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Denver, CO (1888PressRelease) December 22, 2016 – As you know, consistency is a key component to the success of a brand. We creative types rely on branding guidelines for achieving consistency. We find many of our clients don’t have one and makes it more difficult for us to create consistent marketing materials. Logomaker.com uses artificial intelligence, so it feels like you’re working with a real designer and the results are amazing.

A branding guideline is a set of parameters for the creative team. It specifies brand details like logos, colors, font, typography, word choice, layouts, and pictures. It helps us work more efficiently. Efficiency shrinks your customer acquisition costs. Everyone likes that.

Our clients with branding guidelines save money and time by avoiding mistakes. No one likes finding out that one color was the wrong shade after printing 1,000 brochures.

When should you create branding guidelines.
At Green Jeans Creative we suggest clients create their branding guidelines before starting their first website, brochure, or other marketing material. If your company is opening a new location, or adding a franchise to your business, it is critical that you create a branding guideline first. But, don’t worry if your company has 300 employees and has been around for 5 years. It’s never too late to start saving money! You’ll be pleased how a good branding guideline streamlines a project and cuts down on costly mistakes.

Convinced you need one, but not sure where to begin? At Green Jeans Creative we LOVE collaborating with companies to create detailed branding guidelines. Sure, it costs a little time and effort initially but the payoff in branding consistency and efficiency is huge.

Give us a call to get the process started.
If your current branding guideline isn’t getting used much, it’s time to give it an update to reflect your growing brand.

If you know of someone else who needs to see message, be a hero and pass this along.

Before we jump into the surfing fitness tips lets quickly go over how the current association of surfing professionals judging criteria is set out. At least, this is what I think is current. Does anyone really know with the ASP? Install surfing app and watch live surfing events, view videos, athlete rankings and more from the world’s best surfers.

1) Usually five ASP judges score each wave between zero and ten points.

2) Of those five scores (per wave) the highest and lowest scores get dropped.

3) The remaining three scores (per wave) get divided by three to give a total wave score.

4) Higher score winners in each heat move into the next rounds, knocking out surfers as they go, until only two surfers battle it out in the final. It’s a little bit like a professional tennis grand slam competition.

Generally speaking judges look for the following four points in order to score each wave. These points therefore, dictate what should become a part of your surfing training protocols.

1) Power & Speed

2) Rhythm or Flow

3) Variety & Difficulty (Of each manoeuvre in steep sections of waves)

4) Speed and Improvisation

So, here are some surfing training tips that will benefit anyone who paddles out and wants to catch more waves and especially for those of you who wish to compete.

1) Train in the surf for short periods of time at high intensities and practice specific movements you need or want to master. Perform twenty to thirty minutes of intense surfing followed by a fifteen minute wind down on the beach with some goal work, reflection and re-hydration time. Repeat this three to four times. This is one of the quickest ways to quickly improve your competition surfing fitness, especially if the waves are pumping.

2) Know your strengths and know your weaknesses. With surfing it is always good to play your strengths yet many surfers forget to focus on building their surfing weaknesses. How is your back hand, air game, small wave surfing, big wave surfing, etc. We all have preferences and strengths and we all have weaknesses. All round surfers have a knack for improving and working on what they need to work on and you can too.

3) Paddle Fitness is key for free surfing enjoyment and competition, so each time you surf use the first twenty to thirty minutes to work on speed and power paddling. Catch as many waves as possible and surf your brains out on each wave. Even take waves that may close out or possibly put you where you do not want to be (not advisable if the surf is heavy and huge). This training strategy on smaller days however, quickly forces you to, ‘get out of the impact zone’ by training your cardiovascular system and developing speed and paddle power which will carry over into better surfing fitness. Just remember to keep your head and body still and focus on powering through with your arms and having a high elbow with each stroke.

Obviously faster more efficient paddlers means getting back into position faster and gives you more time for wave selection and getting priority as both a free surfer or competitor.

4) Power, rhythm and flow; get these ingrained into your DNA. Golf, martial arts, dancing, gymnastics for surfers, skateboarding, snowboarding can all help with your surfing training and performance conditioning. All are fun and easy to do and all quickly carry over into your surfing. Many of these sports or disciplines also allow for innovation that is also scored when surfing.

4) Surfing is a lot like golf. It’s all about consistency. The more consistent you are with your performance the more likelihood of getting consistently higher scores. If your surfing game is inconsistent, judges know this and their subconscious minds click in with ‘doubts’ on every wave they judge you on. So consistently choose good waves, surf all out and know that your highest score will be dropped. When you think about it – getting a perfect score for one wave means all judges must be scoring very highly and consistently across the board.

