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Both men and women are motivated to remove unwanted facial and body hair for many reasons, including social acceptance, aesthetic, hygienic and religious reasons. Many hair removal processes have been in and out of fashion over time, but the most efficacious yet is laser hair removal, which has gained substantial popularity in recent times.

Traditional hair removal processes include shaving, waxing, depilatory creams and plucking or tweezing. These methods only temporarily remove the hair, giving smooth skin but can leave undesirable reactions such as rash, irritation, ingrown hairs, and even scarring. In addition to such side-effects these techniques can be time consuming and have to be repeated regularly to maintain the results.

Both time and technology have provided advances in hair removal techniques, and none is as effective as laser hair removal. It targets the melanin pigment in the hair which allows the laser energy to destroy cells at the very base of the hair follicle. This process progressively reduces the number of hairs in the treated area, and after a series of treatments results in a permanent hair reduction. Laser hair removal has little or no side-effects and is actually an effective treatment for ingrown hairs commonly caused by waxing and plucking.

Laser treatments can cover a large area in a small amount of time, with people able to have treatments in their lunchtime or on their way home from work. A treatment takes between 5–60 minutes to complete and are usually spaced at six weekly intervals.

Laser Hair Removal can save you the ongoing cost in both time and price of hair removal products such as wax, creams or razors, and will free you from worrying about daily, weekly or monthly upkeep, as it leaves the skin smooth and free from hair long-term.

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Again, Honda World Motocross will face their final competitive match before the MX1 World Championship starts in Sevlievo, Bulgaria on April 9 to 10. After racing in the last round of the Italian Championship, Evgeny Bobryshev and Rui Goncalves will now build a momentum that will surely carry over to the beginning of their campaign for the 2011 World Championship.

Evgeny Borbryshev is familiar with the new Honda 450R from his experience in 2010 when he raced for the CAS Honda team. He exhibited his remarkable form from pre-season to last season preparations and scored an excellent win in Faenza. As Rui Goncalves joined the Honda World Motocross team, it represented his return to the manufacturer he raced for during the early years of his career. This season will be his first time riding 450cc machines for the MX1 championship campaign.

“It feels good to be back with Honda, and it actually seems like I am on my way home. After competing for several championship races and succeeding as a member of Honda Portugal, I developed a good relationship with them so it almost feels like I never even left the team,” Rui says. He also mentioned that Evgeny is great to work with and he believes that they can help each other ride better on the dirt bike tracks.

After changing from the 350R to the 450R, Rui shared some insights on how he has adapted to the big change. Although he has already raced with a 450R bike before, he had never used it for a full championship and he admits that the last Honda trail bike he rode was not even a 4-stroke engine. However, its increased torque, improved power delivery, and linear power curve makes it easier to ride smoothly and punch out of corners so he believes it will positively affect his riding.

Since Rui Goncalves has confirmed his return to the Honda team, spectators can expect to experience plenty of action and excitement in the upcoming Motocross World Championship.

Until the late 20th century, the graphic-design medium was based on hand-craft processes: layouts that were made by hand in order to create an idea; type was specified and ordered from a typesetter; and type proofs and photostats of images were placed in position on heavy paper or card for photographic copying and platemaking. Over the course of the 1980s and early ’90s, however, rapid changes in digital computer hardware and software completely altered graphic design.

Software for Apple’s 1984 Macintosh pc, such as the MacPaint programme created by computer programmer Bill Atkinson and graphic designer Susan Kare, had a majorly revolutionary human interface. Tool icons controlled by a mouse or graphics tablet enabled designers and artists to use computer graphics in a new, intuitive manner. The Postscript™ page-description language from Adobe Systems, Inc., enabled pages of type and graphics to be assembled onto graphic designs on screen. By the mid-1990s, the development of graphic design from drafting-table action to an on-screen computer activity was basically complete.

Personal computers placed typesetting tools into the realm of designers, and therefore a time of experimentation began in the design of new and unusual type-faces and page layouts. Type and graphics were layered, fragmented, and dismembered; type columns were overlapped and run at very long or short line lengths, and the sizes, weights, and typefaces were sometimes changed within single headlines, columns, and words. Much of this research happened in design education at art schools and universities. American designer David Carson, art director of Beach Culture magazine in 1989-91, Surfer in 1991-92, and Ray Gun magazine in 1992-96, caught the imagination of a youthful audience by taking such an experimental approach into graphic design.

