Printing Profits Dive as Large Printers Have Massive Writedowns - Industry Data Analysis from WhatTheyThink: Printing Profits Dive as Large Printers Have Massive Writedowns
By Dr. Joe Webb
Published: December 22, 2015
The third quarter of 2015 marked a huge divergence in the performance of the industry, according to the Department of Commerce Quarterly Financial Report. Printers with more than $25 million in assets wrote down assets amounting to nearly -15% of revenues. This sent the quarterly moving total of inflation-adjusted profits before taxes to +$1.46 billion.
The table shows that smaller print businesses did much better. The demarkation by assets at $25 million in assets is roughly equal to the split of establishments with 100 employees or more. These larger printers with 100+ employee have been the specialists in high volume catalogs, magazines, newspaper inserts, and numerous other high circulation materials. The consolidation activities in this segment of the industry have been constant, driven by the shift to digital alternatives and the rising costs of distribution, especially postal costs.
Printers smaller than the largest have been performing much better. Over the last five quarters, the category of those with less than $25 million in assets have had an average profit before taxes of more than 6%.
We will have more details of these data including a longer historical analysis when WhatTheyThink resumes its full publishing schedule in 2016. Check the site for breaking news during the break.
Wednesday, December 23, 2015
Saturday, October 17, 2015
Sunday, October 11, 2015
How to make your contract your best business ally - Freelancers Union
How to make your contract your best business ally - Freelancers Union: RSVP: SPARK November 7 - How to build an inspired business
If you’re freelancing, you should have your own contract. Not your client’s contract, not your friend’s contract, your very own contract that’s written with you and your needs in mind.
One DIY approach is to cobble together a contract with your favorite terms and conditions from previous contracts.
This is a great beginner strategy, but when you’re ready to level up, here are five things you can do to make your contract even better.
1. Contract under your company’s name
Contracts legally bind the two people (or companies) that are identified at the very beginning of the document.
That means if you contract as “Darius Jones, professional designer,” you personally are responsible for all of the legal obligations in the contract, but if your company, “Darius Designs, LLC,” is identified, your company is responsible.
If you’re married, or own a house, car, retirement account or anything else you like and wouldn’t want to lose, contracting under your company’s name, instead of your own name, can protect you and your family from liability if something goes wrong.
2. Get their address (not the PO Box)
Your contract isn’t only a legal document, it’s an information gathering system, and one of the most important things it gathers is your client’s address.
You want to know your client’s address so you’ll know where to find them for all sorts of reasons: invoices, meetings, your annual hilarious holiday card, and, of course, a lawsuit.
If you ever need to take legal action against your client, even in small claims court, you’ll need to know where they’re located.
Most states require you to serve lawsuit paperwork face to face; if you only have a PO Box you won’t be able to do that.
3. Detail what your client is getting (and what they’re not!)
One of the places were freelance contracts traditionally fail is in the description of the work.
In most of the freelance agreements I’ve reviewed, the work is under described: it makes assumptions about what each party knows, doesn’t identify the things that aren’t included in the job, and summarizes a number of steps or deliverables in one generic statement.
Take the time to clearly explain what you’re doing for your client and what you aren’t.
This will be the section that will be most useful to you in the event of a dispute, so make sure it would be crystal clear to a stranger totally unfamiliar with the project (like, say, a judge or an attorney).
4. Limit your liability
Most contracts will have you make indemnification promises to your clients.
That means that if a promise or statement you made in the contract turns out to not be true, you’ll pay for any harm your client suffers as a result (another reason for following tip #1).
This makes sense, to a point. Your contract should cap your liability at a reasonable amount.
Common examples are the amount you made under the agreement or some multiple of the total value of the contract.
This will help you avoid getting side swiped by liability that you can’t cover.
5. Pick a place to fight it out
Contracts have a number of “in case of emergency” clauses that detail what will happen if things don’t work out.
