then simultaneously processed in a glass prism to send the projector image. A point to know about LCD projectors is that all three colours are sent onto your projected surface all at once. The way a DLP projector operates is totally different and even the way 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 creating an image creates a sequence of red, blue and green light. The millions of micro mirrors described above reflect the coloured light on the pixels to construct the image elements. The elements of the image are cast in sequence on the screen, one colour at a time. The viewer’s eyes will then draw each coloured element of the image into a complete image. With LCD projectors, all colours are available all the time to deliver top brightness and superb colour accuracy. In DLP, only one colour is available at a time, resulting in lower colour brightness and accuracy. Some developers have added a white segment in the colour wheel to improve overall brightness, but this goes and degrades colour accuracy.

I read in forums all the time that DLP provides a higher contrast ratio and therefore must be better. For those who are uncertain, 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. DLP projectors do have high contrast specifications as compared to most LCD projectors. At first glance, this appears to be an advantage, however, in reality, the true black level is determined by the ambient light in the room where the projector is being utilised. Do not be duped by contrast specifications on websites and in brochures.

When the content you wish to project includes moving images, DLP projection technology also creates image imperfections, or ‘artifacts’. The most typical artifact that a DLP projector displays with moving images is colour break up. Colour break up is to be expected in DLP systems because moving images change between the time red, blue and green colours are pulled up. LCD projectors do not have this characteristic because every colour is projected at once. DLP builders have developed 3DLP solutions using 3 chips to solve the colour break up artifacts, but the price of these projectors make them hardly practical for many businesses and consumers.

Another point of difference 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 shone through the same lens. The disadvantage with DLP projectors is that they utilise the one same panel and the same lens to project Red, Blue and Green. All 3 colours are different and refract light in a different way. Most of the time with a DLP projector, an extra yellow colour will be projected above and some blue will be projected below an image as simple as a single black line. In building LCD projectors can be adapted to take away these effects on the projected image, as each colour is processed on isolated LCD panels.

The sole true advantage (excluding price) with picking a DLP projector is its smaller overall size and weight. However, this is only relevant in regard to portability 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 decision is easy. Go for an LCD projector! LCD projectors will consistently show bright, colourful images with fewer image imperfections. If you wish to know more about LCD technology in more detail, have a look at this fabulous resource website: Explore 3LCD. If you have any persisting questions, go to Projector Central and send me an email.

Jonathan King is the sales and marketing manager with Projector Central, Australia’s top online store for projectors. Based in Brisbane, Projector Central has serviced Australia for 15 years. For data projectors in Brisbane and Interactive Whiteboards, contact Projector Central today.

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Yachting and Yacht Clubs

As the Dutch found dominance in sea power during the 17th century, the first yacht was a leisure craft used mostly by royalty and secondly by the burghers on the canals as well as the protected and unprotected waters of the Low Countries. Racing was incidental, borne from private matches. English yachting began 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 gave him a 20-metre (66-foot) leisure boat with a beam (maximum width) of 5.6 m (18 feet), which he then named Mary. Charles and his brother James, the duke of York (James II, reigned 1685–88), built additional yachts and in 1662 raced two of them from the Thames, from Greenwich, to Gravesend, and returning, on a £100 wager. Yachting rose as popular among the affluent and royalty, but after that period the fashion did not last.

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

Yacht racing was first seen in some organized fashion on the Thames about the mid-18th century. The duke of Cumberland funded the Cumberland Fleet for Thames racing in 1775. When George IV rose to sovereignty in 1820, it was then 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 organisation 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 continuing location of British yachting. The association at Cowes became the Royal Yachting Club, again at the ascension of George IV. All members were required to have boats of at least 20 tons (20,321 kg). Sailing matches for large stakes were held, and the social life was splendid. It came to be that the Royal Yachting Club boats were raised in size to more than 350 tons.

In North America, yachting started with the Dutch in New York in the 17th century and went on when the English gained dominance. Sailing was for the most part for fun and found its epitome in George Crowinshield’s Cleopatra’s Barge (1815), which cruised on the Mediterranean Sea and set a minimum of luxury and elegance for the later yachts in the area from the late 19th century. The first persisting American yacht organisation, the Detroit Boat Club, was started in 1839. In 1844, John C. Stevens founded the New York Yacht Club aboard his schooner Gimcrack.

Kinds of sailboats
Early sailing yachts took the lines of such naval craft as brigantines, schooners, and cutters from the 17th century through the latter half of the 19th century. The design of large yachts was initially heavily impacted by the victory of America, which was drawn by George Steers for a syndicate 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. Early yachts were not designed and manufactured in the modern sense, with just a model used. Not until the second half of the 19th century did what was called naval architecture come about. Not until the 1920s did the application of the research of aerodynamics do for the structure of sails and rigging what it had previously done for hulls.

Because most of all sailboats were individually manufactured, there was a desire for handicapping boats before the one-design class boats were designed. Hence, a rating rule was created, which is found in the International Rule, taken on in 1906 and amended in 1919. In modern times, one of the fastest flourishing areas in sailing is that of one-design class boats. All boats in a one-design class are manufactured to single requirements in length, beam, sail area, and other aspects (for an example of a two-person sailboat, see illustration). Racing these boats can be held on an even playing field with no handicapping necessary. A perfect example is the generic International America’s Cup Class taken on board for yachts in the 1992 America’s Cup race.