5) Practice big moves in big sections because that is what scores highly. If you fall then there is more duck diving, more impact zones and more challenge getting back into position. Combine this with mentally going over how to improve on the next wave, will all add to your surfing fitness and make you a better surfing athlete.

6) When you’re surf training in the gym do intense twenty to thirty minute sessions simulating heats and throw in some confusion. Get your trainer or surf coach to throw some curve balls into your surfing workout to distract you, put you off guard, to challenge you with mental games. Typically we don’t surf as well as we would have liked because of psychological challenges or external distractions, so practice dealing with these type of situations when you train.

7) Your cardiovascular system combined with stability and flexibility across the joints of your body is the base of both your flow and your surfing power. Find a trainer who surfs well and also understands and teaches all components of surfing fitness and not just stranded surfing exercises.

Hayden Rhodes has coached professional and amateur athletes improve their performance through scientific personal training, hormonal testing, nutritional coaching and performance conditioning principles.

If your a professional surfer or just getting started and want to improve your surfing body then please visit http://SurfTrainingSecrets.com.

Do you want a better body or improve as a surfer? For a free 5 day coaching guide on boosting your surfing performance please visit http://SurfTrainingSecrets.com

If you have any questions or comments simple drop me a line so that I can look help you improve your surfing body and surfing performance.

Powering Surfing Athletes

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In January 2016 the Whitechapel Gallery presents Electronic Superhighway (2016-1966) a landmark exhibition that brings together over 100 artworks to show the impact of computer and Internet technologies on artists from the mid-1960s to the present day. Scenesbydean.com are building a table top game and if you need a concept artist Sydney they are willing to help you.

It features new and rarely seen multimedia works, together with film, painting, sculpture, photography and drawing by over 70 artists, including works by Cory Arcangel, Roy Ascott, Jeremy Bailey, Judith Barry, James Bridle, Douglas Coupland, Constant Dullaart, Lynn Hershman Leeson, Vera Molnar, Albert Oehlen, Trevor Paglen, Nam June Paik, Jon Rafman, Hito Steyerl, Ryan Trecartin, Amalia Ulman and Ulla Wiggen.

The exhibition title Electronic Superhighway (2016-1966) is taken from a term coined in 1974 by South Korean video art pioneer Nam June Paik, who foresaw the potential of global connections through technology. Arranged in reverse chronological order, Electronic Superhighway (2016-1966) begins with works made between 2000 – 2016, and ends with Experiments in Art and Technology (E.A.T), an iconic, artistic moment that took place in 1966. Spanning 50 years, from 2016 to 1966, key moments in the history of art and the Internet emerge as the exhibition travels back in time.

As the exhibition illustrates, the Internet has provided material for different generations of artists. Oliver Laric’s painting series Versions (Missile Variations) (2010) reflects on issues surrounding digital image manipulation, production, authenticity and circulation. Further highlights include a series of photographs from conceptual artist Amalia Ulman’s four-month Instagram project Excellences & Perfections (2014-15), which examines the influence of social media on attitudes towards the female body. Miniature works by Celia Hempton painted live in chatrooms go on display alongside a large scale digital painting by Albert Oehlen and manipulated camera-less photography by Thomas Ruff. The dot-com boom, from the late 1990s to early millennium, is also examined through work from international artists and collectives.

Works by Nam June Paik in the exhibition include Internet Dream (1994), a video-wall of 52 monitors displaying electronically-processed images, and Good Morning, Mr. Orwell (1984). On New Year’s Day 1984 Paik broadcast live and pre-recorded material from artists including John Cage and The Thompson Twins from a series of satellite-linked television studios in New York, West Germany, South Korea and Paris’ Pompidou Centre to an estimated audience of 25 million viewers worldwide. Paik saw the event as a counter response to George Orwell’s dystopian vision of 1984.

The birth of the World Wide Web in 1989 provided a breeding ground for early user-based net art, with innovators such as Moscow-born Olia Lialina adopting the Internet as a medium, following earlier practices in performance and video. In My Boyfriend Came Back from the War (1996) the artist presents a love story enacted via an interactive black and white browser screen.

