Tents and Marquees

Event Tents, such as wedding tents are for when you want to make a spectacular 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 fantastic
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 lively alternative Tent. Easy & fast to set up. Be sure they have removable printed roof because in that way you can share the investment with other licences.

What Size Tent Will I Need?

The size of Tent depends on a few factors:

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

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

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

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

So if you need a tent for the family BBQ, for example, your needs are fairly basic
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 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 cost a little more.

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 exact reproduction of their logo. Sign written or printed Tents can be as dull as a website address or they can be a design extravaganza.

Remember, if it is for commercial purposes, the aim is to build recognition 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 formulating 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

New Zealand has a radiant array of astounding landscapes. Like huge mountain ranges, sweeping 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.

Awesome travel packages and holiday specials are available on quality accommodation in modern city hotels and luxurious wilderness lodges at reduced 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 fantastic tourist services for New Zealand. Travel Online provides an instant quote and booking service for accommodation in cities right across the country.

Queenstown
The international resort town of Queenstown is situated on the shoreline of Wakatipu Lake. This beautiful region is among the most scenic locations on the globe. Throughout the year adventurous and stimulating 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 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 wonderful Victoria Square, across the transfixing Avon River or towards the historic 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 wonderfulcountryside surrounding the city.

Auckland
Auckland, also known as the City of Sails, is located in between 2 harbors and has more boats per person than anywhere on the planet. Within minutes a person has the choice of sailing away on yachts to isolated nearby islands, living the high life in the casino, surfing at winding 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 brilliant, 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 love 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….

Don’t allow a novice 24 hour carpet cleaner show up to repair your carpets damaged by water. These are the cautions you must be careful of:

Overcharging. An amateur water restoration restorer may fill the job up with unnecessary steps. E.g. using dehumidification for the flooded carpets when it is not needed.

Having the correct equipment. They sometimes borrow equipment from hire businesses to dry the carpet. This is acceptable, but an established water damage technician will own all their equipment to enable a speedy response and hopefully a better value job.

Moisture metre. If they don’t have the right moisture meter, they cannot know whether the carpet is repaired. This enhances the danger of mould growth in the future. Removal of this may be required.

They are not Specialised. There are many “Carpet Cleaners” in this industry who do repair jobs on the “side.” i.e. they aren’t those who deal with this sort of task everyday. Be aware of that. Drying carpet water damage is an art. Reinstalling carpets on the gripper strips is best to be done by a professional, otherwise it can be damaged beyond repair.

You may be thinking, how do I find a professional Flood Restoration professional? Below I have listed some signifiers to look out for when hunting around for a carpet flood damage business:

How big is their Yellow Pages advertisement: This can indicate how much work they have already. A full-size Yellow Pages ad can cost about $50 000. So if they have got a large ad, you can at least have some assurance that they are established.

Where do they show up in Google? The higher they are in Google, the more webpage views there has been for their business.

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

Do Insurance companies source them for carpet water damage jobs? This is a top indicator. If insurance companies source them, the business is probably going to be superb at their skill. Insurance companies often use the providers that give them the best value for the money.

How much Equipment do they have? They should own a minimum of 100 Air movers. If they possess this many, this probably means that they have been running for some time. It took our business 8 years to acquire that many wet carpet drying air movers.

What sort of commitment can you get out of them through a phone call? Try to pin them down to a set price for water extraction, water removal and initial inspection. If they won’t give you a package for this at the least, you know they are not willing to assist you, so keep looking.

Response Time – Our Water Damage business in Brisbane commits to a 59 minute response time for water damage emergency. The repair needs to be responded to ASAP. Mould can grow inside a 24 hour period.

If you focus on these tips you are sure to come up with a Flood Damage Restoration professional who can 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.

