Find a Methodology and Minimize Investment Madness

There are many reasons to be investing these days, and too much opportunity to not have your money working for you.

However, I believe the majority of people dread having to deal with investment matters, and tend to jump into purchases and then hold their breath hoping for the best. After a long day at work and taking care of the family, it's hard to get excited about reading up on your 401(k) options, Morningstar ratings and fund performances.

If this sounds like you, there are basically 3 choices.

You can have your investments professionally managed, you can continue as you have in the past & keep your fingers crossed, or you can find a methodology that objectifies the investing process (that's buying and selling investments) and helps you maximize your long-term results.

To determine if you need help managing your investments(and this doesn't necessarily mean having to pay for advice) you might want to ask yourself these questions:

=> Do I really have the time and interest to follow the market closely on a daily basis?

=> Have I done well in the past managing my own investments?

=> Do I really want to add another layer of work and responsibility onto an already busy schedule?

If you're like most people, you would answer yes to some and no to others, so how do you decide? If you think you could have or should have done better with your investments, then you need some help. Don't feel bad. Having counseled hundreds of people over the past 15 years I can honestly say that everybody needs some help, whether they are aware of it or not.

Why? This could come as a surprise, but, in fact, your financial life is a lot shorter than your physical life?

Most people who end up investing don't really start working and making money until they are about 25 years old. Considering the average retirement age of 65, this gives you only 40 years to save and invest wisely.

If you make a poor investment decision, such as trying to stay fully invested during a bear market, you could lose big both in terms of diminished dollars and wasted time.

To drive home this important point, let me give you an actual example involving my own portfolio. For ease of illustration I have adjusted the beginning portfolio balance to $10,000.

During the period from 1/25/91 to 10/13/00 my $10,000 investment grew to $37,840, which is a 14.67% compounded annual return.

On 10/13/00, based on a methodology I was following, I liquidated all of my domestic mutual fund positions and moved 100% to the safety of my money market account. Thanks to this move, my portfolio retained 100% of its value on that date.

As we now know with hindsight, most people held on to their investment positions and have so far lost on average 50% to 60% of the value of their portfolios. For this example let us use 50%.

If I had held onto my position, my portfolio would be down to $18,920. Last time I hit that level on the way up was in 1995.

In other words, not only would I have lost 50% of my portfolio I would have lost even more by having used up 20% (8 years) of my total financial life.

How can you avoid mistakes like that in the future? Spend a little of your valuable research time looking for investment methodologies that allow you to side-step bear markets and let you move back in during bull markets. In other words, invest your time looking at methodologies instead of investments themselves. This will lay the foundation for more effective use of your money and time.

If you find a methodology that you like, and it matches your investment philosophy, stick with it for the long term. It should have the aspect of telling you when to get out of, as well as when to get into, an investment.

I suggest you follow these broad guidelines:

• Don't be afraid to take a small loss to avoid bigger disasters.
• Stay away from commissioned sales people (because they have incentives other than your best interests), and if you use an advisor, be sure he or she is fee based.
• Above all, don't get overwhelmed by news, rumors and predictions that are irrelevant to your strategy.

If you take this advice, I guarantee that pretty soon sleepless nights will be a thing of the past and you'll be on your way to more confidently and successfully (that means profitably) managing your investments.

Review: Corel Paint IX

It has been said that Corel Painter IX is the world’s most powerful Natural-Media painting and illustration software. Corel allows commercial designers, photographers and professional artists to hone their talents and techniques in creating their masterpiece. Corel Painter IX is an extremely stylish painting and illustration application which is designed to seize the complex distinction of traditional art tools while manipulating the implausible power of digital media. It is an essential tool for film making, illustration, photography, fine arts, commercial design and game development.

Corel Painter IX features an improved performance and productivity. It is the fastest version of Corel ever made. It performs ten times faster and brushes work twice as fast. It also features a new welcome screen, enhanced brush control palettes and new frames per second control. By this addition, animators can now test frame rates directly in Corel Painter. Another addition is the new customizable shortcut keys which offer unprecedented level of control over the workflow by enabling complete customization of shortcut keys.

With Corel Painter IX, a milestone in the evolution of digital art has taken place. New artist’s oil painting system can be blended, mixed and made ‘organic’ thus, it blow away preceding misconceptions of a possible digital realm. The new snap-to-path-painting is a time-saver feature where users can paint or draw perfect curve or shape. With it, brush strokes along a vector path or shape is no longer impossible. In Corel Painter IX Digital Watercolor has been significantly improved. It becomes more realistically than ever before. For photographers, the new quick clone enables them to easily transform a photo into painting.

Pre-ordering of Corel Painter IX is available through Corel and selected partners. A free trial version is also available for download. The suggested retail pricing of Corel Painter IX is $429 (US) for full, $229 (US) for upgrade and $99 (US) for the education edition. You can visit www.corel.com/comingsoon for more information.

