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Men and women can decide to remove excess facial and body hair for many reasons, including social acceptance, aesthetic, hygienic and religious reasons. Several hair removal methods have been in and out of fashion over time, but the most effective to date is laser hair removal, which has seen enormous popularity lately.

Familiar hair removal techniques are shaving, waxing, depilatory creams and plucking or tweezing. These methods temporarily remove hair, leaving the skin smooth but can leave unwanted side-effects such as razor rash, irritation, ingrown hairs, and even scarring. In addition to such reactions these processes can be time consuming and must be repeated regularly to maintain the results.

But time and technology have resulted in advances in hair removal techniques, and no other is as effective as laser hair removal. It targets the melanin pigment in the hair allowing the laser energy to destroy the cells at the base of the hair follicle. This process progressively reduces the number of hairs in the treatment area, and after a series of treatments results in a permanent hair reduction. Laser hair removal has little to no side-effects and in fact is 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 many people able to have a treatment in their lunchtime or on the way home from work. Most treatments take from 5–60 minutes to complete and are usually spaced at 6 weekly intervals.

Laser Hair Removal can save 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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Once again, Honda World Motocross 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 because of his experience in 2010 when he raced for the CAS Honda team. He used his effective form from pre-season to last season preparations and scored a great win in Faenza. As Rui Goncalves joined the Honda World Motocross team, it represented his return to the manufacturer he used to race 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 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 also to 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 expect to see plenty of action and excitement in the upcoming Motocross World Championship.

Up until the late 20th century, the graphic-design discipline was based on handicraft processes: layouts being made by hand in order to actualise an idea; type was specified and ordered from a typesetter; and type proofs and photostats of images were assembled in position on heavy paper or board for photo reproduction and platemaking. Over the course of the 1980s and early ’90s, however, rapid advances in digital pc hardware and software completely changed graphic design.

Software for Apple’s 1984 Macintosh pc, such as the MacPaint program 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 an intuitive manner. The Postscript™ page-description language from Adobe Systems, Inc., enabled pages of type and graphics to be placed into graphic designs on screen. By the mid-1990s, the development of design from drafting-table activity to an on-screen computer action was essentially complete.

Digital computers placed typesetting tools into the realm of designers, and so a period of experimentation occurred in the creation of new and unusual typefaces and page layouts. Type and images were layered, fragmented, and dismembered; type columns were overlapped and run at very long or short line lengths, and the sizes, weights, and fonts were often changed within single headlines, columns, and words. Much of this type of 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 this kind of experimental approach into graphic design.

Rapid growth in onscreen software also allowed designers to make elements transparent; to stretch, scale, and bend elements; to layer type and graphics in mid-space; and to blend 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 a photograph of New York’s Central Park, a site plan, and botanical art to commemorate the landscape architect. Together, these images create a rich expression of Olmsted’s life and work.

The digital advancement in graphic design was followed quickly by general public access to the internet. A completely new operation of graphic-design activity developed in the mid-1990s when internet business became a growth sector of the world-wide economy, causing companies and businesses to quickly establish Web sites. Designing a web-site 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 myriad of new considerations, including designing for navigation through the web-site and for using hypertext links to be taken 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 purposeful visual identity, effective navigation, and informational clarity. Attributes that added to the effectiveness of this Web site included a pleasing colour palette, an informative use of pictures of products, and a scrolling imagery of products.

Because of the global appeal and reach of the internet, the graphic-design profession is becoming increasingly global in scope. In addition, 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 changed dramatically the way graphic designs are created and distributed to a mass market. However, the basic 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 primarily based on promoting the lawyer as the product, so a biography is an essential component to promoting services. This article provides 5 ideas to make sure you get your biography right.

Creating a biography, to market lawyers on web-sites or in printed material is often given very little thought and can appear to have been completed in a hurry. Worse still is the bio that a lawyer has not been involved in writing and another worker has scraped together from a CV.

