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Graphic Artists Guild Advocacy 2014

Posted by Rebecca Blake on November 25, 2014

2014 has seen a lot of discussion on copyright and intellectual property, with roundtables scheduled by the US Copyright Office, and House Judiciary Committee hearings. The Guild has been an active participant, representing the interests creators, and providing the perspective or working artists. Guild Executive Director Patricia McKeirnan, Advocacy Liaison Lisa Shafter, and Guild member Ed Shems spoke at a number of hearings and panel discussions. So far this year, we've presented seven times (in hearings, roundtables, and panel discussions), submitted two comment letters to the Copyright Office in response to their notices of inquiry, joined an amicus brief on behalf of the creators of Superman and artists Jack Kirby, and contributed to two articles. A full listing of our advocacy efforts is below.

US Copyright Office Roundtable discussion, “Orphan Works and Mass Digitization”
March 10 & 11, 2014, US Copyright Office, Washington DC
Advocacy Liaison Lisa Shaftel on the panel, and Executive Directory Patricia McKiernan in attendance

Comment Letter to the US Copyright Office notice of Inquiry about “Strategic Plan for Recordation of Documents” 
March 2014
Composed by Lisa Shaftel

US Copyright Office Roundtables on Reengineering of Recordation of Documents
March 28, 2014, Columbia School of Law, New York City
Transcript available here
Patricia McKiernan on the panel

Comment Letter to the US Copyright Office Notice of Inquiry about “Technological Upgrades to Registration and Recordation Functions” 
May 2014
Composed by Lisa Shaftel

House Judiciary Committee Hearing on First Sale Doctrine 
June 2, 2014
Guild Member Ed Shems on the panel, Lisa Shaftel and Tricia McKiernan in attendance

US Patent & Trademark Office, Office of Policy and International Affairs- Copyrights, Roundtable Discussions on “Remixes, First Sale, and Statutory Damages”
June 25, 2014, Harvard University School of Law, Cambridge MA.
Transcript available here
Webcast viewable online
Ed Shems on the panel, speaking on “the relevance and scope of the first sale doctrine in the digital environment”

Guild joined amicus brief in support of “Superman” creators, Siegel and Schuster, and artist Jack Kirby
June 2014
The Graphic Artists Guild joined the National Writers Union (NWU), the Science Fiction Fantasy Writers of America (SFWA), and the Society of Children’s Book Writers and Illustrators (SCBWI) in signing on to an amicus brief on behalf of Laura Siegel, daughter of the co-creator of “Superman,” Jerry Siegel, along with Shuster, and Jack Kirby, an early Marvel Comics artist. The families of Siegel and Shuster, and of Kirby, petitioned the US Supreme Court hear their appeals of two Circuit Court decisions which rejected their attempts to regain the copyrights. The US Supreme Court refused to review the Appellate Court decision. Warner Brothers, present owner of Marvel Comics and the rights, won.

House Judiciary Committee Subcommittee on Courts, Intellectual Property, and the Internet, Congressional Testimony Statement Paper about “The Scope of Fair Use*”
Written and submitted by Washington DC IP attorneys Mike Klipper & Chris Mohr on behalf of the Graphic Artists Guild, American Society of Media Photographers [ASMP], Picture Archive Council of America [PACA], Professional Photographers of America [PPA], North American Nature Photography Association [NANPA], American Photographic Artists [APA], The National Press Photographer’s Association [NPPA]
*Not submitted yet

Kernochan Center for Law, Media and the Arts Symposium “Creation is Not Its Own Reward: Making Copyright Work for Authors and Performers”
October 10, 2014, Columbia School of Law, New York City
Webcast available
Lisa Shaftel on the panel, and Patricia McKiernan in attendance

Columbia Journal of Law & the Arts Symposium Issue Submission for Fall 2014
Composed by Lisa Shaftel

ICOGRADA 2014 General Assembly Meeting, and Professional Platform Meeting,
October 25 & 26, 2014, New York City
Patricia McKeirnan spoke on speculative practices.
Rebecca Blake, Graphic Artists Guild Representative to ICOGRADA and Patricia McKiernan in attendance

Roundtable discussion on United Nations Human Rights Council Special Rapporteur Farida Shaheed’s report, “Copyright Policy And The Right To Science And Culture”
October 28, 2014, NYU School of Law, New York City 
Lisa Shaftel on the panel

