Design Principles of a Poster

When designing a poster, there are some basic principles to use in order to present your information as clearly as possible.
Consistent Font

Use just one or two different fonts to keep the appearance uniform and easy to read. Font variety can be achieved by using the BOLD, ITALIC and UNDERLINE choices on the font toolbar. Sans serif fonts, such as Arial, are preferred for reading from a distance.
Consistent Colors

A color scheme of one or two colors helps to emphasize the information in the poster; the use of many colors may distract from the information you are presenting.
Consistent Alignment

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Align the text boxes and illustrations in the poster by using guides in order to make the poster easy to navigate when seeing it for the first time. It is a good idea to recheck alignment after completing the poster, as well as running the spell check tool.
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The poster should be arranged in columns instead of rows, so that several people can read it at the same time without zigzagging back and forth.

Self-Contained

A poster should be self-contained, self-explanatory and designed to allow several viewers to view it simultaneously.
Viewed from a distance

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The narrative text should be minimized into short, separated paragraphs using a large typeface. The minimum size we recommend is 24pt; larger typefaces (28pt+) are easier to read from a distance.
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Figures should be designed to be seen from a distance and should have clear visible graphics with large typeface.

Backgrounds

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The best legibility is achieved by using black text on white backgrounds. Backgrounds made of dark images or texture patterns can cause the text to be obscured.
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If you use different colors for text, avoid using yellow or other light colors as these are especially difficult to read.
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Note about gradient fills: While gradient fills in text boxes and titles look smooth on-screen and in small prints, the result in a large poster often has visible ‘banding’, where the gradient’s color steps have distinct edges, which are visible. Banding is especially prevalent when using 2 color gradients.

92.4 The Wave

I help in the process of planning to an extent. I also was a voice in the radio show and chose some of the music that is played in the show.

Ontario Radio Regulations

Commercial AM or FM Radio Broadcasting
Canadian Radio-television and Telecommunications Commission (CRTC)

Last Verified: 2008-03-25

Act: Broadcasting Act, 1991, c.11, s.1
Regulation: Radio Regulations, 1986, SOR/86-982, as amended; Broadcasting License Fee Regulations, 1997, SOR/97-144; CRTC Rules of Procedure, C.R.C. 1978

Related Reading

* Decisions, Notices and Orders (DNOs)
* Statutes & Regulations

To Whom Does This Apply?
Anyone who wants to start a radio-broadcasting company in Canada.
Summary

The Broadcasting Act gives the Canadian Radio-television and Telecommunications Commission (CRTC) its powers in relation to broadcasting undertakings. Under this Act, the Commission regulates and supervises all aspects of the Canadian broadcasting system with a view to implementing the broadcasting policy set out in the Act.

The Radio Regulations set out the regulations respecting AM and FM radio broadcasting undertakings. The Broadcasting License Fee Regulations set out the license fees paid to the CRTC by Canadian broadcasters. The CRTC Rules of Procedure set out the rules on how the CRTC deals with broadcasting applications.

Application Process:

Application form 101 entitled "Application to Obtain a New Broadcasting License to Operate a Commercial Radio Undertaking (including low-power)" must be completed. Once provided to the Commission and the application is considered complete, the Commission may, where circumstances warrant, issue a call for any other applicants interested in obtaining a license in that market. Following this process, the applications are scheduled for a public hearing. A decision is normally rendered within a few months following the public hearing.

Waiting Period:

The entire process normally takes from 8 to 18 months depending on whether or not there is a competitive process.

License Fees:

License fees are payable on April 1 of each year. A fee is payable if your revenue is in excess of the exemption amount of $2 million for an AM or FM undertaking and if your revenue is over the exemption limit of $4 million for combined AM/FM undertakings operating in the same market area. If your revenue is under the exemption amount of $2 million or $4 million for a combined undertaking, there is no license fee payable. In all cases, the first $500 000 in revenue is exempted.

License Period:

The maximum licensing period permitted under the Act is seven years. Once a license has been granted, a licensee generally has up to two years to get the station up-and-running, unless the CRTC grants an extension.

Information Package on Commercial Radio AM and FM:

Regulations and Directives

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Ineligibility to Hold Broadcasting Licenses (Direction to the CRTC);
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Ineligibility of Non-Canadians (Direction to the CRTC); and
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Radio Regulations, 1986 and Amendments.

