ICOMPUBLISHING MANUALIn keeping with the ICOM Strategic Plan 2016-2022,
which includes a policy dedicated to publications, ICOM
wishes to support its network’s rich and varied editorialactivities, and contribute to the development of expertisein the museum field. In PUBLISHING
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MANUAL
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Update 2017
- EN 2017 - EN
UpdateICOM’s three official languages, butalso Estonian,Finnish,German, Greek, Italian, Japanese, Korean, Norwegian,Portuguese and Swedish.
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© 2017 The International Council of Museums (ICOM)We realise that we may not cover all of your questions,in which case, do not hesitate to contact us for further
information: publications@icom.museum

We hope theseguidelines
will facilitate
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expertise in the museum sector.

Suay AksoySuay Aksoy
Suay Aksoy
ICOM President
ICOM President
ICOM PresidentPeterPeter
KellerPeter
KellerKellerICOMICOM
Director
General
Director
ICOM DirectorGeneral
GeneralCONTENTS

7	Key Steps in
the Publishing
Process9

 efiningD
your
Project

10	Preliminary
steps in the
publishingprocess13	Developing
and monitoringa publishingbudget21

 ditorial
E
Process

22	Selectauthors24

Iconography

27	Peer
review
27

Paratext

29	The editing
process
30	Content
finalisation33

 raphicG
Design34	ICOM
graphic
charter37	Additional
recommendations
on graphic design40	Series
and journals:
establishinga visual
identity

49

Production

50	Advancepaper order
50

Photoengraving

51

Press proofs

51	Printing
and finishingTranslation

44

Translation rights

 dministrative
A
Follow-up
and Archiving

70	ISBN
and ISSN
73

Archiving76	Legal
deposit77	Publications
database

55	Scholarly

Publishing56	Peer
review
43

69

58	Editorial
Committee

79	How toPromote andDistributea Publication

44	Contacting
a translator

58	Indexing
and referencing

80	Promotional
activities

47	Translationof ICOM
publications

64	Open Access (OA)
to scientificpublications

84	Definea distribution
strategy84	Distribution
channels86	Commercial
and promotional
follow-up

89

 egal GuidanceLfor Publishing90	ICOM
specificities
92	Advice on
contracting andnecessary steps
93	Copyright, logo
and distribution
96	Contracts witha professional
publisher98	Author
contracts
101	Specific contracts
and agreements
102	Contract
management
for services

105 Digitaland Online
Publications

106 E-books
109	Other digitalformats
110	Online editorial
content

112

Glossary

117

Appendices118

I. Useful links

128	
II. Museum
International CFP,
editorial guidelines
and peer reviewer
guidelines
136

III. Technicalities153	
IV. ICOM
presentation text

KEY STEPS IN THE PUBLISHING PROCESSCONCEPTION◦ Defining the project◦ Developing the publishing budget◦ Selection of the author(s)◦ (Peer reviewing)◦ Copy-editing◦ Proofreading

TRANSLATIONPRODUCTION◦ Graphic design◦ Layout◦ Printing

RELEASEARCHIVING

DISTRIBUTION

COMMUNICATION & PROMOTIONEDITORIAL PROCESSDefining
your
ProjectEVALUATE YOUR PROJECT
Before launching a publishing project, we recommend thatyou take some time to evaluate the following: relevance ofthe subject, objectives of the publication, possible format(i.e. print, digital-only) and whether a partner is necessary
for a co-publication.
Once you have a clear vision for the publishing project,
inform the Secretariat of your plans. Publishing within
ICOM also means keeping the Secretariat informed of the
project’s progress, to facilitate assistance if necessary.
It is important to note that most ICOM publications areintended for distribution free of charge, which is why wewill not delve extensively into the commercial aspects ofpublishing in this manual.
→ Please also note that International Committees need tohold a delegation of authority* if they need to sign contracts
with third parties to realise their project.

CHARACTERISTICS OF THE PUBLICATION
Identify the main characteristics of your publication aheadof time, to help you establish the budget, request quotes
from service providers with accuracy, and subsequently
adapt any of the features if need be (e.g. regarding the estimated cost).
These characteristics include:◦◦Title◦◦Author(s)◦◦Potential partners◦◦Publication type (book, journal, conference
proceedings, monograph, etc.)◦◦Format (printed book, e-book, DVD, etc.)◦◦Language and potential translations◦◦Readership◦◦Price: will the publication be sold,or distributed free of charge?
◦◦Publication date◦◦Brief description of the content◦◦Promotional material◦◦Distribution strategy◦◦Circulation network

10

Defining your Project1 Preliminary steps inthe publishing process

AUDIENCE

Committee subgroups
and working groups
should first inform andrefer to their Committee
Chair during the whole
publishing process.

Knowing your readership will allow you to define the language of your publication, its format, and may impact yourinitial concept. You could carry out a survey of potential
readers, by asking questions such as whether a digitalor print publication would be more appropriate, using a Identify your readership:
Who is your publication for?
simple online tool such as Google Forms.

MARKET STUDY

Why will this audience beinterested in your publication?

This step consists of identifying competitive works. Analysing what has already been published on the same subject
can either solidify your project or call it into question. Thisis also a way of finding out if there is a substantial amountof literature on the subject, or if, on the contrary, you are
one of the few to address it. Those considerations will havean impact on how you carry out the rest of the publishingprocess (e.g. layout, binding type, print run).
*All words followedby an asterisk are
explained in theglossary p. 112 andare clickable links.

For print:◦◦Dimensions◦◦Type of paper◦◦Binding type◦◦Print run (including free copies for theauthor(s), review copies and archiving)

CO-PUBLISHING
Publishing is demanding work and partnering with a publisher can be a way of sharing the workload, as well as
the costs. Another positive effect of co-publishing is thatyour publication will benefit from the expertise and reputation of the publisher. The decision to opt for a co-publication should be made early on in order to find a publisher
that will accept your project. Be prepared to change yourplans if you do not manage to find a partner. Once you havefound a partner, it is essential to sign a contract in order toensure proper and transparent conditions.
→ Members of Committee subgroups and working groups
must consult with their Chair before undertaking any actions with a publisher. This is essential to ensure proper
protection of ICOM copyright over publications emanatingfrom ICOM committees.

See Appendix I fora list of academic
publishing houses.

See Chapter 9 fordetails on co-publishing
contracts and copyright.

DEVELOP A TIME SCHEDULE
A time schedule is crucial for meeting deadlines in the various stages of the publishing process. The promotional
strategy, for example, should be considered from the very
beginning of the project.

11

Main deadlines to be set include:◦◦Submissions received◦◦Peer reviewing (if scholarly)◦◦Final version of the manuscript,
revised by the author◦◦Reviewed and corrected version
from the proofreader◦◦Translation of the manuscript(if applicable)◦◦Distribution of promotional material(e.g. flyers)◦◦Design template◦◦Layout process◦◦Approval of the final version before printing(with final graphic design and layout)◦◦Printing◦◦Publication date◦◦Official book launch (if applicable)

ESTIMATE YOUR COSTS
Before establishing your budget, request quotes from all
external service providers (graphic designer*, printer,translators, etc.).
To obtain realistic quotes, be as accurate as possible about
your project. This will also facilitate the work of the service
providers.
Please refer to your Committee Chair before
signing any contract. The Chair is the only member
entitled to sign, if your Committee has a delegation See Chapter 9 for more ondelegation of authority.
of authority from the ICOM Secretariat.

12

Defining your Project

Publishing projects can involve a number of external service providers and a great deal of work during each step of
the process. Time schedules should therefore be realistic.
It is not uncommon for the entire process, from initial manuscript to final publication, to take one year (or 18 months,
in the case of scholarly books and journals).

2 Developing and monitoringa publishing budget
A budget and projected operating (or income)account are essential tools when producing apublication. These should be established before
the editorial process is launched and continually
verified and/or updated over the course of
the publication process (for instance, if the
publication’s specifications have evolved frominitial plans).
If you are working on a series ora periodical, the projected operating
account should run over three years,
in order to incorporate the financial
impact of each new title.

PARTICULARITIES OF ICOMICOM committee publications are often based on voluntary contributions from members. The fees for contributors discussed in this publishing manual are therefore notalways relevant.
For publications produced with co-publishers, the production process will generally be handled by co-publishers, as
they already have regular service providers for printing,binding and distribution. It is useful to list the costs together with the other party when setting the terms of thepartnership.

For conference proceedings,
the publishing budget is sometimes included in the overall
conference budget.

13

EDITORIAL COSTS

Defining your Project

COSTS INCURRED IN THE PUBLISHING PROCESSMANUFACTURING COSTSAUTHORS’ REMUNERATION
The author’s form of payment or compensation must be discussed with them andspecified in a contract, even if the author
is working on a voluntary basis.
Royalties (in commercial publishing)
Royalties are paid to the author for eachcopy of the publication sold. The royalties
are usually paid once a year to the author.
They represent a percentage of the public
price and have to be negotiated between
the publisher and the author (generally
5–12%).
See Chapter 9 for more
about author remuneration.

ILLUSTRATION FEES
Illustration fees can include
photographer fees or agency
fees, as well as fees of living artists or rights-holders (e.g. if
featuring works of art or illustrations in the publication).

LAYOUT COSTS(these should include layout andincorporation of corrections)Payment is generally per page,
which may or may not include thecover, or on a flat-rate basis for theentire publication.

GRAPHIC DESIGN COSTS
Different from the layout costs, these
apply when a new template is being designed. They can include both layout
and design of the publication.

PRINTING AND BINDING COSTS
PROOFREADING COSTS
Rates for proofreading areusually determined on a
per-page or hourly basis.

These costs relate to the quantity of the print run, which should
be determined as accurately as possible in terms of copies tobe distributed in order to avoid excess stock or costly reprints.
Stocks must be subsequently monitored to determine demand
for the publication and ensure timely reprinting if need be.
Other factors impacting these costs include the type of paper,
the colour process (black and white, four-colour, Pantone), andthe type of binding (hardback/paperback). Ask your printerhow you can reduce costs by varying these parameters.
See Chapter 5.4 for more on printing and finishing.

TRANSLATION COSTS
When engaging the services of a professional translator, an official quote–usuallywith a specified per-word rate–should berequested and subsequently approved by
the publisher. You can consult your national translator’s association for guidelines on
rates, which may rise under certain circumstances (tight deadlines, night work, work on
a non-standard format, poorly written original text, etc.).
See Chapter 4 for more information on translators and thetranslation process.

DIGITAL AND ONLINE PUBLICATIONS
For e-publications such as PDFs, andparticularly for e-newsletters, there areno manufacturing costs. Nevertheless,layout and e-mailing costs may be incurred, and should thus be foreseen.
For digital publications such as e-books,
production costs should be taken into
account. They are lower than production costs for printed publications andinclude the adaptation of the manuscript in HTML and design of the e-book.
See Chapter 10 for moreon digital publications.

CO-PUBLISHING
When working with partners,
costs related to production anddistribution may be shared
between the committee and theco-publisher, or, if a firm saleagreement has been signed, yourcosts will include the pre-purchase of copies you buy inadvance from the publisher at a
discounted rate.
See Chapter 9
for more about
co-publishing
contracts.

14

15

Defining your Project

FUNDING / FINANCINGSUBSIDIES FROM ICOMSAREC: Strategic Allocation Review Committee

PROMOTIONAL COSTSThe Strategic Allocation Review Committee
reviews the subsidy applications submitted to
ICOM by its committees and Regional Alliances,evaluating the extent to which the projects
relate to the organisation’s Strategic Plan, andtheir ability to be implemented and attain theobjectives laid out.

These could include the design and printing of the promotional material andcosts of an official book launch.

DISTRIBUTION COSTS
Distribution can involve substantial costs.
If you are working with a co-publisher, you will benefit
from their marketing and distribution services.
Otherwise, since your publication will be distributedfor free, you will distribute the copies yourself tothe relevant organisations, at conferences, meetingsand events where you can encounter your potential
readers.
Commercial publishers first sell the idea to bookstores, offering them a substantial discount on the saleprice if they agree to display the publication. In order
to organise all transportation and returns processing,most publishing houses hire an external distributor totake care of the logistics and a salesperson to convince
the booksellers to stock the publication. The cost of hiring a professional distributor is usually a percentage
of sales. For example, in France, the SNE estimates
distribution costs (logistics and marketing to bookstores) at approximately 20 per cent of total retail.
SORTING AND MAILING COSTS

How do I apply for a subsidy?
You can find guidelines and apply for a‘Special Projects’ subsidy for your publication through ‘Support to the network’
on ICOMMUNITY (ICOMMUNITY > Administrative > Support to the network).†

EXAMPLE OF SUBSIDISEDPROJECT: CHASKI
ICOM-LAC received an ICOM
special project grant in 2015 forits magazine Chaski.
Chaski is an annual periodical on
museum activities in the Latin
American and Caribbean region.
Since Chaski is produced by an
ICOM Regional Alliance, the editorial responsibility is given toa different National Committee
each year. The 2015 issue wasoverseen by ICOM Mexico.

Subsidies may also sometimes be obtained for certain aspects of the publication process, such astranslation.
→ Contact the ICOM Secretariat to find out aboutother sources of funding for your publications:publications@icom.museum

OTHER SUBSIDIES
Several organisations in the publishing field also provide
support programmes for publishers.
→ Applying for a subsidy can be time-consuming, generally requiring extensive project specifications and details
about the publishing schedule. We recommend getting in
See Appendix I for
touch with the funding organisation in order to ensure that a non-exhaustive
your project is eligible for the subsidy and to ask for advice. list of organisations
offering subsidies.

Particularly relevant for journals, these costs should
be determined on the basis of a negotiated quote froma mailing company.

† - At the time of writing, ICOM's website was in development and these indications may evolve. The manual will
be regularly updated to reflect developments.
16

17

Defining your Project

REVENUE PERMITTED TO COVER COSTSFICHE PRATIQUE N°2
Etablir et suivre un budget d’édition
SAMPLE OPERATING BUDGETTYPES OF POSSIBLE REVENUE IN COMMERCIAL
PUBLISHING:◦ Direct sales revenue
Revenue from face-to-face sales to future readers without
going through a distributor and the general bookstore
network.

For a 156-page publication, 155x240 mm
If you intend to sell yourbook for this purpose, pleasesubmit your business plan
to the ICOM Secretariat.

Budget d’exploitation type◦ General bookstore revenue
Revenue from sales in bookstores (amount of copies soldmultiplied by retail price excluding tax, minus the reduction granted to the distributor).

pour une publication de 156 pages, 155 x 240 mm◦ Online sales revenue
Revenue from online sales, minus the reduction granted
to the e-distributor (Amazon, Fnac, etc.). The reduction
granted to Amazon is around 15 per cent of the retail priceexcluding taxes.
◦ Subscription revenue (applicable for periodicals)
Subscription revenue can cover the production and mailing costs. Thanks to subscriptions, the publisher receives
an advance on sales, which can fund the production of the
future issues. In the case of a periodical, it is important forcommercial publishers to keep promoting their publications to ensure new subscriptions with each new issue.
→ Figures should be updated regularly in order to keep
up with the changes in costs throughout the project timeframe. This will help avoid unpleasant surprises.

18

19

Editorial
ProcessEditorial Process

At this stage of the project, you have a clear vision ofyour future publication and how you will produce
it. Now it is time to start the editorial process – thatis, to collect the appropriate content and ensurethat it meets the requirements for publication.

WRITING TIPS
These basic rules aim to make the text as readable as possible. You may send them to assigned authors.
→ Know what you want to say.
And say it as clearly as you can.

1 Select authors→ Your first paragraph/abstract should be able to standon its own: who, what, where, when, why and how?
→ Don’t assume, explain.
A quick definition can clarify a concept that is not obvious.

CALL FOR PAPERS
If you want to create a publication that aims to gather several articles treating a specific subject, you may consider
launching a call for papers to select your authors. This isoften the case for journals, and the articles submitted aresubsequently peer-reviewed.
The call for papers can include specifications for the article(e.g. maximum number of characters/words).

→ Know your audience.
Always ask what piece of information will be of greatest interest to the readers of the publication and lead with that.

See Appendix II for Museum
International’s call for papers.

→ For conference proceedings, texts are usually commissioned through a call for papers.

COMMISSION AUTHORS
You can also contact author(s) directly if you know that
their work and fields of expertise are coherent with yourpublication’s project.
Texts are commissioned through a brief specifying the typeof contribution sought, the topic, the length (word or character count), and the date and mode of delivery.

→ Check every sentence to make sure the reader can understand it without having to read it twice.
→ Make it interesting.
Readers want to know the background: who did what,
when, where, why.
→ Accuracy is essential.
Take great care with spelling, especially with people’snames, organisations, places, etc. Accuracy is more important than speed.

Note on copyright:
Bear in mind that you
need to obtain authorisation from the authors
to use and distribute
their work, whether
the contribution ispaid or unpaid.

→ Avoid clichés and jargon.
Avoid redundant words like really, actually, in fact.
→ If quoting somebody
Try to figure out exactly what the person is saying andparaphrase if necessary. It is always better to paraphrase
than to present a badly worded quote.

Do not hesitate to use a dictionary.
When more than one spelling is possible(i.e. UK vs. US English), choose one andbe consistent.

22

23

WORKING WITH A PHOTO EDITOR

Besides writing tips, certain guidelines specific to your journal can be sent to authors, in order to reduce the amountof work later on, such as: specifications on the abstract orbibliography, requests to add keywords related to the article, to send images/charts and captions if applicable and
See Appendix II for Museum
copyright information about the images, suggestions for International’s editorial
peer reviewers and more.
guidelines.

A photo editor is a professional picture researcher, whofinds relevant images to illustrate a given topic and provides technical, administrative and legal support for publishing images.
Working with a photo editor could be a wise choice, especially if you need to find a large amount of images for yourpublication and/or if you are unfamiliar with technical andlegal specifications regarding images.

→ For advice on creating authors’ contracts (even whenauthors contribute on a voluntary basis), see Chapter 9.

2 Iconography
IMAGE SEARCH
If your publication is to be illustrated, start sourcing appropriate images. In some cases the author may provide
images, but always check the source of the pictures andidentify the associated copyright*. You can search forimages and find/purchase royalty-free images or images
from online image libraries.
Royalty-free images can be foundon the following websites:
istockphoto.com
fotolia.com
shutterstock.com
bapla.org.uk
ourplaceworldheritage.com
gettyimages.com
creativecommons.org
UNESCO mediabank
A list of photo libraries is available on the Picture
Research Association website.
Make sure you collect the following information:◦◦Name of the work/website◦◦Name of the photographer/artist◦◦Date of the work◦◦Copyright/name of rights-holder◦◦Image source◦◦Cost of using the image (by size and type of reproduction;interior/cover; colour/black & white, etc.)◦◦Billing information, if necessary
24

For technicalities andreferencing, see Appendix III.