Guild Executive Director on Speculative Practices at Icograda Professional Platform Meeting

Posted by Rebecca Blake on October 27, 2014

On October 25-26, the Guild attended Icograda’s first-ever Professional Platform Meeting in New York City, attended by representatives from over 14 countries. The meeting provided a structure for professional association members of Icograda to address common concerns in the industry. The Guild’s Executive Director Patricia McKeirnan was asked to present to the international audience the Guild's stance on speculative practices. Her talk included examples of prominent crowd sourcing campaigns, such at those conducted by the Department of the Interior and the Obama for America Campaign, and described the Guild’s response. Following is the text of her presentation.

Executive Director Patricia McKeirnan at Icograda Professional Practices meetingFrom a general definition perspective, I am defining graphic art as a service that encompasses a multi-disciplinary approach to answering how a business entity, or society, approaches the structure of communicating what it represents to the world at large in a visual, structured form that is easily understood – if I legitimately engage the services of a graphic artist or firm, then who I’m trying to attract will understand who I am and engage in my business in a way that mutually attracts our needs. A happy collaboration for all with no spec work in sight.

As an organization, the Guild does not support spec work and looks at as an ethical question. The risk involved to the artist is the greatest – there is a risk of not being paid for the work, it takes time away from other possible worthwhile paying projects, and may incur expenses that are not reimbursable to the artist. As we all know, graphic art is a service, not a commodity, and requires a partnership with the client and the artist to deliver the product. Spec work does not foster that environment. There is invariably too little information available to do the work successfully.

Working on spec also has some legal issues, the main one being a copyright issue.  Work on spec doesn’t transfer any rights to the work — the graphic artist retains all the rights to it. Obviously, when spec work is submitted, the work is rarely returned and the possibility it will be used without compensating the graphic artist is real. Enforcing your right as a graphic artist once this happens is a huge undertaking, financially and time-wise, especially if you have not registered your copyright to the work.

Crowd-sourcing may be legal as a business model, but it is another form of spec work taken to an extreme, and far from ethical from the Guild’s perspective. We’re talking about devaluing the work of an entire profession in an incredibly public fashion. Crowd-sourcing sites encourage below market rates and treat graphic artists as an expendable commodity instead of highly trained professionals providing a genuine service.

If a client wants to own the copyright of the artwork created by a professional graphic artist, the value of that copyright is reflected in the fees charged. The below market rates encouraged by crowd-sourcing sites ignores the value of copyright and creates a perception within the business community that copyright doesn’t exist, has little value, or that a business hiring a graphic arts service owns everything the graphic artist produces.

In late 2011, the US Federal Department of the Interior crowd-sourced a logo project, probably because they thought it would appeal to the social media oriented designers (not necessarily an accurate perception), and is a prime example of how pervasive the trend is. We sent a letter to the Department of Interior and suggested that they do the math: if the DOI paid for every one of the designs submitted (over 279 submissions) each design would earn less than $5.37. We also pointed out that although the business models of crowd-sourcing logo mills are completely legal, they are considered highly unethical by the Graphic Artists Guild and the AIGA, and the Graphic Artists Guild expects higher ethical business practices from a U.S. Government agency and to hire a professional graphic designer that lives and works in the United States.

During the same year, the Obama For America Campaign to re-elect Obama, announced a design contest titled, “Art Works; A poster contest to support American jobs.” The alleged purpose of the contest was to create a poster to motivate people to support the President’s, American Jobs Act, as part of his then re-election strategy. The contest website read: "Obama For America is seeking poster submissions from artists across the country illustrating why we support President Obama's plan to create jobs now, and why we'll re-elect him to continue fighting for jobs for the next four years. Three winners will receive a framed edition of their poster signed by Barack Obama and a limited edition of the poster distributed by Sponsor (approximate retail value $195).” Yes, this was a crowd-sourced contest soliciting spec work from American artists for the purpose of promoting American legislation to create jobs. Naturally, we sent a letter pointing out the irony of a contest that doesn’t appropriately compensate the winner of a campaign to support American jobs.

