Copyright Issues

ISTOCK PHOTOS 

1. MINI VAN – File: #12771253

LINK: http://www.istockphoto.com/stock-photo-12771253-van.php?st=04567d6

This mini van represents the team’s mode of transport. The logo will be on the side of it.

(Refer to ‘Exclusive Collection’ credit count to determine the price of this photo. They vary depending on the file size)

Eg.  Small photo with 800 x 600px and file size of 108.03 KB needs 5 credits.

       XXLarge photo with 4644 x 3482 px and 2.04 MB needs 25 Credits.

2. MAN WITH JAVELIN – File: #19251079

LINK: http://www.istockphoto.com/stock-photo-18682118-low-angle-view-of-man-holding-javelin-and-looking-away.php?st=e36050d

The team logo will be placed on this Australian males uniform.

(This photo from the ‘Agency Collection,’ Niche images, high production value, regional content and cultural diversity.)

Eg.  Small photo with 849 x 565 px and file size of 356.13 KB needs 55 credits

      XXLarge photo with 5120 x 3413 px and file size of 11.24 MB needs 200 Credits

3. BLANK BILLBOARD – File: #16664813

LINK: http://www.istockphoto.com/stock-photo-16664813-blank-billboard-xxl.php?st=3e0fc10

The Tournament poster will be on this Billboard for the public to see.

(Refer to ‘Exclusive Collection’ credit count to determine the price of this photo. They vary depending on the file size)

Eg.  Small photo with 790 x 608px and file size of 590.43 KB needs 5 credits.

       XXLarge photo with  4860 x 3744 px and 10.80­ MB needs 25 Credits.

Buying these files:

First step it to create a free account to become an iStock member. This needs to be done in order to buy credits which enable you to get photos. iStock has its own currency, it is different to other web sites. You can subscribe to a plan with a daily limit or purchase ‘pay-as-you-go’ credits.

How do credits work?

You need credits to be able to download any photos. You must purchase credits and spend them whenever you download a file. The credit cost of any file depends its size, complexity and the collection it belongs to.

‘Pay-as-you-go’ credits expire one year from the date of purchase.

COST OF FILES

Small or One-Off Projects;

6 Credits = $11

12 Credits = $21.75

26 Credits = $46

50 Credits = $87

120 Credits = $199.75

300 Credits = $488.25

600 Credits = 943.25

1,000 Credits = $1,531.50 et. Up to 30,000 credits.

Main Collection;

Main files are the best images from the Main collection selected by the artists.

XSmall:     1 Credit

Small:       3 Credits

Medium:   7 Credits

Large:      10 Credits

XLarge:    15 credits

Exclusive Collection;

Exclusive files are the best images from the Exclusive collection selected by the artists, available at a slightly higher price point.

XSmall:      3 Credit

Small:        5 Credits

Medium:    10 Credits

Large:        15 Credits

XLarge:      20 credits

XXLarge:    25 Credits

XXXLarge:  28 Credits

Corporate Accounts;

Save your business time and money on high-volume credit packages, and manage sub-accounts for each member of your team.

Theres a mail order form too. The link is: http://i.istockimg.com/static/docs/orderform.pdf

CONTENT LICENSE AGREEMENT

This a very lengthy license agreement, including Background of agreement, Standard License Terms, Permitted Standard License Uses, License Prohibitions, Excess Reproduction Run, Term of Agreement, Representations and Warranties, Indemnification and Limitation of Liability, Your Indemnification, General Provisions and Acknowledgement.

You can:

-Use the images for advertising and promotional projects, including printed materials, product packaging, presentations, film and video presentations, commercials, catalogues, brochures, promotional greeting cards and promotional postcards (ie. not for resale or license)

-Use the images for entertainment applications, such as books and book covers, magazines, newspapers, editorials, newsletters, and video, broadcast and theatrical presentations.

You cannot;

-Use on printed material such as paper, canvas or any other media or other items for resale, license or other  distribution for profit.

-Superficially modify the Content, print it on a t-shirt, mug, poster, template or other item, and sell it to others for consumption, reproduction or re-sale.

-Use any of the Content as part of a trade-mark, design-mark, trade-name, business name, service mark, or logo.

-Own copyrights, all copyright and other intellectual property rights relating to the Content, are retained by iStockphoto or the supplier of the Content

-Remove any notice of copyright, trade-mark or other proprietary right from any place where it is on or embedded in the Content.

-Sub-license, re-sell, rent, lend, assign, gift or otherwise transfer or distribute the Content or the rights to file.

FONTS

Where did u get them from?

I got all my fonts from www.fontshop.com

There are thousands of different fonts, it tells you information about each one and its family.

Easy to navigate, browse, and look around.

The font I decided to use for my logo is FF Primary OT.

This font will be used on the Logo. It is very dynamic, tall, thin and sharp

How do you get them?

When you purchase fonts online, create an account with your email address, add them to your cart and checkout. After you review your order and finish checking out and you have been notified that your purchase has been completed, you will have the ability to download them immediately! Click on the "Download" button and your download will automatically begin.