If this is true of your firm or bio then you have a serious flaw in your marketing strategy. Always remember that marketing of lawyers, particularly those in repeat business areas of law, is based around the principle that the lawyer is the product. That’s why the staff page of a law firm web-site is almost always the page most visited after the home or landing page. If you charge an hourly rate for your time, you are the ‘product’, and your potential clients will wish to have a good concept 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 generally, the success of your marketing strategy will come down to the client believing they will receive good value when they buy the time of the individual doing their work. So, hopefully having convinced you of the importance of a strong biography, here are 5 quick tips for putting one together:

Essential Tips for creating a compelling Law Firm Biography

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

As a lawyer I was pretty pleased the day I was admitted to the Supreme Court in my state. But truly, most clients won’t have any idea what this means. So remember to include information that may be relevant to your client, not just what will impress other lawyers. By all means mention qualifications, positions on legal committees and the like, but unless it’s something 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 you with some feedback.

Your client is looking for a solution
As hard as it may be for your ego to accept, the client is 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 perfect 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 very short. So try to use phrases such as: “More than 10 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 prospective clients by demonstrating a connection with the region’s major industry eg. ” from a family with a long involvement in the coal mining industry”, helps to build an immediate connection with the reader.

Add a little personality
Don’t hesitate to inject a little personality to your bio. This doesn’t just have to be the usual “Married with 2.5 children”. Include personal information if it helps with point number 4 above, but more importantly, you should 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 work shows that you are a real person with a real personality” and not the same as the numerous 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 reaches completion by purposeful application or was executed directly by a hit-or-miss alla prima method (in which medium are laid on in a single application) was previously determined by the philosophy and familiar techniques of its cultural tradition. For instance, the medieval European illuminator’s painstaking procedure, by which a detailed linear pattern was slowly gilded with gold leaf and precious materials, was contemporary with the Sung Chinese Zen practice of immediate, calligraphic brush painting, following a contemplative time of spiritual self-preparation. However, the contemporary artist has decided the technique and working method best suited to his aims and temperament. In France in the 1880s, for instance, Seurat might be working in his studio on sketches, tone studies, and colour schemes in preparation for a large composition at the same time that, outdoors, Monet was endeavouring to emulate 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).

The type of relationship established between artist and patron, the location and subject matter of a painting commission, and the physical properties of the medium used could also dictate working procedure. Peter Paul Rubens, for example, followed the business-like 17th-century custom of submitting a small oil sketch, or modella, for his client’s approval before carrying out a full-sized commission. Siting problems peculiar to mural painting, such as viewer eye level and the size, architecture, and function of a building interior, had first to be solved in preparatory drawings and occasionally by using wax figurines or scale models of the interior. Scale working drawings are crucial to the speed and precision of execution demanded by quick-drying mediums, such as buon’ fresco (see below Fresco) on wet plaster, and acrylic resin on canvas. The drawings traditionally are covered with a frame 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 a 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 holds the intensity and tonality 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 bound only with water on many ancient Egyptian murals are conserved 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 dust and handling and to restore the tonality lost when some darker pigments dry out into a higher key. Unfortunately, varnish tends to darken and yellow over time into the sometimes disastrously imitated “Old Masters’ mellow patina.” Once admired, this amber-gravy film is now usually removed to reveal the colours in their original intensity. Glass began to replace varnish towards the end of the 19th century, when painters wished to retain the fresh, luminous finish of pigments applied directly to a pure white ground. Air-conditioning and temperature-control systems of modern museums make varnishing and glazing unnecessary, except for older and more fragile exhibits.

The frames surrounding 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 introduction of portable easel pictures, ornate frames not only provided some protection from theft and damage but were considered an aesthetic addition 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 extravagant swags of fruit and flowers certainly appear almost an extension of the restless, exuberant design of a Baroque or Rococo painting. A solid 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 by him as if through a wall opening. In contemporary Minimalist paintings, no effects of spatial illusionism are wanted; and, in order to emphasize the physical shape of the support itself and to emphasise its flatness, these abstract, geometrical designs are often displayed without frames or are only edged with thin protective strips of wood or metal.

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For most people travelling abroad is a fantastic experience, a rite of passage or a well-deserved reward for working hard. Unfortunately there are some instances in which outings have not gone to plan and travellers are involved in accidents that result in injury, 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 have not covered themselves with travel insurance, such personal misfortunes are exacerbated by long-term financial burdens. Hospitalisation, medical evacuations and the return of a deceased’s remains to their home country can be quite expensive. When 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 homes, in order to ensure the safety and wellbeing of their loved ones.

