Category Archives: Brand heritage

Creating a book using digital cultural heritage resources

This document is intended to be a guide to creating a book using digital cultural heritage resources sourced from Europeana or other digital cultural heritage platforms. It is based on the experiences of the Europeana Food and Drink consortium partners, who created a book about the history and heritage of local London pubs, using a collection of pub photographs from the 20th Century that are available through Europeana.eu.

Before starting out to create a book using digital cultural heritage resources, the most important thing to be aware of is that it will take some time. The creation of the London Local Pubs: Past and Present book, on which these guidelines are based, took a year from its initial concept to the final publication. However, the relationships necessary for this project had been established before and had to be maintained after publication, so the entire process took closer to two years.

Phase 1 – Developing the concept

To develop the fundamental concept of the book, there are three things that need to be considered, namely audience, collection and theme. These segments are equally important and need to connect to each other in a logical way, therefore they need to be developed at the same time. This triad forms the backbone of your book and should be referred to throughout your development process.

Collection: Identify an interesting collection (in our case, through Europeana), making sure that you can use it commercially and that you have access to high quality material. You can also use one of your own collections.

Theme: In parallel, think of a good theme or idea for your book that can be illustrated using the material you can find in your chosen collection. Think about why it would be interesting and how it is different from previously published books.

Audience: Think about the audience for this publication. Who are you trying to reach? Who would be interested in this book? It is important to identify a specific type of audience, rather than the ‘general public’, as this will inform much of your marketing strategy. If necessary, create an ‘audience profile’ that will help you to visualise what type of people you are reaching out to. Research networks of people in your locality that are connected to your audience and make notes about how to contact them and what their interests are — this will help you
a lot later on in the process.

collage_BooksBlogpost

Phase 2 – Finding a publisher

Once the above three factors are firmly in place, the next steps are related to finding a publisher that would be interested in publishing your book.

Step 1: A comparative review of other books
What other books have been published in the last few years that are related to the theme you have chosen? Who has published them? What is the audience for these books? How much are they being sold for? What is their ranking on websites like Amazon.com? What is the design of these books? What is their tone of voice?

Step 2: Shortlist publishers
If you are going with traditional publishing, make a list of publishers that are likely to publish your book and that you want to pitch to. Keep an eye on the type and calibre of books that they usually publish and see if your book idea fits in with that. Make notes of how you can approach these publishers with a pitch, e.g. a certain email address or phone number.

Step 3: Pitch to publishers
Pitch to the shortlisted publishers using a short and well-designed pitch deck that explains the basic idea of the book, showcases the content you want to use, gives a rough idea of your timeline and explains what effort you will put into marketing the book.

If you have access to a designer, you can perhaps mock up some pages of the book as you have them in mind.

Expect about a 1 in 10 chance of a publisher being interested in publishing your book, so make sure to approach as many relevant publishers as possible.

Step 4: Discuss with publisher
Once your pitch has been accepted by a publisher, discuss the below points with them before signing a contract with them.

  • Contribution. It might be that the publisher asks for a monetary contribution towards the cost of publishing. Consider whether this fits into your operations and whether you think this request is reasonable compared to what services the publisher is providing.
  • A workable delivery schedule. If you are writing and sourcing content yourself, make sure to leave yourself enough time to do this. If you are outsourcing this work, provide clear briefs to the people you are working with and set up regular check-in times.
  • Royalties. What is the publisher offering in terms of royalties? Can you accept these royalties or would it interfere with any grant funding? Decide how the royalties will be distributed.
  • Frequency of reporting. Agree with the publisher on the frequency of reports on the sales of your book, perhaps based on what you need from any funders. Quarterly reports are common.
  • Author copies. As author of the book (or at least the organisation signing the contract with the publisher) you are entitled to a number of author copies. How many you can expect depends on the print run. Author copies are useful for giving away to reviewers and to those that have helped you create the book.
  • Sales channels. Which sales channels does the publisher have and where can you expect to see the book being sold once it has been published?
  • Marketing. What is the publisher’s common practice when it comes to marketing? Will they use their networks to promote your book?