I won’t go into every detail we pointed out in our response to the contest, except to say that during the Great Depression of the 1930s, the U.S. government sponsored a work program that valued artists enough to employ hundreds of them to make posters for what Franklin D. Roosevelt called, The New Deal, which included something called the Federal Art Project. Approximately 500 artists were hired by the Federal Art Project; more than 35,000 posters were designed and 2 million printed. Many of these posters are now part of the US Library of Congress collection. All of these artists were paid and given credit for their work.

One other area of concern that may not necessarily be looked at initially as spec work — although I am beginning to think it is the next generation of spec work, and crowd-sourcing certainly falls into this category— is the concept of mass digitization and what the Internet is creating besides the concept of community and knowledge as we discussed yesterday for the up and coming generation. Don’t get me wrong – community and knowledge is a good thing and I’m the first one to search for more community and knowledge online. It is part of what I do on a daily basis as Executive Director for the Guild.

Here’s the thing.

Mass digitization comes in many forms, and has created a commodity economy mindset where everything competes on pricing, i.e., how can I get it for less, perhaps even free, perhaps creating a revenue stream based on work that’s not mine – all shades of spec work.

Is a logo created by someone on fiverr.com truly a logo? When everyone and/or everything competes based only on pricing of mass digitized goods and services, it fosters an environment of competition that eventually guarantees a non-livable wage especially for the creators of original goods and services regardless of what country they live in. It also fosters an environment of infringement, whether willful of inadvertently, in order to compete and create in the fastest and cheapest way possible.

In the US, the economic contribution by graphic artists is felt in every industry. For example, the licensing industry generated $ 93.37 billion in revenue in 2011 for all 18 product categories tracked, according to The Licensing Letter, a US based organization that tracks licensing revenues across all categories. Think movie action figures, games/toys, sports figures, gifts and collectibles, apparel, pet products, novelty items, etc., and graphic artists create the foundation for that revenue.

All of us in this room know that everything we touch on a daily basis required the contribution of graphic artists to create order out of chaos. The irony is, despite the high public visibility of the works of graphic artists, the actual artist is invisible and seldom acknowledged for what he/she contributes to the economy, and society, at large — not just in the US, but for every country represented by Icograda, regardless of whether or not there is a design policy in place in a particular country.

So a here’s a legitimate question to ask, and it is a question we recently asked in a response to a US Copyright Office request for comments: Is the economy we want to create for the future on a global level based on a commodity mindset where everyone competes on pricing, i.e., how can I get it for less or perhaps even free?

The core issue for every conversation we are having this week-end is the value each creative member of this group brings to the world. Value and how it is defined is a highly individual viewpoint, which doesn’t mean it can’t be defined or questioned, although it can present some perplexing thought patterns.

We talk about education for both artists and buyers. And, yet, how do you educate someone, the buyer in particular, whose only concern is, “How cheap can I get this for?” It’s a challenging question and not necessarily easy to answer. When I get calls from buyers about fees and how little can they pay someone, I often ask the buyer, “How would you feel about people trying to pay for your product or service as cheaply as possible, leaving very little room to cover overhead, day-to-day living expenses, and never see any profit?” It is also a point I make when I talk with Congressional staff and Congressional committee members here in the US.

The global community may not have answers right now to the problems we face with spec work. And that just means we have a little more chaos then graphic artists may have a solution for, which means we get to play with what we are presented with — and isn’t playing with possibilities what graphic artists are trained to do? So let’s play with the possibilities of how the conversations we’re having here are intertwined with one another and maybe a solution will show itself.

Guild Member Discounts: WordPress A-Z Webinar Series and Blinkbid Invoicing Software

Posted by Rebecca Blake on September 29, 2014

Two of our favorite partners, Joy of Code and Blinkbid, have extended new discount offers to Guild members.

WordPress A-Z Webinar SeriesBud Kraus of the Joy of Code has developed a four-part webinar series, WordPress A-Z, taking place October 16, 23, and 30, and November 6. The webinar series covers an overview of WordPress, building a site from start to finish, incorporating a blog, and finding and installing plugins and apps. Guild members are offered the course at a 25% discount, for $100 at the Early Bird rate (expires October 10).

Register for the webinar series online. (You will be asked to provide proof of Guild membership.)