One of those sections talks about where a lawsuit will take place if there ever is one. (Sometimes found under the heading “venue” or mentioned in “choice of law.”)
You want this place to be easy for you to get to. If you live in Georgia and the contract says you have to sue in New York, how likely is it that you’ll go after your client for the $5,000 they owe you?
Pick a venue that’s easy for you to get to or make an exception to the rule for small claims court (which is where you’d have to go if you were owed $5,000).
You can make these changes on your own or work with an attorney to make sure that the wording is exactly what your business needs. The important thing is that you review your contract on a regular basis to make sure it is supporting your business and protecting your interests.
Katie Lane helps freelancers and creative businesses handle their legal problems and negotiate like rock stars. Find her at workmadeforhire.net
If you’re freelancing, you should have your own contract. Not your client’s contract, not your friend’s contract, your very own contract that’s written with you and your needs in mind.
One DIY approach is to cobble together a contract with your favorite terms and conditions from previous contracts.
This is a great beginner strategy, but when you’re ready to level up, here are five things you can do to make your contract even better.
1. Contract under your company’s name
Contracts legally bind the two people (or companies) that are identified at the very beginning of the document.
That means if you contract as “Darius Jones, professional designer,” you personally are responsible for all of the legal obligations in the contract, but if your company, “Darius Designs, LLC,” is identified, your company is responsible.
If you’re married, or own a house, car, retirement account or anything else you like and wouldn’t want to lose, contracting under your company’s name, instead of your own name, can protect you and your family from liability if something goes wrong.
2. Get their address (not the PO Box)
Your contract isn’t only a legal document, it’s an information gathering system, and one of the most important things it gathers is your client’s address.
You want to know your client’s address so you’ll know where to find them for all sorts of reasons: invoices, meetings, your annual hilarious holiday card, and, of course, a lawsuit.
If you ever need to take legal action against your client, even in small claims court, you’ll need to know where they’re located.
Most states require you to serve lawsuit paperwork face to face; if you only have a PO Box you won’t be able to do that.
3. Detail what your client is getting (and what they’re not!)
One of the places were freelance contracts traditionally fail is in the description of the work.
In most of the freelance agreements I’ve reviewed, the work is under described: it makes assumptions about what each party knows, doesn’t identify the things that aren’t included in the job, and summarizes a number of steps or deliverables in one generic statement.
Take the time to clearly explain what you’re doing for your client and what you aren’t.
This will be the section that will be most useful to you in the event of a dispute, so make sure it would be crystal clear to a stranger totally unfamiliar with the project (like, say, a judge or an attorney).
4. Limit your liability
Most contracts will have you make indemnification promises to your clients.
That means that if a promise or statement you made in the contract turns out to not be true, you’ll pay for any harm your client suffers as a result (another reason for following tip #1).
This makes sense, to a point. Your contract should cap your liability at a reasonable amount.
Common examples are the amount you made under the agreement or some multiple of the total value of the contract.
This will help you avoid getting side swiped by liability that you can’t cover.
5. Pick a place to fight it out
Contracts have a number of “in case of emergency” clauses that detail what will happen if things don’t work out.
One of those sections talks about where a lawsuit will take place if there ever is one. (Sometimes found under the heading “venue” or mentioned in “choice of law.”)
You want this place to be easy for you to get to. If you live in Georgia and the contract says you have to sue in New York, how likely is it that you’ll go after your client for the $5,000 they owe you?
Pick a venue that’s easy for you to get to or make an exception to the rule for small claims court (which is where you’d have to go if you were owed $5,000).
You can make these changes on your own or work with an attorney to make sure that the wording is exactly what your business needs. The important thing is that you review your contract on a regular basis to make sure it is supporting your business and protecting your interests.
Katie Lane helps freelancers and creative businesses handle their legal problems and negotiate like rock stars. Find her at workmadeforhire.net
Monday, September 21, 2015
“The right patterns of ink on a page can create vivid mental imagery and instill powerful emotions.”