Editorial Process

ARTICLE GUIDELINESWORKING WITH A PHOTOGRAPHER OR ILLUSTRATOR
Another possibility for your publication’s illustrations is tocall on a photographer or an illustrator. This is commissioned work and may be a solution if you have a specificidea in mind, or if you want your publication to feature
unique illustrations. You will need to sign a contract with
the illustrator or photographer, so that they give you theexclusive rights on the publication.
Refer to national photographer associations to identify
possible collaborators.

Photo editors, freelancephotographers or illustrators define theirown rates, dependingon the requested workand payments, which
are usually made in one
lump sum.

FranceBepub. Les annuaires professionnels de la création et de lacommunication.
Union des Photographes Professionnels / Auteurs (UPP)
FreeLens
Les agents associés (Association d’agents d’auteurs dans ledomaine de la création)
United Kingdom
National Association of Press Agencies (NAPA)
Spain
Federación Española de Profesionales de la Fotografía y dela Imagen (FEPFI)
Do not forget that images are often
protected by copyright, meaning thatyou must have authorisation fromthe author to use it in your publication.

25

→ These must be taken into account during the picture
research process.

Peer review is a process whereby independent experts in aparticular field evaluate the research work of colleagues inthe same field. Peer reviewing of publications is generally
See Chapter 6 for more
recommended when the publication is of an academic or about peer reviewing andscientific nature.
if you are working on a

Images and illustrations intended for printing must respect
certain technical properties; otherwise printed images will
be of poor quality and the entire publication will suffer.
You can ask your printer for advice and instructions on thequality of the images required for the printing process, buthere are some preliminary tips:

scholarly publication.

4 Paratext→ The image resolution should be at least 300 dpi for black
and white printing and can be up to 600 dpi for colour
printing.

→ For books→ All images should be set in CMYK, a colour model used
for printing that uses the four colours, Cyan, Magenta,
Yellow and Black (K).

The paratext includes all textual elements that accompany
the main text.

→ The files should be saved in JPEG or TIFF format.

TABLE OF CONTENTS

CAPTIONS

The table of contents is what will guide readers throughyour publication, indicating the different sections, highlighting the major ideas/themes of the text and how they areorganised.
The table of contents is determined by the titling of thechapters and subsections, and since titles are often decided upon at the end of the editing process, this is thelast paratextual item to create. Furthermore, the table ofcontents links the chapters and subsections to their respective pages, so pagination can be added only once thelayout is complete.

Pay attention to captions, in order to avoid detracting fromthe illustrations in your publication. For effective captions,
here are few pointers you can keep in mind:→ Be succinct. The caption can be a short sentence or can
provide information, such as the names of people orplaces. If the caption is a short sentence, its goal should
be to create the link between the chosen picture and therunning text. Avoid redundancy by not repeating therunning text in the captions.
→ You can introduce captions with a number, in order tomake them easier to link with the running text.

PREFACE / FOREWORD / INTRODUCTION /EPILOGUE / POSTFACE→ Include credits. Each image should be accompanied bycredits, which are usually placed vertically along the picture or after the caption. Credits can also be regroupedat the end of the publication.
→ Layout: distinguish the caption text from the runningtext, for example, by changing the size of the typography or choosing a different one. The text of the caption
should be adjusted to the width of the picture, and notexceed it.
→ Captions start with a capital letter and end with a fullstop in the case of a complete sentence, but otherwise do
not need to end with a full stop (e.g. sentence fragments
or proper nouns).
→ Be consistent in your captioning throughout the entire
publication.
26

Editorial Process

3 Peer review

TECHNICAL SPECIFICITIES FOR PRINTED IMAGES

It is easy to confuse these terms. Here are the definitions
so that you can identify what you need to include in yourpublication and label it accurately.
Preface
Captions also need
to be proofread.
Always double-checkproper nouns.

‘An introduction to a book, typically stating its subject,
scope, or aims’. This can be penned directly by the author,
in contrast to a foreword.
Foreword‘A short introduction to a book, typically by a person otherthan the author.’ This generally sets the publication’s broader context and is written by a specialist or someone who
inspired the author in their work.

27

The introduction is part of the body of the text, unlike thepreface and foreword, which are clearly separate parts. The
introduction is placed after the title page and written by
the author.

SUBSTANTIVE EDITING

Epilogue‘A section […] at the end of a book […] that serves as a comment on or conclusion to what has happened.’
Postface

All cited definitions arefrom the Oxford online
dictionary.

‘A brief explanatory comment or note at the end of a book[...]’BLURB
A blurb takes the form of a brief description of the content
on the back cover, possibly with a short biography of theauthor and/or a presentation of ICOM and the committee.
It is also useful for the promotional process because you
can cite excerpts to promote the publication on the Internet and in other promotional material. For this purpose,ask the author to provide you with this short description at
the beginning of the collaboration.

INDEX
The index is a crucial part of a non-fiction publication;a well-made index helps the reader to find specific information about given themes and subjects in quick and simple
fashion. To this end, you can work with a professional indexer. A skilled indexer has the ability to create an analytic
index that takes into account the terms used by the author,
as well as those terms and synonyms the readers may use
or infer from the text.
While the index is drawn up at the end of the editing process, you should request quotes and commission the indexer at the beginning of the project so that they can properly schedule the work. The final set of proofs with thedefinitive foliation and layout is important in order to avoid
wasting the indexer’s time. To facilitate the work of the indexer, you can ask your author(s) to list some key terms.

Editorial Process

5 The editing process

Introduction

See the ICOM presentation text in Appendix IV.
See section 6 of thischapter for further
information about theback cover obligatory
elements.

Substantive editing is the first step in the editing process,focusing on content, structure and the presentation of atext. The editor should clarify the argument, restructure
if necessary and send it back to authors with suggestedchanges and questions.

COPYEDITING
Copyediting involves correcting spelling, typographical errors, syntax and vocabulary; rewriting; checking information, sources, quotes, etc.; and unifying the text.
We advise you to keep the author informed of all changes
you make to the text, and to send them each version of thetext.
If it is a scholarly publication, you will first send them thefeedback from the peer reviewers and the author will send
you back a revised version of the text, which you will thencopyedit.

See Chapter 6 if you areworking on a scholarly
publication.

PROOFREADING
Proofreading by a professional working in their native language is strongly advised, as the proofreader will spot mistakes that might be overlooked by those heavily involved in
the editing process. In some cases, the author should also
be asked to proofread the final version.
→ Seek out proofreaders who specialise in your subject.
→ Put the proofreader in touch with the author(s) so thatthey can ask questions directly.
→ If you have a style guide to rely on, forward it to theproofreader.

For more information on
copyediting and to find a
proofreader, see Appendix I.

For more information on indexing, please see:
Society of Indexers (UK)
American Society for Indexing (ASI)
Indexing Society of Canada
Association of Southern African Indexers andBibliographers (ASAIB)

28

29

MANDATORY ELEMENTS

The last step in the editorial process is to makesure that all the following necessary elements arepresent in your publication.

The following elements must appear on a printed
publication:

CORRECTIONS→ The publisher’s copyright (on the back of the title page,
with the name, e.g. © 2017 - International Council ofMuseums)

Make the final corrections and verifications in the plain
text before layout.

COVER AND SPINE
Front cover: title, name of the author or publication director, committee logo and ICOM logo (if applicable), possibly
the publishing partner’s logo.
Back cover: blurb, barcode* with ISBN* or ISSN, retailprice including taxes (if applicable), committee and ICOM
logo (if applicable), other logos (e.g. partners).
Spine: title, name of the author or publication director,
publisher’s logo.
Periodicals: volume and issue number on the front coverand spine.

FINALISE FRONT MATTER/PRELIMS
Here is the usual order for prelims:◦ Half-title page*◦ Title page: title, including authors’ names according to
the terms of the author’s contract, logos (ICOM, committee, publishing house)◦ Copyright and legal notice* page: publisher’s copyrightand address, ISBN, translator’s copyright if applicable◦ Table of contents◦ Acknowledgements (optional)◦ Preface (optional), etc.

FINALISE BACK MATTER

Editorial Process

6 Content finalisation→ The name (or business name) and address of the publisher (on the back of the title page)→ The ISBN or ISSN (on the back of the title page, on theback cover and if applicable on the jacket)→ The legal deposit date (on the last page of the book,before the inside back cover)

See Chapter 7
for more on
legal deposit.

→ The colophon (name and address of the printer, potentially information about the paper or typography used in
the book, placed with the legal deposit date)→ Retail price including tax, if applicable (on the backcover)→ Barcode, if applicable (on the back cover with the priceand the ISBN/ISSN)
Periodicals require three further elements:→ The name of the managing editor→ The name of the editor-in-chief→ The publication dateIn periodicals, the mandatory elements are placed in themasthead*.

ASK FOR ISBN AND ISSN
See Chapter 7 for details on ISBN and ISSN.

◦ Maps, timelines, glossary, bibliography, index, etc.
◦ Colophon*, photo credits, legal deposit, printing information (year and place of printing) or production information in the case of digital publications (on the last pageof the publication).

30

31Graphic
DesignGraphic Design

To celebrate its 70th anniversary in 2016, ICOM
unveiled its new visual identity, which represents
an evolution based on continuity. The new ICOM
logo is a symbol of ICOM’s values.

COMMITTEE PUBLICATIONS: SPECIFICATIONSUSE AND POSITION OF THE ICOM LOGO
For all of your publications you must use the new ICOM
logo:

This section covers the criteria to be taken into account in
the production of published content in order to ensure thequality and maintenance of a common visual identity for
the ICOM network’s publications. The organisation is striving for consistency in terms of the graphics produced by
the entire network, based on the principles of clarity andsimplicity; elegance and prestige; and dynamic, modern
design.

1 ICOM graphic charter
Through their publications, committees also contribute to
the enhancement of ICOM’s identity, and transmit ICOM’svalues, particularly in using the ICOM graphic charter.
→ The graphic charter is at your disposal on ICOMMUNITY
and features guidelines regarding publications, such as
examples of cover designs and page layout.
[ICOMMUNITY > Tools > ICOM Kits > Graphic Standards]

The Secretariat encourages ICOM committees
to use the ICOM visual identity charter in their
publications and is available to respond to anyquestions regarding the graphic design ofa publication.

The ICOM logo must appear in one of the three official
languages, on every publication cover, in keeping with thestandards for its use: the minimum size should be 5mm by
28mm, with a space between the logo and the border of atleast 10mm.
Please refer to the document Conditions on the use of theICOM logo and the ICOM graphic charter available on
ICOMMUNITY for more on the use of the logotype.
Please contact the Secretariat if you have any
doubts on the use of the logo, and in order toconfirm the proper use of logos, send the draft
cover to: publications@icom.museum

USE AND POSITIONING OF THE COMMITTEE’S LOGO
The logo must be placed on the cover of every publication,with the expanded acronym included for International
Committee publications.

GLASS
34

ICOM
international committee
for museums
and collections of glass

35

ICOM TYPEFACES

Mention of ICOM should be made:→ On the back cover: ‘[Fill in committee name] is a committee of the International Council of Museums (ICOM)
network.’Specific typefaces are set within
ICOM’s graphic guidelines.

ICOM’s visual identity contains two typefaces: Georgia andArial. They are both system fonts, already implemented inevery computer (Mac and Windows), and are therefore
free of charge. These fonts are also available in multiple alphabets and can be used in numerous languages, and offer
several styles (regular, bold, extrabold, etc.).

→ On the half-title page: ‘[Fill in committee name] is acommittee of the ICOM network.’→ On the copyright page: ‘[Fill in committee name] is acommittee of the ICOM network.’

SPECIFIC CASE:
PUBLICATIONS FINANCED BY ICOM

It is recommended to use Arial for headlines and Georgia
for the running text.

→ Arial→ Georgia

LOGO PLACEMENT
In the case of publications financed by ICOM (special projects, etc.), the ICOM logo should also appear alongsidethat of the publishing committee and in the same dimensions. The ICOM logo should also be visible on the cover,as well as on the half-title page and on the back cover.

2 Additional recommendations
on graphic design

PRESENTATION TEXT
A space should be reserved for a presentation of ICOM’s
activities, preferably on the back cover.
ICOM WEBSITE
The URL of the ICOM website should also be visible on theback cover: www.icom.museum
OTHER MENTIONS OF ICOMThe copyright page should contain the following text:‘With the participation of ICOM, the International Councilof Museums’. If there is an acknowledgments page, ICOM
should be mentioned there also. Finally, in journals, magazines and newsletters, the ICOM logo should appear on
the masthead.
When you are ready to go to press, you must send the following elements to the ICOM Secretariat for validation,
before printing:→ The front and back covers before press proofs*→ All pages where ICOM is mentioned before press proofs(copyright, half-title page, etc.)→ Press proofs: The press proof files should be sent to:
publications@icom.museum

36

Graphic Design

MENTION OF ICOM

See Appendix IV for
ICOM’s presentationtext.

TIPS FOR A USER-FRIENDLY LAYOUTMARGINS
Make sure there are sufficient white spaces around the text
body and between titles and running text. Generally speaking, the wider the margins, the more elegant the layout.
Traditionally, the top margin is smaller than the bottom
margin and the inner margin is smaller than the outermargin. Arithmetic rules exist to calculate margins proportionally to page dimensions.
USE OF FONTS
Choosing a typeface is always tricky and there is no golden
rule. Serif typefaces are recommended for running text toenhance readability (they are for instance widely used innewspapers, where text is written in a small font size innarrow columns.)
We recommend that you limit the number of typefaces in
one graphic composition. For example, one typeface could
be used for all the titling, and another for the running text
(e.g. a sans serif* for the titles and a serif* for the runningtext).

On a screen, unlike
on printed matter,sans serif typefaces
are more readable.

37

You will most likely need to use italics, particularly forbooks or periodicals (e.g. within the bibliography for titles),and this criterion can also help you choose a font. Different
styles (e.g. regular, bold, light, etc.) are furthermore usefulin text composition since they allow for variations while
using the same typeface.
WHERE CAN I FIND TYPEFACES?
• Through online font retailers (free and for-sale fonts)
Google fonts (open-source web fonts)
Fontsquirrel
Fontspring• Directly through foundries’ websites (for-sale fonts)
Type Foundries Archive is a website gathering typefoundries all over the world.
USE OF COLOURS
Again, to ensure adherence to ICOM’s visual identity, you
can use the colours employed by ICOM, which are specified in the graphic charter.
The main ICOM colours are:Graphic Design

When choosing your fonts, check the characters available
in the font set. Some typefaces are made only with basic
Latin characters and do not include accents. Hence, if you
plan to write in a language other than English or want totranslate the publication afterwards, check that the font
you choose contains all required characters.

BACKGROUND, IMAGES AND BOXES
To ensure a modern, dynamic layout, choose white backgrounds, large images (with appropriate resolution) for thegraphic design, and coloured boxes.
If some images are positioned at the edge of the page, do
not forget to allow for bleed space. This means printing
images 3 to 5 mm beyond the edge of the page, in orderto prevent white space from appearing after printing andtrimming due to potential misalignment.

DUMMY BOOK
The dummy book is a prototype (created by the graphic
designer and/or the printer) that gives a concrete idea ofwhat the final and printed publication will look like. It isuseful to see how the chosen format, paper and binding fit
together.

DESIGN TEMPLATE
For a stand-alone book, develop a preliminary design template to establish the layout, then discuss changes. Onceapproved, the template should not change. The graphic designer will determine the final layout based on the preliminary design template.
For a book that is part of a collection, determine the layoutin accordance with the pre-determined visual identity.
For magazines, journals and newsletters/e-newsletters, allissues must follow the same design template.

FINAL CHECKS
Pantone 287
c = 100%m = 84%
j = 0%
n = 0%

r=0
v = 63b = 144

Revision of the final layout allows you to spot errors or
missing words, check the footnotes and index references
as well as the accuracy of the table of contents, and detect
typographical problems (size, italicised words). Check toensure that corrections have been made by comparing thenext-to-last set of proofs to the final set of proofs.

DESIGN PROGRAMMES
Pantone 660
c = 60%m = 40%j = 0%
n = 0%

38

r = 115v = 144b = 196

In order to create your publication’s layout, several design
programmes are available, such as:
InDesign (Adobe)
QuarkXPress
PagePlus (Serif)
Sigil (ePub e-book editor)
They all offer a wide range of possibilities for page layout,
and we encourage you to explore the features of each software in order to make your choice.
39

In addition to the design template created by
the graphic designer for a single work, it may benecessary to develop a visual identity to be applied
to a number of books in a series, or several issuesof a journal.
The visual identity may be developed by one or more graphic designers, who define specific graphic criteria thatmust be respected for each publication. These elements are
instantly identifiable by the reader, and give the publication or series greater visibility and a strong identity.
In order for visual identity guidelines to be as effective as
possible, clear requirements must be given to the graphic
designer, specifying the key points and values to be promoted (for example, with a series targeting a certain public: academics, general public, etc.). You can specify thatyou want to follow the ICOM graphic charter and that it
must be taken into account in the visual identity.
It is also essential to define the standards that must be respected in terms of their graphic use and positioning.
→ Format of the publication (A4, etc.)→ The cover and its elements (titles, author name(s), logos
and barcode, illustrations)→ Interior page design: structure (prelims, titles, beginnings of sections)
The publication’s interior pages should reflect the publication’s nature and be aesthetically pleasing with easeof readability. A logical structure should be immediately
apparent.
A carefully designed page layout will ensure that thepage is well-adjusted, both in terms of the balance ofwhite (margins, headers, footers, etc.) and grey (thetext’s overall appearance, which should remain harmonious). This applies to the use of images, for instance,
the relationship between text and image or the logicalstructure of photos; photo format; photo bleed or whitesurround, etc.

40

→ Interior pages: different levels of text
The legibility of the interior pages is also ensured bygraphically highlighting the various levels of text: running text, boxes, notices (alongside footnotes, notes in
the margins or at the end of the chapter or volume),
captions, etc.
The text can be presented in one or more columns. If
only one column is used, ensure that it is not too wide,
as this makes for a less comfortable read.
→ Typefaces

Graphic Design

3 Series and journals:
establishing a visual identity

The ideal average
number of characters
per line for a comfortable read is between
35 and 65 characters
spaces included.

→ Manufacturing process
The visual identity can also define manufacturing
choices (papers, binding, printing process).
→ Derived publications
The visual identity may also be adapted for derived publications, so that the graphic identity of all publications
may be preserved.

If the visual identity is well designed and incorporated, this should allow any graphic designer/layout artist to handle the layout of any relevant
work, allowing for substantial savings on graphic
design costs down the line.

Examples of well-designed journals
from the ICOM network:
Chaski (ICOM-LAC)
faro | journal of cultural heritage
ICOM-CE Digital (ICOM Spain)
International Journal of Intangible Heritage
Museums Australia Magazine
Museum.ch (ICOM Switzerland)Museum International (ICOM Secretariat)
Reviews on Glass (ICOM Glass)
The MAGAZINE (ICOMAM, online publication)

41

Translation

1 Translation rights
Before undertaking a translation, you need to obtain thetranslation rights for the text in the original language.
If you already hold the rights for the original text (if you
self-published the work, for example), you won’t need additional authorisation, but make sure to include a translation provision in the author’s contract. It is mandatory,
See Chapter 9 for details
however, if you wish to translate a work that has been pu- on the author contract.
blished by a third party in the original language; in thiscase, the copyright holder is usually the publisher.