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 contemplate . There are many things to recommend a career in podiatry including:

• You can be self employed: This is a prospect that is increasingly being denied to other health care providers such as optometrists and even Family Doctors. 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 face malpractice suits. 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 good 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 pay is generally commensurate with other allied health providers.
• Instant Gratification: One of the most rewarding aspects of working as 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 pleasant when people leave you smiling.
• Philanthropy: Podiatry will allow you a lot of opportunity to help resolve the suffering of your fellow human beings.
• Self – Determination: Podiatryallows a clinician 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 acts under the direction 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 around the world that do not train 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 be registered 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 may be an ingrown toenail or two, a debilitating corn, a sporting injury, some sacroiliac pain and at least a couple of painful plantar fascias. The essence of being a good podiatrist is to bea good problem solver. Each patient is an individual with a unique complaint requiring a well considered solution.

How do you qualify as a podiatrist ?

To qualify as a podiatrist which can be studied at available fromsix 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.

Eight Steps to Great Web Design

Take control of getting your site established by a developer and comprehend the process it will save you money and aquire 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 author 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 consider 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 attain 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 identify 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 effective development. The more interaction and information you allow 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 created, the developers will more than likely collect 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.
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 formulate it in a way that a reader may attain 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. You need to know that you can use and understand the system when your site is complete.

6. Testing and training
We work closely with the developers to test your site especially if there are any CMS or special programs that have been made for you. You can guarantee if it is has just been written for you then it will not operate 100% first time round. This is a where things can get ugly in the process you must understand the way the program works 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 make your site live make sure you have finished the above testing step until you are pleased that this website is the best representation of your business / product it can be. Remember even though you can change things after going live it is still a poor reflection on your business if there are spelling mistakes or broken images when you launch.

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

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

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

Tips to Creating a New Business Logo

A logo is a central step to building a business. It is the face of your business. And like your face represents the tone of your business, indicates the service and demonstrates the professionalism or lack there of.

People spend a lot of money on the formation 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 unnecessary and may cause difficulties when trying to replecate the logo exactly as completed originally.

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

Tip 1
First things first - you need to decide if you would like your logo to have an accompanying icon. It is suggested that if your service or product name is not in your business name then perhaps an icon will help in 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 looking 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 essential decision as it not only could alter the output costs but can also margin your output use. Consider 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
Make certain you get a back up disk of your logo as a master file and make sure that it includes all the files needed for the different printing formats.

Creative software updates frequently and some programmes become obsolete. Confirm 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
Insure 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 certain that you acquire a copy of your logo in CMYK high resolution 300 dpi (for printing use) and RGB 72 dpi(for web use).

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

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

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

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

How to Create a Style Guide

How many times have you dispatched business cards to print and collected yet another version of your corporate colour? Ever been fired up to see your advert in the latest newspaper and then caught that the crucial tag line is not present 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 help you steer the reproduction of your logo - it will also help you extend your brand recognition – which many argue is one of the strongest selling tools.

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

Step 1 : 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 : Mark what your output uses are. This is important because you will want different logos and file formats for example, black and white publication adverts in comparison to vehicle graphics.

Step 3 : Define the tone for the copy and content required. For example you may needcopy 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 repeated.

Step 5 : Insure to take into account any contributing logos or logos of business that are linked with you. It’s also important that you mail a copy of the layout to these companies to guarantee they agree with 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 discern that a proof needs to be dispatchedto you to be validated as correct.

Get your Style Guide finished and as tight as possible. Then have it saved in an email friendly file format and have a couple printed. Once this is done we strongly advise a training session – whereby your design studio comes in and trains your staff on how to work the Style Guide and most importantly your brand.

For graphic design Brisbane, logo design Brisbane and web design Brisbane, contact Bydaughters today. We help your brand build business.

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

The typical question heard when buying a new projector for the home, office, or classroom is: would I take an LCD projector or a DLP projector? LCD, short for ‘liquid crystal device’ and DLP, short for ‘digital light processing’ are the two commonplace projector imaging technologies. With so many business brands and different models available, it can be overwhelming for consumers to make a decision between these technologies. It comes down to the fact that LCD projectors give better image quality and colour accuracy. The article below will tell you why DLP projectors struggle with projecting the same grade of image quality.