Giving opportunity to beautify photos and painting regardless of the medium is its specialty. Painters are now throwing away the digital curse because they can now sensitively emulate paint, stroke, brush, texture and atmosphere. Some of the satisfied users say that they simply could not have produced a great artwork, reminiscent of the original movie for a production without Corel Painter IX.

There is really no substitute for Corel Painter. It has remarkable power and striking versatility. It sets a standard for performance to redefine the digital art and mastery. No doubt about it – Corel Painter IX has taken digital art to the next level!

Designing Telescopic Slides Into Electronic Enclosures

Whether it is a server, power supply, keyboard, fan tray or some other chassis configuration, there are two main aspects to consider when designing slides into electronic enclosures; the cabinet construction and the chassis – or drawer.

The attributes of these two components affect the overall enclosure configuration and the selection of slides, brackets and cable carriers.

Telescopic slides and brackets are often used to mount drawers into cabinets. Slides also provide the means to safely open drawers while giving access to critical contents. Finally, wire management or cable carriers must be added to protect wiring. Successfully combining these elements can be a significant challenge.

Often, integration problems can be traced back to cabinet configuration and related spacing issues. The following takes a systematic approach through the key aspects that influence a successful assembly.

Know the cabinet and the standard measures

Cabinets vary according to manufacture and intended use, displaying unique column shapes, thicknesses, materials and placement. These construction variances have a significant effect on the enclosure design. Be sure to obtain detailed specifications from your cabinet manufacturer.

Cabinets generally contain four or more rails (columns/uprights)
There are front rails, rear rails and optional mid-rails
There is no limitation on overall cabinet height

Most electronic cabinets are based on international standards and these dimensions are part of the equation that determines the available space for cabinet components.

The minimum opening width between cabinet rails is generally 450mm/17.72” for 19” wide cabinets.

Cabinet mounting rails carry a repetitive pitch pattern of mounting holes in a vertical sequence 15.87mm, 15.87mm, 12.70mm, 15.87mm (⅝”, ⅝”, ½”, ⅝”) and so forth.

The outside cabinet dimensions (footprint) are always greater than the cabinet mounting rail dimensions. The mounting rails are located inside the cabinet enclosure and components must be planned to fit within the rail dimensions
The actual distances between the width and depth of the mounting rails will vary according to manufacture.

Know the cabinet rail construction, rail configuration and mounting holes

Check if the cabinet has adjustable or non-adjustable mounting columns. Some cabinets include a mid-rail that may be adjustable. Rails come in an assortment of profiles and the shape affects the cabinet’s internal available space and therefore the selection of components. Rails also have several kinds of mounting holes and locations. It is important to get the exact details on the type of mounting holes offered on the cabinet.

Chassis size

Chassis is the term for an electronic drawer. When designing the chassis be sure to include the slide and bracket dimensions when determining its width.

Vertical measurements are also critical to the installation. The minimum height of a chassis is based on a standard nominal unit increment of 44.45mm or 1U. The height of the chassis plus the space required between the drawers must be accounted for when planning the overall number of chassis to be installed. The vertical dimensions are further affected by the need to match the chassis relative to the spacing of the mounting holes on the rails and the positioning of the slides, brackets and cable carriers.

Know the slides

Selecting the correct slide is based on several factors including:

Anticipated chassis load
Distance of chassis travel required; slides offering full extension or over-travel provide the best access to chassis contents (illustration)
Cabinet depth
Slide-to-cabinet mounting bracketry
Required slide features, for example, locks, hold-in or out, disconnect

The mounting position of the slide on the chassis is affected by factors such as bracket alignment, pitch pattern, chassis contents and centre of gravity. Remember also that the smaller the slide profile the more space is available for the chassis.

Know how much working space is available

If some basic dimensions are known, the space available for the remaining components may be determined. For example, by knowing the slide width, bracket thickness and cabinet opening, the chassis width can be determined.

By identifying all of the component variables, planning a compatible assembly becomes much easier.

Character Illustration Tips

Character development seems so easy when we think about legends like Bugs Bunny and Mickey Mouse or even modern cartoon characters like SpongeBob but is it as simple as it looks like? That seeming simplicity of designing a character is actually a tricky task. The following tips will not make that task easy but they may help you through the process of character development.

The toughest part of developing a character is the very beginning. Now it is time to plan and write down everything. Anything that comes to your mind about your character is worth writing down because you can never know exactly which odd detail from your sketch will actually stand out in the story.

What is your character’s target audience? Where will your character be seen? What are your character vices and strong qualities? What will be the typical daily schedule of your character? What are the pet peeves of your character? Does your character have a nickname? These are all details that can have a bearing on your character’s appearance.

Experiment, try something different.

You never know which queer detail will distinguish your character and grab people’s attention. Don’t concentrate only on those parts of the character that are closely connected with the story. Ignore all rules and try something unusual – a peculiar skin color, twice bigger than the normal-sized head, exaggerated features.

Give your character a personality.

