http://missameliasminiatures.com/ -----Original Message----- From: h-costume-requ...@indra.com [mailto:h-costume-requ...@indra.com] Sent: Thursday, May 13, 2010 07:00 PM To: h-costume@mail.indra.com Subject: h-costume Digest, Vol 9, Issue 150
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Re: Friday at Costume Con (Cactus) ---------------------------------------------------------------------- Message: 1 Date: Thu, 13 May 2010 11:35:45 -0400 From: Carol Kocian To: Historical Costume Subject: Re: [h-cost] Brocade and Fair Usegalities Message-ID: Content-Type: text/plain; charset=US-ASCII; delsp=yes; forma! t=flowed On May 13, 2010, at 3:08 PM, R Lloyd Mitchell wrote: > Coming late into this discussion, I have found myself wondering > about how commercial companies (say Waverly) go about reproducing > fabrics from the historical perspective (say Winterthur or > Williamsburg). Permission to copy?? Permission to sell? Historical > houses seem to go the reproduction method...when they can afford > it...all the time.? What makes the diff when the reproduced fabric > is used for costume purposes? A licensing agreement between Colonial Williamsburg and Waverly. Or the historic site might hire the fabric company to make the reproduction. I don't think there is a difference if the fabric is used for costume purposes. Once I buy my yardage, they don't care if I use it for curtains, a gown, or a slipcover for my unicorn. The difference is that there are more home-decor enthusiasts than costumers out there. When looking for a market for reproductions, they go for the bigger group. Costum! ers will enjoy a source of period jewelry, but the museum will! select the pieces that will also appeal to the general public. -Carol ------------------------------ Message: 2 Date: Thu, 13 May 2010 12:04:48 -0400 From: Elena House To: Historical Costume Subject: Re: [h-cost] copyright law thing... Message-ID: Content-Type: text/plain; charset=ISO-8859-1 I've had to learn way more about copyright law than I ever wanted because I got into producing royalty free stock illustrations for an international company. Dealing with the copyright side of my work often takes much more time than the actual work. Since it is a truly international company, contributors have to abide by ALL international copyright laws, which means that we wind up having to follow a set of rules that are much stricter than those of any single country. Let's say that countries A through Y consider a sketch made by an artist of an existing work of art to be an original work of art. However, country Z considers this to be copyright infringement, therefore no artists cont! ributing to this company can sell sketches of an existing work of art. OK, fine, but multiply that by about 1978302187091, and you'll get some idea of the thorniness of the situation. Even if I create a work of art without reference to absolutely anything including live models, in my own uninfluenced style, I am still open to prosecution in some countries if the end result reminds someone of some work of art they saw somewhere. An examination of previous copyright infringement lawsuits indicates that to be legally safe, artists should simply never ever ever look at anyone else's artwork, period, because if they can prove that you reasonably could have seen the existing work of art (not DID, but could have) then you are screwed. Now, I want to protect my intellectual property. I've had it stolen in the past, and I didn't like it. I put in the painfully time-consuming research time to make sure that I'm not violating copyright. But I read the draconian copyright laws that my ! fellow artists either A) want to implement or B) incorrectly think hav e! already been implemented, and it makes me want to find another business entirely. Many--not all, but many--basically take the attitude that if anyone so much as thinks about their artwork, much less sees it, they should get a whopping big payment for it. It's insane, and it's killing art. Traditionally, artists have been encouraged to look at as much art as possible. While being trained, we're told to copy this painting or that style, to get a feel for how it was done. This has been going on for centuries, and has produced great works of art. If you study--even very off-handedly--the artists that, for example, we costume people spend a lot of time with, like Holbein or Duerer or Da Vinci, you'll find that they were copying each other left and right. This does not mean that the product of that copying was any less an original work of art. This does mean that by today's standards, every single great artist for the past umpteen number of centuries has been a copyright violato! r, and in today's courts would be metaphorically drawn and quartered for it. It makes me want to heave. -E House ------------------------------ Message: 3 Date: Thu, 13 May 2010 09:42:51 -0700 From: Lavolta Press To: Historical Costume Subject: Re: [h-cost] Brocade and Fair Usegalities Message-ID: <4bec2c0b.4070...