Fast growth in onscreen software also enabled designers to make elements transparent; to stretch, scale, and bend elements; to layer type and images in mid-space; and to link imagery into complex montages. For example, in a United States postage stamp from 1998, designers Ethel Kessler and Greg Berger digitally montaged John Singer Sargent’s portrait of Frederick Law Olmsted with an image of New York’s Central Park, a site plan, and botanical art to commemorate the landscape architect. Interwoven, these images evoke a rich expression of Olmsted’s life and work.

The digital change in graphic design was shortly followed by public access to the internet. A whole new operation of graphic-design activity mushroomed in the mid-1990s when Internet business became a fast growing sector of the world-wide economy, causing organisations and businesses to scramble to establish websites. Designing a website involves layout of screens of information rather than of pages, but approaches to the use of type, images, and colour are similar to those used for print. Web design, however, requires a host of new considerations, including designing for navigation around the website and for using hypertext links to jump to additional information. An example of strong Web design is the Herman Miller for the Home Web site, designed by BBK Studio in 1998. These designers created a strong visual identity, effective navigation, and informational clarity. Attributes that added to the effectiveness of this website included a pleasing colour palette, an informative use of pictures of products, and a scrolling imagery of products.

Because of the world-wide effectiveness and reach of the Internet, the graphic-design sector is becoming increasingly global in scope. Moreover, the merging of motion graphics, animation, video feeds, and music into Web-site design has caused the merging of traditional print and broadcast media. As kinetic media expands from motion pictures and basic television to scores of cable-television channels, video games, and animated Web sites, motion graphics are becoming an increasingly important area of graphic design.

In the 21st century, graphic design is everywhere; it is a major component of the complex print and electronic information systems. It permeates modern society, delivering information, product identification, entertainment, and persuasive messages. The ongoing advancing of technology has dramatically changed the way graphic designs are created and distributed to a mass audience. However, the fundamental role of the graphic designer, providing expressive form and clarity of content to communicate messages, remains the same.

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Marketing a lawyer is essentially based on selling the solicitor as the product, so a biography is an essential element to marketing services. This article offers 5 essential tips to make sure you get your bio absolutely right.

Creating a bio, to market a lawyer on websites or in printed material is often given very little consideration and invariably completed in little time. Worse still is the bio that a lawyer has not been involved in writing and an admin worker has had to scrape together from a resume.

If this rings a bell regarding your firm or biography then you have a serious flaw in your marketing strategy. You need to be aware that marketing of lawyers, particularly those in repeat business areas of law, is based on the principle that the lawyer is the product. That is why the staff page of a law firm website is generally the most popular page after the home or landing page. If you charge an hourly rate for your time, you are the ‘product’, and your prospective clients will wish to be aware of what they are buying!

It’s true that some firms base their marketing on a general sales pitch, or branding in a specific area of law, but for most law firms the success of your marketing strategy will be due to whether the client believes they are getting good value when they buy the services of the lawyer that is doing their work. So, hopefully having convinced you of the importance of a well-crafted biography, here are 5 tips for putting one together:

Quick Tips for creating a compelling Law Firm Biography

Provide all the obvious information
It’s perplexing how many law firm websites have biographies of their staff that neglect to include relevant information. And this doesn’t mean which law school they went to. Make sure to begin the bio with a full name, your position within the company, the type of work you excel in, and any other firm responsibilities. It’s important to remember that you’re not writing this for other lawyers to read.

As a lawyer I was very happy the day I was admitted to the Supreme Court in my state. But frankly, many clients don’t have any interest what this means. So remember to include info that could be of interest to your client, not just facts that will impress other lawyers. By all means mention qualifications, positions on legal committees and the like, but unless it’s something you believe your clients will understand and consider important, leave it to the end of the bio. It may help to involve a third party. Have someone outside the legal industry read your biography and provide some feedback.