2 Contacting a translator
A detailed brief is essential in order to work efficiently witha translator. Note that translators generally translate into
their native language.
Here are some steps you can follow when calling on theservices of a translator:
1 – Set the source language and target languages of yourpublication.
2 – Contact translators and request quotes. Provide specifications about your project that will be important for
the translator:→ Audience→ Purpose of the translation→ Deadline (date and time)→ Price→ Subject area and type of text
→ Language combination (source and target): e.g.
specify that the text is to be translated from Canadian French into British English.

Translation

If your publication is to be published in multiple
languages, the text in the original language should
be fully edited prior to being sent out for translation in order to avoid having to make multiple
corrections, which could lead to errors.

→ Target file format(can differ from the source file format)→ Layout (requirements for the target file, if applicable. E.g. specific margins, use of a template)→ Volume (in characters, specifying whether spaces
are included/excluded, words or pages)
3–S ign a contract with the translator or approve an official quote sent by the translator.

See Chapter 9 for moreon the translator’s contract.

4 – Specify who is responsible for each step (there are generally three main steps in the translation process: translation, bilingual checking and unilingual checking).

HOW DO I FIND A TRANSLATOR?
You can search for a translator on your national association’s website, most of which provide a search tool where
you can specify the source language, the target language
and a subject area.
HERE IS A NON-EXHAUSTIVE LIST OF NATIONALASSOCIATIONS:For ICOM’s official languages:
FranceSociété française des traducteurs (SFT)
United Kingdom
Institute of Translation and Interpreting (ITI)
Spain
Asociación Española de Traductores Correctores e
Intérpretes (Asetrad)
Other national associations:aiti.org (Italy)
aptrad.pt (Portugal)
atanet.org (United States)
bdue.de (Germany)jat.org (Japan)
new.astti.ch (Switzerland)
traductores.org.ar (Argentina)translators.org.za (South Africa)
vzv.info (The Netherlands)→ Source file format (Word, XML, InDesign, RTF)

44

45

ICOM’s publications are generally not sold and therefore
translators do not receive royalties but a payment per characters or words translated based on a quote.
In commercial book publishing, the translator’s remuneration
can be of two sorts:
1 - An advance on the royalties
A part of the advance is paid upon signature of the contract andthe other half is paid upon acceptance of the translation. The
advance can also be paid to the translator in three instalments:
upon contract signature, delivery, and acceptance of the translation.
2 - Proportional royalties on the book sales revenue
This percentage is determined by the publisher and the translator and is applied to the retail price excluding taxes. The translator starts receiving these royalties once the book sales have paid
off the advance.

TRANSLATION CREDITS
The translator’s name must be written in the publication,for example on the front or back cover or on the title page.
It can also be present on the copyright page.

Translation

3 Translation of ICOM
publications

TRANSLATORS’ REMUNERATION

If your publication
treats a specific andcomplex subject, youwill need to work witha specialised translator whose rates may behigher than those of aregular translator.

Some ICOM publications may be translated by committees
at their own initiative, such as Key Concepts of Museology
and the ICOM Code of Ethics for Museums. These are
already published in ICOM’s three official languages andseveral others, but new translations into other languages
are encouraged. However, a translation will only be regarded as ‘official’ if it is endorsed by at least one National
Committee of a country in which the language is spoken. If
the language is spoken in more than one country, ideally,
the National Committees of all relevant countries should
be consulted. Linguistic as well as museum-related expertise is called for in providing official translations. The
source language used for the translation and the names of
the National Committees involved should be indicated.
IF YOU WISH TO TRANSLATE AN ICOM PUBLICATION, YOU
MUST FOLLOW THE PROCEDURE BELOW:
1 – Submit your translation project to the ICOM Secretariat at publications@icom.museum
2 – If your project is approved, ICOM will provide assistance with graphic design by providing the source design
files to the relevant committee. This design template
must be respected.
3 – If a committee wishes to sell a publication (for example,
to finance the translation work), it should submit abusiness plan to ICOM for examination.
4 – All the translated versions will be made available in
PDF format on the ICOM website, once approved by
the ICOM Secretariat.
You can find the translated versions of ICOM publications
at the following links:→ ICOM Code of Ethics for Museums→ Key Concepts of Museology

46

47

Production

1 Advance paper order
If printing, it is always wise to determine the type of paper you will use for your publication in advance so that theprinter can advise you and let you know if paper has to beordered. If special or customised paper is being used, thismay take additional time and should thus be scheduled
well in advance, to avoid any delays in printing.

2 Photoengraving
This is an important step for heavily illustrated publications, especially when reproducing works of art. The photoengraver will work on the images (i.e. processing colours
adapted to the publication’s content and material features,making corrections according to client requests).
Photoengraving* should take into account the size of theimages used in the dummy book and the type of paper tobe used.

PHOTOENGRAVING ADJUSTMENT BASED ON
CROMALIN PROOFS
Colour image proofs (also known as Cromalin proofs*)should be produced in order to adjust the colour and correct any image defects before updating the files and sending them for printing. The approved Cromalin proofs willserve as examples for the printer to set the colour on themachines.

50

Production

The production process may involve external
service providers, so it is important to verify
or update the operating account at this stageof the process, before incurring any potentiallysubstantial expenses.

3 Press proofs
DIGITAL PRESS PROOFS
The editor should approve and sign off on the final proofs,
which will then be sent to the printer. These are usually
PDF proofs provided by the graphic designer on which theeditor detects the last remaining typographical errors.

PRESS PROOFS
If necessary, the printer can also create a machine proof*
from the final press proof.
→ This printout constitutes the final stage of verification,and the pages should be checked for significant errors
only. Last changes can be made at this stage before printing but some printers charge for last-minute changes,
with a rate per page.

4 Printing and finishing
Choose a printer that has experience in printing your typeof publication. For instance, do not contact a printer specialised in posters and flyers/leaflets for the printing of anillustrated art book, or vice versa.

PRINTING POSSIBILITIESOFFSET PRINTING→ Usually for large print runs or use of spot colours(> 1000 copies).
Offset printing offers the best quality and the widest rangeof possibilities regarding special effects thanks to theinking process.
Printing plates are used, which is a time- and energy consuming process. This is why offset printing is
worthwhile when printing a large amount of copies.

51

DIGITAL PRINTING→ For medium or small print runs (from one copy).
The digital printing process does not involve engraving
printing plates, which are replaced by a digital file. Ink is
directly placed on paper using laser or inkjet printers.
The results are of lesser quality than in offset printing, but
are improving over time. Digital printing is also cheaper,
which means that smaller print runs are cost-efficient.
PRINT-ON-DEMAND (POD)→ For small print runs (from one copy).
As the name suggests, print-on-demand systems allow readers to print a publication upon request.
This type of digital printing is suitable if the costs of printing a large amount of books cannot be handled. With
print-on-demand, you or your readers can print a single
copy of your publication at a reasonable cost. This technology is also applicable if you produce an e-publication andwant to allow your readers to obtain a printed version of it.
However, bear in mind that POD quality is inferior to digital and offset printing.

COLOURSThe colour choices you make for your publication impact
the printing process and its cost.
◦ Colour or black and white printing.
◦ One to four colour(s) printing (CMYK), use of Pantone©
Matching System (spot colours).

BINDING TYPES◦ Hardback◦ Paperback◦ Perfect bound binding◦ Sewn binding◦ Case binding◦ Spiral/Wire-o binding◦ Cloth binding52

Scholarly
PublishingScholarly Publishing

If you are producing scholarly publications, certain
characteristics should be taken into account whendrawing up your project. This chapter approaches
specificities within scholarly publishing.

A TYPICAL PEER REVIEW PROCESS IS AS FOLLOWS:
1 – The editor receives the manuscript.
2–T he manuscript is sent to one or two referees,
who review it and provide recommendations.

1 Peer review

3 – Based on the referees’ comments and recommendations, the editor decides to accept or reject the manuscript. If there is no consensus, a third peer reviewer
may be solicited.

The peer review process ensures the professional credibility of publications and confirms the validity of the information reported therein. Peer review is intended to
improve the quality of a text by identifying any gaps in apaper and assessing its overall usefulness for the relevant
community.

4 – The editor provides feedback to the author.
5 – The author carries out revisions.
6 – A final decision is made to accept or reject the article.
7–T
 he article goes through the copyediting and proofing
process.

SELECTION
The editor should choose the reviewers, but may ask forexpert input due to the specialised nature of academic
writing.

8 – The article is published.

To facilitate the ongoing selection of reviewers, it is a goodidea to maintain a file/database with relevant information about reviewers you have worked with (e.g. complete
contact information, field of expertise, article/publication
reviewed, etc.)

PAYMENT

Q: Which text do I send
to the peer reviewer?
A: The manuscript canbe sent directly to thereviewers before being
revised by the editor
in order to ensure an
assessment of theoriginal text.

In general, peer reviewers work on a voluntary basis,
although in some cases they may be paid. In all cases, it iscustomary to give each reviewer a copy of the publicationin appreciation of their work.

SET GUIDELINES

Useful link: Publons

Prepare guidelines for the reviewers so that they knowwhat is expected of them. Start by explaining the specifications of your publication and your expectations regarding
the reviewing process, and set some evaluation criteria linked to specific questions.

• publons.com
See the peer reviewer
guidelines for Museum
International in Appendix II.

Publons is a digital platform dedicated to peer reviewing,
for researchers, publishers and institutions.

BLIND REVIEWINGIn blind peer reviewing the name of the author is not disclosed to the reviewer in order to prevent bias.
Double-blind reviewing is a type of blind reviewing whereby the names of the reviewer as well as the author are
withheld.

56

57

→ For periodicals and book series
Establishing an editorial committee is relevant in particular for periodicals and book series since the committee
will remain in place for several issues/volumes of yourpublication. The committee members identify themes forthe issues, can suggest authors/reviewers, and will be able
to quickly determine which articles respect your publication’s editorial line. They will also promote the publicationin their networks.
Useful links:
Society for Scholarly Publishing
Non-profit organisation providing information andresources on scholarly publishing.
• sspnet.org
Academic Publishing in Europe
Annual conferences about scholarly publishing.
• ape2017

3 Indexing and referencing
Nowadays most scholarly publications are disseminatedelectronically, offering rich opportunities for global access,use and impact. The publishing landscape is changing quickly and thus requires constant adjustment in the face oftransformation. This flexibility is all the more crucial giventhat readers in developing countries will more likely turn todigital rather than print publications in the coming years.
The following section briefly explains key tools in indexing
and referencing in scholarly communication as well as
open access environments.

AUTHOR
H-index
The h-index is one specific citation analysis method thatquantifies an individual’s scientific research output. It attempts to measure both the scientific productivity and theapparent scientific impact of a researcher.
JOURNAL IMPACT FACTOR
The impact factor is a measure of the frequency with which
the average article in a journal has been cited in a particular year. It is used to measure the rank of a journal by calculating the number of times its articles are cited. Journal
impact factor can influence authors in choosing where to
submit their articles.
The journal impact factor was invented in the 1960s by
Clarivates Analytics (known at the time as The Institute of
Scientific Information). Dr. Eugene Garfield (1925-2017),
the founder of The Institute of Scientific Information,
conceptualised citation indexing in the sciences and scholarly journal literature.
For in-depth explanation on the impact factor, you can findessays written by Dr Eugene Garfield and members of theClarivates Analytics staff here: https://clarivate.com/essays/
Impact metrics are provided by tools such as:• Web of Science (Thomson Reuters)• webofknowledge.com→ paid subscription
Provides citation counts for articles indexed within it.
It indexes over 10,000 journals in the arts, humanities,
sciences, and social sciences.
Journals

ARTICLEIn order for journals to be indexed and referenced in
Web of Science, they must be submitted for evaluationand meet the following minimum criteria:

Citation analysis◦ The publication should publish peer-reviewed content

Citation analysis is the process whereby the impact or‘quality’ of an article is assessed by counting the numberof times an article is cited. Citation analysis counts anarticle’s citations from the publication date.

◦ The publication should have an ISSN

IMPACT METRICS*

Scholarly Publishing

2 Editorial committee

See Chapter 7 for more on ISSN.

◦ The publication should include English-language
bibliographic information and English-language citedreferences. (For non-English-language journals, references in Roman script are acceptable.)→M ore details about Web of Science’s evaluation criteria are available
online at: clarivate.com

58

59

Scholarly Publishing

INDEXING AND REFERENCING PROCESS
Individuals
Web of Science databases are only available through institutions (universities, research centers), which subscribed to the databases.
→ You have the possibility to create your ResearcherID,in order to organise your research on the databases, follow your own publications and contact potential collaborators.
• Scopus (Elsevier)• elsevier.com/solutions/scopus→ paid subscription
Provides citation counts for articles indexed within it(limited to 1996 onwards). It indexes over 15,000 journals from over 4,000 international publishers acrossdisciplines.
Journals
In order to be indexed and referenced in Scopus, journals must be submitted for evaluation and meet the following minimum criteria:

The author places thearticle online

Search enginesand databases findthe article◦ The publication should publish peer-reviewed content◦ The publication should be published on a regular basisand have a valid ISSN.
◦ The publication should have English-language abstracts and article titles.
◦ The publication should have references in Roman
script.
◦ The publication should have a publication ethics andpublication malpractice statement.
More details about Scopus’ Content Policy and Selection
are available on this link: https://www.elsevier.com/solutions/scopus/content/content-policy-and-selection
Individuals
Individuals may not subscribe to Scopus, but you can access the database through your organisation’s subscription. Institutions in developing countries can access
Scopus’ database free of charge with Research4life (research4life.org)→ You have the possibility to create your Scopus Author
ID, and to synchronise it with your Orcid profile (see below for more on Orcid).

60

The article is referenced
and indexed on databases

→ free access
Provides citation counts from the Google Scholar indexes, which are automatically updated. Dependingon the discipline and the article cited, it may find more
cited references than Web of Science or Scopus because
Google Scholar indexes more publication types thanother databases, and does not have a selection process
for journals to be indexed.
Journals
Google Scholars provides metrics for publications, ranked by their five year h-index and h-median metrics.
You can browse and search for publications in the ‘metrics’ category.
Journals do not have to be evaluated to be referenced in
Google Scholar: search engines automatically reference
publications available online. It is however important
to note that publications with fewer than 100 articles
between 2012 and 2016, and publications that received
no citations between 2012 and 2016 are excluded from
Google Scholar metrics.
Individuals→ With a Gmail account, you have the possibility tocreate your profile and make it public or private. If
your profile is public, people can find your articles bysearching for your name, and consult your citation metrics.
Google Scholar provides impact indices regarding articles and authors (h-index, i10-index and total numberof citations).
You do not have to submit an article to Google Scholar: search engines automatically reference new articles
available online.
• Microsoft Academic• academic.microsoft.com→ Free access
Provides citation counts, based on data collected fromMicrosoft Academic search engines. Metrics displayedby Microsoft Academic are also available throughPublish or Perish software (see below).

Scholarly Publishing• Google Scholar• scholar.google.com

Journals
You do not need to submit a journal to be referenced
and indexed in Microsoft Academic database. It uses artificial intelligence to scan and extract knowledge fromall scholarly publications discovered and indexed by
Bing (from publisher sites to individual author’s personal homepages).
Individuals→ You have the possibility to create your profile andmake it public, in order to relate and claim all your publications. Microsoft Academic aims to automaticallyassign author’s newly published content into their profile pages. It does not provides impact metrics, but the
total number of citations and total number of papers.
• Publish or Perish• harzing.com/resources/publish-or-perish
Harzing, A.W. (2007) Publish or Perish, available fromhttp://www.harzing.com/pop.htm
Publish or Perish is free software designed by Anne Wil
Harzing, which offers citation analysis and metrics fromdata provided by Google Scholar and Microsoft Academic.
Ann Wil Harzing’s website also offer resources onacademic publishing: harzing.com• Altmetric bookmarklet• altmetric.com→ Free accessThis plug-in provides a score that measures the quantity and quality of attention a publication has received
to date through news and social media (blogs, Twitter,
Facebook, Google+). Altmetric requires you to specify
the DOI of the publication. It is complementary to citation-based metrics mentioned above.
◦ What is a DOI?
DOI stands for Digital Object Identifier, which identifies digital resources by associating metadata with thecontent’s identifier.
You can get a DOI on DataCite’s website.
• datacite.org
For more on impact metrics, please follow this link.

62

63

• Directory of Open Access Journals (DOAJ)• doaj.org• Open Research and Content Identifier (ORCID)• orcid.org
ORCID provides a unique identifier to researchers,
which facilitates information searches and connects
them to their publications. The ORCID identifier canbe linked to several databases such as Web of Science,
Scopus and Google Scholar.

Springer Nature andCambridge University
Press integrate ORCID
in their book system.

PAPER REPOSITORIES:Paper repositories are web platforms allowing authors andresearchers to upload and download papers free of charge.
See Appendix I for examples
Some repositories such as Academia.edu provide social of paper repositories.
networking features.

Journals
As for Scopus and Web of Science, journals have to submit an application in order to be referenced and indexedin DOAJ. Indexing is free of charge.
Individuals→ Free access to all data without having an account

F.A.Q. ABOUT INDEXING AND OPEN ACCESS

Referencing is automatically done by search engines for
Google Scholar and Microsoft Academic databases. Theyfind articles through the keywords, title and abstract ofyour publication available on the Internet. Once you arereferenced, indexation is carried out by those databases, asmentioned above. You can create your own author ID (e.g.
ORCID) in order to tag all your publications with your personal identifier. Regarding certain databases such as Web
of Science and Scopus, journals have to submit an application and be selected in order to be indexed and referenced.
Only articles published in selected journals are referenced
within these databases.

Open access provides free online access to scientific information that is reusable for the end-user.
Open access also facilitates access to knowledge, encourages its transfer, and increases the visibility – and thus,
the citation rate – of publications. Free online access also
allows people in developing countries to benefit fromscientific information and knowledge.

In order to check if you are referenced and indexed*, searchfor your own article/journal/name in the aforementioned
databases. If your publication is available via open accessor in paper repositories, it should be referenced and indexed at least in Google Scholar and Microsoft Academic
databases.

There are two main forms of open access publishing:1 – Self-archiving (or ‘green’ open access): the publishedarticle or the final peer-reviewed manuscript is archived (deposited) by the author in an online repository before, alongside or after its publication. Some publishers request embargo periods, arguing that these
protect the value of the journal subscriptions they sell.

64

DOAJ is an online directory that indexes and provides
access to high quality, open access and peer-reviewed
journals.

HOW CAN YOU ENSURE THAT YOUR PUBLICATIONIS INDEXED?