The emergence of net art is explored through a curated selection of interactive browser-based works from the Rhizome archive, a leading digital arts organisation founded online in 1996 by artist Mark Tribe, and affiliated with the New Museum in New York since 2003. In 1999, Rhizome created a collection of born-digital artworks which has grown to include over 2000 and in recent years, it has developed a preservation programme around this archive.

One of the first ever major interactive art installations, Lorna (1979-1982) by Lynn Hershman Leeson presents a fictional female character who stays indoors all day watching TV and anticipated virtual avatars.

A proliferation of experiments from the 1960s – 70s pushed the boundaries of technology. Artists such as Manfred Mohr, Vera Molnar, Frieder Nake and Stan VanDerBeek adopted computer programmes to create abstract and geometrical works while Roy Ascott, Allan Kaprow, Gary Hill and Nam June Paik used various new media to connect across multiple sites globally.

The exhibition concludes with artefacts from the formation of Experiments in Art and Technology (E.A.T) in New York in 1966 which saw performances over nine evenings from artists such as Robert Rauschenberg, John Cage and Yvonne Rainer working together with engineers from American engineering company Bell Laboratories in one of the first major collaborations between the industrial technology sector and the arts.

To coincide with Electronic Superhighway (2016-1966) a series of related special projects/displays, commissions and special events include:

Harun Farocki – Parallel I–IV (2012–4)
15 December 2015 – 12 June 2016 (Free Entry)
German avant-garde film-maker Harun Farocki’s major video installation Parallel I-IV (2012-2014), the artist’s final work, is shown in Gallery 2. In this display, Farocki charts the evolution of computer game graphics – from the earliest simple, symbolic forms, through thirty years of rapid technological progression to the realism of the present day. Projected on four screens, each video focuses on different aspects of the video game genre.

Luke Fowler and Mark Fell: Computers and Cooperative Music-Making
Until 7 February 2016 (Free Entry)
Glasgow-based artist film-maker Luke Fowler and Yorkshire-based multidisciplinary artist Mark Fell collaborate on a new exhibition exploring technological advancements in music history. Focussing on two historic computer music languages that have been obscured by more commercially viable options, the duo look at how computers began to impact and shape music making, while experimenting with unfamiliar techniques involving algorithms, non-standard timing and tuning tables.

Heather Phillipson
12 February – 17 April 2016 (Free Entry)
Artist and award-winning poet Heather Phillipson creates a new installation for the project galleries, expanding on her time as the Gallery’s Writer in Residence in 2015. Through video, music, sculpture and live and recorded speech, Phillipson’s work oscillates between conceptual distances and the intimacy of the body.

Artists’ Film International: Rachel Maclean
29 January – 29 May 2016 (Free Entry)
Artists’ Film International, the Whitechapel Gallery’s annual programme of film, video and animation chosen by partner cultural organisations around the world, is based on the theme of ‘technologies’ in 2016. Highlights include Scottish artist Rachel Maclean’s Germs (2013), a dark and surreal take on female-targeted advertising, which runs from 28 January 2016.

whitechapelgallery.org/electronicsuperhighway

Notes for Editors

For over a century the Whitechapel Gallery has premiered world class artists from modern masters such as Pablo Picasso, Jackson Pollock, Mark Rothko and Frida Kahlo to contemporaries such as Sophie Calle, Lucian Freud, Gilbert & George and Mark Wallinger. With beautiful galleries, exhibitions, artist commissions, collection displays, historic archives, education resources, inspiring art courses, dining room and bookshop, the Gallery is open all year round, so there is always something free to see. It is a touchstone for contemporary art internationally, plays a central role in London’s cultural landscape and is pivotal to the continued growth of the world’s most vibrant contemporary art quarter.

The exhibition is curated by Omar Kholeif with Emily Butler, Mahera and Mohammad Abu Ghazaleh Curator, Whitechapel Gallery and Séamus McCormack, Assistant Curator, Whitechapel Gallery.

The exhibition is accompanied by a fully illustrated catalogue edited by Omar Kholeif which includes contributions by Iwona Blazwick, Omar Kholeif, Ed Halter, Erika Balsom, Sarah Perks, Judith Barry, Nam June Paik, Lynn Hershman Leeson, Séamus McCormack, Jonas Lund and Ulla Wiggen. Price £29.99.

The exhibition’s development has been supported by a curatorial advisory committee which includes, Erika Balsom, Lecturer, Film and Liberal Arts, King’s College London; Heather Corcoran, Former Executive Director, Rhizome; Ed Halter, Co-Director Light Industry, Assistant Professor, Bard College; and Sarah Perks, Artistic Director, Cornerhouse and HOME, and Professor at Manchester School of Art.