Paxton, Gipsy Hill
Paxton, Gipsy Hill

Phase 3 – Sourcing content and creating partnerships

Once you have finalised the contract with the publisher, you can start sourcing content in earnest, as well as reaching out to the networks that you have identified in the first phase and get them involved.

  • Make sure to clearly attribute any content you use in the book to Europeana or any other source it stems from. Double check to make sure you are allowed to use all content for commercial purposes. The publisher will expect you to have cleared the rights of all material that you deliver to them.
  • Reach out in earnest to individuals and networks who would be interested in your book. A soon-to-be-published book is a great trigger for engagement. Ask questions about the subject, ask them if they have material related to it that could be used in the book. Gauge if there is interest in doing some crowdsourcing events. They are a great way of getting people invested in buying the book once it has been published.
  • When doing crowdsourcing events to collect some stories, memories and material from your audience (there is a helpful guide to doing crowdsourcing events in pubs here, which can serve as inspiration), make sure all your participants sign release forms so you can use their material in your publication. Keep a record of their contact details so you can invite them to later events.
  • Ask some members of your intended audience to review your draft publication and give you feedback.

 

Phase 4 – Marketing and book launch

Once you have submitted your final manuscript to the publisher and while the book is getting printed, which can take a few months, start thinking about the marketing you want to do around the book. There are a few suggestions below:

  • Landing page. Set up a landing page to function as the main source of information about your book. Make sure to get a snappy short link and use a website building tool to make it look professional. Set up website analytics so you can collect visits, views and click-throughs. Provide information about the book’s launch date, where it can be bought, what the story behind it was (this is also a good space to mention any funders), where people can explore Europeana collections in more detail, hyperlinks to your own website etc.
  • Press release. Write a press release for your book so you have it ready to send out when the book is published. Focus on the story and theme behind the book, rather than the fact that ‘a book has just been published’. It should be interesting and easy to read.
  • Networks. Utilise your networks to the fullest. Ask your contacts whether they know anyone in television, radio or newspaper journalism that they can introduce you to. Again, focus on the story behind the book rather than the book itself here.
  • Social media. Send out teasers on social media, with sneak peeks of the book when it is due to be launched. Perhaps organise a contest for your online audience, which offers a chance of winning the book. Keep using your social media channels to promote the book once it has been launched. As for the landing page, ensure that you have appropriate ways of measuring the engagement you get your social media channels.
  • Involve friends, online users, colleagues, etc. to spread the word about the book online and offline. Direct marketing and word of mouth communication are often key elements to push sales and promoting a book effectively.

You can now also start planning your book launch. Check with the publisher what their common practice is.

  • Invite all contributors to the book to your launch. Also invite prominent figures from the networks that you identified earlier.
  • Try to host the event in a venue that has some connection to your book, either through the theme or through the audience.
  • Ask a prominent person from the audience to give a speech.
  • Provide some complimentary food and drink for your audience.
  • Have copies of your book on hand to sell or to give away.
  • Organise a photographer for the night and use your social media channels to share the launch with a wider audience afterwards.

 

Hopefully these guidelines will have given you some insight into how to develop effectively and market a book based on digital cultural heritage resources. For more information about the Europeana Food and Drink project and the London Local Pubs: Past and Present book on which these guidelines are based, visit www.foodanddrinkeurope.eu and www.londonlocalpubs.com

Download these guidelines as pdf

By Lise Schauer, Historypin

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Final All Partners Meeting in Budapest

Europeana Food and Drink Plenary Meeting
Budapest, 6th-7th June, 2016
#EFDfinal

For the fourth and final Plenary Meeting, all partners of Europeana Food and Drink gathered in the heart of Europe, in Budapest.  The Hungarian Museum of Trade and Tourism (MKVM), culture sector partner within the project and also the only dedicated museum of travel and tourism in the world, welcomed participants with warm Hungarian hospitality and of course, culinary heritage and culture.

In the morning of 6th of June, representatives of the Project Management Board assembled to discuss final steps within the project and set the main focus for the two days: As the project officially terminates end of June 2016, a recap, lessons learned and ideas to maximise the legacy of the project, but also organisational matters were part of the agenda.