4 Open Access (OA) to
scientific publications

2 – Open access publishing (or ‘gold’ open access): an article is immediately provided in open access mode as
published. The payment of publication costs or ‘Author
Processing Charges’ (APCs) are often handled by the
researcher’s university or institution, or the funding
agency supporting the research.

Scholarly Publishing

OTHER AUTHOR ID:

WHAT IF I CAN’T FIND MY ARTICLE?
Museum International
is a hybrid publication
type, simultaneously
subscription-based andopenly accessible forreaders in developing
countries throughWiley Online Library.

If you do not manage to find an article you published in the
databases (e.g. Scopus, Web of Science), it is likely due tothe journal embargo period. This period is specified within
the contract you signed with the publisher, and it is not uncommon to have a two-year embargo on the article, during
which time you will not be able to find your publication in
the databases.

65

HOW CAN I MAKE THE PUBLICATION VISIBLE
AND EASY TO FIND FOR OTHERS?
1 - Search engine optimization* (SEO)
Optimising the discoverability of your article can truly
boost your visibility and readership. Among otherthings, you can work on the title of your article, yourchoice of keywords and the accuracy of the metadata.
The non-profit organisation Crossref collects, registers
and makes metadata available:• crossref.org
Complete advice on how to optimise your article forsearch engines is provided on Wiley's website:• authorservices.wiley.com
2 - Communication
Communicate about your article on your website andsocial media, but also when talking to your peers, who
can in turn communicate on your paper through theirown networks. Good online communication also plays arole in search engine optimisation.
3 - Make your article available to a broader audience
If your article is available in open access or paper repositories, this will allow for its consultation, sharing andciting by a wider audience.
Useful links:‘Open Access Meets Discoverability: Citations to Articles
Posted to Academia.edu’, Niyazov et al.
[Niyazov Y., Vogel C., Price R., Lund B., Judd A., Akil A.,
et al. (2016) Open Access Meets Discoverability: Citations to Articles Posted to Academia.edu. PLoS ONE 11(2):e0148257. doi: 10.1371/journals.pone.0148257]
Examples of OA publications in the Humanities can befound on the following websites:
Open Humanities Press
Open Library of Humanities (gold access)Monographs on OA in the Humanities (Full Text PDF)
Martin Paul Eve. 2014. Open Access in the Humanities(Cambridge: Cambridge University Press).
Online access at Cambridge Online Library.

66

See Appendix I for other usefullinks on scholarly publishing.

Note on sources: This chapter is essentially adapted from the Guidelines on
Open access to Scientific Publications and Research Data on Horizon 2020,
provided by the EU Framework Programme for Research and Innovation
Horizon 2020 (2014-2020). Definitions have been adapted from a numberof sources, in particular the University of Illinois at Chicago Library Researchand Subject Guide to Publishing, Scholarly Communication and Open Access.

Administrative
Follow-up
andArchivingThis chapter provides guidelines for archiving the documents related to the publication process, accompanied bya brief definition of ISBN and ISSN and an overview of theassignment procedure.

1 ISBN and ISSNISBNINTERNATIONAL STANDARD BOOK NUMBER
The ISBN is a unique number assigned to a book title by its
publisher for tracking and ordering purposes. Publishers,
retailers, libraries, bookstores and readers use the ISBN asa way to specify a particular book without confusion.
ISBNs are issued by national agencies depending on the
country where the publisher is based (e.g. French publishers should ask the AFNIL – Agence francophone pour lanumérotation internationale du livre).
Separate ISBNs are needed for publications
in different physical formats. Hence, the printand digital versions of your publication will
not have the same ISBN.

For additional information see the ISBN International
website.

ISSN
INTERNATIONAL STANDARD SERIAL NUMBER
ISSNs are assigned to the titles of serial publications (journals, magazines, electronic journals, ongoing directories,
annual reports, newspapers and monographic series).

70

An ISSN is assigned to a specific title. A new number isusually needed if a title changes, but it stays the same forall the issues of a periodical or magazine, CD-ROMs in aseries, etc.

Administrative Follow-up and Archiving

Once your publication is produced, it is importantto keep track of the project in your committee’sarchives and for ICOM archives. Archiving has
several purposes: it is a part of your committee’s
and ICOM’s memory, it can be useful forcommunication and research purposes, and it
provides documents with probative value if needed.

The ISSN is not connected with ownership of the journal,
nor does it confer copyright or protect the title of the serial
from use by other publishers.
ISSNs may also be assigned to online journal titles,
CD-ROMs and diskettes that are intended to be issued ona continuous basis. Different editions of serials must havedifferent ISSNs, i.e. different language editions, regional
editions and different physical formats (e.g. CD-ROM,
online and print versions of a journal title have separate
numbers).
Additional information can be obtained through the ISSN
International website.
Unlike ISBNs, ISSNs cannot be issued
to publishers in batches.

HOW TO OBTAIN AN ISBN OR ISSNINTERNATIONAL COMMITTEES AND REGIONAL ALLIANCESThe ICOM Secretariat delivers ISBNs and ISSNs to International Committees and Regional Alliances, since they
are by definition ‘international’ and are not based in a specific country.
→ International Committees must send a request by e-mail
to: publications@icom.museum
NATIONAL COMMITTEES
If you are a National Committee, you can apply for the ISBNand ISSN through the national agencies of your country.
ISBN national agencies
You can find an agency on the ISBN international website
thanks to the search tool and follow the link to the national agency of your country (e.g. AFNIL in France, Agenciadel ISBN in Spain and Nielsen Book – ISBN Agency in the
United Kingdom and Ireland).
ISSN national agencies
The ISSN website also provides a search tool where you
can select your country to be redirected to the relevant
agency’s website.

71

The process of obtaining an ISBN or ISSN may take time,
so apply two months before the printing process to be safe.
Writing tips
In the publication, numbers should be written as follows:
ISBN 000-00-00000-00-0
ISSN 0000-0000
Note that there is no colon between ‘ISBN/ISSN’ and thedigits.

Administrative Follow-up and Archiving

Assignment schedule

2 Archiving
The legal retention period for archives is governed by thelaw of each country. Please refer to your country's legislation for information about the legal retention period.
Be sure to keep records and archives of
all the documents related to the publication(invoicing, payment of authors, contributors
and service providers, contracts).

BarcodesYour publication will be identified thanks to the EAN-13
barcode. This code is comprised of 13 digits and is internationally used for commercial distribution.
Since January 2007, barcodes are topped with the 13-digit
ISBN with dashes (or ISSN) and the matching EAN-13 is
located under the barcode.
It is easy to obtain the barcode matching your ISBN or
ISSN with online barcode generators.
According to the ISBN international website, it is recommended to print the bar code on the lower right corner ofthe outside back cover of the publication.
Useful links:
https://www.isbn-international.org/content/isbn-bar-coding
http://www.issn.org/understanding-the-issn/issnuses/identification-with-the-ean-13-barcode/

HARD COPY ARCHIVE
Compile a hard copy archive folder for each publication.
At a minimum, this should contain:◦ The publication or a copy of the press proof PDF◦ All contracts related to the publication◦ Operating account◦ List of images with accompanying photo credits◦ Invoices related to the publication
COPIES OF YOUR PUBLICATION FOR ICOM ARCHIVES
Publications are an integral part of ICOM’s history andheritage, which make their proper conservation crucial.
National Committees
Please send two copies of the publication, one for the
UNESCO-ICOM Museum Information Centre, anotherone as backup.
International Committees and Regional Alliances
Please send four copies of the publication, one for the
UNESCO-ICOM Museum Information Centre, one forlegal deposit to the Bibliothèque Nationale de France, one
for the Documentation Centre of the Service des musées deFrance and one with your hard copy archive folder.

Send copies ofthe publication to
the ICOM Secretariat:

Secrétariat de l’ICOM
Centre de documentation
Maison de l’UNESCO
1 rue Miollis
75 732 Paris Cedex 15
FranceInternational Committees: since ICOM is legally
responsible for the International Committees,
it is all the more important and necessary totransmit copies of your publication’s archiverecords to the ICOM Secretariat.

7273

Administrative Follow-up and Archiving

LEGAL DEPOSIT AND ARCHIVING - ICOM COMMITTEESInternational Committees

National library
Four copies
One or more copy
for legal deposit

National Committees

Secretariat

Two copies

Secretariat

One copy for legal
deposit to the BnF
One copy for the
ICOM Archives

One copy
as backup

74

One copy for the
ICOM Archives
One copy for theDocumentation
Centre of theService des muséesde France

One copy
with yourhard copyarchive folder75

At a minimum, the administrative folder should containthe following:◦ The final press proof PDF◦ All contracts related to the publication◦ Operating account◦ List of images with accompanying photo credits◦ Invoices related to the publication
A design folder can also be created, containing at least thefollowing:◦ Final text
◦ Dummy book
◦ Fonts◦ HD images
Finally, to anticipate any reprints or updates, it is important to keep the professional source files (high-definition
final versions in the original programme used to createthem), usually provided by the graphic designer.
FILE NAMING
To facilitate ICOM’s archiving of your electronic folder,here are some guidelines for naming files:→ Your files should be named without diacritical marks(accent signs), apostrophes, quotation marks or spaces,and should start with the date of publication (YYMMDD).
→ You can replace the space between words with a dash (-)
or underscore (_).

3 Legal deposit
Legal deposit is a mandatory procedure when you publish
a work, and consists of the depositing of one or more copies of each publication published, in a national recognisedorganisation (such as a national library). Each country has
a legal deposit centre, usually the national library (such as
the British Library, the Bibliothèque Nationale de France,
the Biblioteca Nacional de España) but it can also be a national organisation, national archives, author copyrightadministration or national university libraries.
The number of copies requested for the deposit depends
on the country’s regulations/legislation.

76

Administrative Follow-up and Archiving

ELECTRONIC ARCHIVING

The aim of legal deposit is to centralise the culturaland intellectual heritage of each country, as well as
making all the publications available to the public.

Send an electronic copyof your publication’s archive
folder for the record to:
publications@icom.museum

National Committees
Please refer to the national library of your country fordetailed information about the legal deposit process.
Parameters such as the number of copies and the deadline
for depositing, vary from country to country.
International Committees and Regional Alliances
As International Committees comply with French legislation, legal deposit is made at the Bibliothèque
Nationale de France (since ICOM headquarters are locatedin Paris) by the ICOM Secretariat after you send your copies of the publication for archiving (see item 2 p.73 anddiagram p.74-75).
CO-PUBLICATIONIn the case of a co-publication, your co-publisher will also
deposit one copy to the national library of their country.
DIGITAL PUBLICATIONS
Legal deposit also applies to e-publications, but usually
publishers do not have to follow a specific procedure sincenational libraries make automatic collections thanks to robots. However, this varies depending on the national library. We recommend that you request information regarding
the legal deposit of electronic publications from your relevant national library.
Reminder: publications produced by International Committees are subject to French law, which means that forelectronic publications, robots automatically collect thematerial.

Legal deposit must be
carried out for eachlanguage version of
the publication.

4 Publications database
The ICOM publications database on ICOM’s website is managed by ICOM’s documentalist and holds all of the PDF
versions of committee publications that are sent to theSecretariat. Please send PDF versions of your publications
systematically in order to enrich ICOM’s publication database.

77

How toPromoteandDistributea Publication

PLAN YOUR PROMOTIONAL STRATEGY AHEAD
A strong promotional strategy is crucial to the success of
your publication. Consider which communication media
are best suited to your audience, and take into account related conferences and events when deciding on the publication date. This should be considered before the editing
and printing process in order for the publication to be promoted effectively.
Your author’s connections may also be useful in promoting
the publication (e.g. do they have a strong online network?
Are they active on social media and/or well known among
their peers?). Determine whether the author is at easespeaking in public and would be willing to present the publication at events, conferences, etc.
Note: Do not translate the title of a monolingual publication, as this could mislead readers into thinking thatthe publication is available in the language of that translation. Keep the original title and provide a translation
between brackets and italicised if you wish.

ICOM NETWORK: USE THE ICOM NETWORK TO
GET THE WORD OUT ON YOUR PUBLICATION→ As an ICOM committee, make sure you present the publication at any relevant conferences and events.
→ If the publication is a practical manual, for instance,
you could organise practical training sessions basedon its content. Contact the ICOM Secretariat to see
about announcing these sessions on our website, on
ICOMMUNITY, etc.
→ Once your publication has been printed/published online, send details to the Secretariat at publications@icom.museum for its promotion within the network andinclusion in the ICOM publications database.

The Secretariat can help you share
information about your publication withthe entire network and promote it through
ICOM’s various media outlets.

How to Promote and Distribute a Publication

1 Promotional activities

MEDIA CAMPAIGNSCOSTSPromotional costs, such as the production of flyers, mailing of copies to journalists, etc. must be factored into the
publication budget.
TIMEFRAME
The media campaign is carried out over the whole courseof the project. You can begin to announce your future publication at the very outset of the project and keep youraudience informed, so that they anticipate the publication
when it comes out.
CHOOSE YOUR MEDIA
Make use of cost-effective media, such as your website
and social networks to send out teasers and publicise yourpublication.
PRESS RELEASE AND REVIEW COPIES
Write up a press release and send out an e-mailing to journalists associated with arts and culture publications. Sendout copies to editors of publications that review museum
literature.
BOOK LAUNCH
Organise an official book launch inviting key figures fromthe museum world; for instance, you could arrange to havethe launch coincide with your annual meeting. The bookcould also be launched and presented during a conference.

In the case of a print
publication, make sure
you print enough copies
to allow for review
copies and displays
at conferences.

If you are organising alaunch, please contact
the ICOM Secretariat:
we can help you tocommunicate on
this event.

MAILING
Promote your new publication by sending out a blurb/
summary by e-mail to all potentially interested contacts.
PROMOTE THE PUBLICATION ON THE INTERNET
You can use a/your website, social networks, blogs, etc.
to communicate about the publication. If citing extracts,
please be aware that there are copyright issues to consider.
If your authors are active on social networks, you can also
benefit from their online presence.

In order to automate
your e-mailing campaign, you can use
platforms such as
MailChimp.

PARTNERSHIPS
If partnering with another publisher, a joint promotional
strategy will give access to both parties’ networks. You canalso implement partnerships with other organisations andmutually promote your publications.

8081How to Promote and Distribute a Publication

PROMOTION NETWORKS

Conferences
Official
book launchCommittee’ssocial networks
AuthorAuthor’s website
Printedpromotional
material

Author’s social
network

National Committees
International Committees

Secretariat> Communications Department

ICOM social network

Committee’s
newsletter

Newsletter
Conferences

ICOM website◦ General news
◦ Calendar of event

ICOMMUNITY

Committee’s website

How to Promote and Distribute a Publication

2 Define a distribution
strategy

BOOKSTORES
If you wish to get your publication into bookstores, youwill most likely need to partner with an already establishedpublisher with a strong distribution network. Getting yourpublication into bookstores without the help of an experienced publisher could prove difficult.

DETERMINE THE DISTRIBUTION STRATEGYDURING THE PLANNING STAGESSELF-PUBLISHING ONLINE

The distribution strategy will have an impact on your publication’s production schedule and budget. For instance, if
your publication is to be distributed in digital format only,
the cost and work associated with a print run and postage
will be eliminated.

It is possible to self-publish your book on online retailingsites, by adding your publication to their database in electronic format. In this way, your publication would automatically appear on the website and copies can be printed on
demand.

IDENTIFY YOUR TARGET AUDIENCE

For more information on self-publishing and distribution
through online retailing sites, see the following websites:
africanbookscollective.com (marketing and distribution outlet for printed books from Africa)
e-periodica.ch (Swiss Journals online)
glasstree.com (specialised in academic publishing,linked with Lulu)
issuu.com (online digital reading platform)
lulu.comThinking carefully about your potential readers will help
you to decide on a distribution channel. For instance, thepublication may only be relevant to the members of yourcommittee or it may be of interest to a wider public.

CO-EDITIONS
If you are partnering with another publisher, you will needto discuss distribution methods as professional publishers
will most likely have their own network and may not havefactored in your intended audience.

BUDGETARY AND ADMINISTRATIVE FACTORS
COSTS

3 Distribution channels
POSTINGYou may choose to send the publication by post upon receipt of orders. However, if it is a free publication, you may
need to consider bulk postage. Depending on the numbers
involved, you may need to hire a sorting company.

ONLINE
If you intend to distribute your publication online, you may
choose between providing online-only access or a downloadable PDF. If the publication is not free-of-charge, accesscodes can be provided. Partners could also feature the linkon their websites but should not upload the PDF so thatyou can keep track of downloads and make any updates.

84

Choose the distribution
channel(s) best adapted
to your target audienceand publications
strategy.

When estimating distribution costs, printing and postage
rates will need to be taken into account. In addition, hidden costs such as the human resources required to makesure the publication reaches the right people also need to
be factored in.
To determine postage costs, estimate the weight of the publication and identify the number of recipients and theirlocation. You will then need to request a quote from themailing and sorting companies.
ORDERS
If the publication can be ordered directly from your committee, create an electronic and downloadable order formon your website.
Create invoices for each order and be sure to follow up on
any unpaid invoices, if payment is not immediate.
Partnership: if partnering with another publisher,be sure to identify respective responsibilities
in terms of distribution.

85

4 Commercial andpromotional follow-up
COMMERCIAL FOLLOW-UP
SALES FOLLOW-UP
If a publication is sold in bookstores or on other platforms(for instance, if you are co-publishing with a commercial
publisher), you should receive regular feedback on sales figures, in addition to the following information:
placement*, restocking*, total number of copies sent tobookstores, returns*, net sales.
For digital publications, a statistics tool such as Google
Analytics may be useful in order to track the number ofpage visits and downloads.

INVENTORY AND RETURNS CONTROLSTORAGE
Keep track of stock flow through a stock management
system or an Excel spreadsheet. All copies should be
accounted for.
RETURNS/INVENTORY PROCESSING
There are several possible solutions for processing unused
stock: distribution at an event, pulping, partial pulping,
reduced prices or promotions on books for sale.
It is important to notify the Secretariat when a publication
is out-of-stock or sent for reprint.

PROMOTIONAL FOLLOW-UP
Follow the promotional evolution and impact of yourpublication through different Excel spreadsheets in order to manage and follow the impact of the press releases
you send to journalists and to create a press distribution
list with journalist contact details, which you can add togradually.
PRESS CLIPPINGS FILE
Create a press clippings file, including all articles citing the
publication. This may be useful to promote the publication
by citing excerpts from these articles. This post-publication promotion can be undertaken through social media,
or by adding a quote from an article to the back cover text
in the event of a reprint or new edition.
86

In determining theprint run, ensure thatsufficient stock remains
for archiving, press andpresentation copies,reference copies, etc.

LegalGuidancefor
PublishingThis chapter will present the contracts frequently used in
the publishing field and will provide guidelines on theirproper usage. Firstly, ICOM specificities will be explained
and legal requirements that must be carefully followed.