Are You Reading The Wrong Books? What Science Is Saying About Fiction Readers | The Literacy Site Blog: Studies are showing that readers of fiction are more empathetic towards others. By engaging with a story, readers are temporarily placing themselves in a character’s shoes, therefore, the more stories you read, the more shoes you’ve tried on. It’s a fascinating insight into the world of reading.
In 2012, Standford University did research into why this is. According to neuroscientist Bob Dougherty,
In 2012, Standford University did research into why this is. According to neuroscientist Bob Dougherty,
Friday, August 21, 2015
The Top Print Software Question: When Will This Be Done? - WhatTheyThink
The Top Print Software Question: When Will This Be Done? - WhatTheyThink: The Top Print Software Question: When Will This Be Done?
By Jennifer Matt
Published: August 19, 2015
“Software is eating the world.”
– Marc Andreessen
(coauthor of Mosaic, cofounder of Netscape and now leading venture capitalist)
“If coders don’t run the world, they run the things that run the world.”
- Paul Ford, What is Code? Business Week June 11, 2015
The number one question anyone who has ever worked on a print software project hears over and over again from business leadership is, “when will this be done?” It’s a bit like your children asking from the back seat of the car, “are we there yet?”
The answer to the question “when will it be done?” as it pertains to software is unequivocally “never”.
By Jennifer Matt
Published: August 19, 2015
“Software is eating the world.”
– Marc Andreessen
(coauthor of Mosaic, cofounder of Netscape and now leading venture capitalist)
“If coders don’t run the world, they run the things that run the world.”
- Paul Ford, What is Code? Business Week June 11, 2015
The number one question anyone who has ever worked on a print software project hears over and over again from business leadership is, “when will this be done?” It’s a bit like your children asking from the back seat of the car, “are we there yet?”
The answer to the question “when will it be done?” as it pertains to software is unequivocally “never”.
Tuesday, August 18, 2015
Foreign Publishing Deals
Foreign Publishing Deals: The question as to who owns the right to make these deals is the subject of the agreement between author and publisher. Since copyright initially resides in the creator of the work-usually the author unless it is a work for hire situation-how much of that bundle of rights called copyright the author gives away is what that agreement is all about. Part of the negotiation will involve foreign rights of the sorts mentioned above. (see the further discussion below). However, there are often other parties who may have rights that may prevent the making of a foreign deal including but not limited to artists, illustrators, editors and even, in some instances, distributors and other parties. Therefore, the publisher must carefully review all of its agreements (or the lack of such agreements) to make sure it can actually make a foreign deal.
The real question is whether the US publisher owns exclusive rights to the cover art. Without exclusive rights, the US publisher is nothing but a non-exclusive licensee and does not have the legal right to assign any rights or otherwise deal in or with the US cover art. Unless the agreement with the cover artist expressly provides for the transfer of the exclusive rights of the artist to the publisher including the right to transfer and assign such rights, it is unlikely that the US publisher can transfer such rights to the sub-publisher. I am assuming that the cover artist is not a bona fide employee doing work in the course and scope of his/her employment.
IVAN HOFFMAN, B.A., J.D.
42+ years experience lawyering in the IP business, my experience is that the single biggest mistake that publishers make is in not having a valid written and signed agreement with cover artists. Merely paying for the art is NOT legally sufficient.
The real question is whether the US publisher owns exclusive rights to the cover art. Without exclusive rights, the US publisher is nothing but a non-exclusive licensee and does not have the legal right to assign any rights or otherwise deal in or with the US cover art. Unless the agreement with the cover artist expressly provides for the transfer of the exclusive rights of the artist to the publisher including the right to transfer and assign such rights, it is unlikely that the US publisher can transfer such rights to the sub-publisher. I am assuming that the cover artist is not a bona fide employee doing work in the course and scope of his/her employment.