Your client is looking for a solution
Difficult as it may be for your ego to accept, clients are not engrossed in you as individual. They are looking for whoever they believe can best solve their problem or most successfully undertake their project. So give them information that proves you’re the right professional for the job. In printed documents you should aim to include actual examples of how you’ve helped people, but online bios often need to be concise. So try to use phrases like, “More than ten years experience in”, “Recognised within the X business community for assisting with”, “A certified specialist in the area of”, or “Successfully negotiated more than 200 rural property contracts”.

Connect with the real world, not just the legal world
If your firm or practice provides services that are based in a particular city or region you can help your marketing efforts by demonstrating a connection to that community. Being recognised as a “local” by potential clients by demonstrating a connection with the region’s major industry eg. ” from a family with a long involvement in the coal mining industry”, encourages a connection with the reader.

Add a little personality
Don’t hesitate to inject some personality to your bio. This doesn’t have to be the standard “Married with 2.5 children”. Include personal information if it helps with point number 4 above, but more importantly, you ought to think about your ‘flavour’ and the type of “client experience” you provide. Are you a ” fiercely determined approach”, a “collaborative practitioner focussed on keeping costs down” or a “down to earth, with a knack for easing clients concerns”. Finding a genuine point of difference in how you practice shows that you are a real person with a real personality” and not the same as the myriad of other lawyers who are busily marketing themselves.

John Gray is a practising lawyer and the Senior Marketer at John Gray Marketing, an Australian specialist law firm and legal marketing consultancy. If you are interested in law firm marketing, legal marketing and marketing for lawyers, contact John Gray today.

Whether a painting reached completion by careful application or was executed directly by a hit-or-miss alla prima method (in which pigments are laid on in a single application) was previously determined by the philosophy and familiar systems of its cultural tradition. For example, the medieval European illuminator’s painstaking procedure, by which a detailed linear pattern was gradually gilded with gold leaf and precious pigments, was contemporary with the Sung Chinese Zen practice of quick, calligraphic brush painting, following a restive period of disciplined self-preparation. However, the contemporary artist has decided the technique and working formula best suited to his aims and temperament. In France in the 1880s, for instance, Seurat may be working in his studio on drawings, tone studies, and colour schemes in preparation for a large composition at the same time that, outdoors, Monet was endeavouring to capture the effects of afternoon light and atmosphere, while Cézanne analyzed the structure of the mountain Sainte-Victoire with deliberated brush strokes, laid as irrevocably as mosaic tesserae (small pieces, such as marble or tile).

This type of relationship established between craftsman and patron, the location and subject matter of a painting commission, and the physical properties of the medium employed may also dictate working procedure. Peter Paul Rubens, for example, followed the business-like 17th-century tradition of painting a small oil sketch, or modella, for his patron’s approval before carrying out a full-sized commission. Fundamental problems specific to mural painting, such as viewer eye level and the scale, architecture, and function of a building interior, had first to be solved in preliminary drawings and occasionally by using wax dolls or scale representations of the interior. Scale working realizations are crucial to the speed and precision of execution needed by quick-drying mediums, such as buon’ fresco (see below Fresco) on wet plaster, and acrylic resin on canvas. The drawings traditionally are divided with a network of squares, or “squared-up,” for enlarging on the surface of the support. Some modern painters prefer to outline the enlargement of a sketch projected directly onto the support by epidiascope (a projector for images of both opaque and transparent objects). In Renaissance painters’ workshops, student assistants not only ground and mixed the pigments and prepared the supports and painting surfaces but often laid in the outlines and broad masses of the painting from the master’s design and studies.

The distinctive properties of its medium or the atmospheric conditions of a site may themselves preserve a painting. The wax solvent binder of encaustic paintings (in which after application, the paint is fixed by heat [see below Mediums], for example) both retains the intensity and variation of the original colours and protects the surface from damp. And, while prehistoric rock paintings and buon’ frescoes are preserved by natural chemical action, the tempera pigments believed to be fixed only with water on many ancient Egyptian murals are protected by the very dry atmosphere and unvarying temperature of the tombs. It has, however, been customary to varnish oil paintings, both to protect the surface against damage by dirt and handling and to restore the tonality lost when some darker pigments dry out into a higher key. Unfortunately, varnish may darken and yellow over time into the sometimes disastrously imitated “Old Masters’ mellow patina.” Once revered, this amber-gravy film is now generally removed to reveal colours in their original intensity. Glass started to replace varnish toward the end of the 19th century, when painters wished to retain the fresh, luminous finish of pigments applied directly to a pure white ground. The air-conditioning and temperature-control systems of modern museums make both varnishing and glazing unnecessary, except for older and more fragile exhibits.