1 ICOM specificities
DELEGATION OF AUTHORITYICOM International Committees and Regional Alliances
do not have a legal personality. Therefore, the Chairs ofthese committees cannot enter into a contractual agreement with a third party without a delegation of authority
given by the ICOM Secretariat.
→ Only Chairs of International Committees and Regional
Alliances with delegation of authority can sign contracts in
ICOM’s name.

Legal Guidance for Publishing

For the proper completion of a publishingproject – print or digital – you will need to sign
contracts with a number of parties involved in the
project (authors, publishers, graphic designers,
printers, etc.). These contracts should be drafted
to respond to each party’s needs and wishes,
and are consequently specific to each situation.
Several types of contracts exist, each meeting therequirements for specific needs.

LEGAL ADVICE
Where possible, all contracts should be reviewed by a legal advisor to ensure the legal accuracy and validity of the
document.
The ICOM Secretariat is at your disposal for
inquiries about contracts. If you need contracts
to be proofread, please send the document witha reasonable deadline bearing in mind theICOM Legal Department’s workload.

ARCHIVING CONTRACTS
Archiving is crucial as contracts are documents of probative value and must be available if needed. There is a legal
conservation period to respect, depending on the type of
document and on the law of the committee’s country.
For International Committees and Regional Alliances,
French law systematically applies: all contracts must be
conserved for five years (contracts within the frameworkof commercial relations, art. L. 110-4 du Code du commerce). Furthermore, a scanned copy of each official
signed contract related to a publication must be sent to theSecretariat: publications@icom.museum
For National Committees, the archiving of contracts must
respect the provisions of national law of the concernedcountry.

In order to obtain a delegation of authority,
please contact the ICOM Secretariat:
secretariat@icom.museum

For ICOM National Committees, which are entities withlegal personality, it is possible for the Chairs to sign
contracts with third parties. Even if there is no need for a
formal delegation of authority, it is still important to underline the obligation to respect ICOM’s statutory rules
and values when entering into a contractual relationshipwith third parties. Furthermore, bear in mind that legislation differs from country to country.

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3 Copyright, logo
and distribution

DISCUSSION → NEGOTIATION → CONTRACTCOPYRIGHT TRANSFER

Any agreement should be established in the following
order:→ Before drawing up a contract, it is essential to first analyse the publication proposal in detail and determine thedesired end result.

When publishing a work, it is absolutely
necessary to obtain copyright from authors,translators, images owners and other rights
holders such as heirs.

→ Only when the objectives are clear in the publisher’s
mind (committee or Regional Alliance) should negotiations with a potential partner begin.

EXTENT OF THE COPYRIGHT TRANSFER
When requesting copyright transfer from an author, besure to agree on the following:→T ype of transferred rights: reproduction, translation,communication, etc.

When an agreement has been reached between the parties,
the type of contract can be chosen, drafted and adapted
accordingly.

CONTRACT: BASIC STEPS→ A contract template may be used as a basis, but eachprovision must be reviewed in order to be adapted with
the needs of the parties.

If necessary, the ICOMSecretariat can help you
to draft a template.
Please contact:secretariat@icom.museum→ Each party should read through the draft contract thoroughly and discuss any sticking points.

CONTRACT: MANDATORY CONTENT◦ Costs and profits (even if the contribution of one ormore parties is unpaid, this should preferably be
specified)◦ Governing law and dispute resolution

92→ Languages and type of format included→ Geographical cover/distribution

ICOM LOGO◦ Name and address of each party◦ Duties of each party (tasks and responsibilities)→ Duration of the transfer

Contracts can include an embargo period clause, especiallywithin academic publications and journals. This stipulates
an amount of time during which the author cannot publish
their work on other platforms (generally online).
However, the manner in which the author intends to share
his/her work can have a bearing on this.

→ Each party should hold original versions of the contract
for their records.

◦ Timeframe and schedule→E xclusivity or not (e.g. full copyright transfer or licenceagreement)

EMBARGO PERIOD→ A deadline should be identified for each step of the discussions up to the signature of the contract to avoid long
delays.

◦ Objectives of the contract

Legal Guidance for Publishing

2 Advice on contracting
and necessary steps

When drafting thecontract, be very
specific with wording,as being too general
could lead to misunderstandings later on.

In addition to respecting the guidelines for the ICOM logo
as outlined in the graphic charter (see Chapter 3), it is important to introduce a provision regarding the insertionand placement of the ICOM/committee /Regional Alliancelogo on the published work to ensure visibility.

DIGITAL/PRINT CONTENT - DISTRIBUTION
The contract must specify that the content may be used inboth digital and print format, or one of the two. If applicable, it should also mention whether the publication is
distributed in multiple languages, in x number of territories, and for a specified length of time.
93This diagram is not exhaustive.
Please refer to the following pages
for details on contracts.

Legal Guidance for Publishing

CONTRACTS WITHIN A PUBLISHING PROJECTSecretariat

Delegation of authority
for International Committees
and Regional Alliances

National Committees
International Committees
Regional Alliances

Publishing house◦ Publishing contract◦ Co-publishing contract◦ Copyright transfer
agreement (CTA)◦ Licence agreement◦ Series editor contract

Quote or contract

SERVICE PROVIDERS◦ Printer◦ Translator◦ Graphic designer◦ etc.

Author

THE CO-PUBLISHING CONTRACT
For a committee (or Regional Alliance), co-publishingmeans collaborating with another publisher (generally
professional) for the realisation of a publication.
The nature of the co-publishing contract will dependon the level of participation in terms of editorial and/or
financial contribution by each party. Negotiations with theprofessional publisher may thus range from participationin the editorial process to firm sale conditions (see below).

THE PUBLISHING CONTRACT
The publishing contract stipulates all the conditions underwhich the committee (or Regional Alliance) transfers its
rights to the publisher and describes the publisher’s andthe author’s/editor’s duties.

In all cases, this cooperation means that the committee (orRegional Alliance) may not have complete control over theediting process.

USAGE
The committee (or Regional Alliance) wishes to publish
content that it has created and share it with peers througha publication (e.g. results of research conducted by a working group, a monograph written by one or more members,
a compendium of articles, etc.) but does not feel comfortable undertaking the editorial process.
ADVANTAGES→The publisher takes charge of the entire editorial
process.
SPECIFICS→ The editorial strategy should be outlined in the publishing contract in order to avoid any misunderstandings
upon delivery of the work.

Legal Guidance for Publishing

4 Contracts with aprofessional publisher

Committees andRegional Alliances must
exercise caution withcopyright clauses.

USAGE
The committee (or Regional Alliance) wishes to publish
certain content that it has created and share it with peers
through a publication (e.g. results of research conducted by a working group, a monograph written by one ormore members, a compendium of articles, etc.) and wants
to be assisted by a professional publisher in the editorial
process.
ADVANTAGES→
A co-publishing contract can reduce the editorial
workload, and if the committee (or Regional Alliance)
is not familiar with the publishing field, working witha publisher can be a way to grow acquainted with thesector.
→ It also means shared costs and risks, the pooling of skills
and resources and benefiting from a common editorial
project, among others.

Committees andRegional Alliances must
exercise caution withcopyright clauses.

SPECIFICS→ The firm sale provision
A firm sale agreement is a commitment by the committee(or Regional Alliance) to buy a certain amount of copies
from the publisher (often at a discounted rate based on thenumber of copies requested). The committee (or Regional
Alliance) makes a purchase promise to the publisher, who
undertakes the production and potentially a part of the
distribution and marketing of the publication.

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97

→ Contributions owned by employers
If the contribution is written by the contributor in thecourse of his or her employment, it is important to check
who owns the copyright. If the contribution is owned by
the contributor’s employer, the latter must sign the copyright transfer agreement in addition to the contributor’ssignature.

COPYRIGHT TRANSFER AGREEMENT (CTA)
A copyright transfer agreement (hereinafter referred to as‘CTA’) allows for the transfer of full or partial copyrightfrom the rights-holder (the author) to another party (thecommittee or Regional Alliance).

→ Government contracts
Some national legislation set particular rules regarding thecontribution of governmental employees.

USAGE
To avoid any disputes – particularly regarding copyrightissues – contributing authors must sign a CTA, providing
the publisher (committee or Regional Alliance) with theright to use and distribute the author’s original content,
whether the contribution is paid or unpaid.
When publishing a work containing several articles, thepublisher thus needs to collect a CTA from each author
before publication.
ADVANTAGES→ The committee (or Regional Alliance) holds the copyright, which can facilitate certain processes such astranslations.
→ The CTA can also be used for translators and photographers, particularly if a single photographer and/ortranslator is assigned to a publication.

Legal Guidance for Publishing

5 Author contracts

Even in the case of acommissioned work,
the copyright isretained by the authorof the work until a CTA
has been signed.

Examples:UK - Crown Copyright: the rights to a contribution prepared by an employee of a UK government department,
agency or other Crown body as part of their official duties,
or which is an official government publication, belong to
the Crown. Authors must ensure they comply with departmental regulations and submit the appropriate authorisation to publish.
US government worker: a contribution prepared by a US
federal government employee as part of the employee's
official duties, or which is an official US Government publication, is called a ‘US Government work,’ and is in the
public domain in the United States. The employee still has
to sign the copyright transfer agreement, but will cross out
the section regarding copyright.
These specificities must be taken into account while drafting any contract.

The ICOM Secretariat is at your disposal
for inquiries about CTA. If you need templates
or a draft contract reviewed, you can contact the
Secretariat (with a reasonable deadline bearing
in mind the ICOM Legal Department’s workload).

SPECIFICS→ Text originality
The author must certify that the work is original and the
publisher should include a disclaimer in case of plagiarism.
→ Financial aspects regarding authors
The sum being paid to the author (whether a lump sum ora percentage of sales) should be specified in the contract.
ICOM committee publications are often the result of voluntary contributions from members. The same goes for
publications gathering researchers’ articles and work,
which are often based on voluntary work. In this case, authors are not remunerated but receive free copies of the
publications. The number of copies is determined by theeditor and written in the contract.
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99

A licence agreement is a contract in which a licensor grants
a licensee the permission to use their work, while retaining
the copyright and all intellectual property rights.

SERIES EDITOR

USAGE
A licence agreement can set the terms that an author (i.e.
the licensor) grants the committee or Regional Alliance(i.e. the licensee) exclusive rights to publish and distributethe work but the author still retains their own copyright tothe original content.
It may result from the following circumstances:→ The committee (or Regional Alliance) wishes to publish
a work involving several authors and to this end, needs
to collect the authorisation from each author, but certain authors are not willing to transfer the full copyright.
→ The committee (or Regional Alliance) wishes to offer digital content online in open access and to this end, needs
to apply specific Creative Commons licenses to the workof the authors.
→ The committee (or Regional Alliance) is working witha publisher that needs the committee’s (or Regional
Alliance’s) approval for putting a publication online andin open access.
ADVANTAGES→ Setting a framework for open access publications.
→ Retaining the copyright in the event that the committee(or Regional Alliance) is working with a publisher.

Legal Guidance for Publishing

6 Specific contracts
and agreements

THE LICENCE AGREEMENT

Regarding Open Accessworks, see the Creative
Commons licenses

This type of contract needs to be drawn up if a multi-authored series of publications is edited by a specific author,
known as the series editor.
It may result from the following circumstances:→ The committee (or Regional Alliance) wishes to publish
a series and works with an author responsible for editing the series.
→ The committee (or Regional Alliance) works with a publisher and within the collaboration will manage a series.
ADVANTAGES→ The tasks related to the series editor position are set
once, and apply to all the publications in the series. It isnecessary to be aware of all terms and conditions of thecontract, as they will prevail for all future publicationsin the series.

PATRONAGETWO TYPES OF PATRONAGE CONTRACTS MIGHT EXIST:Patronage from another organisation
If publishing a work is too costly in terms of time and/or
human resources, being supported by another organisation
is an option worth considering. Patronage often suggests a
relationship with mutual benefits, including, for instance,
offering visibility on the cover in return for partial fundingof the publication.
Patronage from ICOM committee (or Regional Alliance)
Patronage can also originate from a committee (or Regional
Alliance) that wishes to support and encourage another organisation’s activity. This can be applied to publications,for instance if an organisation is publishing a book related
to the committee’s (or Regional Alliance’s) interests or fieldof research. In this case, the committee’s (or Regional Alliance’s) and ICOM’s logotypes could appear on the coverof the book, which is a way to offer ICOM more visibility.

In both cases, the agreement must specify thescope of the patronage
and the commitmentsof both parties.

ADVANTAGES

100

The agreement is a guarantee of the commitment of bothparties to work with and support each other, and sets thecircumstances and applications of the patronage. It is generally less formal and cumbersome than a contract.

101

Legal Guidance for Publishing

7 Contract management
for services

TRANSLATOR
If a committee (or Regional Alliance) works with a translator, it is often a good idea to draft a contract including
clear deadlines, remuneration of the translator and duties
of each party.

Depending on the nature of the collaboration, a formal
written agreement with service providers will not always be
drafted (e.g. with the printer). However, it is strongly advised that all service providers send a formal quote, whichshould then be approved and signed by the committee (orRegional Alliance) Chair. The quote should detail the work
to be carried out and include a time schedule and the corresponding fees.

The translator may be considered an author when translating an original work such as a book, and in this case holds
the copyright to the translation. The purpose of the translation contract is, as in the author’s contract, to stipulate
the conditions under which the translator transfers theirrights to the publisher.

For more on translation,please see Chapter 4.

ADVANTAGESThe contract is a guarantee of the agreement settled
between both parties to work together.

International Committees and Regional Alliances
must keep records of all quotes and invoices related
to publications projects and send them to the Secretariat (publications@icom.museum).

Some services will require a contract as specifics must be
taken into account (generally the transfer of a copyright).

GRAPHIC DESIGNER
If a committee (or Regional Alliance) chooses to work witha graphic designer who will create an original layout designfor the publication, it is essential that the publisher is citedas the owner of this layout. The contract should specify thedesigner’s obligation to return the original files to the publisher/editor upon completion of the publication and thatthe publisher may use and modify the layout as they wish.

For more on graphic design,please see Chapter 3.

ADVANTAGES
Signing a contract with the graphic designer is a safer solution than settling for a quote. Within the contract, you
can set a clear deadline and specify the ownership of thelayout.

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Digitaland Online
Publications

Online e-book creation services also exist, which guide you
through the process of making your e-book.
For example, Lulu offers the following service.
If you are working with a commercial publisher, theyusually also produce e-books and create the digital versionof your publication.

Online publications are digital publications madeavailable on the internet, and specifically designed
to be read online. This includes editorial content
available on websites.

E-BOOK FORMAT
Different formats exist when creating an e-book and somedevices only accept one format (e.g. AZW3 format for
Amazon’s Kindle). The ePub format is a standardised format for electronic books and is suitable for all e-readers,tablets and smartphones. However, unlike PDFs, these are
not readable on every computer and require the appropriate software. To make your book available to the largest
number of readers, we therefore recommend that you also
create a PDF file of your e-book.

1 E-books
An e-book is a digital publication that can be read on several electronic devices. E-books do not necessarily havea print counterpart and many electronic-only books exist.
The process is the same as for printed books in terms ofdefining and editing the content, but production and distribution steps differ.

REFLOWABLE CONTENT
The ePub format and other e-book formats generate‘reflowable’ documents, in contrast with the PDF format,
which is static. This means that the ePub format adapts thelayout to the device it is being read on, whether it is a small
smartphone screen or a wider tablet screen.

PRODUCTION
As with printed publications, the original manuscript isformatted for digital publishing formats in order to ensure
maximum readability.

Useful links
Calibre is a free software allowing users to read,
convert and manage e-books.
International Digital Publishing Forum (IDPF)

For e-books, the manuscript needs to be adapted in HTML(HyperText Markup Language), from which the ePub format (or other e-book format) is generated. This ePub format will then be processed by the electronic device used,which makes it readable for the user.
You can create an e-book on your own, but this requires
some knowledge of HTML if you want to create somethingsatisfactory and appropriate for distribution to a wide audience.
To create the e-book, you need three elements:◦ The content (generated in ePub format)◦ An image for the cover, which will be displayed in online libraries.

Digital and Online Publications

Digital publications are published matter read ona screen, which implies the use of a reading device,although some digital publications can be read
online.

PROMOTION
The free software
Sigil is a multi-platform
ePub e-book editor,
with which you cancreate your e-book.

Promotion is as important for an electronic publication as
for a printed publication, if not more so, because your bookwill be presented among thousands of other publications.
As with printed publications, do not hesitate to contact the
For more on promotion,
ICOM Secretariat for help with communication and pro- please see Chapter 8.
motion.

◦ Metadata, or information required to facilitate the referencing of your e-book and searching by potential
readers. It includes: title/subtitle, author(s), publication date, ISBN (digital and print if applicable), price,
geographical areas for distribution/sale, keywords,
categories, excerpt, and a brief description.

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107

Online bookstores/vendors:
Amazon’s Bookstore (for Kindle)
Apple’s iTunes Bookstore
Google play BookstoreISBN
An ISBN is required for e-books and must be different fromthe ISBN of the printed version of the book (if applicable).
If you are working
on a journal, you canmake it available online
through the online reading platform Issuu

PRINT ON DEMANDLEGAL DEPOSIT

See Chapter 5.4 for details
on print-on-demand.

2 Other digital format

PUBLIC DOMAIN E-BOOKS AND OPEN ACCESS

PDF

If you do not plan to sell your digital publication, you canmake it available to every internet user through the following platforms (this list is not exhaustive):
Biodiversity Heritage Library(digitised natural history literature)
Google Books
Internet Archive
Open Library→ And your own website.

The PDF (Portable Document Format) is the widely used
format for sharing and archiving digital documents. The
PDF is readable on all computer and electronic devices,which makes it an international standard.

E-BOOK READING DEVICES

Within a website, you can combine the display of a PDF
with a browser-based programme such as ReadCube. It
allows the readers to export citations, annotate the document, find related articles, and share it on social networks.
Enhanced PDF is particularly adapted for academic publishing.

E-READERS
E-readers are devices completely dedicated to e-book reading. The text is written with digital ink, which matches
the reading comfort of paper. There is usually no internet
connection in order to avoid distraction, and battery andmemory capacities are substantial.
TABLET COMPUTERS
Unlike e-readers, tablet computers are connected devices,which may be distracting while reading. Backlit screens arealso less comfortable for reading, but these devices havethe advantage of allowing for multi-tasking with only one
device.
You can also read an e-book on your computer and/or
smartphone through e-book reader applications (such as
Kindle, Nook and Calibre).
108

You can apply for this ISBN the same way you apply for the
one related to a print version, by sending a form to yourISBN agency.

Reminder: if you are
an International Committee, you need to ask
the ICOM Secretariat
for an ISBN.

Legal deposit also applies to e-publications. Please see
Chapter 7.3 for information on legal deposit for digitalpublications.