Visualise a set of blinds in your house covering your bedroom window. By pulling 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 functions like its own 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 professionals 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 is turned on to when the image 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 direct the coloured light to 3 individual LCD panels. The 3 LCD panels form the elements of the image by shining each pixel on and off. The pixels are then simultaneously processed in a glass prism to deliver the projector image. Something to realise about LCD projectors is that all three colours are delivered onto your screen at the same time. The way a DLP projector runs is totally different and even the final product of how an image looks is not the same. With DLP, white light from the lamp is sent through a turning colour wheel with transparent red, blue and green segments, at speeds up to 11,000 rpm/s. This approach to projecting an image forms a sequence of red, blue and green light. The millions of micro mirrors described above reflect the coloured light on the pixels to form the image elements. The elements of the image are projected in sequence on the screen, one colour at a time. The viewer’s eyes will then put together each coloured element of the image into a single complete image. With LCD projectors, all colours are available all the time to offer high brightness and great colour accuracy. In DLP, only one colour is available at a time, resulting in lower colour brightness and accuracy. Some manufacturers have put a white segment for the colour wheel to improve brightness overall, but this then detracts from colour accuracy.

I see in forums all the time that DLP offers a higher contrast ratio and as such must be better 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 technology is able to produce. DLP projectors do possess high contrast specifications in comparison to most LCD projectors. At a glance, this must be a plus, however, in real life, the true black level is determined by the ambient light in the room when the projector is being utilised. Do not be fooled by contrast specifications on websites and in brochures.

When the content you want to project requires 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 incontrovertible in DLP systems because moving images change position between the time red, blue and green colours are shone. LCD projectors do not have this disadvantage because all the colours are delivered at once. DLP developers have formed 3DLP solutions using 3 chips to resolve the colour break up issue, but the price tag of these projectors make them impractical for many businesses and consumers.

Another point of difference between LCD and DLP is how they compensate for the refractive qualities of light. Think back to high school science, and recall how different colours of light refract various amounts when passing through the same lens. The disadvantage with DLP projectors is that they take the one same panel and the same lens to project Red, Blue and Green. All 3 colours are obviously not the same and refract light in different ways. Generally with a DLP projector, some yellow colour will be projected above and a spill of blue will show below an image containing something as simple as a single black line. In manufacturing LCD projectors can be fixed to minimize these effects on the projected image, as each colour is projected on its own LCD panels.

The sole true plus (excluding price) with choosing a DLP projector is its smaller total size and weight. However, this is only relevant in regard to transporting the device and has to be traded off against the image superiority of LCD projectors. If the outcome of the picture quality is vital to you, then the solution is easy. Take an LCD projector! LCD projectors will constantly make bright, colourful images with fewer image mistakes. If you need to ask more about LCD technology in more detail, have a look at this fantastic resource website: Explore 3LCD. If you have any more questions, jump onto Projector Central and send me an email.

Jonathan King is the sales and marketing manager of Projector Central, Australia’s premier online retailer for projectors. Based in Brisbane, Projector Central has been servicing Australia for 15 years. For data projectors in the Gold Coast and Interactive Whiteboards, contact Projector Central today.

Yachting and Yacht Clubs

As the Dutch rose to preeminence in sea power during the 17th century, the initial yacht became a pleasure craft used initially by royalty and secondly by the burghers on the canals and then in the protected and unprotected waters of the Low Countries. Racing yachts was incidental, borne from private matches. English yachting began 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 sent him a 20-metre (66-foot) pleasure boat with a beam (maximum width) of 5.6 m (18 feet), which he called Mary. Charles and his brother James, the duke of York (James II, reigned 1685–88), made additional yachts and in 1662 raced two of them from the Thames, from Greenwich, to Gravesend, and the same way back, on a £100 wager. Yachting rose as classy with the wealthy and royalty, but after that time the trend did not last.