Policies and others:

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Revised policy concerning the issuance of calls for radio applications and a new process for applications to serve small markets (Broadcasting Public Notice CRTC 2006-159);
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Commercial radio policy 2006 (Broadcasting Public Notice CRTC 2006-158);
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Policy framework for community-based media (Public Notice CRTC 2002-61);
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Commercial radio policy, 1998 (Public Notice CRTC 1998-41);
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Broadcast code for advertising to children, revised (Public Notice CRTC 1993-99);
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Equitable portrayal code (Broadcasting Public Notice CRTC 2008-23);
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Documentary evidence to confirm availability of financing - Commission Policy
Employment Equity Policy - Implementation of / on-air presence (Public Notices CRTC 1992-59, 1994-69, 1995-98, 1997-34);
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Ethnic broadcasting policy (Public Notice CRTC 1999-117);
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Local programming policies (Public Notices CRTC 1993-38, 1993-121);
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Revised content categories and sub-categories for radio (Public Notice CRTC 2000-14)
CBC long range radio plan (report).

For additional information, the Commission suggests consulting the following documents:

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Exemption order respecting a class of low-power radio programming undertakings (Public Notice CRTC 2004-92);
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Exemption orders respecting certain classes of low-power and very-low-power programming undertakings (Public Notice CRTC 2003-35);
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Confidential treatment of information (Circular No. 429);
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New licence form for commercial radio stations (Public Notice CRTC 1999-137);
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Advertising of alcoholic beverages, broadcast (Public Notices CRTC 1997-12, 1999-132);
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Broadcasting Act;
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Broadcasting information regulations , 1993;
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Gender portrayal, policy (Public Notice CRTC 1992-58);
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Broadcasting licence fee regulations, 1997;
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Low-power radio: limited duration special event facilitating undertakings - exemption order (Public Notice CRTC 1993-45);
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Radio networks and syndication policy (Public Notice CRTC 1989-3);
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Religious broadcasting policy (Public Notice CRTC 1993-78);
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Rules of procedure - CRTC (Broadcasting);
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Services using the vertical blanking interval (television) or subsidiary communications multiplex operation (FM) - policy (Public Notice CRTC 1989-23);
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Use of hits by English- language radio (FM) stations - revised policy (Public Notice CRTC 1997-42, Circulars Nos. 422, 422-1); and
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Final revisions to certain exemption orders (Public Notice CRTC 2000-10).

Technical Requirements:

Technical documentation must be filed with Industry Canada upon application to the Commission in order to obtain a technical certificate. This is required under the Broadcasting Act before the issuance of a license.

You must apply to Industry Canada for a frequency and broadcast certification. Available frequencies are scarce in some major urban areas. An information package to obtain a broadcast certificate regarding the technical aspect of your application is available by writing to the following address:

Industry Canada
Director, Broadcast Applications Engineering
300 Slater Street
Ottawa, Ontario
K1A 0C8
http://sitt.ic.gc.ca/app/sitt/portal/LoadMainPortalPage.do?lang=eng

For more information, call Industry Canada toll-free at 1-800-328-6189 or check their Web site for offices across the country.

DISCLAIMER
Information contained in this section is of a general nature only and is not intended to constitute advice for any specific fact situation. For particular questions, the users are invited to contact their lawyer. For additional information, see contact(s) listed below.

Ontario Contact(s):
Canadian Radio-television and Telecommunications Commission
Suite 624
55 St. Clair Avenue East
Toronto, Ontario M4T 1M2
Telephone: 416-952-9096
Fax: 819-994-0218
Toll-free (information): 1-877-249-2782
TTY Toll-free (hearing impaired): 1-877-909-2782
TTY (hearing impaired): 819-994-0423
E-mail: info@crtc.gc.ca
Web site: http://www.crtc.gc.ca/eng/welcome.htm

National Contact(s):
Canadian Radio-television and Telecommunications Commission
Les Terrasses de la Chaudière
Central Building
1 Promenade du Portage
Gatineau, Quebec J8X 4B1
Telephone: 819-997-0313
Fax: 819-994-0218
Toll-free (information): 1-877-249-2782
TTY Toll-free (hearing impaired): 1-877-909-2782
TTY (hearing impaired): 819-994-0423
E-mail: info@crtc.gc.ca
Web site: http://www.crtc.gc.ca/eng/welcome.htm

Fashion Show - Jordan Barsuk

Journal: March 8th - 12th

Flow Chart for Fashion Show

Journal: March 2nd - 6th

Journal: February 23rd - 27th

Test Results

Journal: February 17th - 21st

I Flight Like Paper, Get High Like Planes

In summer of 2008 M.I.A's song Paper Planes suprised the world and made it onto the billboard top 10. This was after it was featured on a commercial for the hit movie Pinapple Express.

