1946
Roberto Busa membina penerbitan elektronik yang dianggap perintis e-buku iaitu 'Index Thomisticus'
~1963
Doug Engelbart memulai projek NLS yang boleh dianggap projek e-buku terawal
1971
Michael S. Hart memuat naik perisytiharan kemerdekaan Amerika Syarikat di komputer. Beliau melancarkan Project Gutenberg untuk menyediakan salinan elektronik kepada buku-buku klasik.
1990
Eastgate Systems melancarkan fiksyen hipertext pertama, "Afternoon", dalam cakera liut
Electronic Book Technologies melancarkan DynaText, sistem berasaskan SGML untuk menyimpan buku manual berskala besar seperti manual teknikal pesawat yang digunakan oleh tentera Amerika.
1992
F. Crugnola and I. Rigamonti mencipta peranti e-buku pertama, Incipit, sebagai sebuah projek tesis di Politecnico di Milano
1993
Projek buku digital percuma, Bibliobytes, dilancarkan di internet
1996
Project Gutenberg kini memiliki 1,000 judul. Sasarannya 1,000,000 judul.
1997
E Ink Corporation ditubuhkan oleh Joseph Jacobson, yang memiliki teknologi untuk membangunkan peranti seperti the Sony Reader, Barnes & Noble nook, and Amazon Kindle.
1998
Peranti e-buku pertama: Rocket ebook dan SoftBook dilancarkan.
Antara laman web yang pertama menjual e-buku ialah eReader.com dan eReads.com.
2000
Microsoft Reader dilancarkan dengan menggunakan teknologi ClearType.
Stephen King menawarkan bukunya yang terbaru waktu itu, "Riding the Bullet" dalam bentuk digital dan hanya boleh dibaca melalui PC
2002
Dua gergasi penerbitan, Random House dan HarperCollins mula menjual judul-judul bahasa Inggeris mereka dalam bentuk digital.
2004
Sony Librie, ialah e-buku pertama yang menggunakan teknologi e-ink.
Google mengumumkan pelan unntuk mendigitalkan hasil perolehan perpustakaan utama dunia yang dipanggil Google Books Library Project. Google kemudian disaman oleh wakil penerbit kerana menyalin dan mendigitalkan buku-buku yang masih ada hakcipta
2006
Sony Reader dengan e-ink dilancarkan.
2008
Adobe and Sony bersetuju berkongsi teknologi (peranti & DRM - digital rights management)
2009
Amazon melancarkan peranti Kindle 2.
2010
Amazon melancarkan Kindle DX International Edition ke seluruh dunia.
Apple melancarkan iPad dengan app e-buku yang dipanggil iBooks. Dari April 2010 hingga October 2010, Apple telah berjaya menjual 7 juta iPad.
Kobo Inc. melancarkan Kobo eReader
Amazon.com melaporkan jualan e-buku buat pertama kali melebihi paras jualan buku kulit keras pada suku kedua tahun 2010.
Amazon melancarkan Kindle generasi ke-3, dengan 3G+Wi-Fi atau versi Wi-Fi sahaja.
BeBook melancarkan BeBook Neo, peranti pertama buatan Eropah dengan Wi-FI.
Kobo Inc. melancarkan versi baru Kobo eReader yang memiliki Wi-Fi.
Barnes & Noble melancarkan NOOKcolor yang baru.
Sony melancarkan generasi kedua Daily Edition PRS-950.
Google melancarkan Google eBooks
2011
Barnes & Noble melancarkan Nook – The Simple Touch Reader
Amazon.com mengumumkan bahawa jualan e-buku melebihi jumlah jualan semua jenis buku bercetak.
Amazon melancarkan Kindle Fire.
2012
Apple melancarkan iBooks Author, perisian yang mencipta e-buku iPad agar pengarang boleh terus menerbitkan e-buku mereka ke dalam iBooks bookstore atau berkongsi sebagai file PDF.