The first yacht club in the British Isles, the Water Club, was started at about 1720 at Cork, Ire., as a cruising and unofficial coast guard group, and held much naval panoply and gravity. The closest thing to a race was the “chase,” for which the “fleet” pursued a fictional enemy. The club went on, mostly as a social club, until 1765, and in 1828, by merging with other groups, it was known as the Cork Yacht Club (later the Royal Cork Yacht Club).

Yacht racing was seen in some ordered manner on the Thames in the mid-18th century. The duke of Cumberland founded 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 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 yachting. The association at Cowes became the Royal Yachting Club, likewise at the ascension of George IV. All members were required to own boats of at least 20 tons (20,321 kg). Sailing tests for great bids were held, and the social life was wonderful. Eventually Royal Yachting Club boats were raised in size to bigger than 350 tons.

In North America, yachting was first accomplished with the Dutch in New York in the 17th century and persisted when the English held control. Sailing was for the most part for fun and reached its epitome in George Crowinshield’s Cleopatra’s Barge (1815), which traveled on the Mediterranean Sea and created a benchmark of luxury and elegance for the later yachts in those waters from the late 19th century. The first continuing American yacht association, the Detroit Boat Club, was started in 1839. In 1844, John C. Stevens instigated the New York Yacht Club aboard his schooner Gimcrack.

Kinds of sailboats
The Early sailing yachts were within the style of such naval craft as brigantines, schooners, and cutters from the 17th century through to the second half of the 19th century. The design of large yachts was initially largely impacted by the victory of America, which was created by George Steers for a club started by John C. Stevens, and it was the boat for which the America’s Cup (q.v.) found its namesake after its success at Cowes in 1851. Earlier yachts were not designed and built in a contemporary sense, with merely a model being used. Not until the latter half of the 19th century did what was known as naval architecture come into being. Not until the 1920s did the employment of the study of aerodynamics do for the craft of sails and rigging what it had earlier done for hulls.

Because almost all sailboats had been individually custom-built, there arose a need for handicapping boats previous to the one-design class boats were built. Hence, a rating rule was decreed, which resulted in the International Rule, accepted in 1906 and edited in 1919. In the present day, one of the most rapidly blossoming areas in the sailing industry is that of one-design class boats. All boats in a one-design class are built to the same specifications in length, beam, sail area, and other elements (for an example of a two-person sailboat, see illustration). Racing for these boats can be had on an even playing field with no handicapping necessary. A great example is the generic International America’s Cup Class adopted for yachts in the 1992 America’s Cup race.

So long as yachting belonged mostly for the royal and the wealthy, expense was no problem, and the size of boats grew, in both length and weight. The ascendancy and desire of smaller craft came 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 trip around the world (1895–98) led single-handedly by the naturalized American captain Joshua Slocum in the 11.3-metre Spray made plain the value of less sizeable boats. Following this in the 20th century, particularly after World War II, smaller racing and recreational boats 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 traveled in single-handedly across the Atlantic Ocean.

Kinds of power yachts
Following the decade 1840–50, when steam started to emulate sail power in public craft, the steam engine, and later the internal-combustion engine, were increasingly employed in pleasure boats. Bigger power yachts were furthered to a high standard, and long-distance travel was a fond pastime of the affluent. The earliest power yachts were paddle-wheel boats; those then gave way to those powered by the wholly submerged screw or propeller type of propulsion. As in the case of naval and merchant boats, auxiliaries with both sail and power were the yacht archetype for many years. By the latter half of the 20th century, a lot of yachts were still auxiliaries, but the majority were solely power yachts containing gasoline or diesel engines.

From the last decade of the 19th century there was a push in the construction of bigger steam yachts. Conspicuous of these was the Mayflower (1897) of 2,690 tons, containing 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 gave active service during World War II.