The frames supporting early altarpieces, icons, and cassone panels (painted panels on the chest used for a bride’s household linen) were often structural parts of the support. With the establishment of portable easel pictures, heavy frames not only provided some protection from theft and damage but were also considered an aesthetic enhancement to a painting, and frame making became a specialized craft. Gilded gesso moldings (consisting of plaster of paris and sizing that forms the surface for low relief) in exuberant presentations of fruit and flowers certainly seem almost an extension of the restless, exuberant design of a Baroque or Rococo painting. A hefty frame also provided a proscenium (in a theatre, the area between the orchestra and the curtain) in which the picture was separated from its immediate surroundings, thus adding to the window view illusion intended by the artist. Deep, ornate frames are unsuitable for many modern paintings, where the artist’s intention is for his art to appear to advance toward the spectator rather than be viewed as if through a wall aperture. In contemporary Minimalist paintings, no effects of spatial illusionism are intended; and, in order to emphasize the physical shape of the support itself and to stress its flatness, these abstract, geometrical designs are often displayed without frames or are merely edged with thin protective strips of wood or metal.

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For the majority of people travelling overseas is a magical experience, a rite of passage or a well-deserved reward for working hard. Unfortunately there are some instances where holidays have not gone exactly to plan and travellers are involved in accidents that result in injuries, hospitalisation or even death. Each year, Australian Consular Offices handle over 25,000 cases involving Australians in difficulty overseas including 1,200 hospitalisations, 900 deaths and 50 evacuations for medical purposes.

In these instances, where individuals are not protected with travel insurance, such personal misfortunes are exacerbated with long-term financial burdens. Hospitalisation, medical evacuations and the return of a deceased’s remains to their home country can become very costly. Where travellers are not covered by insurance they are personally responsible for covering any incurred medical and associated expenses. In some cases, individuals and families have been forced to sell off assets including their houses, in order to ensure the safety and wellbeing of their loved ones.

Types of travel insurance include coverage for trip cancellation/interruption, medical insurance, baggage loss/delay, flight delay/cancellation and travel document protection. Whether you travel overseas often, occasionally or are planning a once-in-a-lifetime trip, travel insurance is essential. The cost of travel insurance is dependent on the type of coverrequired, the age of the policy holder, travel destination, how long you intend to stay and any pre-existing medical conditions. It is important to obtain the correct form of travel insurance to suit your individual needs and it is essential that you fully divulge any variables that may impact your insurance otherwise you may not be covered in the event of illness or injury.

Like other insurance policies there are standard general exclusions on most types of travel insurance and these can include acts of civil unrest, self-inflicted injury, loss/theft of unattended baggage, loss/theft of cash and pre-existing medical conditions. Some insurance policies may be invalidated in which injuries are sustained as a result of being under the influence of drugs or alcohol or during “dangerous or extreme activity” such as surfing, snowboarding, rock climbing, parachuting and underwater activities involving the use of artificial breathing apparatus so travellers should scan the fine print of their policy to ensure that their insurance is correct for them.

The consequences of not taking out travel insurance far outweigh the costs associated in purchasing a policy. The general consensus is that is you can’t afford travel insurance then you can’t afford to travel. It is also imperative that you are insured for the entire period you will be abroad and not allow your cover to expire before your return home.

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Currently, Yamaha Motorcycles is famous for inventing many of the most popular motorcycles around the world. However, little-known to the general public, Yamaha has been around for quite some time now, not just as a motorcycle manufacturer, but in other industries as well. They did, however, excel in creating motorcycles, thus becoming reputable in that field.

Through the years, Yamaha has built many different kinds of motorcycles. Although they started out building air-cooled, 2-stroke, single cylinder motorbikes, they became well known for creating the DT-1, the first ever trail bike. The trail bike phenomena pushed Yamaha to create their own dirt bike, which then prospered hugely.