BlinkBid logoBlinkbid produces easy-to-use estimating, production, and invoicing software targeted to creative professionals. Their latest update, Version 7, has added features such as redesigned production module, a discount field, and a Quickbooks export feature. Guild members get $50 of the cost off the purchase price.

To receive the discount code, log into Member Central on the Guild website (in the upper right corner), and visit our Member Discount page.

Exhaustion, Obsolescence, and Self-Worth

Posted by Rebecca Blake on September 24, 2014

In May, designer Jason Santa Maria published an article speculating on what course his career (and life) would take should he ever stop designing websites. Considering the impressive trajectory of his career, the article was notable. Santa Maria is a Senior Designer at Vox Media, founded of Typedia and A Book Apart, formerly worked as creative director of An Event Apart and Typekit, served as an AIGA/NY vice president, authored On Web Typography, and currently teaches at SVA’s Interactive Design program. What would make an individual with such extraordinary experience question his future in his chosen field?

In “What’s Next,” Santa Maria explains that he’s preparing for the possibility that someday he won’t be able to (or interested in) continuing his career in web design: “I don’t think it’s unrealistic to think that there will be a time when I don’t want to, or can’t — due to fatigue or professional obsolescence — work in this industry anymore.” He worries that his own fascination with bygone skills, such as handset typography, and his drive to explore deeply into topics will leave him off-guard as technology progresses. He concludes by speculating that “[f]lexibility in work habits and in thinking, rather than languages and programs, might be our most useful skills.”

However, in a follow-up article, “Correspondence with an Ex-Designer,” Santa Maria reveals a deeper disquiet that lead to his soul searching. A reader named Ruth responded to his earlier article by describing her journey from designer to sheep farmer, reassuring him that “(w)hat’s next — all depends on you, what motivates you and what makes you happy — there will always be new challenges, but that is what life is all about...” In his response, Santa Maria spoke of his “exhaustion [that] comes from the industry often taking more from us than it gives” and his growing sense of disconnect. Again, he found that Ruth’s reply was on target: “Keep working on it — it is important to you, in your own personal development — that development is important — not the expectations of anyone else. Self-worth is so important.”

With the daunting external factors facing creatives — marketplace pressures, client expectations, the unceasing need to up one’s skills — the exchange between Santa Maria and Ruth is particularly reassuring. It highlights the commonality of professional burn-out, and provides some insight into the personal strength individuals can draw from. Here’s to hoping that Santa Maria continues to find his inspiration, and in doing so, share his story.

Photograph of Jason Santa Maria used with permission.

© Jason Saint Maria

For the Font- and Dog-Obsessed

Posted by Rebecca Blake on September 22, 2014

© William Wegman

A fun diversion was published by William Wegman, the artist whose iconic portraits of his dogs Man Ray and Fay Ray brought the Weimaraner dog breed to new heights of popularity in the 1980s. In mid September, Wegman posted on Facebook a short video of his latest crew of Weimeraners patiently modeling letterforms. Up to four dogs stretch, nose to tail, and curl their lanky bodies to create the letterforms as Wegman recites the alphabet.

Wegman has a long history of featuring his dogs in videos. One of his first productions from 1975, Dog Duet, shows Man Ray and Fay Ray oddly staring about the studio space with great intensity. Only at the very end of the short film does Wegman reveal his trick: a tennis ball, moving about off camera, to the great interest of the dogs. An earlier film clip, Spelling Lesson (1973) has Wegman correcting Man Ray’s spelling. It’s an intriguing peek into the wonderful relationship between the artist and his muse.

Image © William Wegman

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We're looking for the following submissions from Guild members:

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Recent achievement, honor, or promotion; new position, business, or product; website launch; published work; exhibit; workshop or conference presentation; etc. Please include your name, discipline, location, and website URL with your submission of 100 words or less.

-Volunteer Illustrator for cover and spot illustrations for a feature article.
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If interested, contact Art Director Sara Chapman for further details at sara@artsquadgraphics.com
Please note: volunteer illustrators create original work for a cover that illustrates the feature story. Illustrators may be chosen at the Art Director's discretion for either the current cover or a future cover, depending on the appropriateness of their style to the topic being illustrated. A volunteer illlustrator will receive credit on the front cover and in the masthead, and a paragraph about the illustrator and his/her work will be printed on page 2.

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