IVAN HOFFMAN, B.A., J.D.
42+ years experience lawyering in the IP business, my experience is that the single biggest mistake that publishers make is in not having a valid written and signed agreement with cover artists. Merely paying for the art is NOT legally sufficient.
Monday, August 03, 2015
Discover the Future of Printing and Packaging at Printing South China 2016 - WhatTheyThink
Discover the Future of Printing and Packaging at Printing South China 2016 - WhatTheyThink: Printing South China 2016 will directly respond to latest trends and demands of China’s advancing printing industry, offering highly automated, efficient and eco-friendly products to elevate companies at the printing, packaging and various end-user sectors. In addition, with its geographical convenience of locating in South China region, one of the world’s top 4 printing industrial bases, all of China’s latest printing machinery, with performance on par with international standards, will be gathered at Printing South China 2016!
Friday, July 31, 2015
PIA's Julie Shaffer to Present Two Seminars at GRAPH EXPO
PIA's Julie Shaffer to Present Two Seminars at GRAPH EXPO: PIA’s Julie Shaffer to Present Two Seminars at GRAPH EXPO 15
Shaffer’s seminars will be particularly beneficial to business
owners, CTOs, CFOs, production managers, operation managers, sales
managers, technology specialists, project managers, business development
professionals and designers.
Print FUTURE SHOCK: Interactive, Integrated—Even Electric!
Monday, Sept. 14, 4-5:30 p.m.
At this session, Shaffer will teach attendees how print can be just as
interactive as any electronic-based media. She will introduce new,
entirely available technologies that mash print and digital
communications. Topics being discussed include when and where RFID and
NFC applications make sense, how interactive and print displays work
best together, what resources it takes to get started with interactive
media and more. Attendees will have the chance to interact with many
examples during the session.
3D for Commercial printers: Your NEXT Print Profit Pathway!
Tuesday, Sept. 15, 2-3:30 p.m.
As the 3D print (also known as additive manufacturing or rapid
prototyping) market continues to exceed all expectations in terms of
sales and product development, should commercial printers join in on the
trend? Shaffer will help attendees make decisions as she discusses the
status of the 3D printing/additive manufacturing industry, what’s going
on in the consumer market, what it takes to get the operation up and
running and much more.
Printing Industries of America will be at booth #3802 with a rotating
panel of experts, industry resources and exciting giveaways. For a full
schedule of Printing Industries of America seminars at GRAPH EXPO 15,
visit printing.org/graphexpo.
Shaffer’s seminars will be particularly beneficial to business
owners, CTOs, CFOs, production managers, operation managers, sales
managers, technology specialists, project managers, business development
professionals and designers.
Print FUTURE SHOCK: Interactive, Integrated—Even Electric!
Monday, Sept. 14, 4-5:30 p.m.
At this session, Shaffer will teach attendees how print can be just as
interactive as any electronic-based media. She will introduce new,
entirely available technologies that mash print and digital
communications. Topics being discussed include when and where RFID and
NFC applications make sense, how interactive and print displays work
best together, what resources it takes to get started with interactive
media and more. Attendees will have the chance to interact with many
examples during the session.
3D for Commercial printers: Your NEXT Print Profit Pathway!
Tuesday, Sept. 15, 2-3:30 p.m.
As the 3D print (also known as additive manufacturing or rapid
prototyping) market continues to exceed all expectations in terms of
sales and product development, should commercial printers join in on the
trend? Shaffer will help attendees make decisions as she discusses the
status of the 3D printing/additive manufacturing industry, what’s going
on in the consumer market, what it takes to get the operation up and
running and much more.
Printing Industries of America will be at booth #3802 with a rotating
panel of experts, industry resources and exciting giveaways. For a full
schedule of Printing Industries of America seminars at GRAPH EXPO 15,
visit printing.org/graphexpo.