@lavoltapress.com> Content-Type: text/plain; charset=ISO-8859-1; format=flowed On 5/13/2010 8:08 AM, R Lloyd Mitchell wrote: > Coming late into this discussion, I have found myself wondering about how commercial companies (say Waverly) go about reproducing fabrics from the historical perspective (say Winterthur or Williamsburg). Permission to copy?? Permission to sell? I suggest that you contact some of them and ask. \What makes the diff when the reproduced fabric is used for costume purposes? If you wish to copy a fabric for costume purposes, I suggest that you contact the museum from which you wish to reproduce it and ask them. If you need permission from a fabr! ic manufacturer, ask them. > Also took time to check again the copywri g! ht statements on some of my patterns that include the Major 3, Fire and Smoke, Five Rivers, and a host of other designers who are working all the time to give us good renderings of patterns to inspire Historical clothing.? All are agreed in opening statements that the pattern is for personal/individual sewing and not to be used for commercial enterprise > . > How do these two issues get reconciled when the demand for the product exceeds the implied legal issues? You'll have noticed that when you install software, you often have to agree to/click on a licensing agreement that says how many machines you can install that copy on and other things. Some pattern companies also put licensing agreements on their patterns. As with other permissions issues, if you wish to exceed the license you contact the manufacturer, tell them exactly what you want to do, and work something out. There is no standard price for anything--people charge whatever they wish, and they can also refuse per! mission to do what you want. Note that just because you think a permission is too expensive, is no reason for you to violate copyright or a licensing agreement. Usually professionals who ask for licensing agreements or permissions that don't work out, just try someone else who charges less or is more liberal about agreements. Fran ------------------------------ Message: 4 Date: Thu, 13 May 2010 09:48:11 -0700 From: Lavolta Press To: Historical Costume Subject: Re: [h-cost] copyright law thing... Message-ID: <4bec2d4b.9010...@lavoltapress.com> Content-Type: text/plain; charset=ISO-8859-1; format=flowed > > It makes me want to heave. But, as you've noted, the law is what you have to follow when using other people's work, not your personal standards. I have not noticed at all that art is being "killed." Certainly, in terms of publications, there is a huge increase in the number of books published in recent years, and the text and illustrations in those must also conform to cop! yright law. Fran ------------------------------ Message: 5 Date: Thu, 1! 3 May 2010 10:35:22 -0700 (PDT) From: Cactus To: Historical Costume Subject: Re: [h-cost] Friday at Costume Con Message-ID: <356469.46255...@web31805.mail.mud.yahoo.com> Content-Type: text/plain; charset=iso-8859-1 Where in Arizona??? Cactus ----- Original Message ---- From: Pierre & Sandy Pettinger To: Historical Costume Sent: Wed, May 12, 2010 10:28:51 PM Subject: Re: [h-cost] Friday at Costume Con Penny, Next year is in New Jersey.? 2012 is in Arizona. Sandy At 12:00 AM 5/13/2010, you wrote: >We only had a chance to mingle on Friday night.? The switch to cold >weather really got the better of me and Joe. We left 90 degree >weather in Richmond. Maybe next year, Arizona will be warmer. > >Penny Ladnier >Owner, The Costume Gallery Websites >www.costumegallery.com >14 websites of fashion, textiles, & costume history "Those Who Fail to Learn History Are Doomed to Repeat It; Those Who Fail To Learn History Correctly - Why They Are Simply Doomed." Achemdro'hm "The Illusion of H! istorical Fact" -- C. Y. 4971 Andromeda _______________________________________________ h-costume mailing list h-costume@mail.indra.com http://mail.indra.com/mailman/listinfo/h-costume ------------------------------ _______________________________________________ h-costume mailing list h-costume@mail.indra.com http://mail.indra.com/mailman/listinfo/h-costume End of h-costume Digest, Vol 9, Issue 150 ***************************************** _______________________________________________ h-costume mailing list h-costume@mail.indra.com http://mail.indra.com/mailman/listinfo/h-costume