Kala

In 2007 M.I.A.'s album Kala was releases with minimal notice to it.

Arular

M.I.A.'s debut album was released in 2005 under the name "Arular" for her father who had that title in the civil war.

Fader Loves M.I.A.

For her next single release, "Sunshowers," Maya again hooked up again with Ross Orton and Steve Mackey who had furnished her so successfully with the insane electro-squelch and mangled beats on "Galang." Hitting the UK airwaves this past June, they pushed boundaries even further with hyper-minimalist production and a reworked chorus from Dr. Buzzards Original Savannah Band's track of the same name to create a hypnotic template for her to fire out her young-girl bravado, this time about guerilla warfare and the Tamil-Sinhalese civil war.

Sunshowers

For her next single release, "Sunshowers," Maya again hooked up again with Ross Orton and Steve Mackey who had furnished her so successfully with the insane electro-squelch and mangled beats on "Galang." Hitting the UK airwaves this past June, they pushed boundaries even further with hyper-minimalist production and a reworked chorus from Dr. Buzzards Original Savannah Band's track of the same name to create a hypnotic template for her to fire out her young-girl bravado, this time about guerilla warfare and the Tamil-Sinhalese civil war.

Popularity Spreads

The majors did indeed pile in with M.I.A. eventually opting to sign to XL Recordings (home to Dizzee Rascal, Basement Jaxx and the White Stripes), embracing them as they were the only label to offer her 100% creative control. Meanwhile, the underground success of "Galang" had continued to spread, even earning M.I.A. plaudits in the American Press.

Galang Galang Galang

Back home in London, Maya and Justine got hold of their own 505 and, working with the simplest of set-ups (a second-hand 4-track, the 505 and a radio mic), Maya worked-up a series of six songs onto a demo tape which became her calling card to the industry. The tape found it's way into the hands of Steve Mackey and Ross Orton who then re-worked "Galang" into the monstrous meld of influences that would eventually propel M.I.A. into the limelight.

M.I.A. Meets Peaches

The support act on the tour was electro-clash supremo Peaches, who introduced Maya to the Roland MC-505 sequencing machine and gave her the courage to take on the one art-form she felt least confident in, music.

Elastica

A commission from Elastica's Justine Frischmann to provide the artwork and cover image for the band's second album led to Maya following the band on tour around forty American states, video-documenting the event.

M.I.A.

A successful art career beckoned and, for a while, seemed to be Maya's destined path. Her first-ever public exhibition of paintings featured candy colored spray-paint and stencil pictures of the Tamil terrorist movement. Graffitied tigers and palm trees mixed with orange, green and pink camouflage, bombs, guns and freedom fighters on chip board off-cuts and canvases. The show was nominated for the alternative Turner prize, every painting sold and a monograph book of the collection was published by Pocko (which was simply entitled 'M.I.A.', an acronym for Missing In Acton).

Her Influences

It was in the late eighties and on a notoriously racist council estate in Mitcham, Surrey, that Maya began to learn English. Aged just eleven and in a new country, she was exposed to western radio for the first time by the noise resonating from her neighbours. Her affinity with hip-hop and rap began from there - the uncompromising attitudes of Public Enemy and N.W.A. clicked with a frustrated, energetic war-child trying to relate to grey and foreign surroundings.

Jolly Old London

By now, the violence of the civil war was at its peak and the family repeatedly tried to flee the country. The army regularly shot Tamils seeking to move across border areas and bombed roads and escape routes. After several failed attempts to leave, Maya's mother successfully made it out with the three children, on to India and then finally back to London, where they were housed as refugees.

Travel

Eventually, as the civil war escalated, it became unsafe for them to stay in Sri Lanka, so her father sent tickets for them to relocate to Madras in India. Maya's mother moved with the three children into an almost derelict house, 3 miles from the nearest road or neighbor. They scraped by for a while, with sporadic visits from Maya's father, and the girls attended the local school, excelling as students. After a while, visits from friends and family grew less frequent and money grew very tight. The children became ill, Maya's sister caught Typhoid and they struggled to eat enough. A visiting uncle took concern and moved them back to Sri Lanka again, where they settled back in Jaffna.

Maya Arulpragasam

Maya was born in Hounslow, London but spent little time there as, at only 6 months old, her parents moved the family back to their native Sri Lanka. Motivated by her fathers wish to support the Tamil efforts to win independence from the majority Sinhalese population, her father became politically known as Arular and was a founder member of EROS (the Eelam Revolutionary Organisation of Students), a militant Tamil group.

M.I.A. Poster

Journal: February 9th - 13th