The full list of artists included in Electronic Superhighway (2016-1966) are: Jacob Appelbaum; Cory Arcangel; Roy Ascott; Jeremy Bailey; Judith Barry; Wafaa Bilal; Zach Blas; Olaf Breuning; James Bridle; Heath Bunting;Bureau of Inverse;Technology (B.I.T.); Antoine Catala; Aristarkh Chernyshev; Petra Cortright; Vuk Ćosić; Douglas Coupland; CTG (Computer Technique Group); Cybernetic Serendipity ;Aleksandra Domanović; Constant Dullaart; Experiments in Art and Technology (E.A.T.); Harun Farocki; Joana Hadjithomas and Khalil Joreige; Celia Hempton; Camille Henrot; Gary Hill; Ann Hirsch; Nancy Holt and Richard Serra ; JODI; Eduardo Kac; Allan Kaprow; Hiroshi Kawano; Mahmoud Khaled; Oliver Laric; Jan Robert Leegte; Lynn Hershman Leeson; Olia Lialina; Tony Longson; Rafael Lozano-Hemmer; Jonas Lund; Jill Magid; Eva and Franco Mattes; Model Court; Manfred Mohr; Vera Molnar; Mouchette (Martine Neddam); Jayson Musson; Frieder Nake; Joshua Nathanson; Katja Novitskova; Mendi + Keith Obadike; Albert Oehlen; Trevor Paglen; Nam June Paik; Jon Rafman; Evan Roth; Thomas Ruff; Alex Ruthner; Jacolby Satterwhite; Lillian F. Schwartz; Peter Sedgley; Taryn Simon; Frances Stark; Hito Steyerl; Sturtevant; Martine Syms; Thomson and Craighead; Ryan Trecartin; Amalia Ulman; Stan VanDerBeek; Steina and Woody Vasulka; Addie Wagenknecht; Lawrence Weiner; Ulla Wiggen; The Yes Men; YOUNG-HAE CHANG HEAVY INDUSTRIES

Phillips is a leading global platform for buying and selling 20th and 21st Century art and design. Offering professional services and advice on all aspects of collecting, Phillips is committed to exploring the ways in which technology is providing new channels to engage with and collect art. Phillips offers an online auction platform accessible anywhere in the world, with live auctions and exhibitions in salerooms in New York, London and Geneva and Hong Kong.

There are good reasons why you should have your future home inspected. But before we go into that, you must ask yourself: do you want the cheapest inspection, or do you want a professional independent building inspections?

Some inspectors can be alarming and point the way for their own company to get maintenance work, to fix up very minor details of your future home. Some inspectors will want to write about every little thing wrong about the building that they can find, and much of it is simply unnecessary if the building is aged. In such a case real issues might get missed.

A professional inspection would be one that notes everything, highlights the most concerning details – structural concerns – at the front, and has the other data in the report, but notes how relevant it is to the age of the building and the circumstances of the building.

In other words, one would not note every scratch and scuff of every room, and somewhere there also note that there were termites found, which might be missed by the reader.

In a twenty year old building it might be enough to state the building’s age, that it appears to have been ten years without refurbishing, and thus has the associated wear and tear of such a home of that age. Then on top of that note any major significant defects. But in a brand new home it might be important to note that three tiles were scratched on the floor of the bathroom, and provide photographs. The circumstances are different and the reports are too.

The person ordering the inspection has to work this out. He has to know who his inspector is, and likely this is why people who move from house to house will find a professional inspector, and keep them over decades.

So what makes a professional inspector? Inspectors who come from a professional building background will obviously have an edge on the same inspector who comes from a non-construction background. And there are many who have no qualifications at all. So find out and ask. The best qualified inspectors will have it noted on their website somewhere.

A builder will know all the ins and outs of how someone can fudge and obscure construction errors. The same is for an engineer or architect who moves into building inspections. These people can stand back from the house, seeing what is on the surface to be seen, and ask themselves why certain blemishes might appear, and then trace those back to their source errors. A professional inspector will not just find a crack and report it; he will and should determine the cause of the crack in the first place. This takes a thorough knowledge of building procedure.

So this is why it is wise to get a professional building inspection. If you are not in the building profession and you see a slight crack somewhere, you may not be able to see at a glance that the crack is inside a patch and that the building is moving. A professional is more likely to see it and be able to look for telltale signs indicating where that crack initially come from.