Europeana Food and Drink All Partners Meeting in Budapest - Image Courtesy of Europeana Food and Drink
Europeana Food and Drink All Partners Meeting in Budapest

More than 45 representatives of all partner institutions discussed key achievements, experiences but also any open tasks for the finalization and reporting of the project. It was  emphasized how personal relationships and advocacy as well as the community are important factors for bringing forward a project such as Europeana Food and Drink.

As a special guest, we were happy to welcome external collaborators from Greece: Maria Triantafyllou, Director of the National Interprofessional Organisation of Vine and Wine (EDOAO)  and Filippos Mazarakis-Ainian from the National Historical Museum of Greece shared their experiences working together with  Europeana Food and Drink.

collage_All Partners Meeting Budapest

Surrounding these two days of meeting, partners learned about the Hungarian food culture, both in theory and practice: The food and drink related exhibitions of MKVM and a great local dinner, topped by an evening boat trip on the Danube set the tone for a fruitful and positive meeting.

Thanks a lot to The Hungarian Museum of Trade and Tourism and Collections Trust, coordinator of the project, for hosting and organizing the final All Partners Meeting in Budapest.

By Angelika Leitner, Austrian National Library

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Food for Thought: From Earl Grey to Beef Wellington

People are often remembered for their deeds, some are frozen in time by statues, remembered in a street name, or by the famous blue plaque that adorns many houses in Great Britain. There are a select few however that are immortalised in food and EUFD, the Europeana Food and Drink Picture Library, has matched up some famous foods from the picture library. This is the second part of our gallery of famous foods, from Napoleon’s Brandy to Crêpe Suzette and now to the British specialties.

The Right Honourable Charles Grey , 2nd Earl Grey ( 13 March 1764 – 17 July 1845 )

The Right Honourable Charles Grey was Prime Minister of the United Kingdom of Great Britain and Ireland from 22 November 1830 to 16 July 1834 . A member of the Whig Party , he backed significant reform of the British government and was among the primary architects of the Reform Act 1832 .

The 2nd Earl Grey famously gave his name to an aromatic blend of tea after he reputedly received a gift of tea flavoured with bergamot oil.

EUFD002485 – TopFoto / EUFD & EUFD0105250 – ThePictureKitchen / EUFD
EUFD002485 – TopFoto / EUFD & EUFD0105250 – ThePictureKitchen / EUFD

The 4th Earl of Sandwich 1718-1792

The sandwich is said to be named after 4th Earl of Sandwich after he frequently called for the easily handled food while entertaining friends.

EUFD002483 – TopFoto / EUFD & EUFD101529 – ThePictureKitchen / EUFD
EUFD002483 – TopFoto / EUFD & EUFD101529 – ThePictureKitchen / EUFD

Queen Victoria (1819 – 1901)

Many foods are named after Queen Victoria who reigned for 63 years. There are for example Victoria plums or as shown, a piece of Victoria sponge cake dusted with icing sugar and filled with strawberries and cream.

The pictures display Queen Victoria in in coronation dress 20 June 1837 and in 1887.

EUFD002475 – TopFoto / EUFD & EUFD105056 – ThePictureKitchen / EUFD
EUFD002475 – TopFoto / EUFD & EUFD105056 – ThePictureKitchen / EUFD
EUFD002471 – TopFoto / EUFD & EUFD101569 – ThePictureKitchen / EUFD
EUFD002471 – TopFoto / EUFD & EUFD101569 – ThePictureKitchen / EUFD

Portrait of the Duke of Wellington by Goya &  Beef Wellington

It is believed Beef Wellington was named after the Duke of Wellington, British hero of the Battle of Waterloo.

EUFD002476 & EUFD002477 – TopFoto / EUFD
EUFD002476 & EUFD002477 – TopFoto / EUFD

Arnold Bennett, English novelist (in 1931)

Omelette Arnold Bennett (bottom) which is an unfolded omelette with smoked haddock was invented at the Savoy Hotel and named after the English novelist who wrote a novel called Imperial Palace in 1930, based on his research at the hotel.