Publishers’ online libraries, which provide electronic formats of their publications: Springer, Routledge, Elsevier,
Wiley and Wiley’s online library, etc.
E-books can be printed by readers through print-ondemand.

Digital and Online Publications

DISTRIBUTION

Since e-books are not physical objects, there are no distribution or routing costs. You can distribute your electronic
publication through online bookstores, which, like traditional bookstores, will take a percentage of your sales.

This format keeps the original layout of the document andcan include interactive features such as hyperlinks, andcan be downloaded by readers.

ENHANCED PDF→ You can visualise an enhanced PDF by reading Museum
International articles on ICOMMUNITY.
[ICOMMUNITY > Expertise > Museum International]

HTML
HTML (HyperText Markup Language) is the format inwhich webpages are displayed. If the publication is available online, you can offer articles for reading in bothHTML and PDF formats.

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SOCIAL MEDIA
On your social media pages, please use the proper logo foryour committee and always link back to ICOM’s website.

BLOGS

Here are ICOM’s social media pages:

Online computer programmes known as CMS (Content
Management System) are widely used to create blogs.
Most of them are open source, free for basic use with chargeable options for additional functionalities. They are easy
to handle and user-friendly, with the possibility of leaving
comments and sharing posts on social networks.
One example of an open-source CMS is Wordpress.

FACEBOOK• facebook.com/IcomOfficiel/
TWITTER• twitter.com/IcomOfficiel
If you want to refer to ICOM in a twitter post, please use@IcomOfficiel and do not hesitate to retweet ICOM posts.

If your committee maintains a blog, whether
it is incorporated into the website or completely
independent, it is important to accurately dateeach post and provide relevant keywords.

SCOOP.IT
Scoop.it is an online tool that allows you to share content
such as articles, related to specific key words. For instance,
ICOM shares news related to the field of heritage.
• scoop.it/u/icom-officiel

NEWSLETTERS
If your committee produces a newsletter, we recommendthat you follow ICOM’s graphic charter. Please use the new
ICOM logo and the new logo of your committee.

Digital and Online Publications

3 Online editorial content

See Chapter 3 for details
on ICOM’s graphic charter.

In order to keep records and for historical purposes, it
is important to accurately date each newsletter, with themonth and year of publication.

YOUTUBEICOM also has a YouTube channel where you can findseveral videos about the life of the organisation, museum-related topics and discussions with ICOM members.
• youtube.com

GRAPHIC GUIDELINES→ Please forward each newsletter to the ICOM Secretariat
for archiving: publications@icom.museum

For virtual use only, the square version of the ICOM logo
is required.

COMMITTEE WEBSITESICOM’s website includes a platform offering free hostingof ICOM committees’ websites. They can include as many
pages as necessary and feature a wide range of functional options. The ICOM website as well as the committees’
websites are regularly updated and new functionalities areadded.

Please ask the Secretariat for the proper versionof your logo if you do not already have it.

→ Please refer to the ICOM graphic charter, available on
ICOMMUNITY.

SOCIAL MEDIA
Consider your website as a part of your online presence
and a way to link your committee to ICOM and your social media pages, so do not hesitate to add Facebook andTwitter newsfeeds to your website.

Please always linkback to ICOM on yourwebsite and social
media pages.

DATING THE CONTENT
For information and contextualisation purposes, pleaseaccurately date all articles and conference proceedings thatyou add to your website, and specify any updates.
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Glossary
We have provided the following definitions to explain
concepts that may be unfamiliar to you.

BARCODE

COLOPHON

A brief description of apublication or production
notes relevant to the edition, usually located at thereverse of the title pageor at the end of the book,and including the date andplace of publication and thename(s) of the printer andpublisher.

COLOUR IMAGE PROOFS(CROMALIN PROOFS)

Specially requested proofs
to ensure correct colour
balance and image quality
prior to volume printing.

COPYRIGHT

Notice (symbol or phrase)
informing readers of
the underlying claim toownership of a given work,
based on laws that varyfrom country to country.

DELEGATION OF
AUTHORITY

The act of delegating responsibility and powers to a
subordinate. A delegationof authority can be given to
International Committees,in order to allow themto sign contracts under
ICOM’s responsibility.

GRAPHIC DESIGNER

112

Machine readable form
containing the publication’sISBN and other optional
information (price, stockcode).

Professional charged withcreating images and typography for print or digitally
published media.

HALF-TITLE PAGE

Page containing the publication’s title, coming after
the cover and endpaper(blank page at beginning).

IMPACT METRICS

Measurements providing
an indicator of an article’s,journal’s or researcher’s
impact online (e.g. regarding the number of citations).

INDEXING

Automatic process managed by search enginesand databases that collects
and stores data on anarticle’s visibility.

ISBN

International StandardBook Number, a unique
13-digit code assigned to
identify each edition andvariation of a book.

LEGAL NOTICES

Information displayed on
the publication’s copyrightpage (reservation rights,
publisher’s address, cataloging data, printing and year
indicators, etc.).

MACHINE PROOF

Proofs of the publication
pages sent by the printer tothe publisher for checking
and approval prior to printing the final press proof.

MASTHEAD

Listed details in a journal
containing the editorial
team, printing information,
etc.

PHOTOENGRAVING

Process by which animage is photographicallytransferred to a plate forprinting.
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PLACEMENT

The physical availability/
accessibility of printand digital publications
via various outlets andplatforms.

PRESS PROOFS

Test print made at the
production printing press
before volume printing
begins.

RESTOCKING

Ensuring the continued
supply and availability ofa publication.

RETURNS

Product returned to the
supplier by the outlets orcustomers.

SANS SERIF (TYPEFACE) Typography without serifs,
or small lines attached tothe end of the strokes ofletters. Arial is a sans serif
typeface.
SEARCH ENGINE Optimising an article or
OPTIMIZATION (SEO) website in order to be easilyfound by search engines
and listed on the first pageof results.
SERIF (TYPEFACE) Typography that presents a
serif, or small line attachedto the end of the strokes ofletters. Georgia is a serif
typeface.

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Appendices

APPENDIX I

Useful links• Academic publishing houses
EUROPE
Archetype (UK)https://www.archetype.co.uk/
Armand Colin (FR)
http://www.armand-colin.com/
Brill (NL)
http://www.brill.com/
Cambridge Scholars Publishing (UK)
http://www.cambridgescholars.com
Deutscher Kuntsverlag (DE)
http://www.deutscherkunstverlag.de
Dunod (FR)https://www.dunod.com/
Ediciones Akal (ES)http://www.akal.com/
Edizioni Nuova Cultura (IT)
http://nuovacultura.it/
Elsevier (NL)
https://www.elsevier.com/
Nauka Publishers (RU)
http://www.naukaran.com
Palgrave / Macmillan Education (UK – International)
https://he.palgrave.com
Routledge (UK)https://www.routledge.com/
Sílex (ES)> Historia, Arte y Museología
http://www.silexediciones.com
Springer (DE)
http://www.springer.com
Taylor & Francis (UK)
http://taylorandfrancis.com/
Transcript (DE)> International Academic Publishing
http://www.transcript-verlag.de

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NORTH AMERICA
Association of American University Presses (US)http://www.aaupnet.org/
Association of Canadian University Presses (CA)http://www.acup.ca/
University of Calgary Press (CA)https://press.ucalgary.ca
University of Toronto Press (CA)http://www.utppublishing.com
Wiley-Blackwell (US)http://eu.wiley.com
SOUTH AMERICA
Editorial RM (MX)
http://editorialrm.com
Instituto de Investigaciones Estéticas (Universidad
Nacional Autónoma de México, MX)
http://www.esteticas.unam.mx
Metales Pesados (CL)http://metalespesados.cl
ASIA
Allied Publishers (IN)
http://www.alliedpublishers.com
Association of Japanese University Presses (JP)http://www.ajup-net.com/
Hong Kong University Press (HK)
http://www.hkupress.org
Nias Press (DK)> Publishes innovative research on modern East andSoutheast Asian society
http://www.niaspress.dk
NUS Press (National University of Singapore, SG)
https://nuspress.nus.edu.sg/
AFRICA
Basler Afrika Bibliographien (CH)
> Centre of documentation and expertise on Namibia andSouthern Africa (archive, specialist library and publishinghouse)
http://baslerafrika.ch/
Fountain Publishers (UG)
http://www.fountainpublishers.net
119Langaa Research and Publishing Common Initiative Group(CM) http://www.langaa-rpcig.net/
Mkuki na Nyota (TZ)
http://www.mkukinanyota.com/
Sub-Saharan Publishers (GH)
http://www.africanbookscollective.com/publishers/
sub-saharan-publishers
Weaver Press (ZW)
http://www.weaverpresszimbabwe.com/
OCEANIA
Allen & Unwin (AU)https://www.allenandunwin.com
Auckland University Press (NZ)
http://www.press.auckland.ac.nz
Melbourne University Publishing (AU)https://www.mup.com.au/
Victoria University Press (NZ)
http://vup.victoria.ac.nz• Subsidies
FRANCE
Centre National du Livre (CNL)> Support programmes for translation, periodicals andpublishing (print and digital).
http://www.centrenationaldulivre.fr
Le Motif> lists several subsidies
http://www.lemotif.fr
UNITED KINGDOMArts Council England> Grants for the arts, which include publishing.
Arts Council England also provide grants for museums.
http://www.artscouncil.org.uk
Paul Mellon Centre> Fellowships and grants for academic research and thedissemination of knowledge in the field of British art andarchitectural history.
http://www.paul-mellon-centre.ac.uk
THE NETHERLANDS
Dutch Foundation for Literature> Translation grants
http://www.letterenfonds.nl
120

UNITED STATES OF AMERICA / INTERNATIONAL
Furthermore> Grants for nonfiction books related to arts, architectureand design; cultural history, the city and related public issues; and conservation and preservation. Grants are given
to organisations within and outside of the US (with equivalence of status) such as museums, state colleges and universities.
http://www.furthermore.org
CANADA
Association of Canadian Publishers> Information and useful links related to grants for writers
and publishers.
http://publishers.ca
Livres Canada Books> Foreign Rights Marketing Assistance Program (FRMAP)
http://www.livrescanadabooks.com/en/
MIDDLE EAST
Sharjah International Book Fair
> Translation grants
http://www.sibf.com
SPAIN
Ministerio de Educación, Cultura y Deporte> Culture aids and subsidies (promotion of reading, translation, cultural journals, etc.)
http://www.mecd.gob.es(> Citizen Services > Catalogue of Services > Culture >Grants, Aids and Subsidies > Book, Reading and Literature)
SWITZERLAND
Schweizerische Akademie der Geistes- und Sozialwissenschafte / Swiss Academy of Humanities and Social
Sciences (SAGW)> Subsidies for publications, intended for institutions
members of the SAGW.
http://www.sagw.ch
ARGENTINA
Cámara Argentina del libro> National association for books and publishing of Argentina, which identify subsidies available in the country
http://www.camaradellibro.com.ar121

SOUTH AFRICA
Academic and Non-Fiction Author’s Association (ANFSA)> Grants for research and writing
http://www.anfasa.org.za
National Arts Council of South Africa
http://www.nac.org.za
UGANDA/AFRICA
African Writers Trust> Identify subsidies for writing in the section‘opportunities’
http://africanwriterstrust.org/• Proofreaders’ associations

THE NETHERLANDS
Society of English-language professionals
in the Netherlands (SENSE)
https://www.sense-online.nl/
UNITED STATES OF AMERICA
ACES
https://aceseditors.org/
Editorial Freelancers Association (rates available)
http://www.the-efa.org
CANADA
Editors Canada
http://www.editors.ca

EUROPE
Mediterranean Editors and Translators
https://www.metmeetings.org/

COLOMBIA
Asociación Colombiana de Correctores de Estilo (Correcta)
http://correcta.org/

Nordic Editors and Translators (NEaT)
http://nordicedit.fi/

MEXICO
Asociación Mexicana de Profesionales de la Ediction AC(PEAC)
http://www.peac.org.mx

FRANCE
Syndicat des correcteurs
http://www.correcteurs.com/
UNITED KINGDOM
Society for Editors and Proofreaders (SfEP)
https://www.sfep.org.uk/

PERU
Asociación de Correctores de textos del Perú (Ascot)
http://asociaciondecorrectores.org.pe
SOUTH AFRICA
Professional Editors’ Guild
http://www.editors.org.za

IRELAND
Association of Freelance Editors, Proofreadersand Indexers
http://www.afepi.ie/

Southern African Freelancer’s Association (SAFREA)> Freelance workers in the communication field (editors,
proof-readers, graphic designers, etc.)
http://www.safrea.co.za/

SPAIN
Fundación del Español Urgente (Fundéu BBVA)
http://www.fundeu.es

AUSTRALIA
Institute of Professional Editors Limited (IPEd)
http://iped-editors.org/

Ortografía de la lengua española (2010)
http://www.rae.es/recursos/ortografia/ortografia-2010
Red Vertice> Network of professional association of translation, interpretation and correction in Spain
http://www.redvertice.org/
Unión de Correctores (UniCo)
http://www.uniondecorrectores.org
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123

• Picture researchers associations
FRANCE
Association des professionnels de l’information
et de la documentation (ADBS)
http://www.adbs.fr
Association nationale des iconographes (ANI)
http://www.ani-asso.fr/
UNITED KINGDOMThe Picture Research Association (PRA)
http://www.picture-research.org.uk/• Other associations related to publishing
ARGENTINA
http://www.camaradellibro.com.ar
ECUADOR
http://www.celibro.org.ec• Scholarly Publishing
BRAZIL
Portal de periódicos→ Online database with free access to Brazilian
and international academic knowledge.
www.periodicos.capes.gov.br
FRANCECIRAD – CoopIST→ Resources and help for scholarly publishing.
https://coop-ist.cirad.fr/

Mendeley allows users to manage their personal library ofreferences, and is also an academic social network:https://www.mendeley.com/
Zotero is a web platform where researchers can collect,organise, cite and share research material:
https://www.zotero.org/
SSRN works with specialised research networks, especiallyin the fields of anthropology and archaeology:
https://www.ssrn.com/en/
LATIN AMERICALA Referencia (The Federated Network of Institutional
Repositories of Scientific Publications)
Argentina, Brazil, Chile, Colombia, Ecuador, El Salvador,
Peru and Venezuela→ Latin American Network of open access repositories.
You can browse and find papers from Latin American
researchers in many fields, including museology.
http://www.lareferencia.info/joomla/en/
Redalyc→ Network for academic journals from Latin America andthe Caribbean, Spain and Portugal.
Provides journals in open access with their metrics;
authors can also identify themselves to their papers:
http://www.redalyc.org/home.oa

EUROPE / INTERNATIONAL
Open Access Infrastructure for Research in Europe(OpenAIRE)→ Resources about open access for researchers, such as
guides, mapping of open access repositories, projects linked with open access.
https://www.openaire.eu/

FRANCE
Cairn→ Online access to publications in the humanities
https://www.cairn.info/• Examples of paper repositories

UNIVERSITIES ALSO USUALLY HAVE THEIR OWNREPOSITORIES, FOR EXAMPLE:
Heidelberg University→ Propylaeum, ‘Specialised Information Service for Classical Studies’, providing open access documents and a paper
repository:
https://www.propylaeum.de/

ACADEMIC GENERALIST NETWORKS→ On these platforms you can create your personal account, upload and download papers and discuss with otherresearchers.
ResearchGate requires users to justify the fact that they areresearchers in order to use it:
https://www.researchgate.net

124

Academia.edu is more focused on networking:https://www.academia.edu/

HAL→ Deposit and sharing of research papers.
https://hal.archives-ouvertes.fr/

University of Cambridge (UK)
http://idiscover.lib.cam.ac.uk
125Université Paris-Sorbonne (FR)
http://documentation.sorbonne-universites.fr/
Universidad de la Rioja (ES)https://dialnet.unirioja.es/
The following websites are registries of open access repositories. You can search a repository by country, subject
area, etc.
Directory of Open Access Repositories
http://opendoar.org/
Registry of Open Access Repositories (ROAR)
http://roar.eprints.org/

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APPENDIX IIMuseum International CFP, editorial
guidelines and peer reviewer guidelines
The aim of this issue is to bring together contributions that will examine the impact of public policy
on museums and strategies museums and museums associations can adopt to influence decisionmakers. Authors are invited to submit contributions that will probe:· The importance of legislation to increase the role and impact of museums in society, thus ensuring
their sustainability.
MUSEUM INTERNATIONAL
Vol. 69, No. 275-276 – Museums and Public Policy
Call for Papers

ICOM is preparing an issue of Museum International on the theme Museums and Public Policy. The
issue will be overseen by the Editorial Board, with Prof. Dr Tereza Scheiner as Editor in Chief. All
proposals submitted will be assessed for suitability and subsequent articles will go through a peer
review process. The issue is expected to be published, in collaboration with Wiley Blackwell, by
December 2017.
Museums and Public Policy· How museums and museums associations can advocate for favourable public policy affecting
cultural institutions.
· Ways of achieving financial self-sufficiency in a context of shrinking budgets and privatisation.
We look forward to receiving your contribution for this forthcoming issue of Museum Internationalon the theme of Museums and Public Policy. We hope you will take the opportunity to offer fresh
insight into this fundamental topic for the museum community.
Submission process:
Abstracts of between 250 and 300 words, written in English, French or Spanish, should be submitted
to Aedín Mac Devitt at aedin.macdevitt@icom.museum

The next issue of Museum International Vol. 69, No. 275 – 276 aims to explore the ways in which
public policy can affect museums, and how museums and museums associations can influenceinternational, regional and national policy affecting cultural institutions.

Contributions will be on a voluntary basis.

Contemporary museums have widened their goals to ensure new audiences are served. As such,museums can strengthen public perception of and respect for cultural identities and diversity,
support social cohesion and generate income and employment.

The following information should be included with the abstract:· Title of submitted paper· Name(s) of author(s)· Professional background

However, in today’s challenging economic and social climate, museums are often considered a luxury
that society cannot afford, with culture-related budget cuts resulting in disparities of wealth acrossmuseums.

The submission deadline is 7 March, 2017.

Museum International is currently produced in English language only. However, proposals in theother two official languages of ICOM (French and Spanish) will also be considered.

With this reduced investment in culture, many museums are experiencing reductions in, or even theloss of, scientific and technical expertise. For others, employing skilled staff to fulfill their social roles
and offer increasing activities to support their communities and local development remains an
unachievable goal.
The relationship between governments and cultural institutions can largely determine the museum’srole within the communities they serve and the type of services they provide, especially in countries
where museums are dependent on government policy.
Government strategies and legislation can improve the way museums work to ensure a better public
impact. For instance, legislation on equal opportunities and human rights has served to encourage
museums to embrace a more diverse audience in many parts of the world.
In today’s context, how can governments and policy-makers support museums to ensure our culturallegacy is preserved for future generations? How can museums and museums associations influencethese policy-makers to ensure culture remains high on their political agendas? How can museums
continue to fulfill their missions in the face of growing adversity, with increasing financial strain,
privatisation, and competition with other entertainment industries?