Characters that lack individuality will lack people’s interest in them too. How will your character express his or her emotions? Is your character communicative or shy? Is your character evil or good? Does your character own strength of will? Does your character have any dreams, any goals? These are all parts of your character’s personality and it can all be conveyed in the way your character has been drawn.

Think 3D.

Don’t forget that even on a two-dimensional surface your character has more than one side. Think of your character in its entirety and see how he or she would look like from every viewpoint.

Think in motion.

The image of your character may be static but the character itself is probably not. Consider how you character would look in motion. Is there anything unique in his or her movement – does your character have a belly that trembles when the character is walking, is he or she hopping along, etc.?

Test your creation.

Show your work and ask people to describe how they see your character’s personality judging only by its appearance. This is a great way to test whether you have conveyed well the personality you want.

And last but not least – be patient!

No matter how great your talent is, you should always be prepared for some struggle when developing your character. Don’t allow yourself to get discouraged if a certain feature does not fit the way you would like or if your character does not quite convey the desired mood. Creating a character requires you to give life to a drawing and that is never a simple task.

Try Your Hand At Illustration

My creative side has been blossoming in the past few months for some reason I cannot understand. Nothing in particular brought on my desire to explore my creative capabilities, I just simply started desiring to add a little spice and variety to my days. One of my first attempts at furthering my abilities in the arts was to sign up for a introductory illustration class at a local college.

I have always wanted to try my hand at illustration and I finally decided that it was my time. It was my time to see what my hand could create. I have always been fascinated by the illustration in various books and stories, particularly in children's stories. I love the way that illustration can bring stories alive in ways that words alone cannot. I love the way that seeing a text with an accompanied illustration can bring laughter or tears within an instant.

My illustration class started off much harder than I imagined it would. I quickly learned that illustration is both a talent and a developed skill. I learned that someone could have all the illustration talent in the world and yet be lacking in elements that can only be developed by training and refining a skill. I started the illustration class with a huge need for learning new skills and practicing them. I wanted to walk into that class and be a natural at illustration and I realized that it just wasn't possible.

If you are interested in illustration I would suggest you sign up for a class at a local college or art school. There will be days or weeks of frustration, but if you work hard at illustration you will see great improvements in your ability. Any natural talent you have (which most people have at least some of) will increase by leaps and bounds when it is coupled with some hard work on developing illustration skills.

If you are a little intimidated about entering the world of art and illustration, don't be. Remember that even the best illustrators of the most famous books started out in much the same place you are at. A place with nothing but a little bit of talent (perhaps) and a lot of desire to do great illustration. You cannot let the talent of others discourage or intimidate you, instead you must choose to let it inspire you on. Illustration can be a beautiful way of bringing stories to life and of getting the stories that play in your head out onto paper for the world to see.

Fashion illustration

Fashion Illustration is the communication of fashion designs through drawing. The main focus is the fashion figure or croquis used for draping the clothing onto. The true female figure measures seven to eight head lengths in height; the fashion figure measures nine to ten head lengths, resulting in a more slender figure. In fashion drawing the basic proportions of the human form from head to crotch are retained, while extra length is added to the legs to give dramatic stylised effect and give the illustrator's designs more dynamic appeal. The body is usually drawn slim with squared off shoulders and very elongated.

Not all designers are good illustrators, therefore some of them hire the services of an illustrator.

Fashion Illustration has been around for nearly 500 years. Ever since clothes have been in existence and there was a need to translate an idea or image into a garment there has been a need for fashion illustration. Not only do fashion illustrations show a representation or design of a garment but also served as a form of art. Fashion illustration shows the presence of hand and is said to be a visual luxury; especially today in a world of "24 hour celebrities

Cartoon Illustration

The word cartoon has various meanings, based on several very different forms of visual art and illustration. The term has evolved over time.

The original meaning was in fine art, and there cartoon meant a preparatory drawing for a piece of art such as a painting or tapestry.

The somewhat more modern meaning was that of humorous illustrations in magazines and newspapers. Even more recently there are now several contemporary meanings, including creative visual work for print media, for electronic media, and even animated films and animated digital media.

When the word cartoon is applied to print media, it most often refers to a humorous single-panel drawing or gag cartoon, most of which have captions and do not use speech balloons. The word cartoon is not often used to refer to a comic strip.

Art

A cartoon (from the Italian "cartone" and Dutch word "karton", meaning strong, heavy paper or pasteboard) is a full-size drawing made on paper as a study for further drawings, such as a painting or tapestry. Cartoons were typically used in the production of frescoes, to accurately link the component parts of the composition when painted onto plaster over a series of days. Such cartoons often have pinpricks along the outlines of the design; a bag of soot was then rubbed over the cartoon, held against the wall to leave black dots on the plaster ("pouncing"). Cartoons by painters such as the Raphael Cartoons in London and examples by Leonardo da Vinci are highly prized in their own right. Tapestry cartoons, usually coloured, were followed by eye by the weavers on the loom.