EUFD002488 & EUFD002487 – TopFoto / EUFD
EUFD002488 & EUFD002487 – TopFoto / EUFD

In the spirit of maintaining good relations through food, the Europeana Food and Drink project has combined a rich display of food and drink cultural heritage imagery, now available to license for publication. Much of the collection is on offer for the first time to publishers and illustrates the depth of local cuisine giving a new insight to the traditional EU dish as it has migrated and adapted across the world. From simple ingredients, cooking utensils, and baking techniques to complex dishes and the many characters that are involved in the food industry, the EU Food & Drink Picture Library (EUFD) illustrates food and drink history in photographs, artwork and objects.

The EU Food & Drink Picture Library is managed by the Europeana Food and Drink project partner TopFoto.co.uk. For further information, have a look at http://eufoodanddrink.eu/.

By John John Balean, TopFoto

 

Wine in Greece Engagement Event

On Friday 26th of February,  our Greek Europeana Food and Drink Partner PostScriptum organized an engagement event in the magnificent Domaine Oenotria Land Costa Lazaridis.

The event aimed at bringing together representatives from the world of culture, wine, tourism, media and creative industries in order to exchange, learn and use content related to food and drink and to create dialogue on prospects and potential partnerships that may arise on the occasion of the Europeana Food and Drink (EFD) project. collage_WineGreece

Cultural Heritage of Wine and the Attica Wine Trail

Mr. Kostas Konstantinidis, Managing Director of PostScriptum, welcomed the guests and set the context of the discussion. Mr. Markos Bolaris, Deputy Minister of Agriculture, delivered salutation and underlined the importance of initiatives such as the EFD project regarding the development of the economy and of synergies’ climate. Mrs Maria Triantafyllou, Director of the National Interprofessional Organisation of Vine and Wine (EDOAO) spoke for the benefits of such attempts of the wine industry.

Mr. Nikolaos Simos from NTUA presented Europeana and the NTUA participation in EFD project and PostScriptum and Mrs Alexandra Nikiforidou, presented the scope, the achievements and the impact of the project.

PostScriptum and Mrs. Vasia Pierrou introduced visitors of the evening to  the Attica Wine Trail which was created with material uploaded to Europeana in the context of EFD project. The applicaton was implemented with the contribution of wineries of Attica and the support of EDOAO.

collage_wineGreece2

Europeana, Clio Muse and Big Olive

The presentation closed with the speeches of Mr. John Nikolopoulos from Clio Muse, winner at 1st Open Innovation Challenge of EFD, and Mr. John Zaras from Big Olive, who were referred to successful examples of cultural content exploitation. Mr. Nikolopoulos talked about the experience of Clio Muse in the contest and the business exhibits interface designed from various museums in Europe through the Europeana network with stories about food and drink, for which the app was awarded. Mr. John Zaras talked about the food and drink trails that Big Olive implements in the physical space and their connection with the cultural content and the EFD project.

The presentations were followed by a tour in the Wine Museum and of course food accompanied by fine wine, sponsorship of Domaine Lazaridis. Participants had the opportunity to learn further about the project, to know each other better and to discuss ideas for possible future collaborations and synergies.

 

By Vasia Pierrou, PostScriptum

Teaming up: Europeana Space & Europeana Food and Drink

The Europeana Food and Drink Project is very glad to announce a new partnership: We have teamed up with Europeana Space, another Best Practice Network within the Europeana Family. Under the common umbrella of Europeana and with several partners in common, joining forces is always important in order to foster synergies between sister projects.

Europeana Space aims to create new opportunities for employment and economic growth within the creative industries sector based on Europe’s rich digital cultural resources. It will provide an open environment for the development of applications and services based on digital cultural content. The use of this environment will be fostered by a vigorous, wide-ranging and sustainable programme of promotion, dissemination and replication of the Best Practices developed within the project. The extensive resources and networks of the Europeana Space consortium will be drawn on to ensure the success of the project.