MY FONT SELECTION:

FF Primary OT

Designed by Martin Wenzel in 1995

Published by FontFont

ALL 9 fonts | AU$ 54.00

FF Offline OT

Designed by Roelof Mulder in 1996

Published by FontFont

ALL 5 fonts | AU$ 39.00

FF Dome OT

Designed by Neville Brody in 1993

Published by FontFont

ALL 3 fonts | AU$ 48.50

FF Eureka OT

Designed by Peter Bil’ak in 1998

Published by FontFont

ALL 4 fonts | AU$ 160.00

FF Dax OT Regular

Designed by Hans Reichel in 1995

Published by FontFont

1 font | AU$ 55.00

FF Kath OT Condensed Bold

Designed by Paul H. Neville in 1992

Published by FontFont

4 font | AU$ 39.00

FF Signa Serif Stencil Pro Book

Designed by Ole Sondergaard in 2011

Published by FontFont

1 font | AU$ 57.00

END USER LICENSE AGREEMENT (EULA)

By downloading the Font Software or opening the package, you agree to be bound by the terms of this Agreement.

-An Installation of the Font Software allows up to five concurrent users to use it at a single geographic location.

-You may embed the Font Software in documents, applications or devices either as a rasterized representation  of the Font Software

-Back-up. You may make back-up copies of the Font Software for archival purposes only, provided that you   retain exclusive custody and control over such copies.

-FSI has the right to terminate your licence immediately if you fail to comply with any term of the Agreement.

You cannot;

-Copy the Font Software or allow third parties to copy the Font Software

-Modify, adapt, translate, reverse engineer, decompile, disassemble, alter, or attempt to discover the source code of the Font Software.

-You do not gain the ownership of the Font Software

-Give, rent or lease the Font Software or parts of it to third parties. You may transfer all your rights to use the Font Software and Documentation to another person or legal entity.

Bibliography:

www.istockphoto.com

http://www.istockphoto.com/stock-photo-12771253-van.php?st=04567d6

http://www.istockphoto.com/stock-photo-18682118-low-angle-view-of-man-holding-javelin-and-looking-away.php?st=e36050d

http://www.istockphoto.com/stock-photo-16664813-blank-billboard-xxl.php?st=3e0fc10

Fonts:

http://www.fontshop.com/fonts/singles/fontfont/ff_primary_ot_book/

http://www.fontshop.com/fonts/singles/fontfont/ff_offline_ot_regular/

http://www.fontshop.com/fonts/downloads/fontfont/ff_dome_ot/

http://www.fontshop.com/fonts/downloads/fontfont/ff_eureka_ot/

http://www.fontshop.com/fonts/singles/fontfont/ff_dax_ot_regular/

http://www.fontshop.com/fonts/singles/fontfont/ff_kath_ot_condensed_bold/

http://www.fontshop.com/fonts/singles/fontfont/ff_signa_serif_stencil_pro_book/

http://www.fontshop.com/licenses/fontfont/ff_signa_serif_stencil_pro_book/

My Team Logo

BRAINSTORMING LOGO

Throughout my exploration of ideas, I have come up with two pages of quick sketches of ideas that I will develop further.

GREEK GOD – Zeus

SPORT – Javelin

LEAGUE – Australian Olympic Men’s Javelin Team.

I began brainstorming words and come up with a few concepts.

The first concept was derived from the words ‘pole’ and ‘sky’, where there is a javelin pointing towards the sky. The distinctive shape of the javelin resembles Zues’s lightning bolt weapon. I focused on the long narrow shape.

The second concept came from the words ‘sharp’ and ‘lightening’. I focused on Zues’s lightning bold as the main imagery and its sharp dynamic edges.

The shape of the lightning bolt resembles an ‘S’ shape, this is when the name of the team came to my mind. I started exploring words with ‘S’ in them, such as:

- Sky Strikers

- Sky Bolts

- The Strikers

- Air Struck

- Sharp Pointers

The third concept was created from the words ‘Throw’ and ‘Powerful’

A Masculine Javelin figure came to my mind. As you can see there are some sketches of a man holding the javelin, and throwing it in the air with power.

The second page of sketches are more refined, they are a combination of all three initial concepts. The lightning bolt shape forms the words ‘Sky Strikers’, it is on an angle and lines form the javelin shape. It’s a dynamic design which will look good on a uniform and any merchandise.

The colours considered are popular in the sport and will work well for this logo. Blue, Gold and white will be used.

The Blue represents the sky, which the javelin is thrown into, it also represents Zeus as he was the ruler of the sky, and it is the colour of the Greek national flag.

Gold was chosen as it resembles first place in the Olympics and is also the colour of lightening.

I will further develop and refine this logo.­

INDIGO DESIGN NETWORK

Stephen Burks : Man Made 

by Sali Sasaki

Photo Link: http://www.indigodesignnetwork.org/?attachment_id=4685

New York-based industrial designer Stephen Burks has been collaborating with artists and crafts people from Senegal, South Africa, Peru, and India.

I love the fact that you have collaborated with these artists from different parts of the world.