Forms of travel insurance include coverage for trip cancellation/interruption, medical insurance, baggage loss/delay, flight delay/cancellation and travel document protection. Whether you holiday overseas all the time, occasionally or are planning a once-in-a-lifetime journey, travel insurance is imperative. The cost of travel insurance is dependent on the form of coveragerequired, the age of the policy holder, travel destination, how long you are intending to stay and any pre-existing medical conditions. It is important to obtain the correct kind of travel insurance to suit your individual needs and it is essential that you fully divulge any variables that may influence your insurance otherwise you may be denied coverage in the event of illness or injury.

Like many insurance policies there are the 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 where injuries are sustained as a result of being under the influence of drugs or alcohol or during “dangerous or extreme activity” such as skiing, snowboarding, rock climbing, bungee jumping and underwater activities involving the use of artificial breathing apparatus so travellers should read the fine print of their policy to ensure their insurance is beneficial for them.

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

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Currently, Yamaha Motorcycles is famous for building some of the most popular motorcycles around the world. However, unbeknownst 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 recognised in that field.

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

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

These bikes are ideal for off-road trails and adventures, and one short trial on an off-road track will immediately show the endurance that you will surely depend on with this wonderful pastime.

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

The philosophy and pathos of a particular period in painting has usually been reflected in many of its other visual arts. The ideas 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 shown in much of the architecture, interior design, furniture, textiles, ceramics, dress design, and handicrafts, as well as in the fine arts, of their times. After the Industrial Revolution, with the reduced requirement of hand-craftmanship and the absence 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 successors, like those of the short-lived de Stijl and Constructivist movements, have been tremendous, particularly in architectural, furniture, and typographic design.

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

Painters have been stimulated by the imagery, techniques, and design of other visual mediums. One of these earliest influences was possibly from theatre, where the ancient Greeks are thought to have been the first to apply the illusions of optical perspective. The application or reappraisal of design techniques and imagery from the art-forms and processes of other cultures has been a crucial stimulus to the development of more modern styles of Western painting, whether or not their traditional significance have been fully appreciated. 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 the creative 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, employed the design innovations 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 kind 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 normally transparent but can be made opaque by blending 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 compete 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. There is one basic difference between transparent watercolour and all other heavy painting mediums, its transparency. The oil painter can apply one opaque colour over another until he has made his desired result. The whites are created with opaque white. The watercolourist’s approach is the complete. In essence, instead of building up he leaves out. The paper itself creates the whites. The darkest accents are applied 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 changes the colours; for example, vermilion, a warm red, will gradually turn into a cool pink as it is thinned 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 a crayon sketch. Whole compositions can be created in this way. This technique also may be used over duller washes to enliven them.

Three hundred years before the Renaissance of late 18th-century English watercolourists, Albrecht Dürer had predicted their method of transparent colour washes in a remarkable 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 preliminary studies for oil paintings.

The chief 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 create stunning impressions of light and texture. Victorian artists, such as Birket Foster, used a laborious form of colour washing a monochrome underpainting, similar in principle 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 picture 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. Parts of white paper are left untouched to represent white objects and to create effects of reflected light. These flecks of white 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 varying proportions of pigment. Sharp accents, lines, and coarse textures are introduced when 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 launching 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 primary models of motocross bikes, both the 250R and 450R continue to receive positive input from motocross enthusiasts and bike owners alike.

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

Honda also re-invented the 2011 CRF250R motorcycle in a unique way. With its new fuel-injected engine, it is expected to deliver superior performance and exceptional throttle response. Although its specifications are not yet available, the 250R seems to hold plenty of similarities with the big bike. Its improved midrange and low power, new suspension valves, and larger Honda Progressive Steering Damper (HPSD) piston make it appear 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 look and feel to their small yet powerful motocross bikes. CRF230F, CRF80F, and CRF100F are still available in dealerships but bike riders can still wait for the launching of new and improved Honda motorcycles by October.