Cracks can come from building settlement, trees and vegetation withdrawing moisture from the soil, different materials interacting with each other – bricks grow (absorb moisture) while concrete shrinks in time, termites and timber pests, different materials heating and cooling at different rates, and other reasons. If you are buying a home you are best to know why.

But regardless of their knowledge, know that most inspectors will not crawl through openings that are too small, and they will not move furniture, and they will not do an invasive inspection. That is, they will not dig into a wall, or try to get below the surface of the building they are inspecting. Usually their terms and conditions state this. So, if possible have this worked out before the inspector arrives.

When you buy your home you really want to know that it is what you think it is. You do not want to pay half a million dollars to find you then need to pay a lot more.

Professional building inspectors also carry professional indemnity insurance and that helps you sleep. Obviously an inspector is not equipped with x-ray vision. But this does not mean he cannot observe, and cannot use tools, such as moisture meters, to find leaks behind showers and so forth. However, it does mean that he cannot always really tell what is behind the surface of what he sees. What he has is decades of experience, and it is that experience you are calling upon when you need his help.

Is it worth paying that money to have your home inspected? It is likely that the money you spend will give you peace of mind. It will also give you information about the building so that you can ask to have it fixed if it is a problem. As a social phenomenon it also keeps people honest. But in the end it is up to you.

We hope this article was useful.

Nick Broadhurst is the principal of Canberra Building Inspections Fast and Professional. Canberra Building Inspections Nick is also a construction project manager, and architect. He has worked in many countries around the world, including ten years in Japan, several years in the USA, and of course decades in Australia. Nick Broadhurst of Canberra Building Inspections

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Foxtel has green lit Picnic at Hanging Rock with FremantleMedia Australia to produce this new, premium drama as a trailblazing re-imagining of the timeless Australian novel by Joan Lindsay. Amp up the wow-factor at your next summer gathering with a picnic party theme that’s easy to pull off even for the most uncreative party planners.

Foxtel Chief Executive Officer Peter Tonagh announced the new drama commission today in his keynote address at the 2016 ASTRA Conference in Sydney.

Picnic at Hanging Rock is in pre-production as a 6 x 60 minute event drama which has secured production investment from Screen Australia.

The drama will plunge viewers into the mysterious disappearances of three schoolgirls and their governess on Valentine’s Day 1900 and the far-reaching aftermath.

Foxtel Head of Drama Penny Win said “We are very proud to commission this exciting television event drama exclusively for Foxtel subscribers. Like many others, I am a fan of the 1975 Australian film which was pivotal in establishing the modern Australian film industry. This series, based on the classic novel, will take viewers on a new and in depth journey into this incredibly iconic Australian story.

“Our aim is to provide a rich and diverse slate of Australian drama for our viewers and Picnic at Hanging Rock is a story that we feel will intrigue and enthral a contemporary audience.”

FremantleMedia Australia Director of Drama Jo Porter said “We are delighted to be continuing our partnership with Foxtel, Screen Australia and our distributors FremantleMedia International to bring this iconic and timeless Australian classic story to the screen for a new generation.

“It is testament to the originality of author Joan Lindsay that her novel, charting the chilling mystery of the inexplicable disappearance of the three school girls and their teacher at Hanging Rock and the secrets this event lays bare in its wake, still feels just as fresh, unsettling and relevant today.

“Bea Christian and Alice Addison’s incredible scripts are both brilliant renderings of this mystery and provocative explorations of the underlying themes of gender, control, identity and burgeoning sexuality. The producer is the highly esteemed Antonia Barnard.”

Screen Australia Chief Executive Office Graeme Mason said: “Picnic at Hanging Rock is one of the true icons of the Australian film industry, having launched careers for the likes of Jacki Weaver and John Jarratt. The opportunity to again see this mythic tale on screens for a whole new generation was irresistible, especially in the capable hands of Australian producer Antonia Barnard and FremantleMedia executive producers Jo Porter and Anthony Ellis. With the recent success of The Kettering Incident, we’re thrilled to again be working with Foxtel to bring more premium Australian drama to television screens.”

Picnic at Hanging Rock’s executive producers are FremantleMedia Australia’s Jo Porter and Anthony Ellis and Foxtel’s Penny Win, the producer is Antonia Barnard and writers are Beatrix Christian and Alice Addison. FremantleMedia International is distributing the series worldwide. Casting is underway.