128

GUIDELINES FOR CONTRIBUTORSFORMAT OF THE SUBMITTED ABSTRACT
1.

GENERAL

Language
LengthConsistent use of English, French or Spanish.
Maximum 300 words or 2,100 characters (spaces included).

Submission

Contributions should be submitted as an attachment to e-mail in MS Word (97-2003 or
higher).

2.

FORMAT OF SUBMITTED ABSTRACT

Margins
Justification
SpacingFont

2.5 cm or 0.98 in. left, right, top and bottom.
The text should be both left and right justified (aligned) throughout.
Simple.
Arial.

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Font size
Main Title
Subtitle
Author’s nameIndentation
Citations
Quotations

9 pt. for the text proper but 10 pt. for title, subtitle and author’s name.
(10 pt.) Centre the title on top using bold small capitals. If the title is in English capitalise
the first letter of the main words.
(10 pt.) If there is a subtitle, add a colon to the title and centre the subtitle on the nextline using bold lower case.
(10 pt.) Space twice and align left your name, using bold initial capitals only.
Do not indent the first line of the abstract.
Do not include citations in the abstract.
Do not include quotations in the abstract.

ExampleTHE ARCHITECTURE OF BALTIMORE:
An Exhibition in the Peale Museum, Baltimore
Wilbur H. Hunter Jr. and Rich Borneman
The abstract should be followed by a short biography of the author(s) of between 150-200 words, forwhich the same format as that described above applies. The short biography should include thefollowing details: professional affiliation, exact title, current situation and research, past andforthcoming publications.
Finally, please indicate a contact email.

130

131

Deadline
Please e-mail your text and images to publications@icom.museum by <date>.
Please send your text in .doc or .docx format, under the following template: NAME_MI-Public-Policy

M us eum I n t er nat i ona l
Editorial Guidelines
An introduction to Museum International

Reminder:

Museum International was first published by UNESCO in 1948. In 2013, the journal was transferred to
the International Council of Museums (ICOM), and it is now published by ICOM in partnership with copublisher, Wiley-Blackwell.
The aim of Museum International is to foster knowledge sharing through interdisciplinary research andencourage best practices for the safeguarding and protection of cultural heritage.
Each issue is based on a specific theme, and includes research-based articles and case studies exploring
various aspects of this topic.
Vol. xx No. xx: Theme
This issue of Museum International is dedicated to the theme <xxx>

If your abstract is selected, you will be asked to submit your full paper within two months. Your
full paper will be subject to peer review, and you may be asked to make revisions. If the revisions
are not deemed adequate, your paper may be rejected.
Articles are presumed to be original pieces. Please notify editors if:o the article has been published in other publications (whether print or digital),o the article is a translation, adapted from academic dissertations and conferences orother existing documents, in which case the original source, history and context of thepiece should be provided in an endnote.
All peer reviewer comments must be addressed. Please leave your changes visible when you
send your revised version to the editors.

Technical guidelines for contributors:
1. GENERAL
Language
LengthConsistent use of UK English.
5,000 to 7,000 words.

Submission

Contributions should be submitted as an attachment to e-mail in MS Word(97-2003 or higher).

<Brief summary>.
Your brief…
…is to describe <short summary based on abstract proposal sent>.

2. FORMAT
Body of text:

Technical guidelines

Content Endnotes

The text should be 7,000 words long (max.), written in English, and include:






a title,a biography of 100 words,
keywords,
a conclusion,references if applicable (Harvard).

CitingReferencing

Alignment: Justify. Font: Arial size 10. Spacing: 1,5(NOT Footnotes): 10 pt. Do not use the notes for mere bibliographicalinformation. Please keep the number of notes down as much as
possible. Acknowledgements (optional) may be inserted as an unnumberednote preceding the numbered notes.
The notes themselves should follow after spacing twice at the end of the text.
Please use Harvard style.
Please use Harvard style.

Copyright Assignment Form
You will be required to assign copyright of your paper to ICOM/Wiley-Blackwell. Copyright assignmentis a condition of publication and papers will not be passed to the publisher for production unlesscopyright has been assigned. To assist authors an appropriate copyright assignment form will be
supplied by ICOM.
ImagesPlease send us images to illustrate your article. Images are accepted in the following formats: TIFF,
JPEG, EPS. They should have a minimum resolution of 300 dpi. Photo credit information should
accompany all images and permission must have been granted to publish any photographs provided.
Should images not be provided by the author, the editors reserve the right to illustrate the article.

132

133

Structure
2.1

Introduction

Museum International

Does it adequately describe the background andYessynthesize the overall structure of the article?

No

PEER REVIEWER GUIDELINES

Does it clearly state the author’s aims in a logicalYes
and compelling way?

No

2.2

Main
Is the overall structure of the paper clear andeffective?

0

1

2

3

Museum International is both a scholarly and professional journal, written
by experts for professionals in the museum and heritage field.

Is the logical articulation between each section
explicit?

0

1

2

3

Museum International is both:
academic in focus, in that authors may publish original
research,

Is each argument supported by relevant and welldeveloped examples?

0

1

2

3

Are the claims in this section supported byevidence; do they seem reasonable?

0

1

2

3

Is the study placed in perspective with other studies:
does it discuss similarities and differences?

0

1

2

3

1.



Journal standards

2.3

pragmatic in focus, in that it also seeks to encourage museum
and heritage professionals to share and learn from peer
experience in the field.

The journal’s primary ambition is to encompass the diversity of theinternational museum and heritage community. Its aim is to foster
intercultural dialogue by reflecting the manifold stakes andpreoccupations at the very heart of the profession.
2.

2.

Recommendation
Decision

Recommended approach

Comments

Accept without editorial revisions

The purpose of peer-reviewing is to ensure clarity and journal standards.
Difference of opinion with the author should not affect the review.
3.

Discussion/Conclusion

Accept with editorial revisions
Revise manuscript to address specific concerns
RejectLanguage

If an article is poorly written, you do not need to correct the English, but
you should bring this to the attention of the editor.

3.

General Comments
Please provide additional feedback on structure, coherence, syntax or style and readability here, if required.

QUALITY CHECKLIST
Evaluation criteria
Specific criteria require grading, on a scale from 0 to 3.

0 for ‘incomprehensible’ or ‘irrelevant’;
1 for ‘Does not satisfy the criterion’;
2 for ‘Needs improvement although roughly satisfies thecriterion’.

3 for ‘Satisfies the criterion and no improvement is necessary’.

4.

Collaboration with Museum International
Would you accept peer-reviewing opportunities forMuseum International in the future?

Yes

No

What are your research interests/fields of expertise?
Please provide your email address

No minimum length requirement.
In the right column, the text will unscroll automatically as you write.
5.
1. General questions
1.1
1.2
1.3

Is the article original and interesting enough for
publication?
Is the research question/theme innovative and/or
adopts critical approaches to the subject?
Is the approach coherent throughout?

Preferred address (to send you a copy of Museum International)

Explanation (needed for author feedback)

0

1

2

3

0

1

2

3

0

1

2

3

SurnameNameStreetCity
ZIP Code(State)Country

134

1/2

2/2

135

APPENDIX III

Technicalities
This list of rules is not exhaustive and you can refer to The
Oxford Manual of Style (OUP Oxford, 3rd edition, 2016),
Lexique des règles typographiques en usage à l’Imprimerienationale (Imprimerie nationale, 2002) and Ortografía
de la lengua española (Real Academia Española, 2010) for
more details about technicalities.

ACRONYMS
On first usage, spell out in full. For example, Federationof International Human Rights Museums followed by theacronym in parentheses (FIHRM). In subsequent references, use only the acronym.
Concerning the full names in a foreign language, if an
English acronym exists, use it; otherwise, use the originalacronym.

NUMBERSOne to nine should be written out, except when written as
part of a list. Ten (10) and up should be written in numerals.
If a number starts a sentence, spell it out or precede it withsome: ‘Some 500 individuals will attend the exhibition…’
Also: first, second, third…. 10th, 11th, 12thFRANÇAIS
Écrivez : 1er, 10e, 11e, etc. Et non : 10ème, 11ème, etc.
Attention, première s’abrège 1re et non 1ère !
Chiffres romains : les chiffres romains s’emploient pour lessiècles, les noms des souverains, les olympiades, les tomes,
les chapitres et les articles d’un code.
ESPAÑOL◦ Los números comprendidos entre el uno y el nueve se escriben con letras, excepto si forman parte de una lista conexpresiones numéricas.
◦ Escriba con cifras las cantidades superiores a diez, excepto si la cantidad inicia párrafo o va después de un punto
seguido.
◦ Escriba: 1.º, 1.er, 1.ª; 2.º, 2.ª; 3.º, 3.er, 3.ª; 10.º, 10.ª, 11.º,
11.ª

136

DATES
Give exact dates. Avoid last week, recently, in the near future, etc.
Should be written ‘10 January, 2017.’
FRANÇAIS
Donnez des dates exactes, évitez « la semaine dernière »,« récemment », « dans un futur proche », etc.
Écrivez 1er juillet mais 2 juillet, 23 juillet, etc.
Il faut écrire : av. J.-C. et apr. J.-C.
ESPAÑOL
Dé las fechas exactas. Evite: la última semana, recientemente, próximamente...

FIGURES◦ Simplify figures where possible. For example, $1.3987
should become $1.39. Within a text, do not use a hyphen
to indicate a range of figures. Thus, not $3-4m but
between $3m and $4m.
◦ Thousands are separated by a comma, e.g. 3,000 = three
thousand. Digits are separated by a point, e.g. 3.5 = three
and a half.
◦ Million, use m: $50m; billion, use bn: $50bn; trillion
should be spelled out.
◦ Three million people, but $5m in assistance.
◦ Use the % sign with no space before the figure.
FRANÇAIS◦ Simplifiez les nombres lorsque c’est possible. Par exemple,
1,3987 $ devient 1,39 $. Dans un texte, n’utilisez pas detrait d’union pour indiquer une fourchette (un écart)
entre deux chiffres. N’écrivez pas 3 – 4 millions de $ mais
« entre 3 et 4 millions de dollars ».
◦ Les milliers sont séparés par une espace insécable [raccourci clavier : Ctrl + Shift + Espace].
Exemple : 3 000 = trois mille◦ La virgule marque la fin des entiers ; elle suit le chiffre
des unités.
◦ Les nombres sont séparés des dixièmes et des centièmespar une virgule. Exemple : 3,5 = trois et demi.
◦ Écrivez « million », « milliard » et « trillion » en toutes
lettres.

137

ESPAÑOL:◦ Simplifique las cifras cuando sea posible, por ejemplo:
1,3987 $ deberá ser 1,39 $. En un texto, para indicar una
escala de precios escriba, por ejemplo: entre 3 y 4 millones, y evite el uso del guión (3 – 4 millones).
◦ Los números de cuatro cifras se escriben sin espacio:
2450, a partir de cuatro cifras, se agruparán de tres entres separando los grupos con un espacio: 8 327 451.
◦ Utilizar la coma para separar la parte entera del decimal.
◦ Tres millones de personas, pero 3 M$ en ayuda.
◦ Utilice el signo (%) sin espacio de separación: 15%.

FORMS OF ADDRESS
When attributing a quotation to an individual in an article,
state the person’s full name and position.
Subsequent references to the same person within the same
article can state simply the last name. As a general rule, it
is not necessary to include titles such as Mr, Mrs, Ms, unless specifically requested.
FRANÇAIS
Lorsque l’on nomme une personne dans un article, citez lenom complet de celle-ci et sa fonction, M. ou Mme accompagné du nom de famille ou le prénom et le nom de famille.
Si la personne est décédée, on cite son prénom accompagné du nom de famille ou seulement son nom de famille,
jamais précédé du titre.
Exemples : M. Peter Greenaway ou M. Greenaway ou Peter
Greenaway. Mais Jean-Jacques Rousseau ou Rousseau etnon M. Rousseau.
Abréviations de titres : Mme, Mlle, Dr, Pr. que l'on écrit entoutes lettres lorsqu'il est utilisé en tant que qualificatif :M. le professeur + nom. On écrit M. et non Mr pour Monsieur.
Attention, Messieurs s’abrège MM.
ESPAÑOL
Cuando cite a alguien en un artículo, proporcione el nombre
completo y su función.
Las referencias posteriores a la misma persona en el artículo pueden citar solo el apellido. Como norma general, noes necesario incluir los títulos como Sr. o Sra. salvo que seespecifique lo contrario.

CURRENCIES◦ Any local currencies cited should be followed by their euroor US dollar equivalent, depending on your audience, inparentheses. Within an article, use the ISO currency codes to avoid any confusion, e.g. A grant of 5,000 BRL wasawarded to the Brazilian delegation.
◦ If using currency signs (e.g. in tables or reports), the signis placed before the figure with no space, e.g. $123,000.
FRANÇAIS◦ Toutes les devises citées doivent être suivies de leurs équivalents en euro ou dollar américain entre parenthèses,selon le public visé. Au sein d’un texte, utilisez le code
ISO des devises. Exemple : Une bourse de 5 000 BRL aété octroyée à la délégation brésilienne.
◦ Si vous utilisez les signes des devises (dans des tableaux ou
rapports par exemple) le signe se place après le nombre,
avec une espace insécable. Exemple : 123 000 $.
Il en va de même pour les pourcentages : utilisez le signe( % ) précédé d’une espace insécable : 50 %.
ESPAÑOL◦ Todas las monedas citadas deben estar seguidas por sus
equivalentes en euros o dólares americanos entre paréntesis, según el público al que se dirige. En un texto, usar
el código de divisas ISO, por ejemplo: Se concedió una
donación de 5 000 BRL a la delegación brasileña.
◦ Si utiliza los signos de divisas (en los cuadros o informes,
por ejemplo), el signo se coloca después de la cifra con unespacio. Ejemplo: 123 000 $.

TITLES
Use italics for the titles of all publications (book titles,
articles, magazine/newspaper titles, reports, surveys),exhibition titles, film titles, conference themes and foreign
words. Quotation marks should be used only in full bibliographical references, when referring to a particular article
in a journal, for example.
Capitalise the following◦ Country names◦ Nationalities◦ Inhabitants of a country (e.g. the French, the English,
etc.)

138

139

◦ Titles of books, projects, exhibitions, conferences, conference themes, etc. (capitalise all words except for a, an,and conjunctions of four letters or fewer, e.g. TechnicalMuseums as Guardians of the Past and Educators of the
Future)◦ Job titles (Marketing Director)◦ Days of the weekESPAÑOL◦ Months of the year

Mayúsculas◦ Committee names, e.g. International Committee for Literary Museums but committee with a small c if the word
appears on its own in a sentence◦ En la letra inicial de los nombres propios: de personas ysus apellidos, de ciudades y pueblos, de países, de comunidades autónomas, de calles, etc.
◦ En los títulos de libros, proyectos, exposiciones, conferencias, temas de una conferencia, etc., y en los nombres
propios.
◦ En los títulos de funciones (Director ejecutivo, Director
de publicaciones), excepto si están en una frase: el director general.
◦ En los nombres y adjetivos de instituciones, entidades,
empresas, asociaciones, etc.
→ El Comité Internacional para Museos Literarios (ICLM),
el Museo de Artes y Oficios, el Museo del Louvre, la Comunidad Europea, el Tribunal Supremo, el Teatro de laZarzuela.
◦ En la denominación de congresos, ferias, y encuentros:→ Día Internacional de los Museos, Congreso Internacional de Investigación en Educación.
◦ En los grados académicos: Lic. en Artes, Dr. en Derecho.

◦ Qualifications: MA, BA, BSc, Ph.D, etc.
FRANÇAIS
Majuscules◦ Aux noms de pays
◦ Aux nationalités « les Français », mais pas lorsque la nationalité devient un adjectif, « un travailleur français », ni
quand il s’agit du nom de la langue, « il parle le françaiset le japonais. »◦ À la première lettre des titres de livres, de projets, d’expositions, de conférences, de thèmes de conférence, etc.
◦ Au titre de fonctions (Directeur général, Responsable despublications), mais pas dans une phrase.
◦ Au premier terme des noms des Comités, exemple : Comité international pour les musées littéraires et de compositeurs (ICLCM) mais « comité » avec un « c » minuscule si le mot apparaît seul dans une phrase.
◦ Aux noms de musée lorsqu'ils accompagnent un copyrightou pour une légende de photo, par exemple : Musée desArts et Métiers, Musée du Louvre, Metropolitan Museumof Art, British Museum. Mais dans une phrase le substantif « musée » ne prend pas de majuscule, exemple : « Le
musée du Louvre est le plus grand musée de Paris ».
→ En français, le mot « musée » s’écrit avec une minuscule.
Ex : musée du Louvre, musée des Arts décoratifs, muséedes Arts et Métiers. Il prend une majuscule quand il est
suivi d’un adjectif : le Musée social, le Musée basque, leMusée lorrain.
◦ Abréviations des titres universitaires, à placer devant lenom du diplômé : Docteur ès histoire de l'art : Dr

140

Les diplômés en études doctorales acquièrent le titre de« docteur » (l’abréviation usuelle étant Dr), mais l’usage enfrançais veut que cette abréviation soit réservée aux seuls
titulaires d’un doctorat en médecine. Certaines écoles proposent des études en Master of Business Administration(abréviation MBA).

PUNCTUATION
If in doubt about a comma, leave it out. Commas are an
aid to understanding and too many in one sentence canbe confusing. If a clause ends with a bracket, the bracket
should be followed by a comma.
Do not separate two sentences with a comma only. Two
distinct sentences must be separated by a semi-colon: ‘The
Shanghai General Conference took place in November
2010; there were xxxx attendees.’ Semi-colons mark apause longer than a comma and shorter than a full stop.
Use hyphens for compound adjectives: long-term impact,
in-depth debate. Hyphenate words that begin with prefixes, such as ex-, anti-, non-…
Avoid using quotation marks when no one has said anything. Quotations should be introduced with a colon. David Dean says: ‘The museum is….

141

When you omit part of a quote, use […]; when you alter it
significantly, place the altered parts between brackets.
There should be no space before a semi-colon (;), colon (:),
question mark (?) or exclamation mark (!).
Dashes can be used in pairs for parenthesis or to introduce
a paradoxical ending to sentences.
FRANÇAIS
Ne séparez pas deux phrases par une virgule. Deux propositions indépendantes doivent être séparées par un
point-virgule précédé d’une espace insécable :« La Conférence générale de Shanghai a eu lieu en novembre 2010 ; il y avait plus de xxx participants. »Les points-virgules marquent une pause plus longue qu’unesimple virgule et moins longue qu’un point.
La coupure des mots se fait entre syllabes. Dans le casde consonnes doubles, elle se fait entre ces consonnes.
Exemples : « lin-|guistique », « syn-|onyme », « mu-|sée »mais « bat-| tement » et « com-|munication » (et non « ba|ttement » ou « comm-|unication »).
En français, on emploie les guillemets typographiques(« ») séparés de l’expression qu’ils mettent en exergue
par une espace insécable. Quand il s’agit de citations dephrases, faites apparaître la ponctuation à l’intérieur deces derniers : « L’exposition a atteint des records de fréquentation. » mais : Il se dit « journaliste ».
Les deux points ( : ) annoncent soit une énumération, soit
une citation ou des paroles rapportées, soit enfin une explication (une relation de cause ou de conséquence)
Les deux points, le point d’interrogation ( ? ) et le pointd’exclamation ( ! ) sont également précédés d’une espace
insécable en français.
Evitez les points de suspension ( … ), préférez l’abréviation« etc. »En typographie, les crochets [ ] indiquent que l’on a remplacé ou ajouté un ou plusieurs mots dans une citation pourqu’elle reste compréhensible hors de son contexte original,
exemple : « Il [le président de l’ICOM] a tout d’abord prononcé le discours d’ouverture. » Des points de suspension
entre crochets […] signalent que l’on a raccourci une citation.