The best thing about the motocross bikes that Yamaha makes is that you can be assured of quality in every single purchase. They are lightweight, without compromising the required strength and durability necessary. Yamaha stock tyres generally offer more grip than other market parts, something that is not available in most off-road bikes.

These bikes are perfect for off-road trail-biking and adventures, and one short run on an off-road track will guarantee to prove the endurance that you will surely depend on as time passes by.

Motocross is a serious extreme sport that you should think about carefully before beginning. Obviously, any activity that involves a man racing a two-wheeled contraption with an engine propelling it to various heightened speeds can be extremely dangerous. By purchasing a Yamaha motorcycle which you can rely on for safety and dependability, you also lower the danger levels a notch! Whether you wish to ride on road or dirt, Yamaha motorcycles can give you what you need, when you need it. These are rugged bikes that can withstand years of use without any problems.

The traditions and spirit of a particular era in painting has usually been reflected in many of its other visual arts. The ideals and aspirations of ancient cultures, of the Renaissance, Baroque, Rococo, and Neoclassical periods of Western art and, more recently, of the 19th-century Art Nouveau and Secessionist movements were expressed in much of the architecture, interior design, furniture, textiles, ceramics, dress design, and crafts, as well as in the fine arts, of their times. Following the Industrial Revolution, with the reduced requirement of hand-craftmanship and the loss of direct expression between the fine artist and larger society, general society, idealistic efforts to unite the arts and crafts in service to the community were made by William Morris in Victorian England and by the Bauhaus in 20th-century Germany. Although their aims were not fully successful, their influences, like those of the short-lived de Stijl and Constructivist movements, have been far-reaching, particularly in architectural, furniture, and typographic design.

Michelangelo and Leonardo da Vinci were prodigous painters, sculptors, and architects. Although no artists have since excelled in such a wide range of creativity, leading 20th-century painters conceptualized their ideas in many other mediums. In graphic design, for example, Pierre Bonnard, Henri Matisse, and Raoul Dufy printed posters and illustrated books; André Derain, Fernand Léger, Marc Chagall, Mikhail Larionov, Robert Rauschenberg, and David Hockney designed for the theatre; Joan Miró, Georges Braque, and Chagall worked in ceramics; Braque and Salvador Dalí designed jewelry; and Dalí, Hans Richter, and Andy Warhol made films. Many of these, with other modern painters, have also been sculptors and printmakers and have designed for fabrics, tapestries, mosaics, and stained glass, while there are very few mediums of the visual arts that Pablo Picasso did not work in and revitalize.

Painters have been taught by the visuals, techniques, and design of other visual mediums. One of the earliest of these influences was very probably from theatre, where the ancient Greeks are regarded as the first to use the illusions of optical perspective. The discovery or reappraisal of design techniques and imagery in the art-forms and techniques of other cultures has been a crucial stimulus to the development of more modern phases of Western painting, whether or not their traditional significance have been understood. The influence of Japanese woodcut prints on Synthetism and the Nabis, for example, and of African sculpture on Cubism, and the German Expressionists helping to create visual vocabularies and syntax with which to express new visions and ideas. The development of photography and film introduced painters to new aspects of nature, while eventually prompting others to abandon representational painting altogether. Painters of everyday life, such as Edgar Degas, Henri de Toulouse-Lautrec, Édouard Vuillard, and Bonnard, applied the design tricks of camera cutoffs, close-ups, and unconventional viewpoints to provide the feeling of sharing an intimate picture space with the figures and objects in the painting.

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Water colour is a form of colour pigment ground in gum, usually gum arabic, and applied with brush and water to a painting surface, usually paper; the term also refers to an artwork executed in this medium. The pigment is ordinarily transparent but can be turned opaque by mixing with a whiting and in this form is known as body colour, or gouache. It can also be blended with casein, a phosphoprotein of milk.

Watercolour can compare in range and quality with any other painting method. Transparent watercolour allows for a freshness and luminosity in its washes and for a deft calligraphic brushwork that makes it a most attractive medium. If there is one basic difference between transparent watercolour and all other heavy painting mediums, its transparency. The oil painter can paint one opaque colour over another until he has achieved his preferred result. The whites are created with opaque white. The watercolourist’s approach is the opposite. In essence, instead of adding in he leaves out. The paper itself creates the whites. The darkest accents may be placed on the paper with the pigment as it comes out of the tube or with very little water mixed with it. Otherwise the colours are thinned with water. The greater amount of water in the wash, the more the paper absorbs the colours; for example, vermilion, a warm red, will eventually turn into a cool pink as it is diluted with more water.