Friday, July 17, 2015
Frank on Mobile Trends' Impact on Print - WhatTheyThink
Frank on Mobile Trends' Impact on Print - WhatTheyThink: Frank on Mobile Trends' Impact on Print
Published on July 17, 2015
New York Times print circulation is down while revenue is up and Frank uses this fact as a springboard to talk about mobile trends.
Published on July 17, 2015
New York Times print circulation is down while revenue is up and Frank uses this fact as a springboard to talk about mobile trends.
Friday, May 01, 2015
Frank: Students Are Paying Too Much For Textbooks - WhatTheyThink
Frank: Students Are Paying Too Much For Textbooks
Published on May 1, 2015
Frank goes on a mini rant about textbook pricing. Students are paying a small fortune for textbooks because of student loans, government subsidies, and, perhaps, greed.
Published on May 1, 2015
Frank goes on a mini rant about textbook pricing. Students are paying a small fortune for textbooks because of student loans, government subsidies, and, perhaps, greed.
Wednesday, April 29, 2015
APSS - Association of Publishers for Special Sales - Helping Publishers Sell More Books in More Ways
APSS - Association of Publishers for Special Sales - Helping Publishers Sell More Books in More Ways
Contact Brian Jud (BrianJud@bookapss.org) for more information about setting up a national network of local chapters to give members the benefits of a national association but still have local face-to-face contact. They now have chapters in many US cities – and Toronto.
Membership Categories
Basic membership: Free for participation in the APSS community of groups and forums without the benefits of full membership. Basic members may upgrade to full membership at any time.
Full Membership ($89 per year, or $60
if a member of a partner organization, or for additional employees at the same member company): Serious authors and book publishers seeking advice, information, savings and services to help them build a publishing business through the profitable sale of their content to non-bookstore buyers.
Chapter Membership: $60 if you are a member of an APSS local chapter (see a list at www.bookapss.org). APSS members now have access to face-to-face meetings in cities around the U.S. and Canada. Get all the benefits of a national association plus local meetings and personal networking. If there is no APSS chapter near you, contact BrianJud@bookapss.org to start one.
Associate membership ($150 per year): a supplier or consultant to the publishing industry who offers services that meet the needs of APSS members example, printers, editors, book designers, marketing consultants, publicists, distributors, etc.).
One-Time Discount offer: $45 one-year membership fee for current APSSnet members (those with free membership) may join APSS using this one-time 50% discount. The Idea Marketplace is currently closed to new registrations.
Join APSS and receive
Discounts on...
Ebook conversion, awards
Shipping
A subscription to Publishers Weekly
Website development
Promotional Products
Staffed trade show exhibits
A listing in the Yearbook of Experts
One-on-one coaching
Publicity services
Book reviews
Pubmatch
CIP registration
Marketing programs...
An annual conference
Distribution to retailers
Resource centers
Book-marketing wizards
A monthly speical-sales newsletter
Educational programs
Tips booklets
Email Blasts
Free webinars
Marketing community
Bookstore distribution
Cooperative mailings
Contact Brian Jud (BrianJud@bookapss.org) for more information on any membership category
Contact Brian Jud (BrianJud@bookapss.org) for more information about setting up a national network of local chapters to give members the benefits of a national association but still have local face-to-face contact. They now have chapters in many US cities – and Toronto.
Membership Categories
Basic membership: Free for participation in the APSS community of groups and forums without the benefits of full membership. Basic members may upgrade to full membership at any time.
Full Membership ($89 per year, or $60
if a member of a partner organization, or for additional employees at the same member company): Serious authors and book publishers seeking advice, information, savings and services to help them build a publishing business through the profitable sale of their content to non-bookstore buyers.
Chapter Membership: $60 if you are a member of an APSS local chapter (see a list at www.bookapss.org). APSS members now have access to face-to-face meetings in cities around the U.S. and Canada. Get all the benefits of a national association plus local meetings and personal networking. If there is no APSS chapter near you, contact BrianJud@bookapss.org to start one.