As more sizeable and better quality internal-combustion engines were created, many bigger yachts were using them for power. The creation of the diesel engine, employing heavy oil for fuel, advanced during World War I. From the decade following, bigger power-yacht building flourished, reaching a climax in the Orion (1930) at 3,097 tons. From that point the largest auxiliary yacht built was the four-masted, steel, barque-rigged Sea Cloud (1931) of 2,323 tons.

The construction of big power boats fell away from 1932, and the trend after that was toward smaller, less costly craft. Following World War II, lots of small naval vessels were bought by private owners for conversion to yachts. By the late 20th century, yachting has become a internationally popular sport enjoyed by thousands of yachtsmen personally owning and maintaining their own small pleasure craft. The number of yachts and sailors is increasing steadily, not only in the traditional locations by the sea but also on inland waterways and lakes.

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Proportional, Progressive, and Regressive taxes

Taxes are categorized by the effect they have on the placement of income and wealth. A proportional tax is the kind of tax that places the same relative requirement on each taxpayer—i.e., when tax liability and income grow in the same levels. A progressive tax is characterizable by a greater than proportional rise in the tax burden in regard to the rise in income, and a regressive tax is recognisable by a less than proportional growth in the comparable burden. Therefore, progressive taxes are seen as removing a lack of equality in income distribution, while regressive taxes can have the result of increasing these inequalities.

The taxes that are usually considered progressive include individual income taxes and estate taxes. Income taxes that are categorically progressive, however, could become less so in the upper-income class—in particular if a taxpayer is permitted to lower his tax base by nominating deductions or by taking some certain income parts from his taxable income. Proportional tax rates that are applied to lower-income categories would also be more progressive if exemptions of a personal nature are claimed.

Income measured over the period of a year may not necessarily come up with the best measure of taxpaying requirements. For example, transitory increases in income could be saved, and during temporary declines in income a taxpayer could choose to pay for consumption by reducing savings. Therefore, if taxation is compared along with “permanent income,” it would be less regressive (or more progressive) than if it is made comparable with annual income.

Sales taxes and excises (save on luxuries) are generally regressive, because the portion of one’s income consumed or spent on specific goods lowers as the amount of personal income is raised. Poll taxes (also called head taxes), nominated as a standard amount per capita, clearly are regressive.

It is not easy to dictate corporate income taxes and taxes on business as progressive, regressive, or proportionate, principally due to a 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 fundamentally on whether a national or a subnational (that is, provincial or state) tax is being determined.

In considering the economic effects of taxation, it is necessary to distinguish between several points of tax rates. The statutory rates include those dictated in the law; generally speaking these are marginal rates, but sometimes they are median rates. Marginal income tax rates denote the fraction of incremental income that is demanded by taxation when income increases by one dollar. So, if tax onus rises by 45 cents when income rises by one dollar, the marginal tax rate is 45 percent. Income tax statutes often contain graduated marginal rates—i.e., rates that rise as income grows. Careful analysis of marginal tax rates must review provisions other than the formal statutory rate structure. If, for example, a particular tax credit (reduction in tax) reduces by 20 cents for each one-dollar growth in income, the marginal rate is 20 percentage points greater than indicated in the statutory rates. Since marginal rates specify how after-tax income changes 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 applicable to income from business and capital, since it may depend on factors such as the structure of depreciation allowances, the deductibility of interest, and the provisions for inflation adjustment. A basic economic theorem holds that the marginal effective tax rate in income from capital is nothing under a consumption-based tax.

Average income tax rates display the part of total income that is taken in taxation. The pattern of average rates is the one that is important for assessing the distributional equity of taxation. Under a progressive income tax the average income tax rate rises with income. Average income tax rates usually rise with income, both because personal allowances are granted for the taxpayer and dependents and due to that marginal tax rates are graduated; on the other hand, preferential treatment of income received for the most part by high-income households might dampen these effects, allowing regressivity, as signified by average tax rates that lessen as income grows.

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