142ESPAÑOL
La coma indica una pausa breve que se produce dentro delenunciado y es una ayuda para la comprensión.
El punto y coma separa proposiciones yuxtapuestas.
«La Conferencia General de Shanghái se celebró en noviembre de 2010; acudieron más de xxx participantes.»
El punto y coma indica una pausa superior a la marcada
por la coma e inferior à la señalada por el punto.
La separación al final del renglón debe hacerse por sílabas
completas. No se separan las vocales de un diptongo o triptongo. Si hay dos consonantes juntas, cada una pertenece
a una sílaba. Ejemplos: «lingüís–tica», «restaura–ción»,«sa-lió», «euro–pea», «mu–seo», «ac–ción», «cam–
peón».
En español se colocan las comillas latinas (« ») sin espacio
antes ni después de la expresión o cita que destacan.
Los dos puntos (:) anuncian una enumeración, una cita o
un discurso de un tercero, o una explicación (causal o deconsecuencia). Se coloca un espacio tras los dos puntos.
Los signos de interrogación (¿?) y los signos de exclamación (¡!) en español no llevan espacio antes o después de lafrase que encierran.
Evite los puntos suspensivos (...), es preferible la abreviatura «etc.»
Los corchetes [ ] indican que se ha sustituido o añadido
una o varias palabras dentro de una cita para hacerla comprensible dentro de su contexto original, por ejemplo: «Él[presidente del ICOM] pronunció el discurso de apertura.»Los puntos suspensivos entre corchetes [...] indican que seacortó una cita.
Los guiones siempre son dobles y tienen el uso del paréntesis.

SOME ICOM SPECIFIC RULES
Committees◦ ICOM International Committee for Museum Security: In
1974, the ICOM International Committee for Museum
Security was formed.
◦ Please expand the acronym related to the International
Committee. Example: International Committee for Literary and Composers' Museums (ICLCM). If the acronym
is repeated in the text, you may need to repeat its meaning. In this case, use the keyword representing the Committee. Example: ICMS (security).
143Governance

SPECIFIC TERMS:◦ Chair of ICOM Colombia, but ICOM President◦ ICOM Director General◦ ICOM Secretariat. Can subsequently be referred to in a
sentence as the Secretariat

For the sake of harmonisation, please use the following
terms:◦ Use official UN Country Codes/Names, listed on FAO’s
website◦ World War I; World War II◦ UNESCO◦ Per cent (e.g. 90 per cent)FRANÇAISLes comités◦ Le Comité international pour la muséologie (dans untitre) mais « comité » ne prend pas de majuscule dans une
phrase.
Exemple : « L’ICOM dispose de plus de 117 comités nationaux »◦ Explicitez l’acronyme afférent au comité international.
Exemple : « Comité de l’ICOM pour la sécurité dans lesmusées (ICMS) ».
◦ Si l’acronyme est répété dans le texte, vous pouvez avoir
besoin de répéter sa signification ; dans ce cas, l’utilisation du mot clé de son action est possible.
Exemple : « ICMS (sécurité) »La gouvernance◦ Le président d’ICOM Espagne◦ Le président de l’ICOM◦ Le directeur général de l’ICOM◦ Le secrétariat de l’ICOM
Le réseau
On écrit « les professionnels de musée » ou « les professionnels des musées » mais pas « les professionnels de musées ».

Position of footnote references
ENGLISH AND SPANISH
Just after the reference word, after the punctuation marks
if there are any.
Example: reference word.1
FRENCH
Juste après le mot de référence, avant la marque de ponctuation s’il y a lieu.
Exemple : mot de reference1.
Numbering of the notes
Either by article (footnotes placed in the margins or at thebottom of the page, or at the end of the article), or an overall numbering for the entire work (footnotes or notes atthe end of the work).
Repeat citations
FRENCH AND SPANISH
Ibid. (FR) / Ibídem (SP): for a work cited immediately beforehand (specify page number if different).

ESPAÑOL

Exemple / Ejemplo:

Los comités

4. Luis A. Fernández, Museología y museografía.
Primera edición. Barcelona: Ediciones del Serbal, 1999,
p. 51◦ Explique las siglas relacionadas con el comité internacional. Ejemplo: Comité Internacional para la Seguridad enlos Museos (ICMS).
◦ Si la sigla se repite en el texto, es posible que tenga que
repetir el significado, en ese caso es posible utilizar una
palabra clave. Ejemplo: ICMS (seguridad).
Gobernanza◦ El presidente de ICOM España◦ La presidente del ICOM◦ El director general del ICOM
◦ La secretaría del ICOM◦ Minutas de la 74.ª sesión del consejo consultivo
144

BIBLIOGRAPHICAL REFERENCES

5. Ibídem, p. 62
Op. cit.: for a different page of a work cited previously but
not immediately beforehand (specify page).
Exemple / Ejemplo:
4. Claude Lapaire, Petit manuel de muséologie. Premièreédition. Berne : Paul Haupt, 1983, p. 25
5. André Gob et Noémie Drouguet, La muséologie. Première édition. Paris : Armand Colin, 2003, p. 42
6. Claude Lapaire, op. cit., p. 116
145

Loc. cit.: for the same page of a work cited previously but
not immediately beforehand.
Exemple / Ejemplo:
7. André Gob et Noémie Drouguet, La muséologie. Première édition. Paris : Armand Colin, 2003, p. 42
8. Claude Lapaire, Petit manuel de muséologie. Premièreédition. Berne : Paul Haupt, 1983, p. 25
9. Gob et Drouguet, loc. cit.
ENGLISHIf you are citing a work already cited in full beforehand,
you can shorten the reference, using the author’s surname
and name, shorter title of the work, and date of publication(page of the previous reference).
Example:1. Jon W. Finson and Samuel B. Beckett, Nineteenth-Century Music: The Western Classical Tradition (Upper
Saddle River, NJ, Prentice Hall, 2002)…
4. Finson and Beckett, Nineteenth-Century Music, 2002(see footnote p. 306)
Do not hesitate to contact
the Secretariat if you haveany questions on the subject:publications@icom.museum

BIBLIOGRAPHIC STANDARD
ISO 690 is an international standard for bibliographic references andcitations to all kinds of resources. In practice, referencing is specific to eachcountry. Furthermore, it should be noted that publishers and universities
use their own referencing styles. Among the referencing styles adaptedfrom ISO 690 are the Harvard style, the Chicago Manual of Style, the APA
style and the Museum International specific style.

ISO 690 INTERNATIONAL BIBLIOGRAPHIC STANDARDBOOK (SINGLE AUTHOR)FORMULA UTHOR SURNAME, Name (First Initial). Publication
A
Title. Volume number*. Edition number. Place of Publication: Publisher, year of publication. Number of pages.
(Name of the series; number within the series). ISBN.

*Optional elements
are written in light
blue.

BIBLIOGRAPHY	FINSON, Jon W. Nineteenth-Century Music. First

edition. Upper Saddle River, N.J.: Prentice Hall, 2002.
320 p. ISBN 978-01-39271-79-3.

BOOK (2 AUTHORS)FORMULA	AUTHOR SURNAME, Name (First Initial) and AUTHORSURNAME, Name (First Initial). Publication Title.
Volume number. Edition number. Place of Publication:
Publisher, year of publication. Number of pages. (Nameof the series; number within the series.) ISBN.

BIBLIOGRAPHY	FINSON, Jon W. and BECKETT, Samuel B. Nineteen-

th-Century Music: The Western Classical Tradition. First
edition. Upper Saddle River, N.J.: Prentice Hall, 2002.
320 p. ISBN 978-01-39271-79-3.

BOOK (3 AUTHORS)FORMULA	AUTHOR SURNAME, Name (First Initial), AUTHORSURNAME, Name (First Initial) and AUTHOR SURNAME, Name (First Initial). Publication Title. Volume
number. Edition number. Place of Publication: Publisher,year of publication. Number of pages. (Name of the series;
number within the series.) ISBN.

BIBLIOGRAPHY	KAYES, Gillyane, FISHER, Jeremy and PASCAL, Blaise.

Successful Singing Auditions. First edition. London:
Black, 2002. 153 p. ISBN 978-07-13658-07-1.

146

147

BOOK (MORE THAN 3 AUTHORS)

UNDATED DOCUMENT

FORMULA	AUTHOR SURNAME, Name (First Initial), AUTHORFORMULA	n.d. (EN) / s.d. (FR) / s.f. (SP)SURNAME, Name (First Initial), AUTHOR SURNAME,
Name (First Initial), et al. Publication Title. Volume
number. Edition number. Place of Publication: Publisher,year of publication. Number of pages. (Name of the series;
number within the series.) ISBN.

BIBLIOGRAPHY	BRAHIC, André, HOFFERT, Michel, MAURY, René, et al.

Sciences de la terre et de l'univers. DANIEL, Jean-Yves(dir.). First edition. Paris: Librairie Vuibert, 2006, 832 p.
ISBN 978-23-11401-89-9.

CHAPTER OR ARTICLE IN AN EDITED BOOK
FORMULA	AUTHOR SURNAME, Name (First Initial). Title of Chap-ter of Article. In: AUTHOR SURNAME, Name (First
Initial). Publication Title. Volume number. Edition number. Place of Publication: Publisher, year of publication,
p. xx-xx. (Name of the series; number within the series.)ISBN.

BIBLIOGRAPHY	CARTER, Philippe. James Boswell's Manliness.

In: HITCHCOCK, Tim and COHEN, Michèle. English
Masculinities, 1660-1800. First edition. London: Longman, 1999, p. 124-125. ISBN 978-05-82319-22-6.

JOURNAL ARTICLE (PRINT)
FORMULA	AUTHOR SURNAME, Name (First Initial). Title of Ar-

ticle. Journal Title, Year of Publication, Vol. xx, No. xx, p.
xx-xx. ISSN.

BIBLIOGRAPHY	JENNINGS, James M. French Baroque Chamber Music.

UNPUBLISHED MS (ACADEMIC)
FORMULA	AUTHOR SURNAME, Name (First Initials). Title of MS.

<document type>: <field>. Place of defense: University,
year of defense, number of volumes. [Accessed dd mmyyyy]. Available at: <link>

BIBLIOGRAPHY	Lasserre, I. Metaphysical Humour in Shakespeare’s

Hamlet. Ph.D. thesis: Philosophy. Oxford: University of
Oxford, 2012, 2 vol. [Accessed 24 August 2016]. Available
at: <link>

SOURCE WITHIN SOURCEFORMULA 	ORIGINAL AUTHOR SURNAME, Name (First Initial).

Publication Title. Place of Publication: Publisher, year of
publication, ISBN. Quoted in SECONDARY SOURCE’S
AUTHOR SURNAME, Name (First Initial). Publication
Title. Place of Publication: Publisher, year of publication,
ISBN, page #.

BIBLIOGRAPHY	SAID, Edward A. Culture and Imperialism. New York:

Alfred A. Knopf, 1993, ISBN 978-0679750543. Quoted in
CAIRNS, Alan. Citizens Plus: Aboriginal Peoples and theCanadian State. Vancouver, BC: UBC Press, 2000,
ISBN 978-07-74807-67-8, p. 103.

For further detail about the ISO 690 international bibliographic standard,
you can consult the following document (in French): http://revues.refer.
org/telechargement/fiche-bibliographie.pdf

Early Music, 2005. Vol. 36, No. 4, p. 142-43.
ISSN 0306-1078.

JOURNAL ARTICLE (ONLINE)FORMULA	AUTHOR SURNAME, Name (First Initial). Title of Ar-

ticle. Journal Title [online], Year of Publication, Vol. xx,
No. xx, p. xx-xx., [Accessed dd mm yyyy]. ISSN or DOI.
Available at: <link>

BIBLIOGRAPHY	JENNINGS, James M. French Baroque Chamber Music.

Early Music [online], 2005, Vol. 36, No. 4, p. 142-143,[Accessed 24 August 2016]. ISSN 0306-1078. Available
at: <link>

148

149

MUSEUM INTERNATIONAL SPECIFIC STYLEREFERENCING 	Please do not use endnotes for referencing.
Works must be listed in alphabetical order.
BOOK (SINGLE AUTHOR) - FIRST EDITIONJOURNAL ARTICLE (ONLINE)FORMULA	Author Surname, Name (First Initial). Year of Publication[online]. ‘Title of Article,’ Journal Title, Vol. xx, No. xx,
pp. xx-xx. Available at: <link> [Accessed dd mm yyyy].

BIBLIOGRAPHY	Jennings, James M. 2005. [Online]. ‘French BaroqueChamber Music,’ Early Music, Vol. 36, No. 04. Available
at: <link> [Accessed 24 August 2016].

FORMULA	Author Surname, Name (First Initial). Year of Publication.

Publication Title. Place of Publication: Publisher.

BIBLIOGRAPHY	Finson, Jon W. 2002. Nineteenth-Century Music. Upper

Saddle River, NJ: Prentice Hall.

BOOKS (2 AUTHORS)FORMULA	Author Surname, Name (First Initial) and Author Sur-UNDATED DOCUMENT

FORMULA	n.d (EN)UNPUBLISHED MS (ACADEMIC)
FORMULA	Author Surname, Name (Initials). Year of Publication.

Title of MS. School, University.[Unpublished <documenttype>]. Available at: <link> [Accessed dd mm yyyy].

name, Name (First Initial). Year of Publication. Publication Title. Place of Publication: Publisher.

BIBLIOGRAPHY	Finson, Jon W. and Beckett, Samuel B. 2002. Nineteen-

BIBLIOGRAPHY	Lasserre, I. 2012. Metaphysical Humour in Shakespeare’s

Hamlet. School of Philosophy, University of Oxford.
[Unpublished Ph.D. thesis]. Available at: <link> [Accessed 24 August 2016].

th-Century Music: The Western Classical Tradition.
Upper Saddle River, NJ: Prentice Hall.

BOOKS (3 AUTHORS)FORMULA 	Author Surname, Name (First Initial), Author Surname,Name (First Initial) and Author Surname, Name (First
Initial). Year of Publication. Publication Title. Place of
Publication: Publisher.

BIBLIOGRAPHY	Kayes, G., Fisher, J. and Pascal, B. 2002. Successful Sin-ging Auditions. London: Black.

SOURCE WITHIN SOURCEF ORMULA	Original Author First Name, First Initial. Publication

Title. Place of Publication: Publisher, Year. Quoted in
Secondary Source's Author First Name/Surname. Publication Title. Place of Publication: Publisher, Year, page #.

BIBLIOGRAPHY	Said, Edward A. Culture and Imperialism. New York:

Alfred A. Knopf, 1993. Quoted in A. Cairns, Citizens Plus:
Aboriginal Peoples and the Canadian State. Vancouver,
BC: UBC Press, 2000, p.103.

CHAPTER OR ARTICLE IN AN EDITED BOOK
FORMULA 	Author Surname, Name (First Initial). Year of Publication.

‘Title of Chapter’. In Book Title: Subtitle, edited by Editor
First Name Inititial/Surname. Place of Publication: Publisher, pp. xx-xx.

BIBLIOGRAPHY	Carter, P. 1999. ‘James Boswell's Manliness’. In English

Masculinities, 1660-1800, ed. by T. Hitchcock and M.
Cohen. London: Longman, pp. 124-125.

JOURNAL ARTICLE (PRINT)
FORMULA

Second edition = 2nd ed.
Third edition = 3rd ed.
Fourth edition = 4th ed.
Revised edition = rev. ed. (Note) or Rev. ed. (Bibliography)
FORMULA	Author Surname, Name (First Initial). Year of Publication.

Title: Subtitle, edition number. (Place of Publication: Publisher, Year), pp. xx-pp. xx.

 uthor Surname, Name (First Initial). Year of Publication.
A‘Title of Article,’ Journal Title, Vol. xx, No. xx, pp. xx-xx.

BIBLIOGRAPHY	Jennings, James M. 2005. ‘French Baroque Chamber Mu-

sic,’ Early Music, Vol. 36, No. 04, pp. 142-43.

150

BOOK: REVISED EDITION

BIBLIOGRAPHY

 rideres, James S., Gadacz, René R. and Frideres, J.
F
2008. Aboriginal Peoples in Canada, 8th ed. Toronto,
ON: Pearson Prentice Hall.

151

REFERENCES IN NON-LATIN LANGUAGES or languages using non-Latin alphabets, do not transliterate.
F◦ Please provide the original title, and an English translationin square brackets.
◦ Use sentence case, unless an official English title exists.
B IBLIOGRAPHY	Deloitte. 2014. [Online]. Μελέτη αποτίμησης τωνκοινωνικοοικονομικών επιπτώσεων των έργων πολιτισμού
[Evaluation of socio-cultural impacts of cultural projects].
Available at: http://ep.culture.gr/el/pages/NewsFS.aspx?item=175 [Accessed 7 August 2017].

APPENDIX IVICOM Presentation Text

Do you need to present ICOM in your publication?
Below is a text that you may use to present theorganisation and its main missions.

International Council of Museums (ICOM)
A global network
The International Council of Museums (ICOM), createdin 1946, is the main international organisation representing museums and museum professionals and assisting
the promotion and protection of the natural and cultural
heritage, present and future, material and immaterial.
With around 37,000 members in 141 countries, ICOM is aunique network of museum professionals, whose missions
cover a wide range of fields linked to museums and heritage.
International missions in the heritage field
ICOM is officially associated with international multilateral conventions linked to heritage. ICOM fosters a formal
relationship with UNESCO and benefits from a consultative status within the United Nations Economic and Social
Council (ECOSOC); it collaborates with organisations suchas WIPO, INTERPOL and the World Customs Organization in order to fully achieve its international public service missions, including fighting the illicit traffic of cultural goods and raising awareness on risk management andemergency preparedness for the protection of world cultural heritage in the event of natural disasters and armed
conflicts.
A specialised centre for reflection
ICOM’s commitment to culture and knowledge promotion
is reinforced by its 30 International Committees, each dedicated to a specific discipline, and which conduct specialised research in their respective fields for the benefit of themuseum community.

152

153