Your high end designs have that traditional and cultural aesthetic that is really appealing.

You have highlighted the positive side effects of intertwining and interacting with other cultures which generates a contemporary look, and celebrates multiculturalism.

The link of my post is here: http://www.indigodesignnetwork.org/?p=4684&cpage=1#comment-428

Bibliography: 
http://www.indigodesignnetwork.org

ABORIGINAL MOTIFS

Functions and Philosophies

1. Communication, consultation and consent

Consent is necessary for the reproduction of any Indigenous visual arts projects.

If traditional or cultural designs are included in any work, consent might be required from the original owner for the work to proceed. People must give time and information to consider the request, it cannot be done without total consent, or that its structure or format is established.

Communication and consultation are important in Indigenous visual art projects. 

It is most effective when:

- Both parties are aware of the way in which their own culture affects how they see an issue

- An understanding and perspective of the other culture and building awareness of the differences

- All forms of miscommunication and misunderstandings that may arise out of cultural diversities needs to be identified.

- Finding the right people to consult within the community

The process of obtaining consent:

-Allow time for communication of a proposal and for the indigenous representative to make a decision.

-There could be conflicting interests and thoughts from outside groups

-Things might not always go your way, be prepared to take ‘no’ for an answer

-Always respect the views within the community

Imagery:

Consultation and consent needs to be sought out if you’re requesting to use, interpret traditional/community owned imagery, material or heritage items.

Seeking permission from Community members, traditional custodians or the artist is compulsory.

The artist or local aboriginal arts and craft centre can asset in identifying any third party interpreters or translators in necessary.

Other things to consider:

-Geographic diversity/differences: Indigenous groups vary from each community.

-Cultural practices and language barrier.

-Sensitivity of content: Secret and sacred material

-Gender: There may be gender division or responsibilities and cultural knowledge.

-Photography of Indigenous people: They need to give permission to protect themselves through exploitation.

-Collaboration: Good way to get involved together, also discuss copyright ownership if required.

2. Interpretation, integrity and authenticity

The presentation of any work includes its interpretation, integrity and authenticity.

Indigenous artists and their communities should have control over how their heritage is presented.

-Interpretation

This refers to the perspective in which the cultural material in interpreted and presented.

Indigenous people are reclaiming control over their cultural heritage material,the language and the medium in which things are produced. This is to enhance the cultural significance of the work.

Things to consider when using Indigenous cultural material:

-Make sure the work reflects the cultural value of the subject matter.

-It should not expose confidential, personal or sensitive material.

-It should respect the culture and not reinforce negative stereotypes in any way

-Integrity

This refers to the treatment of original work and copies made of it. The moral right of integrity provides a right of protection for individual artists against inappropriate treatment of their works

-Copyright Act.

The original intention/integrity of the work cannot be changed, altered by adapting, cutting, editing, enhancing or manipulating; this is infringing the artist moral rights. Changes in work can also affect outer communities as well. 

Discuss the context of reproduction and any proposed material alterations if reproducing and dealing with Indigenous works. Changes might need to be made in the artwork if requested by the Indigenous community groups if they do not agree with it.

-Authenticity

The Authenticity refers to the cultural origin of an artwork. It is a major concern in the Indigenous art sector.  It could reference where the Indigenous person produced the artwork and whether is was produced with proper regard to Indigenous laws.

They are concerned that certain practices undermine the cultural authenticity and robs them of potential income.

The rise in demand of Indigenous art has let to many ‘rip offs’. 

Precautions and concerns include:

-Production of artworks by non-Indigenous artists that use the Indigenous styles that are passed off and Indigenous art’. It is also important that the original artist is acknowledged in artwork.

- Copying symbolic imagery onto commercial products.

-Imprints or paintings of didgeridoo’s, that are sold as authentic Indigenous products.

Subject sensitive matter include:

Stories, Biographic information, styles, art practices, imagery and symbolism.

Moral Rights and Issues

The moral right of attribution means the artist has the right to have his or her name reproduced alongside each reproduction of their work. Industry practice also includes the media, year, dimension, source of the licence and image, as in the following example:

Banduk Marika Djanda and the Sacred Waterhole 1988

Six colour linocuts, ink on paper 53 cm x 29.5 cm

Collection of the National Gallery of Australia Licence courtesy of the artist.

In December 2000 the Moral Rights Amendments to the Copyright was introduced. It provided some new ways to challenge inappropriate treatment of Indigenous artworks. These new laws provide the following rights to artists:

1. The right to be attributed as the artist. Artists names shown clearly and prominently alongside all reproductions of their works.

2. The right not to have work falsely attributed to another artist. Artists can take action against parties who falsely attribute others as the creators of their works.

3. The right of integrity. Artists can take action against parties who subject their works to inappropriate treatment.

Inappropriate treatment includes:

•Doing anything that results in the material distortion, destruction or mutilation or material alteration to, the work that causes harm to the artist’s reputation.

•Exhibition of the work in public, in a manner or place that causes harm to the artist’s reputation.

Bibliography: 

www.australiacouncil.gov.au