So long as yachting was an activity primarily for the nobility and the rich, cost was no issue, and the size of boats developed, in both length and weight. The rise and popularity of smaller craft came in the second 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 trip around the world (1895–98) captained single-handedly by the naturalized American captain Joshua Slocum in the 11.3-metre Spray demonstrated the hardiness of small yachts. Later in the 20th century, for the larger part after World War II, smaller racing and recreational boats became commonplace, down to the dinghy, a preferred 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
After the decade 1840–50, at which point steam started to emulate sail power in market craft, the steam engine, and later the internal-combustion engine, were increasingly employed in leisure craft. Bigger power yachts were progressed to a high degree, and long-distance cruising became a preferred activity of the wealthy. The first power yachts were paddle-wheel boats; these then gave way to those powered by the fully submerged screw or propeller kind of propulsion. As in the case of naval and merchant craft, auxiliaries with both sail and power were the yacht archetype for many years. By the latter half of the 20th century, many yachts were still auxiliaries, but the large part were only power yachts that had gasoline or diesel engines.

From the last decade of the 19th century there was a rise in the construction of more sizeable steam yachts. In particular within these was the Mayflower (1897) of 2,690 tons, that had triple-expansion engines, twin screws, and a compartmented iron hull, and was manned by a crew of more than 150. The Mayflower, commissioned by the United States Navy in 1898, was the official yacht of the president of the United States until 1929 and saw active service in World War II.

As bigger and more reliable internal-combustion engines were produced, many big boats began using them for power. The development of the diesel engine, with heavy oil for fuel, was furthered during World War I. In the decade that followed, large power-yacht manufacture blossomed, hitting a climax in the Orion (1930) at 3,097 tons. From that period the biggest auxiliary yacht constructed was the four-masted, steel, barque-rigged Sea Cloud (1931) of 2,323 tons.

The construction of bigger power boats lessened in 1932, and the fashion thereafter was for smaller, less expensive boats. Following World War II, many small naval craft were traded by private owners for conversion to yachts. At the late 20th century, yachting has become a internationally popular sport enjoyed by thousands of yachtsmen who are actually sailing and keeping their own small pleasure craft. The number of yachts and yachtsmen is increasing steadily, not only in the traditional places by the beach but also on inland waterways and lakes.

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Proportional, Progressive, and Regressive taxes

Taxes can be distinguished by the effect they have on the distribution of income and wealth. A proportional tax is the kind that places the same relative requirement on all the taxpayers—i.e., in the case where tax liability and income move in relative scale. A progressive tax is characterized by a more than proportional rise in the tax onus relative to the increase in income, and a regressive tax is recognisable by a less than proportional growth in the comparable liability. Thus, progressive taxes are regarded as taking away a lack of equality in income distribution, but regressive taxes may result in increasing these inequalities.

The taxes that are normally believed to be progressive include individual income taxes and estate taxes. Income taxes that are categorically progressive, however, could become less so in the upper-income categories—especially if a taxpayer is allowed to lower his tax base by declaring deductions or by taking certain income parts from his taxable income. Proportional tax rates that are applied to lower-income classes can also be more progressive if such personal exemptions are made.

Income measured over the course of a given year might not absolutely give the most appropriate measure of taxpaying status. For example, transitory rises in income could be saved, and during temporary declines in income a taxpayer may decide to finance consumption by reducing savings. Thus, if taxation is made comparable alongside “permanent income,” it will be less regressive (or more progressive) than if compared with annual income.

Sales taxes and excises (except those on luxuries) tend to be regressive, because the spread of personal income consumed or spent on specific goods lessens as the amount of personal income grows. Poll taxes (also known as head taxes), calculated as a fixed amount per capita, obviously are regressive.

It is hard to classify corporate income taxes and taxes on business as progressive, regressive, or proportionate, because of the lack of certainty regarding the ability of businesses to shift their tax expenses (see below Shifting and incidence). This difficulty of dictating who bears the tax burden rests fundamentally on whether a national or a subnational (that is, provincial or state) tax is being decided.

In regarding the economic purpose of taxation, it is essential to differentiate between several points of tax rates. The statutory rates include those specified in law; commonly these are marginal rates, but occasionally they are median rates. Marginal income tax rates denote the fraction of incremental income taken by taxation when income increases by one dollar. Therefore, if tax burden rises by 45 cents when income grows by one dollar, the marginal tax rate is 45 percent. Income tax laws often contain graduated marginal rates—i.e., rates that rise as income grows. Structured analysis of marginal tax rates need to review provisions as well as the formal statutory rate structure. If, for example, a particular tax credit (reduction in tax) declines by 20 cents for each one-dollar increase in income, the marginal rate is 20 percentage points greater than indicated within the statutory rates. Since marginal rates indicate how after-tax income increases or decreases in response to changes in before-tax income, they are the necessary ones for appraising 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 depend on considerations such as 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 signify the portion of total income that is paid in taxation. The pattern of average rates is the one that is in consideration for considering the distributional equity of taxation. Under a progressive income tax the average income tax rate rises with income. Average income tax rates usually grow with income, both because personal allowances are allowed 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, producing regressivity, as displayed by average tax rates that fall as income rises.

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