Wednesday
Content Management in Publishing
Managing the content in a publishing organisation is important and crucial for better rights and asset management. Few areas of Content Management are:
1) Rights
The proper rights management will ensure better copyright coordination. This will also enable the publisher to re-use the copyright in many ways. With a proper contract in place and what content is available and owned by the publisher, it can benefit the derivative income of the publisher by selling copyright, re-use in a spin-off, customised and organise library of images and asset. Area that the publisher need to take care from the rights management:
2) Fonts
Using a creative font without proper copyright clearance is illegal. I will write more detail about fonts in my later post but Publisher has to make sure fonts that has been used in thier publisher adhere to copyright compliance and they did not use a copyrighted fonts without the proper clearance fron the Foundaries (the owner of the fonts)
3) IP Protection
Content is a valuable asset to the organisation. It can generate profits to the organisation (derivative income). Publisher has to make the best effort to protect their IP. This includes a proper secrecy or non-disclosure contract with supplier (freelancer, reviewer and typesetter) or the printer. Publisher will also has to organise the best practice on how to archive/storage/distribute their asset. In the world of digital creation. Digital piracy is the most dangerous threat to Publisher
4) Metadata Standard
Content are being produced digitally and most of the time the content will includes images, diagrams, tables, cases and many examples. How the publisher will be able to access these valuable asset when they need one? When the book published, the content is being stored digitally in the server, CD or othre storage devices. To access the content wisely, the publisher must organise a standard metadata tag to the asset. This will help to tag and describe the content depository in a consistent manner. This will make your content and asset discoverable and promote greater re-use
5) Content Creation Standard
If you are a big publisher, you will have many offices in many countries. The challenge is to establish a standard in content creation. Some of the example of content creation standard are house-style rule, standard processes, establish an establish supplier who is familiar with your style and needs and the archiving of the files. To maintain the real standard, the staff and supplier has to follow standard and always be able to be checked and audited (this is to ensure quality and consistent)
1) Rights
The proper rights management will ensure better copyright coordination. This will also enable the publisher to re-use the copyright in many ways. With a proper contract in place and what content is available and owned by the publisher, it can benefit the derivative income of the publisher by selling copyright, re-use in a spin-off, customised and organise library of images and asset. Area that the publisher need to take care from the rights management:
- third party materials
- own materials
- how the content being handled, safeguarding the content - with supplier and internal staff
2) Fonts
Using a creative font without proper copyright clearance is illegal. I will write more detail about fonts in my later post but Publisher has to make sure fonts that has been used in thier publisher adhere to copyright compliance and they did not use a copyrighted fonts without the proper clearance fron the Foundaries (the owner of the fonts)
3) IP Protection
Content is a valuable asset to the organisation. It can generate profits to the organisation (derivative income). Publisher has to make the best effort to protect their IP. This includes a proper secrecy or non-disclosure contract with supplier (freelancer, reviewer and typesetter) or the printer. Publisher will also has to organise the best practice on how to archive/storage/distribute their asset. In the world of digital creation. Digital piracy is the most dangerous threat to Publisher
4) Metadata Standard
Content are being produced digitally and most of the time the content will includes images, diagrams, tables, cases and many examples. How the publisher will be able to access these valuable asset when they need one? When the book published, the content is being stored digitally in the server, CD or othre storage devices. To access the content wisely, the publisher must organise a standard metadata tag to the asset. This will help to tag and describe the content depository in a consistent manner. This will make your content and asset discoverable and promote greater re-use
5) Content Creation Standard
If you are a big publisher, you will have many offices in many countries. The challenge is to establish a standard in content creation. Some of the example of content creation standard are house-style rule, standard processes, establish an establish supplier who is familiar with your style and needs and the archiving of the files. To maintain the real standard, the staff and supplier has to follow standard and always be able to be checked and audited (this is to ensure quality and consistent)
Tuesday
Planning To Design A Book Cover
Upon receiving a cover design draft (whether from a temnplate or from scratch), the Editor should evaluate the following items:
Generally, cover designed from scratch should meet the following design guidelines:
C - credible
A - authoritative
R - relevant
T - trustworthy
The Editor must secure internal approval for a cover design draft before sending it to the author for review.
- trim size
- spelling of the title and author's name
- imprint
- barcode & ISBN
- organisation branding
Generally, cover designed from scratch should meet the following design guidelines:
C - credible
A - authoritative
R - relevant
T - trustworthy
The Editor must secure internal approval for a cover design draft before sending it to the author for review.
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