INSIGHT spring 2017
computerarts.creativebloq.comC
opyright and licensing
are hardly words to lift
the spirits and inspire
creative energy yet they are
essential. The UK has brilliant
copyright law closely aligned to
the also excellent European law.
These laws look even better
compared to the US where
although copyright exists you have to pay to register it to get the full
protection. In the UK that protection is a given: all your illustration
work automatically has full copyright.
But there is significant growth in copyright infringement cases. The
notable industry case studies â often involving high-street brands â can
be read as shorthand for a myriad of cases that fail to attract coverage.
Why is this happening? In part it is because illustrators are increasingly
confident in understanding and knowing their rights and speaking out
when they are abused. The Association of Illustrators (AOI) â the UK
body supporting illustrators and the illustration industry â regularly
advises on concerns around copyright infringements and has excellent
fact sheets for understanding these seemingly complex areas.
And of course thereâs the good news: that there is ever-growing
consumer demand for great illustration on everything from print to
pinafores to pixels. I may be biased but I would say that illustration
is the strongest visual communication tool in our increasingly image-
based world. Its versatility and accessibility are integral to everything
from literature and apps to packaging and advertising. Illustration is
in our supermarkets on our mobiles in our libraries and on our clothes.
A world without illustration is
unthinkable and itâs copyright
that supports it all.
Without copyright you cannot
licence. Without licensing we
wouldnât have an industry where
illustration can be a viable career
and without career illustrators
commissioners wouldnât be able
to get the great work that they need. While some would argue that
globalisation and the internet make copyright redundant the truth is
itâs never been so vital. Not only is it perfectly able to adapt to all that
the current and future commissioning landscapes require it works
brilliantly as an economic model. Licensing allows for commissioners
to pay for the specific uses they need at the time and then come back
later if they require more. Itâs a lean and efficient purchasing model.
The knack is for illustrators and commissioners to work together
to understand how this works and to be open with each other to
ensure we keep our thriving and enviable illustration industry going.
Commissioners rely on there being great illustrators of all kinds â
emerging established experimental esoteric â just as illustrators
rely on a broad breadth of commissions.
The AOI and I look forward to working respectfully energetically
and positively together with commissioners and illustrators â as an
industry â to ensure the future for ourselves and our wonderful
inspirational world of illustration.
The AOI can provide expert guidance on business matters for illustrators
including licensing and copyright. Find out more at http://www.theaoi.comManaging director of the AOI
Ren Renwick reveals why copyright
and licensing have never been so
important for illustrators
Licence to draw
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