Associate membership ($150 per year): a supplier or consultant to the publishing industry who offers services that meet the needs of APSS members example, printers, editors, book designers, marketing consultants, publicists, distributors, etc.).
One-Time Discount offer: $45 one-year membership fee for current APSSnet members (those with free membership) may join APSS using this one-time 50% discount. The Idea Marketplace is currently closed to new registrations.
Join APSS and receive
Discounts on...
Ebook conversion, awards
Shipping
A subscription to Publishers Weekly
Website development
Promotional Products
Staffed trade show exhibits
A listing in the Yearbook of Experts
One-on-one coaching
Publicity services
Book reviews
Pubmatch
CIP registration
Marketing programs...
An annual conference
Distribution to retailers
Resource centers
Book-marketing wizards
A monthly speical-sales newsletter
Educational programs
Tips booklets
Email Blasts
Free webinars
Marketing community
Bookstore distribution
Cooperative mailings
Contact Brian Jud (BrianJud@bookapss.org) for more information on any membership category
Thursday, March 26, 2015
White Paper Demystifies Magnetic Printing
Home Forum What You Think?
Editorial White Paper Demystifies Magnetic Printing
Printed magnets have been popular specialty items for decades. Magnetic media are available for virtually all printing technologies—from offset to digital, from digital toner to inkjet—and getting high-quality images on magnets is easier than you might think.White Paper Demystifies Magnetic Printing
These are high-value print applications that should be explored! New magnetic substrates, combined with modern digital printing systems, are providing a fresh insight into working with Magnetic Substrates that make magnetic printing more versatile than ever.
Still, there remains the perception that magnetic materials are incompatible with a given printing press, or that printing on magnets is expensive and/or complicated, or that it causes nothing but problems. Magnetic Substrates Are Nothing to Fear, a white paper, by industry analyst and author Richard Romano and sponsored by Magnum Magnetics, debunks the myths surrounding magnetic printing, and shows
how these high-value print applications offer profitable growth areas that are within the reach of any print shop.
There are several different methods for printing images on magnets:
• direct printing on the substrate,
• using a transfer medium, or
• printing on unmagnetized material.
Each has its advantages and disadvantages, and the white paper identifies the pluses and minuses of each, with an emphasis on working with substrates that are magnetized after printing. The white paper also offers a rundown of any ancillary equipment that may be required, and provides a basic primer on magnets that defines common terms used in magnetic product literature and spec sheets. “Magnetic substrates can expand the service menu for print service providers,” said Vince Naselli, VP, Business Development, PrintPlanet. “They allow shops to offer new, high-value applications with relative ease and minimal investment. As this white paper shows, the learning curve is not that steep either.”
The white paper is available for download here.
For more information about the products and services offered by Magnum Magnetics, please visit www.magnummagnetics.com.
Tuesday, March 17, 2015
Belgian court rules ISPs don't have to pay copyright levies | PCWorld
A Brussels court has ruled that
Belgian ISPs don’t have to pay copyright levies for offering access to
copyright protected materials online.
Saturday, February 07, 2015
Statistics - Sentence and Word Length
Statistics - Sentence and Word Length
"http://hearle.nahoo.net/Academic/Maths/Sentence.html
"http://hearle.nahoo.net/Academic/Maths/Sentence.html
I have
always found it fascinating how the English language is built up and whether
aspects within writing have an effect other parts text. Using Bivariate data
analysis, I hope to use statistics to highlight the connections in English
writing.
always found it fascinating how the English language is built up and whether
aspects within writing have an effect other parts text. Using Bivariate data
analysis, I hope to use statistics to highlight the connections in English
writing.