The dry-brush technique, the application of the brush containing pigment but little water, dragged over the coarse surface of the paper—creates various granular effects similar to those of crayon drawing. Entire compositions can be created in this way. This technique may also be used over duller washes to enliven them.

Three hundred years before the golden age of late 18th-century English watercolourists, Albrecht Dürer had predicted their approach to transparent colour washes in a stunning series of plant studies and panoramic landscapes. Until the emergence of the English school, however, watercolour became a medium merely for colour tinting outlined drawings or, combined with opaque body colour to produce effects similar to gouache (see below Gouache) or tempera, was used in preparatory sketches for oil paintings.

The most well known pracitioners of the English method were Thomas Girtin, John Sell Cotman, John Robert Cozens, Richard Parkes Bonington, David Cox, and Constable. Their contemporary J.M.W. Turner, however, true to his unorthodox genius, added white to his watercolour and made use of rags, sponges, and knives to craft stunning effects of light and texture. Victorian watercolourists, such as Birket Foster, used a time consuming method of colour washing a monochrome underpainting, similar to the tempera-oil technique. Following the direct, vigorous watercolours of the French Impressionists and Postimpressionists, however, the medium was fully established in Europe and America as an expressive artistic medium in its own right. Notable 20th-century watercolourists have been Wassily Kandinsky, Paul Klee, Dufy, and Georges Rouault; the U.S. artists Thomas Eakins, Maurice Prendergast, Charles Burchfield, John Marin, Lyonel Feininger, and Jim Dine; and the English painters John and Paul Nash, Eric Ravilious, Edward Bawden, Edward Burra, and Patrick Procktor.

In the “pure” watercolour technique, often referred to as the English method, no white or other opaque colour is applied, colour intensity and tonal depth being built up by successive, transparent washes on wet paper. Patches of white paper are left unpainted to represent white objects and to create effects of reflected light. These flecks of bare paper create the sparkle characteristic of pure watercolour. Tonal gradations and soft, atmospheric qualities are rendered by staining the paper when it is very wet with differing proportions of pigment. Sharp accents, lines, and coarse textures are introduced after the paper has dried. The paper should be of the type sold as “handmade from rags”; this is generally thick and grained. Cockling is avoided when the surface dries out if the dampened paper has been first stretched across a special frame or held in position during painting by an edging of adhesive tape.

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After releasing a stellar range of motocross bikes, some of the primary Honda motorcycles were subjected to a major overhaul. The long wait is now over with the release of 2011 Honda CRF250R and 2011 Honda CRF450R dirt bikes. Evolving from major models of motocross bikes, both 250R and 450R continue to receive positive input from motocross enthusiasts and bike riders alike.

Honda CRF450R comes with a four-valve Unicam engine that can give you low and mid-range power. A 46mm body is also incorporated into its improved engine tuning in order to improve its throttle response. Along with unique suspension settings, this dirt bike also received revisions on its linkage. With light cartridge cylinders inside its fork as well as updated valves, Honda believes that these changes have resulted in better rear-wheel traction and added luxury to their traditional Honda motorcycles. Dealerships are expected to offer the new and improved CRF450 by October 2011.

Honda also re-invented the 2011 CRF250R motorcycle in a very impressive way. With its new fuel-injected engine, it is expected to deliver superior performance and amazing throttle response. Although its specifications are not yet available, the 250R seems to hold many similarities with the big bike. Its improved midrange and low power, new suspension valves, and larger Honda Progressive Steering Damper (HPSD) piston make it seem like a sound investment. Both 250R and 450R also operate on a 94-decibel limit through their improved exhaust mufflers.

CRF50F and CRF70F, two of Hondas smallest dirt bikes, also received a major makeover. Honda revised their image with bolder designs and changed the colour of their upper fork tubes to create a new exciting look and feel to their small yet powerful motocross bikes. CRF230F, CRF80F, and CRF100F are still available in dealerships but bike riders can still anticipate the launching of new and improved Honda motorcycles by October.