Europeana-Space-poster

The cooperation agreement was just signed, and we are looking forward to work together even closer to engage creative industries and the food and drink community with Europeana.

Food and Drink Content Collection: Fánk, the Hungarian Doughnut

In our series “Collecting Content for Europeana Food and Drink” we let you have a look into the selection process of culinary objects for Europeana.

It is carnival season and we are in Hungary, where the Europeana Food and Drink project partner MKVM – Hungarian Museum of Trade and Tourism in Budapest has already introduced us to the traditions around „Farsang” and Krampampuli, the “drink of the devil”. For part 2, it’s getting even more delicious: With a local recipe for Fánk, the Hungarian Doughnut.

Fánk engraving, 1890s via MKVM
Fánk engraving, 1890s via MKVM

Fánk, the Hungarian Doughnut

The most popular pastry of the carneval season is the so called farsangi fánk. Fánk (Doughnut) is a pastry made of raised dough, which is then fried and frosted with powdered vanilla sugar before serving, but it can also be filled with jam or different kind of fruits.

The recipe has changed a lot through centuries, according to a cookbook written in 1896, fánk contained cream and butter as well, and the flour had to be held next to a heated oven for a night to be totally dry and warm.

Also in Austria and Germany, mainly Bavaria, this kind of pastry is enjoyed during carneval. Known as “Krapfen”, it is typically filled with apricot jam. It is said that the tradition of the rich delicacy goes back to medieval times, where it was eaten to save up for the following Lenting season. A legend says, that the name comes from the Viennese chef Cäcilie Krapf, who resurrected the recipe in 1690.

Hereby is a recent Hungarian recipe:

Special tool for frying fánk, 1930s
Special tool for frying fánk, 1930s via MKVM
Ingredients / 8 servings:

– 1kg flour
– 50g yeast
– 2 eggs
– 1 tablespoon of sugar to feed the yeast
– 0,5 l milk
– 100 ml sunflower oil
– 100g powdered sugar
– 250g jam

Preparation method:

  1. Measure the flour into a deep bowl.
  2. Sprinkle yeast into 100 ml milk, add sugar and let it grow until foamy.
  3. When the yeast is ready, mix it with the flour, and add 400 ml milk and 2 eggs to it.
  4. Knead it until the dough blisters and it is glossy and separates from the bowl.
  5. Sprinkle it with a bit of flour and let it rise until it doubles in size.
  6. When it is ready, turn out onto a well-floured bakeboard and roll it to a 2-centimeter thickness.
  7. Than cut pieces out with a floured doughnut cutter or a drinking glass. Let them rise in a warm place for about 45 minutes.
  8. Put oil in a heavy-bottomed pot. Make a try with a piece of dough, if it is fried, you can add the rest of the doughnuts into the oil. Slide them into the oil carefully upside down. (It’s important that the side that was touching the board should be up now.)
  9. Fry them for 2 minutes, if you were neat enough, doughnuts turn around by themselves. If not, turn them round with a spatula.
  10. Fry them for 2 minutes again. When they are ready, transfer them to a plate covered with paper towels.
  11. Serve them with powdered sugar or jam.

 

Enjoy and have a happy carnival!

 

By Julianna Kulich, MKVM and Angelika Leitner, ONB

Understanding brand heritage

‘Brand heritage’ has become a hop topic in the private sector, describing a range of activities which connect a company with its past in order to increase its competitiveness and prosperity in the future. In this Powerpoint presentation, Sam Renbarger of leading Boston-based marketing agency Mullen.com looks at what brand heritage is and how it adds value for different types of business.

Sam takes a look at the social and cultural context that is encouraging consumers to seek out ‘heritage’ values in their brands, with a specific focus on the international food & drink industry. See his excellent slides below:

In the Europeana Food and Drink project, we’re excited about connecting Europe’s cultural heritage community into this rapidly expanding network focused on brand heritage in food and drink. We’re interested in finding out how heritage organisations can use their collections, their venues and their expertise in sharing history the public to open up new collaborative partnerships with the commercial sector.

by Nick Poole