In this
investigation I will be analysing any correlation between the average lengths
of words and sentences within articles from newspaper articles written by
reporters working in The Independent newspaper. It is an intriguing theory
that I would really like to prove or disprove: do longer sentences mean that
people use longer words; if so, is there a strong correlation? If there is a
negative correlation, does it indicate that the writer has to use a large
number of small words to get the same point across, as fewer longer words?"
investigation I will be analysing any correlation between the average lengths
of words and sentences within articles from newspaper articles written by
reporters working in The Independent newspaper. It is an intriguing theory
that I would really like to prove or disprove: do longer sentences mean that
people use longer words; if so, is there a strong correlation? If there is a
negative correlation, does it indicate that the writer has to use a large
number of small words to get the same point across, as fewer longer words?"
RR Donnelley to Acquire Courier Corporation
RR Donnelley to Acquire Courier Corporation : Page 1 of 2 : Book Business
RR Donnelley will acquire Courier Corporation, a leader in digital
printing, publishing and content management in the United States
specializing in educational, religious and trade book
RR Donnelley will acquire Courier Corporation, a leader in digital
printing, publishing and content management in the United States
specializing in educational, religious and trade book
Monday, February 02, 2015
see some of the industry's most advanced solutions for commercial, book and newspaper printing applications
Kodak To Highlight Publication Pre-Printed On Prosper 5000XLi During Hunkeler Innovationdays : Page 1 of 1 : Printing Impressions
LUCERNE, SWITZERLAND—January 30, 2015—Visitors to Kodak’s booth (PO1 in
Hall 2) at the upcoming Hunkeler Innovationdays (HID) will see some of
the industry’s most advanced solutions for commercial, book and
newspaper printing applications. About 4,000 attendees are expected at
the biannual event, being held in Lucerne, Switzerland, from Feb. 23-26.
LUCERNE, SWITZERLAND—January 30, 2015—Visitors to Kodak’s booth (PO1 in
Hall 2) at the upcoming Hunkeler Innovationdays (HID) will see some of
the industry’s most advanced solutions for commercial, book and
newspaper printing applications. About 4,000 attendees are expected at
the biannual event, being held in Lucerne, Switzerland, from Feb. 23-26.
Saturday, January 24, 2015
EPUB 3.0
"The EPUB® specification is a distribution and interchange format standard for digital publications and documents. EPUB defines a means of representing, packaging and encoding structured and semantically enhanced Web content — including HTML5, CSS, SVG, images, and other resources — for distribution in a single-file format."
EPUB 3.0 | International Digital Publishing Forum
EPUB 3 was developed pursuant to a charter approved by the IDPF Membership in May, 2010. EPUB 3.0 was approved by the IDPF membership as a final Recommended Specification effective October 11, 2011, and superseded the previous release of EPUB (2.0.1).
EPUB 3.0.1, which is now the current version of the EPUB standard.
EPUB 3.0 | International Digital Publishing Forum
EPUB 3 was developed pursuant to a charter approved by the IDPF Membership in May, 2010. EPUB 3.0 was approved by the IDPF membership as a final Recommended Specification effective October 11, 2011, and superseded the previous release of EPUB (2.0.1).
EPUB 3.0.1, which is now the current version of the EPUB standard.
The best starting point for learning about EPUB 3.0, including the roadmap to the specification documents, is the EPUB 3 Overview .
Monday, January 19, 2015
THE COPYRIGHT MARRIAGE AND EQUALITY ACT: IVAN HOFFMAN'S NEW ARTICLE
Ivan Hoffman will be recording 2 seminars for attorneys for continuing education credit. These will be recorded in February and will be available
shortly thereafter. One of these will deal with publishing and writing
law and the other will deal with topics related to dying and copyrights
and divorce and copyrights. You can email him for details as these
seminars are not limited to attorneys.
THE COPYRIGHT MARRIAGE AND EQUALITY ACT: IVAN HOFFMAN'S NEW ARTICLE
THE COPYRIGHT MARRIAGE AND EQUALITY ACT: IVAN HOFFMAN'S NEW ARTICLE
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