Whenever I write these columns, I share a common predicament with those who create content for digital signs: How do I communicate my message to a mixed audience, some of whom have a detailed knowledge about my subject and others who at best have a passing familiarity? Whatever kind of vehicle signage Sydney you require, Absolutesignsolutions.com.au can transform your car, van, truck or entire fleet into rolling billboards promoting.

I’ll do my best in this column to serve up some information that old hands and newcomers alike can take away that I hope will make the next few moments of your time well spent.

If you’re brand new to digital signage, struggling to understand where it fits into the communications landscape, here are five basic principles that will help you put digital signage into context -whether you’re thinking about using it to greet visitors in your company’s lobby or influence shoppers to make a purchase.

Dynamic messaging: Digital signage transforms dull, static signs into a dynamic mix of video, graphics, text and animation that can communicate and influence viewers in ways more akin to television than a printed placard.

Easily changed: Unlike signs that have to be reprinted to update messaging, digital signage text and graphics can be changed in a matter of moments to reflect the exact messaging that’s needed at any given moment.

Scheduled to maximize impact: Because it’s easy to update digital signs, they can playback messaging needed to address an audience that changes throughout the day. For example, a digital sign outside a hotel restaurant can entice early risers to visit for breakfast in the morning, transition to lunch fare in the afternoon, display an elegantly appointed table with dinner specials in the late afternoon, and promote featured music acts that will appear in the lounge after dinner.

Comfort and credibility: The very fact that digital signage relies on LCD and plasma panels and even CRTs for display -just like the one’s in the living rooms of most U.S. households- and that it can present messaging every bit as appealing as anything on television, imparts a degree of credibility to the medium that’s easy to take for granted but difficult for other new media to attain.

Linear and interactive playback: Digital signage can be used to playback a series of pieces of linear content -that with a beginning, middle and end- as well as stand in for digital kiosks that give users access to branching interactive content to meet their needs. The same digital sign can do double duty in a hybrid application to attract an audience with linear content and deliver specific content in interactive mode at the touch of a screen.

For the old hands, here are five factoids about digital signage that are worth considering:

• Fine Art: With so much attention focused on the commercial aspect of digital signage, it would be easy to miss the fact that large flat panel plasma displays are currently being used as a digital canvass for the a series of 30 high definition video portraits at New York’s Phillips de Pury and Paula Cooper galleries and at the Ace Gallery in Los Angeles. The exhibit, VOOM PORTRAITS by ROBERT WILSON, underscores how the technology at the heart of digital signs is becoming increasingly common.
• Changing media markets: On their own, digital signage networks are becoming a significant advertising medium. Well-positioned to complement the skyrocketing online advertising market, which is expected to grow 35 percent this year, digital signage networks are coming into their own as a viable advertising medium.
• Proximity sensing: As hybrid interactive digital signs increasingly stand in for digital kiosks, the need to recognize the presence of viewers grows. Not only can such knowledge automatically launch a presentation, it also can control audio volume to prevent audio from closely spaced signs from competing with one another and creating an audio mess. Proximity sensors that easily interface with interactive digital signs can take control and create order from what otherwise would be chaos.
• Projector alternative: New technologies that allow projected images to be clearly seen on screens mounted in full daylight are emerging. Coupled with new technology that corrects for geometric distortion of projected images from oddly placed projectors, the new screen technology opens new opportunities for projectors to be used in digital signage applications.
• Flatter all the time: For the first time, flat panel displays have surpassed CRT-based televisions in consumer sales. Not only does that mean economies of scale will continue to make digital signage displays less expensive, it also means digital signage will continue to blend easily into the media landscape.

There you have it, five things you need to know about digital signage and five things you may not have known. Whether you’re an old hand or newcomer, I hope it was time well spent. If you have a digital signage topic that you would like me to research and write on, please provide feedback.

David Little is a digital signage enthusiast with 20 years of experience helping professionals use technology to more effectively communicate their unique marketing messages. He is the director of marketing for Keywest Technology in Lenexa, KS, a software development company specializing in systems for digital signage creation, scheduling, management and playback. For further digital signage insight from Keywest Technology, download our Six Basic Digital Signage Applications [http://www.keywesttechnology.com/component/option,com_performs/Itemid,0/formid,4/] white paper; subscribe to our digital signage RSS feed [http://www.keywesttechnology.com/keywest-blog/] that gives a diverse perspective on digital signage from experts around the world; and sign up for our Keywest Update news brief.

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